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  1. #401
    Transpose - Pitch - Loop for videos - Chrome Web Store

    check this out, i think you can easily slow the video without changing pitch

  2.  

    The Jazz Guitar Chord Dictionary
     
  3. #402

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    Quote Originally Posted by WILSON 1
    Still wondering how you got the software to display measure 39.... (pickup measure?).
    Bar 39 is just a mistake. I forgot to add rests. I guess guitar pro can handle such mistake gracefully.
    Anyway I fixed it now in the pdf.

    Cheers,
    Tamir

  4. #403

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    Quote Originally Posted by joe2758
    Transpose - Pitch - Loop for videos - Chrome Web Store

    check this out, i think you can easily slow the video without changing pitch
    Nice.
    For me the most efficient way to work with videos is to download the video (either grab it from youtube, there are ways to do that, or I can share the video file if needed). And then load the video into Transcribe!.

    Transcribe! is pretty amazing, and a powerful tool. Worth the penny.

    Have fun

  5. #404

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    Quote Originally Posted by tamirgal

    Transcribe! is pretty amazing, and a powerful tool. Worth the penny.

    Have fun
    I like Transcribe because I can “tap in” every measure.


    Sent from my iPad using Tapatalk

  6. #405

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    Quote Originally Posted by christianm77
    Ok Barry said ‘Melodic Minor’ today. We played it up and down and everything. I have it on a recording if anyone wants proof.

    Oz is all over this shit. I need a lie down. :-)

    Ahhh shit Christian too many kind words! It was fun sitting next to you! Did you go on Friday?

  7. #406

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    Alsooooo on the plane to turkey after Thursdays class I transcribed Barry's improv classes from memory. Wednesday (All of me) and thursday (half nelson) albeit we didn't finish half nelson, he only took us up to Abmaj and the rest I made up. Put it all on Sibelius, I'll try and upload it at some point.

  8. #407

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    If you guys have *any* recordings from the class, please don’t hesitate to share
    Thanks!

  9. #408

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    Quote Originally Posted by don_oz
    Ahhh shit Christian too many kind words! It was fun sitting next to you! Did you go on Friday?
    No, had some house & family stuff to attend to...

    Let's get together for a play soon!

  10. #409

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    Quote Originally Posted by christianm77
    No, had some house & family stuff to attend to...

    Let's get together for a play soon!

    Definietly, I'm back on the 30th!

  11. #410

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    Here's the improv class,

    For Half nelson, Maestro Harris stopped at Ab^ so I added to it.
    Attached Images Attached Images

  12. #411

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    What a legend!

    Be rewarded by crisp chorus or two of Barry with Freddie Green on rhythm guitar


  13. #412
    Quote Originally Posted by don_oz
    Here's the improv class,

    For Half nelson, Maestro Harris stopped at Ab^ so I added to it.
    thanks man!!!

  14. #413
    Quote Originally Posted by don_oz
    Here's the improv class,

    For Half nelson, Maestro Harris stopped at Ab^ so I added to it.
    so the first 10 measures were what he dictated, and then the second half is what you came up with?

  15. #414

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    Quote Originally Posted by tamirgal
    Cool
    The pdf is here if anyone is interested:
    Ornithology - Barry Harris Transcription.pdf - Google Drive

    It has some fixes for mistakes appear in the video.
    Thanks for this Tamirgal, the solo is as much a study of Barry's style as the original Ornithology was of Bird's. One question for you: I am wondering why you chose to present the transcription in a series of key signatures rather than either one sharp throughout (with accidentals) or (Omnibook style) without a key signature but with accidentals marked as they occur. I understand that one way of thinking about the tune looks at it as moving through a series of key centres, but Barry generally wants us to think of the whole tune in a single key. I am not criticizing, much less condemning, your decision to do it this way but would like to understand the reasoning behind your choice.

    And thanks again for posting this!

