-
Is there a video that focuses on the important triads?
-
06-01-2019 04:20 PM
-
there’s a video about the iii biii ii progression where talk about the important arpeggios.
So I can get these one after another at 160. I’ll make my end goal 200 with the misc rule and triplet rule. Let the month begin
-
Thanks. Any idea which video?
I think the typical arpeggios played by jazz musicians are
Major7th and minor 7th ascending:
1 3 5 7
3 5 7 9
descending:
5 3 1 7
Dominant ascending:
1 3 5 7
3 5 7 9
relative diminished (provides b9)
-
practice log #2. unanticipated benefit of the triplet rules is that it forces me to play in two positions back and forth in order to play them as slurs
-
The "important arpeggios" occur on dominant on 1 5 and 7. It is video #5 at 11:31.
Originally Posted by rintincop
Like I said in an earlier post, I've gone through most of Chris' videos and mapped out where he talks about stuff so I can review it. I'm happy to share these. PM me if you want them in PDF files.
-
Also, Barry calls triads Arpeggios (Do mi sol Do, mi sol do mi etc). Those are the important arpeggios. he calls 4 note arpeggios "chords." Just to be a stickler, but sometimes small details matter
-
I think his meaning of arpeggios is more specific... I'll need to go back over the books. He also says 'triads'
-
pretty sure it just means a triad with the top note an octave above the bottom note
-
Yeah maybe that's it. Triads = 3 notes. Originally Posted by joe2758
-
In the videos I've seen of Barry, his term "arpeggio" means as Joe said. The example I saw was him talking about the arpeggio 5 on the dominant scale. For a C dominant scale, 5 is G Bb D G, or straight Gm. For 7 it is Bb D F Bb, a Bb major arpeggio. I've seen these used several times in Barry's solos I've transcribed. Seems like they are a favorite of his. Originally Posted by joe2758
-
Yeah, so to be clear
Triads = do mi sol
Arpeggio = do mi sol do
Chord = do mi sol te
-
Is my understanding correct, that all of these half-step rules are to be practiced always starting on beat 1 of the measure? So, for the 1/8 triplet, the first beat is 1-2-1, followed by regular 1/8 b7-6 (beat 2), 5-4 (beat 3), 3...(beat 4)? I’m sure over time you get the rhythmic placement in your ears and can start wherever you damn well want, but for starters I want to make sure I am not doing anything too fancy, like using the triplet as a pickup *into* bar 1.
-
Hi all! I've found very interesting Barry's concept of chromatic scale covered in chapter 4. That's what I'm practising now, if it helps someone:
-
Thanks for that chromatic lick. What's the theory for when to leap the 3rds ?
-
I think you are correct, beat 1 at first. I also see Barry doing scale descending drills starting on beat 2 which lets you resolve the root on beat 1 of the next measure. He does it on the Major 7th chords on the Bridge of the Cherokee with Erik. I recommend the slower YoutTube speed the first time you watch... Originally Posted by wzpgsr
-
Originally Posted by tamirgal
Hi Tamir. I was just looking at this and realized I had questions right off the bat.
In example 1, I can see that we start on the 3rd of F7, walk down the scale passing through the root and adding the natural 7 per the half note rules to land on the 5th. Then we go up the triad of the important minor... except not. We have the Gb, a diminished triad instead. Why? Is that a part of the rules, or is this typical of Barry Harris to substitute the "important" triad with a diminished triad?
Next, from there we have a scalar run from the 5th of Bb (starting on the 4th beat of the previous bar). According to my Workbook, there would be a added note between the 6th and the 5th, but since we don't get there, no extra notes. But...
Why are we ending on an Ab? It sounds sour to me to end the phrase there. Wouldn't the phrase end on either the Bb or an A? Why are we injecting a b7 (that doesn't resolve, to boot)? Does this have something to do with the rules?
-
Hi rlrhett,
This isn't really usage of the important minor. This is a usage of the diminished chord related to F7. Originally Posted by rlrhett
As Barry say, "on the third of every dominant, you'll find the diminished". So here he simply start a diminished arpeggio from A, which is the third of F7. Then it resolves nicely to the 5th of Bb. This is very very common device.
The context Chris's example here, was actually blues in F. So our ii-V progression actually resolves to Bb7, and the Ab fits nicely there (my bad for not writing Bb7). Originally Posted by rlrhett
-
Thanks Tamil!
Senior moment, I guess. I had my brain stuck on it being a line down to the fifth of F7 I literally skipped a beat. It makes perfect sense if the line went down past the C to the A.
Parenthetically, if it had stoped at the C I suppose a Cmin triad would be just what the good Doctor ordered. I think I'm beginning to get a little Barry Harris into my ears. Baby steps...
-
Practice log: I'm not really getting any faster, but the amount of thinking I need to do has cut in half. I also switched from slurs to no slurs when I get to faster tempos.
-
How are you practicing these? Aside from the rote “play ‘em twice” or you working on lines, or putting them into tunes? Originally Posted by joe2758
-
I am practicing constructing lines and playing them in all 12 keys. Anything from one measure to four measures long.
-
I had been just playing them twice and systematically going through them in all positions. Yesterday I got bored of it and started constructing lines. Yesterday I was making I-IV-I ala blues. I just kept making line after line. Here's an example: Originally Posted by wzpgsr
I got the idea of practicing movements rather than whole tunes from Chris' vids
-
I stumbled on this video completely by chance, but I think it's the best presentation of the half-step rules I've seen. He starts out going through a thorough demonstration of all of the basic rules, but then moves into a discussion of applying the half-step rules to II-Vs using the dominant 7 substitutions—"playing with your brothers and sisters". It's organized, presented, and explained very well. It was ear-opening to hear all the various applications of the half-step rules with different dominant subs.
-
Damn! This guy makes it so accesible and has exercises that are so logical I no longer have a pretext not to practice! Originally Posted by wzpgsr
Sent from my iPhone using Tapatalk Pro
-
How you guys doing on this? and How are you doing this?
I went back to boot camp style rote practicing. I just seem to always get the most out of that even though it can be boring.
I haven’t been pressing speed, instead once ai reach 160 I move on to the next position. So even though I’m not getting faster, the thinking required has shrunk to almost nothing.
the triplets are the biggest challenge because it requires an expanded position in order to slur them.
Doing major shouldn’t be too bad, but i’ll have to make sure i don’t spend the whole month on dominant.
Don’t forget you can do melodic minor too.
two more months til Toronto!
Reply With Quote
Improvisation is about listening
Today, 07:34 AM in Improvisation