Things I learned from Barry Harris Study Group

[joe2758]

right so anyway, some pretty great playing!

[matt.guitarteacher]

Snob.











Ok, to be fair. I didn’t like the tone either.


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I assumed he was kidding... Kinda... :-)

[christianm77]

What makes you think I am joking? He was a good tele man. Now he's just a disgrace.

[Tal_175]

Tele vs Strat. So much animosity between what essentially two hillbilly country instruments that want to be amplified banjos. Chuncks of cheap lumber with some pickups slapped on.

[Tal_175]

What makes you think I am joking? He was a good tele man. Now he's just a disgrace.

Monday blues?

[christianm77]

Monday blues?

Everyday more and more people turn their backs on the Tele and embrace the Strat. Where will it all end?

Remember - no one looks good playing a strat apart from Jimi.

And Nile.

[rlrhett]

It takes me four month to make an arch top. These I made in less than a week.



Just slabs with pickups. Pick your poison. That said, I do tend to gab that Tele on the right more than any other when I’m playing out with friends.


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[Tal_175]

Everyday more and more people turn their backs on the Tele and embrace the Strat. Where will it all end?

Remember - no one looks good playing a strat apart from Jimi.

And Nile.

Preference for functionality over looks?
Ha ha.

[christianm77]

Preference for functionality over looks?
Ha ha.

Also they are horrid sproingy things.

[joe2758]

well folks, hopefully this has been useful for a few people.

Doesn’t make much sense for me to structure my practice like this if it’s just me, so i’ll move on to a more fluid routine for a while. If anyone is inclined to take over please go for it. i’ll pop in if it goes on

[PMB]

| Fmaj7 | F#dim7 | G-7 | G#dim 7 |
| A-7 | C-7 F7 | Bbmaj7 | Eb7 |
| F | D7 | G-7 | C 7 ||

Ok, Easy Living. Interesting example as I'd still think G#dim7 whether the resolving chord was an Am7 or Fmaj7 (or rather Fdim7 moving to its parallel Fmaj7 in the latter case). We normally wouldn't consider that diminished to be acting as a dominant if the resolution was to Fmaj7. Yet if we reverse the usual situation and think of the Fmajor chord (I) as a sub for Am7 (iii), its dominant quality becomes more obvious.

Like Christian, I would normally choose I rather than iii here (think It Could Happen To You) although the B natural in the melody at that point in Easy Living arguably suggests an Am9 more readily than an Fmaj7 with a b5 (admittedly, it does resolve to the nat5 of F via an enclosure). A common voicing that hedges it bets would be Fma9/A (or if you want to put a cat among the pigeons, Am7#5).

[rintincop]

The idea that Barry Harris scales and lines for practice purposes always mechanically start with the Root is absolutely not true.

in the first place, the half step rules apply when the scale DESCENDS from various intervals, not just the Tonic, .

and then we always have stuff like Eb7 from the 7 down to the 3rd of C7. That’s always everywhere in his direction. Anybody who’s watched even a fraction of his 8 DVDs knows this.

3rd —one of the most important things he hammers away is the idea of PIVOTING.

4th—the 5432 rules, with wider intervals, are designed to break out of conventional scalar thinking.

What does his pivoting mean?

My guess is the term describes his Major 6 Diminished scale harmony motion : you're using the 2 4 b6 7 diminished positions (passing tones harmonized as dim 7ths) to pivot back into the Major 6 chord.

[rlrhett]

No. Pivoting refers to a line, not harmony. You start an arpeggio up you would somewhere in the middle drop an octave and continue the arpeggio up. For example, if you are arpeggiating a chord starting on the third you would go up to the fifth, then drop an octave (relative to the seventh, a sixth relative to the fifth) to the seventh ending up on the root. Can be up or down, after the first interval, or second, starting on any scale degree, etc.

I’m sure the real BH experts can give even more nuance.


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[christianm77]

Rtincop will not rest until we have explained to him the entirety of the Barry Harris approach, for free :-)

[joe2758]

No. Pivoting refers to a line, not harmony. You start an arpeggio up you would somewhere in the middle drop an octave and continue the arpeggio up. For example, if you are arpeggiating a chord starting on the third you would go up to the fifth, then drop an octave (relative to the seventh, a sixth relative to the fifth) to the seventh ending up on the root. Can be up or down, after the first interval, or second, starting on any scale degree, etc.

I’m sure the real BH experts can give even more nuance.


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my favorite is pivoting on scale runs, as opposed to a chord or triad, to incorporate 7th interval leaps

[don_oz]

my favorite is pivoting on scale runs, as opposed to a chord or triad, to incorporate 7th interval leaps

Got an example?

[christianm77]

How about bars 29 to 31 of the Bach Cello Prelude 1?

Bach does this a lot. Makes his vocal parts challenging to sing lol.

[joe2758]

Got an example?

it's in the workbook

[don_oz]

it's in the workbook

I don't own any of them sadly

[joe2758]

I don't own any of them sadly

you just go up a 7th where you would go down a second, or down a 7th where you would go up a 2nd

[don_oz]

you just go up a 7th where you would go down a second, or down a 7th where you would go up a 2nd

Ohhh I think he talks about this on one of his videos on youtube

[joe2758]

i think so too, the one where he's like you should be able to play through rhythm changes from one end of the keyboard to the other, but you can do it no matter how small the range is on your instrument by pivoting

[christianm77]

It's a way to make a scale go on for longer. The scales WILL NEVER STOP. EVER.

[joe2758]

It's a way to make a scale go on for longer.

natural scale enhancement

[christianm77]

It's still going.