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It's still available?
Originally Posted by pamosmusic
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01-29-2024 02:07 PM
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The Barry Harris Harmonic Method for Guitar – Jazz School Online
Took a minute to get here. Shipped from Canada I think.
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I’m a big fan of the book. Waiting on Vol. 2. Originally Posted by pamosmusic
Right, Alan? ;-)
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You sound like my publisher. Originally Posted by rlrhett
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well give the people what they want Originally Posted by A. Kingstone
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The Labyrinth of limitations YouTube channel is back, with a whole new methodology for teaching BH. Two videos were released today, the first an intro and the second a foundation. He’s selling a 62 page PDF to explain the methodology and system —I bought it, will read it later when I have time.
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I was thinking of Barry today. What would he have made of the Free Jazz Horse?
In workshops Barry would describe minimal piano hand movement, non-finger - whole hand.
I wonder if he may have commented on Mr Ed's lip fluidity.
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The beard is much reduced Originally Posted by Navdeep_Singh
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I don't see the advantage in calling these progressions like this as opposed to (iim7b5 - v7b9) of im6 , (iim7b5 - v7b9) of ivm6. What am I missing? Originally Posted by Navdeep_Singh
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It had not always been Santa style. Originally Posted by Christian Miller
(Video from 2016)
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I corresponded with him on his YT channel, remarking that I had studied with one of the very few players on this planet who was a master of both jazz guitar and classical guitar and, though that study, got to meet Oscar Ghiglia a couple times and how Oscar’s dicta at one dinner meeting—the most important, bedrock musical principle is V7-I (presumably speaking of western tonal music). I said I found Oscar to be such a cultured, affable, articulate and funny fellow. Originally Posted by Bop Head
Turns out he was a student of Oscar and has nothing but fond memories .
By the way, Oscar’s dicta is basically what Barry basically says: V7-I-tension-release, dissonance to consonance. That’s how I interpret the diminished chord to tonic 6th chord relationship, almost like a mini V7-I thrown in many places.
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Mine arrived a few hours ago. Originally Posted by pamosmusic
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Fundamental Principles of How I have Absorbed this Essential Harmonic Material and Made into a Personal System to Improvise Freely in a Solo Guitar Setting:
1. The applicable chord-arpeggio-scale associated with a particular tonality. Should all be immediately available, accessible, interchangeable, in a given position, more or less (eg: the equivalence of CM7 as a chord, as a broken arpeggio-C-E-G-B or as a major scale).
2. Every basic chord quality should be practiced and internalized as a GRIP, which means it should be made second nature and executed automatically, without thinking, so it is as easily to play as a line. To be as easily to play as a line, or a Scale of Chords, to use Barry Harris’ terminology, means that the it becomes so second nature to execute, the most important aspect to it becomes the rhythm-feel-articulation. Every associated chord quality (and related inversions) should be learned as a: (A) TRIAD; (2) Drop 2 Voicing: (3) Drop 3 voicing; (4)drop 2 and 3 voicing.
3. Everything should be contextualized and learned as MOVEMENT, wit the most important movement being the transition from V7 to I, from the dominant 7th to the Tonic, from tension to release, not just in the ultimate sense (ie, in a given key center), but lots of episodic, “mini” V7-I located movements (all kinds of movements seen as secondary dominants).
4. The principle form of the Movements should be derived from Barry Harris’ “Family of chords” relationships derived from the diminished chord—each little movement can be thought of playing, at minimum, the first two series of families derived from a diminished chord: (A) the family of four dominant 7th chords: (B): the family of four minor 6th chords. For example, in the Key of C, the family of 4 dominant chords derived from the associated diminished chords is: G7-Bb7-Db7-E7. The family of four minor 6th chords derived from the same diminished is: Abm6-Bm6-Dm6-Fm6.
5. To drive the associated tension release sounds, instead of memorizing all these additional groups of grips (b5, #5, #11, b13 , b9, #9 and any such associated combination of the same), internalize the playing and interchange of both families (the dominant 7 and minor 6th), in all combinations and inversions, across string sets, in all the referenced voicing forms (triad-Drop 2-drop 3-drop 2 and 3) such that you can interchange from one of these 8 to another of these 8, freely, as if one has memorized grips, without thinking: You should be able to go from G7 to Bb7 to Db7 to E7 to Abm6 to Bm6 to Dm6 to Fm6 in any combination or pathway, freely. The goal of doing all this is to represent or pay the fundamental V7 to I harmonic relationships in all its forms and permeations, without memorizing archaic labels, using only the two chord FAMILIES in Barry’s system, as if one is freely constructing a line, with texture, rhythm, and articulation and color. Let us label, for convenience purposes, the two dominant 7th and minor 6th families in C Major the G7 families and the Abm6 families.
