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11-05-2016 03:55 PM
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Already posted, but I'll put it here.
Oh yeah, here's another one (unlisted for the reason above)
I also had some pdfs, I don't think I can upload pdfs can I?
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Reposted from ATTYA thread:
OK, here's my Barry Harris scale breakdown for this tune. Haven't proofread this so there might be mistakes. The middle eight looks mental with those accidentals, but for non-readers, here's the scale breakdown
1-7 for 1 bar scales, 1-7-1 for 2 bar scales, 7-1 when running a scale down to the third.
Fm7 --> Ab major (I) (Fm7=Ab6)
Bbm7 Eb7 --> Eb dominant (V)
Abmaj7 --> Ab major (I)
Dbmaj7 --> Db major (IV)
Dm7b5 G7b9 --> Bb dominant down to the third of G7 (II7)
Cmaj7 --> C major (III)
Then, same thing in Eb major.
Middle 8 is easy
Am7 D7 --> D dominant
Gmaj7 --> G major
F#m7 B7 --> B dominant
Emaj7 --> E major
C7b9 --> Eb dominant down to the third of C7
Fm7 --> Ab major (Fm7=Ab6)
Bbm7 Eb7 --> Eb dominant
Abmaj7 --> Ab major
Dbmaj7 --> Db major
Gb7 --> Gb dominant
Ab/C --> Ab major
Bo7 --> Bb7 down to the third of G7 (?)
Bbm7 Eb7 --> Eb dominant
Abmaj7 --> Ab major
Run in all positions, octaves etc and you will be in an excellent position to solo on the tune.Last edited by christianm77; 11-05-2016 at 04:57 PM.
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Thanks, Christian! I'm still working in the first chapter (Basics) of the Workshop DVDs booklet. I know that Barry goes over the scales for "Indiana" later---and I'm starting to work on that tune but I never played it before, or even heard it much, so I was hoping to find something more familiar to work on. This is just the ticket! (I suppose "Autumn Leaves" would be as well. Not that I'm hinting you might want to do that in a stolen moment or anything...)
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Waitwait! There's MOAAAR!
There will be no end to the scales! They will run up and down for EVER and EVER and EVER and EVER
(thanks Matt)
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Guilty, m'lud. This kind of thing is probably more common than we think. I was teaching guide tone movements in All of Me at a jazz singers workshop last week and realised that the first three chords (in C), C, E7, A7 move from the initial triad (ok, it's written C6 but the melody is completely triadic) to outline contrary motion around a stable core: Root: C-B-A, 3rd: E-E-E, 5th: G-G#-A. The descent isn't strictly chromatic but if you decide instead to move from the 6th rather than the root, it simply reverses the ascending sequence to A-G#-G.
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I trust this was serious teaching and by that I mean teaching accompanied by handouts. God, how I love handouts! (God, how I love handouts.) And do you know why? (No! Why?) Because they first loved me! (Sung to the tune of "O, How I Love Jesus.")
That's fascinating about "All Of Me." That is one of my very favorite tunes. It hangs together so nicely though I've nearly fully grasped how it hangs together so nicely.
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I expect some very fancy lettering and a big red seal for this.
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for cm. Apologies for lack of red seal....
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Red seal...
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My mum is so proud.
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Mostly serious, bar the odd tipple at half-time to break up the 2-hour session. I run 6-week courses working with a professional singer both accompanying and helping the students (mostly amateurs) get a grip on fundamentals: repertoire, basic harmonic principles, count-offs etc. I've done a number of handouts but only a few of the students are strong readers so it makes more sense to get them around the piano to demonstrate this stuff. After 30 years of teaching(!), I like to be more spontaneous these days and make discoveries together with them in the moment. It's also a great opportunity to play lot of tunes in every conceivable key to suit the singer's ranges!
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Christian, what is the purpose of the Barry Harris exercise?
edh
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When I originally posted this, I had been only thinking about this as strictly melodic (i.e., lines), but you've given me something to think about in terms of lines that make changes (combining the 1 and the 3 without repeating notes, i.e, without repeating the 3)
C-D-D#-E-F-F#-G (asc)
G-F#-F-E-D-C#-C (desc)
As always what makes this come alive will be the accents and the asymmetrical note groupings ( e.g., playing 2 or 4 note groupings as triplets, accenting various ones on the way-i.e., every 2, every 3, every 4, etc).
Basically, you can just think of the simplest chord form, the triad, and use the formula for the 1 and 3, put them together in combination, as lines moving linearly, and think of interesting rhythmic and accent patterns to play with them, and boom...MUSIC!
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Any thoughts on the tritone lines?
In a YT video ("Tritone Lines on Embraceable You", if I'm not mistaken) BH plays something like:
It seems like a pretty straightforward process.
Any tips on that?
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Okay, boys and girls, Santa's making a list and checking it twice----are you all practicing like you're supposed to? ;o)
I'm practicing, but a bit less of this than I had intended. But fear not, I have not jumped ship. (Though I did switch picks again. I have cigar box full of all kinds and am using some I have had around for years but didn't take to when I first got them.)
I see this month and next as finishing up a pretty good year and setting the stage for a more productive 2017. And learning more tunes. So all is well, just not as bebop-ish as I had thought it would be by this time. Still do some half-step rule playing every day---starting to come more naturally.
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Just noticed that Jamey Aebersold's "black Friday" sale will have Barry's Workshop DVD on sale for 76 bucks. Volume 2 for 84 bucks, and the Vocal workshop will be 42 dollars. Best prices I've seen.
Jamey Aebersold Jazz: jazzbooks.com
(I am unaffiliated with Jamey Aebersold's site. I just buy stuff there and noticed this.)Last edited by MarkRhodes; 11-23-2016 at 08:22 PM.
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A Barry Harris-influenced exercise outlining chromatic fragments from the 1st, 3rd, 5th and 7th degrees over the five basic seventh chord types:
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@PMB thank you.
Enharmonics
Today, 09:59 AM in Theory