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Originally Posted by Bop Head
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12-13-2023 10:19 AM
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If the following sounds like you, Barry Harris's teachings is one of the approaches that you can benefit from IMO:
- You can play harmonically organized solos using chord tones, guide tones, appropriate extensions but it sounds like you're playing an etude.
- You can noodle 8th note lines and sound closer to playing bebop but when you do that you're just imitating the sounds you hear in the records and trying to adjust by ear with hit and miss results and often get lost as you're not present in the form or the harmony.
- You can comp with a limited chordal vocabulary but you have no idea how to create those more fluid, moving comping textures.
In other words you need to learn more vocabulary (both chordal and single notes). Like Christian said, a lot of people don't go all in on the BH stuff. They learn the basic pedagogical commitments of the approach and maybe translate some of the concepts to how they think about music. There are other approaches but I think all the good approaches align along the fundamental truths about the process.
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Originally Posted by Tal_175
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All you gotta do is learn the "chord section" to a Wes Montgomery solo to know this stuff is worth learning
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Originally Posted by mr. beaumont
Maybe not exactly the BH thing, but I will try not to be the pedant here (however it may a prereq for the forum)
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Originally Posted by Christian Miller
Hehe, I don't know why I've decided to come to the BH thread and start mouthing off the converted, maybe my own ego, who knows??? But yeah, there's an element of messianism amongst some of you guys IMO... Many roads lead to Rome.
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Originally Posted by bediles
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Originally Posted by bediles
ultimately all I can say is studying this approach was helpful. The unfamiliarity of the terminology can make it a little harder to access, but it is used consistently and precisely once you’ve learned it.
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Kurt Rosenwinkel just posted on his FB page: “ it’s always interesting, the diminished chord expresses the functionality of a dominant, and when you see a diminished chord because you ask yourself when you see it which dominant is it expressing?”. As Barry people, we know the answer. It could be one of four, lol.
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The tried to bury us, but we were Barry People, who already had the seed planted within us, from the known universe, and the known universe, ie., the diminished scale, allowed us to play freely with our Brothers and Sisters, without a care in the world.
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Originally Posted by Navdeep_Singh
Add a b9 to a dominant and drop the root, viola, instant diminished!
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Originally Posted by AllanAllen
In Alan K.'s book those clichés are one of two so called "Monk moves" IIRC. Monk did not invent them. Think e.g. "Basin Street Blues".
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You don't hear Blue Monk in this?Last edited by AllanAllen; 12-14-2023 at 12:37 PM.
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I can’t tell if you agree or not.
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What are the odds that Monk learned those moves from Freddie Green?
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(the chorus)
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Originally Posted by AllanAllen
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Originally Posted by A. Kingstone
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Originally Posted by Bop Head
I'm too lazy to play all that.
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Originally Posted by A. Kingstone
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Originally Posted by Bop Head
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Originally Posted by Bop Head
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Originally Posted by AllanAllen
Do you hear Blue Monk in Till There Was You as well? Because the melody goes up diatonically 3 4 5 as well ...
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This is another example for 3 to 5 chromatically ("Pardon me boy")
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Sometimes specificity, context, and high standards are pretty good for learning, actually.
HeadRush?
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