6. It is implant to re-integrate the first rule: The applicable chord-arpeggio-scale associated with a particular tonality. Once all these combinations above have been worked out, one recognizes, for example, the many other pathways and relationships that are possible. For example we know that on the guitar, the tritone interval that forms a dominant 7th chord in a blues can be moved up a half step to move from I7 to V7 or moved down a half step to move from I7 to IV7. We can use that same principle here. For example we can move the shapes and grips of the G7/Abm6 families that denote the V7 to I to C down a half step to get the Gb7/Gm6 families that move to the IV chord in the key of C (i.e, to FM7). Or we can move the associated initial G7/Abm6 families of grips down a whole step, to F7/Gbm6—in order to the move to the iii chord, to E minor. OR we can move the associated initial G7/Abm6 families of grips UP a half step to Ab7-Amin6, in order to move the V7 chord, to G7. Again, basic principle is the same as moving a blues grip up a half step to get to the V7 from the I7 or down a half step to get to the IV7 from the I7.
7.. We then drive a wealth of muscle memory stuff that gives us a TON of stuff-pathways-movement to play around with, that, once we internalize, frees us up to concentrate on the really important stuff: the rhythm-articulation-feel.
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How Barry taught me to play pretty.
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Ah nice. I’ve been playing through some stuff from your book, but just making everything those sort of spread triad (drop two, no tenor) voicings. I’ve done a lot of drop two stuff and it always kind of flares up my wrist problems. Originally Posted by A. Kingstone
Anyway … good to see it’s legit
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Originally Posted by Boston Joe
I highly recommend Bill Graham's videos on Barry Harris 6th diminished scale. adding chromtatics. soloing on the one
also:
Robbie Barnby
excellent one hour lesson
Things I've Learned From Barry Harris - YouTube
Chris Parks
Has Every concept BH addresses in his classes. Chris has the most detailed and comprehensive information.
These three free resources have everything!
I started on this project about 3 years ago.
I am using it freely in my playing, which has become fluid. Freedom. Mixing most of the common concepts convincingly. I am ecstatic. I learned it all here plus I bought the books
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It's interesting that Barry Harris 6th diminished approach means using harmonized Aeolian scale as the two minor chord as opposed to the Dorian scale. Originally Posted by A. Kingstone
So for example in the progression in the video: Amin7 - D7 - Gmaj7, we use C6diminished for Amin7 which has no F# in it. Amin7 therefore isn't Dorian.
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He says, "we're going to use C6 diminished" (whatever that is... C dim7?) and then plays an awkward Am7 voicing (C-G-A-E). Originally Posted by Tal_175
And then he calls D7b9 chord (with Eb in the bass) an Ebm6 chord!
Last edited by Mick-7; 04-08-2024 at 03:22 PM.
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C-G-A-E is C6. C6 = Amin7 Originally Posted by Mick-7
He says, "we're going to use C6 diminished" (whatever that is... C dim7?) and then plays an awkward Am7 voicing (C-G-A-E).
And then he calls D7b9 chord (with Eb in the bass) an Ebm6 chord!
C6 diminished is the union of Cmaj6 and Bdim.
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Regardless of what he calls them, he's still playing Am7/D7(b9) chords in his example, so whatever he may mean to say, he's not saying it.
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He is showing one possible application of the Barry Harris 6th diminished system in that example. If you are not familiar with that approach, the video may sound confusing. Originally Posted by Mick-7
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I’ll pop the popcorn in the microwave ….
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C6dim is not a chord. It's a scale. Ebm6 also represents a 6th diminished scale (minor in this case for altered chords). Again these are pretty bread and butter Barry Harris concepts. Originally Posted by Mick-7
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Please do Originally Posted by Christian Miller
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What I haven't heard people talk about much is the ii minor application sort of "approximates" the Dorian scale with an Aeolian in a different key.
In the example (Amin7-D7-Gmaj7) Amin7 (C6) actually comes from a different scale than the tonic Gmaj7. In other words it is the same 6th diminished scale you would use to harmonize a tonic C major.
I have used the system in the past without paying too much attention to this fact, but it's interesting nevertheless.
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