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Phil79, I'll leave it in Christian's capable hands to break down this line into smaller phrases on video but let me add a couple of observations.
As a whole, I hear it more as F major-based rather than dominant (Ex.1). Parker no doubt fashioned the opening gesture from Jimmy Van Heusen's I Thought About You, a tune that hit the airwaves just as the boppers were coming onto the scene (Ex.2). A common sub for the first bars of I Thought About You is to descend from the ♯IVø7 either chromatically or via the cycle as I've done here to better suit the melody (Ex.3). As it happens, the complete line is a perfect candidate for Christian's initial progression in #53 with a little tweak to include the raised C♯ (Ex.4).
Last edited by PMB; 10-26-2016 at 06:34 PM.
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10-26-2016 06:28 PM
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Diminished Options.
Inspired by lessons with Barry.
Diminished Options.pdf
Diminished Options 3rd of Diminished.pdf
Diminished Options Intervals.xls.pdfLast edited by A. Kingstone; 10-26-2016 at 10:14 PM. Reason: It takes time.
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Originally Posted by A. Kingstone
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Originally Posted by Bobby Marshall
With apologies to you and Christian I was lazy and young when I put this together. I ignored spelling to my peril in my youth and always thought enharmonics were a given.
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Originally Posted by A. Kingstone
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I've done the vid but it's really long, so will upload later. Mostly concentrating on the first half.
The first half resolving on beat 1 of the next bar works on pretty much every chord type. It has no G so I don't need to think about G#.
Works on
F, Dm, Bm7b5, G7, Db7alt, E7b9, G#o7
The ones in bold would normally need a G#.
But also, Bbmaj7#11 and consequently:
Bb, Gm, Em7b5, C7, Gb7alt
And A7b9, C#o7 with the C changed to a C#. (Didn't really touch on these ones in the vid)Last edited by christianm77; 10-27-2016 at 07:41 AM.
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Originally Posted by A. Kingstone
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Originally Posted by christianm77
That's funny! I was thinking last night that colours might help clarify.
I did this in the early 90's and the best use it came to was a girlfriend of mine printing it onto mylar and suspending it with springs on a sculpture for her fine arts class at McMaster University.
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I'm unclear on what Barry means by playing one scale "into" another, such as C7 into A7 (to cover, among other things, Em7b5 A7b9, or just A7.)
Can anyone clarify that for me?
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Originally Posted by MarkRhodes
C B Bb A G F E D | C#
For example?
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Originally Posted by christianm77
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Originally Posted by MarkRhodes
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I've known Barry Harris since 1976, and was in the 'kid' house group at the much-missed JCT around '85. I never could get into some of the 'numerical' stuff---my brain being put together in a wholly different way---but have learned much from the man about music and being a man nonetheless. Tuesday night at his class he spent a good 15 minutes on me alone---jamming on Out Of Nowhere. He soloed while I comped bass lines, then joined in in a sort of counterpoint. Before that when I hit the open strings to tune it reminded him of Debussy's Reverie, and he went off on a long lecture-demo on the song (also the singers' project that evening).
We used to have great times back in the day with his big band. Audrey Chakere (then Blandings) would sing Wave and other tunes and sit in very well on piano. She and Barry would make up hilarious lyrics on a slow blues. Barry's charts and singing are from the heart. I learned his tune Nascimento on that gig, and should play it again in tribute to the man and all he stands for. I also got to gig or at least perform or rehearse with Clifford Jordan, Vernel Fournier, Jaki Byard, Woody Shaw and others there. He really allowed me to 'meet the world.
What you guys may not know about is all the things he has done for musicians in this oft-brutal town. I'll get into that on another thread if anyone cares to know. Meanwhile, I did a series of podcast interviews with blogger CJ Shearn that will be available online shortly. I keep forgetting the name of the site, but it has 'jazz' in the title---duuuuhhh. But he let me speak at length about Barry, Tommy Turrentine, Clarence 'C.' Sharpe, Jaki Byard and Bill Finegan---all very special people in my life. At the end I played Only Trust Your Heart---because that's what they did...Last edited by fasstrack; 10-27-2016 at 10:32 AM.
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Originally Posted by MarkRhodes
Mark.
Have a look at the Diminished examples I linked above.
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Right this is really a simple entry level way to practice this. We start with scales, resolve into a Dm chord tone. We use either stepwise or thirdwise movement through the scale.
Each step is a small modification of the last.
It's fun to practice this way.
There are vastly more options available if you need them :-)
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Originally Posted by christianm77
About the Family of 4: Sheryl suggests to play lets say the C7 family (C7 bebop scale+Gm7,Em7b5,Bbmaj7 arpeggios) over each of the chords.
For example over Just Friends:
2 bars Bbmaj7 - C7 family
Bb-7 I Eb7 I - Eb7 family
2 bars Fmaj7 - G7 family
....
So I think the principle to play dom7 language is the same. Maybe only the language is different...
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Originally Posted by phil79
Where people get confused with Barry's system is when they think that reducing a ii-V down to V means that you must only a V7 arpeggio or something, when in fact you have the V7 dominant scale, all its diminished symmetry friends and about a million ways of coming up with lines that sound like actual bebop from the basic dominant/mixolydian mode.
1) scalar lines with added notes where rhythmically appropriate
2) intervallic patterns - thirds, triads, four note, five note chords etc starting on different notes of the scale including the four important chord tones (1, 3, 5, b7)
3) intervallic patterns with lower neighbours (such as the first bar of your line - we would call it chord played from the seventh of the G7 with a lower neighbour on the upbeat. We wouldn't necessarily think about it being an Fmaj7 here.)
4) pivots - i.e. transposing some notes an octave up or down to create a more interesting melodic contour.
(I'm sure there's loads more on the DVDs, but just those 4 points have kept me in material to practice for around 18 months.)
I used to have a different way of looking at bebop myself, until I realised that my ideas fit rather neatly into the Empire of Barry. The same can be said of Sheryl's material and David Baker's bebop scales.
Anyway, I must look over the How to Play Bebop Books again, because Baker does discuss the minor's dominant stuff we are talking about here. A different perspective might be useful.
EDIT: It's in volume II, chapter 4. Although the theoretical background is discussed right at the start where Baker points out that C dominant works over G minor and Em7b5.Last edited by christianm77; 10-27-2016 at 12:33 PM.
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Video ready
OK, so I got around 40 minutes of stuff just messing around with this one line. I could easily have done 2 hours of video on that line alone I reckon. :-)
It;s amazing what you can get out of a small amount of material.
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Nice video,, Christian. Thanks.
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Originally Posted by MarkRhodes
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Originally Posted by christianm77
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Originally Posted by christianm77
Yes, I do tend to be a bit loose when it comes to enharmonics. Must get my head around them!
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Originally Posted by David B
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Originally Posted by David B
In E flat major or E flat dominant, you would name the 4th fret of an e string? A flat, the perfect 4th. You would never call it a sharp 3rd.
Chief Xian aTunde Adjuah (Christian Scott)
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