  16. #415

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    Hey pcjazz,

    Thanks for the feedback. You are not the first to ask me this. And I already provided a version of the file with single key signature (G). That’s very easy to do in the notation software so no biggy. I can send you that file too if you prefer.

    The answer to your question is basically, I don’t know why I did that
    I guess the purpose of my transcription was to study the bits and pieces of Barry’s playing, and not to look at the solo as a whole, so yes, when I look at a ii-V-I in F, I prefer to see it in the key of F rather than in the key of G. For me it wasn’t meant to be played directly from the sheet (and I’m actually not that of a good reader), it’s just a tool for documentation.

    I’m not a pro musician, and have zero experience in how to exchange written music ideas with other musicians, so I don’t know what’s the best practice, or what might others prefer.

    I’m cool with the feedback, it’s just a press of a button to change to to any other key signature.

    Currently I’m in the process of writing my analysis of this solo. Almost done, will be happy to share and get feedback there as well.

    Cheers,
    Tamir

  17. #416
    what a f***ing unbelievable performance of My Heart Stood Still. Can't wait to watch the rest later

  18. #417

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    Quote Originally Posted by tamirgal
    Hey pcjazz,

    Thanks for the feedback. You are not the first to ask me this. And I already provided a version of the file with single key signature (G). That’s very easy to do in the notation software so no biggy. I can send you that file too if you prefer.

    The answer to your question is basically, I don’t know why I did that
    I guess the purpose of my transcription was to study the bits and pieces of Barry’s playing, and not to look at the solo as a whole, so yes, when I look at a ii-V-I in F, I prefer to see it in the key of F rather than in the key of G. For me it wasn’t meant to be played directly from the sheet (and I’m actually not that of a good reader), it’s just a tool for documentation.

    I’m not a pro musician, and have zero experience in how to exchange written music ideas with other musicians, so I don’t know what’s the best practice, or what might others prefer.

    I’m cool with the feedback, it’s just a press of a button to change to to any other key signature.

    Currently I’m in the process of writing my analysis of this solo. Almost done, will be happy to share and get feedback there as well.

    Cheers,
    Tamir
    Great, please do post a single-key version of the Ornithology transcription, and I would be happy to look over and respond to your analysis when you're ready.

    Incidentally, fwiw, I attended the first of Howard Rees's summer intensive classes tonight and one of the very first things he said in talking about scale/chord relationships is that there is only one key to a tune ...

    Best, PC

  19. #418

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    Body and Soul is in Db but the bridge is in D, sometimes you see a change of key in the charts for this tune as it’s probably clearer.

  20. #419

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    Quote Originally Posted by pcjazz
    Incidentally, fwiw, I attended the first of Howard Rees's summer intensive classes tonight and one of the very first things he said in talking about scale/chord relationships is that there is only one key to a tune ...
    Nice thanks.

    I updated the original file to be in the single key of G. It also now has some more fixes for couple of mistakes I found:
    Ornithology - Barry Harris Transcription.pdf - Google Drive

    Cheers,
    Tamir

  21. #420

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    Quote Originally Posted by grahambop
    Body and Soul is in Db but the bridge is in D, sometimes you see a change of key in the charts for this tune as it’s probably clearer.
    OK, but where do you stop? If the first half of the bridge is in D then the second half is in C ....

  22. #421

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    Thanks Tamir!

  23. #422

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    Quote Originally Posted by pcjazz
    OK, but where do you stop? If the first half of the bridge is in D then the second half is in C ....
    It's only done for practical reasons (ease of reading), no-one takes it that far. The bridge would need lots of accidentals if they kept it in Db.

  24. #423

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    Quote Originally Posted by grahambop
    It's only done for practical reasons (ease of reading), no-one takes it that far. The bridge would need lots of accidentals if they kept it in Db.
    No disagreement here, I buy the practical reasons for writing the bridge in two sharps. But that doesn’t mean we shouldn’t think about movement in the bridge as up a half step then down a half step from the key of the tune. An 8-bar surround! (Makes it easier to transpose on the fly, too.)

