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My teacher busted out the BH on Polkadots and Moonbeams today.
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10-13-2022 08:40 PM
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Original handout from a 1993 class
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Beautiful!
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Originally Posted by NSJ
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Remix
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Did Barry Harris ever comment on Lenny Tristano?
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Not that I remember. My exposure was limited to 1986-2017. My memory is weak.
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This is a pretty good playing example where he breaks down why a plain CM7 drop 2 (1573) can be thought of as C6 with a borrrowed note from the diminished. Bot only does he go up r the scale of chords using this borrowed note in the alto from C6 to D° inversions, he isolates the borrowed note and shows how that can be harmonized by itself to create movement, contrary motion and tension. I have to say I agree with him in his original opinion, “why can’t we just think of this as a CM7?” But if we see it as movement, color , and tension, it makes complete sense to see CM& as a C6 with a borrowed note.
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Cma6 diminished single borrowed note possibilities:
replacing A:
C E G B
C E G Ab
C E F G
C D E G
replacing G:
C E A B
C D E A
C E F A
C E Ab A
replacing E:
C D G A
C F G A
C G Ab A
C G A B
replacing C:
B E G A
D E G A
E F G A
E G Ab A
There are also 2,3 and 4 note borrowed structures. Some sound consonant, some pretty crunchy. The perspective of a primary function chord and a companion diminished offers an organized tonality based path to generate movement between the 2 functions. Within this paradigm, Cma7 is borrowing the diminished B note even though it is a common chord unto itself.
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Can someone enlighten me on the aug arpeggio?
I know Barry emphasized the important arpeggios on the root, fifth and flat seventh, but he mentioned one that was augmented and I can't find material on that.
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Originally Posted by WILSON 1
Barry Harris: The Whole Tone Scale and the Augmented Triads as a V7 function
1. There are only two whole tone scales: C and C#/Db. Together, these comprise the 12 tone chromatic scale. C-D-E-F#-G#-A# AND C#-D#-F-G-A-B.
2. Practice: 1-2 -1-3 patterns C-D-C-E; D-E, D-F#, etc. Practice broken triads: C-E-D-F#; E-G#-F#-A#, G#-C-A#-D; C and DESCENDING.
3. Deriving an augmented triad: play a note, skip a note, play a note, skip a note: Get a C+ triad (C augmented triad)—> C-E-G#; E-G#-C; G#-C-E; OR the D augmented triad: D-F#-A# (which goes up a M3 systematically: F#-A#-D; A#-D-F#). Thus, there are only 4 augmented triads: C+; D+; C#+; D#+. Any of these augmented triads will work, functionally, as a V7 as a dominant chord. If the dominant root note is in the whole tone scale, you can use the augmented triads associated with it as a V7 type of function.
4. Nothing is easier than to find the augmented triads on a guitar. They just continuously cycle up a M3. So you can play C+ and D+ on a C7. And their inversions (E+ and G#+ and F#+ and A#+).
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Originally Posted by rintincop
He said to a friend of mine who studied with him that Bill Evans was not a jazz player, he was an arranger!
And then there was his declaration that Diana Ross of the Supremes was the greatest jazz singer alive!
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Originally Posted by NSJ
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Originally Posted by Jimmy Smith
Also, don't forget about the F melodic minor over G7. (thus G7sus4 b9)
And of course, the basic (Mixolydian) G7 scale with a half step rule
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Originally Posted by rintincop
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Yep, can't sleep on the BH cst. Too elegant to forgo.
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Originally Posted by rintincop
in fact, ditching IIm7b5 and opting for IIm7 V7b9 Im is quite a common bird move. It’s easy to think that the IIm chord has to be IIm7b5 while even staying in minor you can make it a IIm7
i don’t recall Barry mentioning it in class though - anyone else?
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I wish I got to attend Barry’s classes. I’d love for the Zoom classes to be streamed.
The more I think about his half step rules, the main quality or effect is rhythmic: to keep the chord tones on beat, especially descending. Especially the half step between the R and b7. The basic premise is, on non-chord tones (2,4,6) you don’t need the half step. On chord tones (1,3,5) you do.
