-
Well the phrases are all fairly simple no?
5 = descending fifth followed by ascending fourth decorated by lower neighbour on second note and upper neighbour on 3rd note
4 = 3 note enclosure/surround
3 = pivot arpeggio
2 = chromatic approach thingy
So they should all work. Might need to change the order of notes in 4. I always think it’s best to use diatonic upper and lower for that and slot the chromatic in where there’s a gap.
-
01-14-2019 10:50 AM
-
haha ya'll just saying stuff from my post. I use the minor 4 phrase where needed
-
Different example, but here playing a minor 5-3ish phrase from the ii minor. Played in ii-V context (last four bars of the blues).
The pivot arpeggio of the 3 phrase in ii minor is the same as the 7th of the dominant, and that’s classic barry.
-
Hey, i thought this might be a fun challenge for you guys. Here is a list of chord moves: ( ° is half diminished for this post)
1. I - im7
2. V9 - ii° - V alt
3. I - #iv°
4. ii° - V alt
5. iim7 - V9
6. I - II9 - iim7
The puzzle is what do all these have in common?
-
I have no clue! Maybe you can share some insight on this?
-
I haven’t a Scooby
-
The puzzle is what do all these have in common?
can bring it back to I major.
-
They are all minor third movements (here's in C):
1. C6 to Eb6
2. Dm6 to Fm6 to Abm6
3. C6 to Am6
4. Fmin6 to Ab min6
5. F6 to Dm6
6. C6 to Am6 - and then I was wrong on the iim7 I think lol
but anyway, the point is I've been practicing cycles of minor thirds in closest inversions. The result is I can play these moves easily without thinking in any inversion (well, I'm still working on it but I'm seeing nice results). These are just the ones I've found from looking at how high the moon and Cherokee...I'll keep looking for more as I work on various tunes I think.
Some things I don't necessarily think of another chord for example F6 to G9 I just lower the 5th etc
-
You guys seen this?
-
For Confirmation, I have the following outlines. Can Any of you Barry Harris experts let me know if I missed anything?
First A;
F major up
C7 down to third of A
Dm up
F7 up
Bb7 up
D7 up
G7 up
C7 up
Second and third A;
F major up
C7 down to third of A
Dm up
F7 up
Bb7 up
D7 up
C7 up
F major up
B part
F7 up and down
Bb major up and down
Ab7 up and down
Db major up
C7 up
-
Originally Posted by Petimar
-
I understand needing some confirmation on that. sorry.
-
bar 3: G7 up is probably what is standard...Dm is cool too though. rest looks good from what I know
-
Originally Posted by Petimar
You could go F7 down to 3rd D7 on the D7. That’s the option Roni Ben Hur prefers as it’s more in the key, but either is cool.
You are not going to have enough time to play the scales for G7 C7 on the second A, and I see you just put C7 there, which is fine, but you could play 1-2-3-5 instead.
-
Article in JazzTimes this week: Inside the Barry Harris Method - JazzTimes
-
Originally Posted by christianm77
Thanks everyone! Its little nuggets like this that keep me asking.
By the way, anyone still working through Chris' videos?
-
Originally Posted by Petimar
-
Originally Posted by joe2758
-
Originally Posted by Tal_175
-
Originally Posted by joe2758
-
Originally Posted by joe2758
-
Originally Posted by Tal_175
-
Originally Posted by joe2758
Last edited by pcjazz; 04-12-2019 at 04:33 PM. Reason: schedule change
-
Originally Posted by joe2758
-
Originally Posted by pcjazz
Wright SoloEtte Travel Guitar
Today, 05:08 PM in For Sale