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  1. #211
    or from the b7 of course depending on context
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  2. #212
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    Quote Originally Posted by joe2758 View Post
    You do the descendng from the maj 7 to the major 3rd of the major VI... almost positive thats in one of the examples in the first dvd workbook
    You mean from the 7th of VI7?

    EDIT: I just saw your second post, I guess that's what you mean.

  3. #213
    yeah but in the work books he does say to do straight up major turnarounds. just looked at the book, for the blues example he plays I major up and down (implying vi min) do V7 up and down. horwever in Indiana, he does it how I mentioned
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  4. #214
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    Quote Originally Posted by joe2758 View Post
    or from the b7 of course depending on context
    Or is it 7th of I7 to 3rd of VI?
    So for Bb blues 8th bar is |Bb7 G7|, we play
    Ab G F Eb D C B(rest at & of 4)?

  5. #215
    right, first i said from the maj 7th of the I, then I meant to say you could also do it from the b7 of the I
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  6. #216

  7. #217
    Hey guys I've got a question, how would you Barry Harrisize this bar of chords:

    | Eb7 D7 |
    or
    | Am7b5 D7 |

    the context is this is from All God's Chillun Got Rhythm the last 8 bars
    | Bm7 E7 | Am7 D7 | Gm7 C7 | Eb7 D7|
    | Gm7 | C7 | F (D7 | Gm7 C7) |

    scales i've got, except the bar in question:
    | E7 up | D7 up | C7 up | ? |
    | C7 up | and down | F Maj up | C7 up|

  8. #218
    I would practice it with F7 DOWN to the 3rd of D7 (F#). he does this on Indiana in the first dvd/workbook
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  9. #219
    This is pretty common for instance F maj to D7 would be the same (except starting maj 7th)
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  10. #220
    Are you Chris?

  11. #221
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    Just subscribed. Thanks for doing this.
    "I know nothing about the subject, and despite that have no opinion." Eugene Volokh

  12. #222
    Quote Originally Posted by sjl View Post
    Are you Chris?
    Quote Originally Posted by MarkRhodes View Post
    Just subscribed. Thanks for doing this.

    I'm not Chris!! I just found it myself and thought I'd share it to the thread! Please don't mistake me for this guy! Im not taking any credit for any of his videos!

    Ozzy

  13. #223
    Quote Originally Posted by joe2758 View Post
    I would practice it with F7 DOWN to the 3rd of D7 (F#). he does this on Indiana in the first dvd/workbook
    Thanks! that makes sense with the |Am7b5 to D7| but how would you explain F7 to 3rd of D7 over | Eb7 to D7|?

  14. #224
    The short answer in my opinion is it works for both.

    Longer answer:

    We have a cadence pulling to the ii chord in this bar. The accompanist and soloist can swap out any number of movements here that pull to the ii, and they don’t have to be the same.

    1. a-7b5 to D7, F7, Ab7, or B7 ( or any of those with a b5)
    2. Gb7, A7, C7, Eb7 (or any of those with b5) to D7
    a million ii-v or ii-7b5 to v combos
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  15. #225
    if you try out these movements that may seem too far out, make sure you’re using good voice leading
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  16. #226
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    Quote Originally Posted by don_oz View Post
    I'm not Chris!! I just found it myself and thought I'd share it to the thread! Please don't mistake me for this guy! Im not taking any credit for any of his videos!

    Ozzy
    Well if Chris is on this forum, THANK YOU. Those videos are great at demystifying the BH DVDs I have.

    A huge takeaway was that running the scales over the changes is an exercise to train your ear to hear the changes and the different pitch collections, not really as a way of developing improvised lines. I always thought, "this isn't musical. What kind of lines are you going to build doing this?" Now I understand the exercise better and appreciate it.

    If you are out there reading this, keep up the good work!

  17. #227
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    Quote Originally Posted by joe2758 View Post
    The short answer in my opinion is it works for both.

    Longer answer:

    We have a cadence pulling to the ii chord in this bar. The accompanist and soloist can swap out any number of movements here that pull to the ii, and they don’t have to be the same.

    1. a-7b5 to D7, F7, Ab7, or B7 ( or any of those with a b5)
    2. Gb7, A7, C7, Eb7 (or any of those with b5) to D7
    a million ii-v or ii-7b5 to v combos
    If I am understanding this correctly the first group is the family of four of F7. The second group seems to be the family of four of the secondary dominant of F7 (C7). So the secondary dominant can be treated like the target dominant? (Ie. C7 family be treated like F7)

  18. #228
    right. The first group are dominants from the bii dimished chord which pulls to ii

    The second group is from the related dimished of the key which pulls to I, iii, vi, or in this case VI7

    Although if we’re talking in scondary dominants, which i haven’t seen in BH materials, the first group would be D7 (secondary dom of ii) and second group would be from A7 (secondary dom of vi)

    there’s endless options with maj and min 6th chords i couldnt even begin to type up here.