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Here’s the video I said I’d do
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Really basic stuff, but I’m doing it because I need to learn a new instrument that is much harder than a six string guitar:
1.Unison: the chord-scales as they are, combining the Major and Minor 6th chords with the four notes associated with its diminished chord,, creating an 8 note scale: CM6 /dim and Cm6/dim (C-D-E-F-G-Ab-A-B or C-D-Eb-F-G-Ab-A-B)
2. THIRDS— everything For CM6 and Cm6 is a minor third, except for (a) CM6 3rd degree is a M3 and the sixth degree is a M2; (b) and for Cm6, the fifth degree is a M3 and the 6° is a M2.
Major 6 Minor 6
C m3 C-A SAME
D m3 (D-B) SAME
E M3 (E-C) m3
F m3 (F-D) SAME
G m3 (G-E) M3
Ab m3 (Ab-F) SAME
A M2 (A-G) SAME
B m3 (B-Ab) SAME
3. SIXTHS: for CM6 and Cm6 scales is a M6 except (a) for the major six TONIC is a m6 and the P5 is a m7 and (b) for the Cm6 scale, the 3rd degree is a m6 and the 5th degree is a m7.
Major 6 Minor 6
C m6 (C-E) M6
D M6(D-F) SAME
E M6 (E-G) m6
F M6 (F-Ab) SAME
G m7 (G-A) SAME
Ab M6 (Ab-B) SAME
A M6 (A-C) SAME
B M6 (B-D) SAME
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4. TRIADS
Major 6
C: E-A-C
D; Dim: Ab-B-D or F-B-D
E: A-C-E
F: Dim: B-D-F or Ab-D-F
G: C-E-G
Ab Dim: D-F-Ab or B-F-Ab
A: C-E-A
B: Dim: F-Ab-B or D-Ab-B
Minor 6
C: Eb-A-C
D; Dim: Ab-B-D or F-B-D
E: A-C-Eb
F: Dim: B-D-F or Ab-D-F
G: C-Eb-G
Ab Dim: D-F-Ab or B-F-Ab
A: C-Eb-A
B: Dim: F-Ab-B or D-Ab-B
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Quick Dim trad fix:
Sometimes, it’s not possible to get to the dim triad in time due to the five fret stretches especially down the neck. Then you realize not only is a dm note note found not just a m3 away, but always a tritone away.
Also, the intervallic relationship between a m3 and a M6 is a tritone.
The tritone, that little devil, is actually your friend, not fiend. Throw that “R” in it. It can get you out of plenty of messes. :
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So, how you would you lay out the scale practice, BH-style, for Mood Indigo?
MOOD INDIGO (vanilla chords)——-
Key of Ab 4/4
| Ab / Abdim Ab | Bb7 | Eb7 Eb7+ | Ab Eb7 |
| Ab / Abdim Ab | Bb7 | Bm7 E7 | Bbm7 Eb7 |
| Ab7 | Ebm7 Ab7 | Db | Dbm |
| Ab / Abdim Ab | Bb7 | Eb7 Eb7+ | Ab |
|| Ab | Bb7 | Bbm7 Eb7 | Ab Eb7 |
| Ab | Bb7 | Bb7 | Bbm7 Eb7 |
| Ab7 | Ebm7 Ab7 | Db | Dbm |
| Ab | Bb7 | Bbm7 Eb7 | Ab |
BH:
Ab6—-Bm6——Em6———Em6
Ab6—-Bm6——Fm6————Em6
Ab6—Abdim—Db6——Dbm6
Ab6—-Bm6—Em6———Ab6
Ab6——Bm6—Fm6—Em6
Ab6—Bm6-Bm6–Em6
Ab6-Adim—-Db6–Dbm6
Ab6—Bm6-Em6-Ab6
Any better way of reformatting this tune to fit BH’s system?
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Sorry, being a bit lazy, but...
Since we are asking how to do the scale practice, what would one do for the beginning of "All of Me"?
I see the first eight bars written as:
CM7 | E7 | A7 | Dm | E7 | Am7 | D7 | Dm7 G7|
So would it be C, E7, A7, Dm6, E7, D7 <->, G7?
or do we do something different with the A7 because it is resolving to a minor? Is it C7 to the third of A7? Is this a situation where we think of the Dm as the "Important 5" and play a G7 instead of Dm6? What about the whole last four bar turnaround?
I guess I don't understand when we "go to the third of" a sibling dominant, which dominant and why? Can someone explain that, or point me to a good explanation.
Thanks.
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Originally Posted by rlrhett
C | C | E7 | E7 | A7 | A7 | Dm7 | Dm7 | E7 | E7 | Am7 | Am7 | D7 | D7 | Dm7 | G7 |
Can anyone date this? goodwill epiphone
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