  25. #424

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    Quote Originally Posted by pcjazz
    No disagreement here, I buy the practical reasons for writing the bridge in two sharps. But that doesn’t mean we shouldn’t think about movement in the bridge as up a half step then down a half step from the key of the tune. An 8-bar surround! (Makes it easier to transpose on the fly, too.)
    Yes that makes sense. I find the better I know a tune, the more I can mentally reduce it down to just a couple of 'targets' with relative movements around them.

  26. #425
    after watching the rest of the PG video:
    1. interesting that he has perfect pitch
    2. what album is he talking about at 1:15:35
    3. What's up with the back of the neck of his guitar, could it really just be that worn off?
    4. What did you think about the comment where he says triplets sound better on 2 and 4, do you agree? I never thought about it before

  27. #426

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    The album could be Sonny Rollins - Worktime. Some of the tracks are fast tempos as I recall.

  28. #427

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    Quote Originally Posted by joe2758
    after watching the rest of the PG video:
    3. What's up with the back of the neck of his guitar, could it really just be that worn off?
    Yes, he's put in some mileage over six years. (The guitar is back with Bryant Trenier for a refurb.)

    Official Barry Harris Thread-35306017_1886866464711567_4755564510855561216_o-jpg
    Official Barry Harris Thread-35299873_1886866221378258_8448422575012315136_o-jpg

  29. #428

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    Yes, you can see he isn't precious about it. He offered it up to students very easily.

  30. #429
    how freaking bad ass is that.

  31. #430
    k guys check this out.

    Barry has us practice G7 down to Ab which is the 3rd of E, and the 5th of the tritone (Db)

    There's multiple applications for this including minor 2-5s.

    It's an elegant way to 2 of the 3 sibling dom 7 chords.

    What about the other sibling, Bb 7?

    You can run G7 down to the Bb. You surround the Bb with the 2nd degree of the scale so that the Bb lands in the same place that the Ab would land.

    I am going to start adding this to my practicing because there's so many applications.

    1. In Bb rhythm changes you can play Eb7 down to Gb (the IV to minor iV)
    2. in B-7b5 to E7 you can play G7 down to Bb7 which will give you the tritone of E7, which will give you more altered sound than the way Barry teaches in the book/dvd

    try it out

  32. #431

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    Quote Originally Posted by joe2758
    4. What did you think about the comment where he says triplets sound better on 2 and 4, do you agree? I never thought about it before
    Yeah I’ve often thought that. I certainly tend to teach the upbeat and triplet phrase on 2 and 4. You know when you play a lower neighbour on 2+ say and then an arpeggio triplet, say?

    However it’s possible to think of examples of jazz phrases that break this rule I’m sure.

    I’m thinking of a lot of swing and GJ type twiddle/turn phrases I play that are on 1 and 3, that almost sound a bit corny but that’s kind of the point.

    I’ll have to have a deep think about this

  33. #432

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    Is it just me or do less jazz musicians seem to have perfect pitch than classical musicians?

  34. #433

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    Okay there are a couple of examples of the ‘swing twiddle’ that I associate with Charlie Christian and Django in CC’s solo on Stompin at the Savoy, transcribed here:

    Stompin’ at Minton’s (by Miles Okazaki) | DO THE M@TH

    Both times on beat 3z interestingly, he plays a ascending triplet figure on beat 2.

    Anyway that’s just going on what people have said, I need to watch the PG masterclass but haven’t had time. What was the deeper context?

    Interesting thing to talk about. Rhythm and phrasing....

  35. #434
    Quote Originally Posted by christianm77
    Okay there are a couple of examples of the ‘swing twiddle’ that I associate with Charlie Christian and Django in CC’s solo on Stompin at the Savoy, transcribed here:

    Stompin’ at Minton’s (by Miles Okazaki) | DO THE M@TH

    Both times on beat 3z interestingly, he plays a ascending triplet figure on beat 2.