    If you guys working on maj 6 dim scales, try playing the Bb maj 6 dim scale for the bar preceeding the gminor and land on a gmin/Bb6 there on beat one
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  19. #229


    What is Barry Harris talking about at 7 minute mark and onwards about the bIIdim and #IIdim, and how does it relate to the blues he's playing?

    He says ''Really, if I was playing some slow blues I don't like the G7 at all.''

  20. #230
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    Quote Originally Posted by rlrhett View Post
    Well if Chris is on this forum, THANK YOU. Those videos are great at demystifying the BH DVDs I have.

    A huge takeaway was that running the scales over the changes is an exercise to train your ear to hear the changes and the different pitch collections, not really as a way of developing improvised lines. I always thought, "this isn't musical. What kind of lines are you going to build doing this?" Now I understand the exercise better and appreciate it.

    If you are out there reading this, keep up the good work!
    I have personally found it very good for expanding my fretboard knowledge though this may not be an intentional aspect of the exercise.

  21. #231
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    Quote Originally Posted by N.T View Post


    What is Barry Harris talking about at 7 minute mark and onwards about the bIIdim and #IIdim, and how does it relate to the blues he's playing?

    He says ''Really, if I was playing some slow blues I don't like the G7 at all.''
    He plays Bb7 C#o7 Cm7 F7 in the slow blues

    Also he doesn’t play the Eo7 if you listen, even though it’s tempting at that tempo.

  22. #232
    Quote Originally Posted by N.T View Post


    What is Barry Harris talking about at 7 minute mark and onwards about the bIIdim and #IIdim, and how does it relate to the blues he's playing?

    He says ''Really, if I was playing some slow blues I don't like the G7 at all.''
    He talks about approaching the ii minor chord at bar 8 of the blues. If that’s Cm(in Bb blues) you would usually approach it with a G7 which is Bdim, i.e. bIIdim.
    For slow blues would usually hear Barry use C#m chord or C#dim instead to approach the Cm7. So instead of a ii-V Dm7-G7 you will get Dm7-C#dim which gives a nice chromatic descent into the Cm7.

    Listen to Barry play a slow blues like Parker’s Mood:

    Live at Maybeck 12 Barry Harris - Live at Maybeck 12 - Amazon.com Music

    Cheers,
    Tamir

  23. #233
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    Also, that bIIIo7 sound relates to this sort of thing (in F)

    F/A | Abm7 Eb7 | Gm7 | C7

    Which you see in Blues for Alice and Dance of the Infidels....

  24. #234
    Also he doesn’t play the Eo7 if you listen, even though it’s tempting at that tempo.
    As in going back to the I7?

  25. #235
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    Quote Originally Posted by nikhilhogan View Post
    Hey guys I've got a question, how would you Barry Harrisize this bar of chords:

    | Eb7 D7 |
    or
    | Am7b5 D7 |

    the context is this is from All God's Chillun Got Rhythm the last 8 bars
    | Bm7 E7 | Am7 D7 | Gm7 C7 | Eb7 D7|
    | Gm7 | C7 | F (D7 | Gm7 C7) |

    scales i've got, except the bar in question:
    | E7 up | D7 up | C7 up | ? |
    | C7 up | and down | F Maj up | C7 up|
    Am7b5 relates to F9, so we run (as Joe said):

    F7 down to the third of D7

    Eb D C Bb A G F#

  26. #236
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    Quote Originally Posted by N.T View Post
    As in going back to the I7?
    Yes.

  27. #237

    Official Barry Harris Thread

    Quote Originally Posted by christianm77 View Post
    Also he doesn’t play the Eo7 if you listen, even though it’s tempting at that tempo.
    In Parker’s Mood from Barry’s Maybeck Recital he does play that Edim. Usually on 2nd Bar going back to the one.
    To me, his solo there is simply perfection Official Barry Harris Thread

  28. #238
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    Quote Originally Posted by tamirgal View Post
    In Parker’s Mood from Barry’s Maybeck Recital he does play that Edim. Usually on 2nd Bar going back to the one.
    To me, his solo there is simply perfection Official Barry Harris Thread
    Cool. I will listen to that when i get a chance.

  29. #239


    Blue Sonny 16:44

    Barry uses a lot of the same language in his slow blues.

    I dig his sound! And I made a backing track for myself off the first 12 bars.

  30. #240
    Quote Originally Posted by N.T View Post


    Blue Sonny 16:44

    Barry uses a lot of the same language in his slow blues.

    I dig his sound! And I made a backing track for myself off the first 12 bars.
    Great Album! Wish he had more choruses on this one. But you do get to hear him accompanying Grant Green, how cool is that!

    Are you familiar with this one?


    An iconic example of him playing the blues, he takes many choruses, most of which insane. Don’t know anyone playing and sounding like that. Around 4:40 he slows down to a slow blues tempo.

    Cheers,
    Tamir

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