    Anyway that’s just going on what people have said, I need to watch the PG masterclass but haven’t had time. What was the deeper context?

    Interesting thing to talk about. Rhythm and phrasing....
    it was just in passing. in general, could one possibly say swing triplets on 1 and 3 and bop 2 and 4? I like rules of thumb

  36. #435

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    Perfect pitch is actually rather rare. As a classical trained t-bone and vocalist you learn that it's really, for nearly everyone with good pitch awareness, a *relative* pitch awareness.

    Some tighter than others of course, and most tighter at some pitches than others. My voice has the passagio points chest/mixed at middle C, mixed/head at F above that. (Pure dramatic tenor points.)

    So if I can hum something in that area, I can give you within a semi-tone what the pitch is. It's a solid physical thing, even more than just hearing it.

    I've got quite a low end for a tenor. And as it's a naturally huge resonant instrument that most people don't wanna be within 15 foot directly in front of me even at moderate output (for my instrument) I normally sing in lower ranges in most public group singing situations, where the output is less and high frequency overtones diminished somewhat. I can frequently find a harmony line to sing also. I sight read rather well.

    But that lower octave and a half, I can't give you nearly the exact pitch "answer" that I can near or in passagio. By low C, I'll be within a tone and a half. The F below that, within 2 tones.

    Nearly everyone I've studied with, knew in college, or met ... is the same.

    The closest to a standard "understanding" of perfect pitch I've been around are a couple pianists who could typically be within a semi-tone through a good range. But even they dropped accuracy out of a three/four octave center of the keyboard.

    Sent from my SM-G930V using Tapatalk

  37. #436

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    Quote Originally Posted by joe2758
    it was just in passing. in general, could one possibly say swing triplets on 1 and 3 and bop 2 and 4? I like rules of thumb
    Yeah, that could work. I think the swing twiddle does sound quite specific to the period. It's one of those nuances I would tend to intuitively avoid on more modern gigs (but it creeps in anyway lol.) I tend to phrase in a different way on swing gigs to bop/post-bop gigs, at least I think I do.

    That said, when I'm next able, I'm going to have a careful look over the Omnibook. I remember there being quite a few triplets on 1 and 3 in Bird's music, so I kind of discounted the 2 and 4 idea as not being a general rule, but I think a bit more detail could be interesting.

    Also, other players. Second generation bop practice differs in many ways from Parker...

    This is not an attempt to poke holes in PG's teaching (!) BTW - the man is obviously absolutely astonishing in his command of authentic bop phraseology, but I think it's an interesting point that is useful as a guideline for the student, but opens a door to a deeper understanding like so many guidelines in music.

    One thing that I dislike in my playing and some other guitarists who have checked out the same material, is when the triplet is too lazy, and while rushing it is even worse, it's got to be just right so it pops. Not too martial and articulated either. (BTW I must check out GJ triplets now with this stuff in mind.)

    BH's triplets are a thing of beauty. To my ears, it has to be so the 8ths are behind and in the upbeat pocket, but the triplets are precisely on the beat and subdividing exactly. It's the push and pull against the beat while everything is perfectly in the upbeat 'and' pocket that makes it swing so hard, I reckon.

    BTW, I'm going to repost this Brad Mehldau article regarding Barry's triplets thing. Mehldau doesn't quite buy it.... But his reasons are respectful to Barry, perceptive and deep.

    Carnegie 05 — Brad Mehldau

    Carnegie 06 — Brad Mehldau

  38. #437

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    BTW that Bud transcription on the Mehldau page 06 contains 2 triplets on the 1 and 2 on the 2!

  39. #438

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    Quote Originally Posted by christianm77
    Okay there are a couple of examples of the ‘swing twiddle’ that I associate with Charlie Christian and Django in CC’s solo on Stompin at the Savoy, transcribed here:

    Both times on beat 3z interestingly, he plays a ascending triplet figure on beat 2.
    Seems I do not know to count up to 4.

    As far as I could see:

    on 2 / bar 4
    on 3/ 22
    on 2/ 29
    on 2/ 62
    on 1/ 81 (1/4 triole)

    that is
    3 x 2
    1 x 3
    1 x 1

    Figures do not really supporting proposed Swing Vs. Bop rule, if we agree that CC and Django, whoever they might be, are "swing twiddlers".

  40. #439

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    Coltrane plays a swing twiddle on that If I Were a Bell solo so that’s that theory out of the window.

    I will watch the PG masterclass soon...

  41. #440

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    Quote Originally Posted by pcjazz
    and I would be happy to look over and respond to your analysis when you're ready.
    Hi,

    OK, I think I'm ready to post this. When I started this, I didn't really know where it will eventually go. What I tried to do is to deduce some pattern and "rules" from this solo, things I know are applicable to the many other of Barry's solos as well. So eventually I ended up writing an overview of Barry's playing in this solo (at least the way I see it, not yet sure what it worth to anyone else, lol), and then I try to analyse the transcription in relation to the concepts described in the overview.

    I guess this is still work in progress, but here it is:
    Ornithology - Barry Harris Transcription - Overview and Analysis.pdf - Google Drive

    Feel free to comment and give feedback. Remember that this is just my own point of view based on my own observations, not not necessarily aligned with Barry's way of thinking, or his way of teaching it...

    Cheers, and I really hope this is gonna be useful to anyone...
    Tamir

  42. #441

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    Hey,

    Here's another chorus of Barry playing 'How High The Moon' from his 1958 recording with Sonny Stitt:



    PDF here:

    How high the Moon - 1958 - Barry Harris Transcription.pdf - Google Drive

    Enjoy,
    Tamir

  43. #442
    Quote Originally Posted by tamirgal
    Hey,

    Here's another chorus of Barry playing 'How High The Moon' from his 1958 recording with Sonny Stitt:



    PDF here:

    How high the Moon - 1958 - Barry Harris Transcription.pdf - Google Drive

    Enjoy,
    Tamir
    thanks a million

  44. #443

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    Quote Originally Posted by grahambop
    The album could be Sonny Rollins - Worktime. Some of the tracks are fast tempos as I recall.
    I think this is the album Sonny Boy (album) - Wikipedia

    They're on fire!

  45. #444

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    Sorry, I’ve made another one



    This time a Blues, especially for Bird’s birthday!

    PDF:
    Passport (Blues) - Barry Harry Transcription 1958.pdf - Google Drive

    Cheers,
    Tamir

  46. #445
    Thanks Tamir! I've picking and choosing phrases from them

  47. #446

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    Hey Joe,
    Did you get a chance to look at the summary I wrote on Barry's playing on Ornithology? Here:
    Ornithology - Barry Harris Transcription - Overview and Analysis.pdf - Google Drive

    Would love to hear you thoughts.

  48. #447

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    Quote Originally Posted by joe2758
    so the first 10 measures were what he dictated, and then the second half is what you came up with?

    Sorry for such a late reply! Only just came back from holidays. Up until the first bar of Ab^ is what Barry had us play, from then on it's what I tried out.

  49. #448

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    Practical examples of BH comping ideas over ATTYA:


  50. #449

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    Just watched him at the Chicago Jazz Festival with Charles McPherson/Larry Gray/George Fludas, he was sublime. He thanked Chicago for Joe Segal "who kept Charlie Parker alive"

  51. #450

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    Quote Originally Posted by medblues
    Just watched him at the Chicago Jazz Festival with Charles McPherson/Larry Gray/George Fludas, he was sublime. He thanked Chicago for Joe Segal "who kept Charlie Parker alive"

    McPherson is a monster! Beautiful alto player. One of Barry's oldest students.