BH

[Bobby Timmons]

[ThatRhythmMan]

Oh yeah?




Sent from my iPhone using Tapatalk

[Bobby Timmons]

Yep haha. I have several topics I wanted to pose for this BH thread: Share old BH recordings, ask for 6th/dim playing in the wild, post our playing.

The most pressing question I have is: what are some 6th/dim exercises I can use to build melodic chordal playing besides just running the scale of chords?

Currently just applying my paradigm for melody - scales, arps, intervals, chromatics, and having the BH chording follow that; and my paradigm for chord technique building - a single chord, then a simple chord progression, then a jazz bluez, then a tune.

[Boss Man Zwiebelsohn]

What's the bot's thoughts?

[Bobby Timmons]

I'm actually reluctant to ask him about playing music for some reason. He would probably have good input tho. I have never come across a topic that he couldn't elaborate well on where I prompted him well. But he doesn't know how many Rs are in strawberry for some reason..

My material is working well so far. There are also the raw BH videos which you can get a lot from even though they're just hands on demos. He explains pretty clearly. The next method I want to figure out are exercises for pianistic sounding BH movements with both hands. I could probably extract an exercise or 2 from the raw BH vids but figured I'd ask. I will ask the Open Studio professors..

Basically I'm picking up, 6th/dim cells in the form of: hands locked, hands separate, arpeggiated, and melody notes in between chording.

[Petimar]

Yep haha. I have several topics I wanted to pose for this BH thread: Share old BH recordings, ask for 6th/dim playing in the wild, post our playing.

The most pressing question I have is: what are some 6th/dim exercises I can use to build melodic chordal playing besides just running the scale of chords?

Currently just applying my paradigm for melody - scales, arps, intervals, chromatics, and having the BH chording follow that; and my paradigm for chord technique building - a single chord, then a simple chord progression, then a jazz bluez, then a tune.

I think any of this would work. Currently I am taking short phrases from single note solos and playing them as chord solos. And liking what I am hearing.

[Bobby Timmons]

Good idea. I'll try that.

[pamosmusic]

I think any of this would work. Currently I am taking short phrases from single note solos and playing them as chord solos. And liking what I am hearing.

Nice. I’ve just been taking simple rhythms and filling them in. There are fewer possibilities than you might think. Basically you have to end on the sixth and not the diminished to voicelead to the next chord. Or I supposed you could end on a diminished of the next chord.

So if you’re on the ii chord Dm7-F6 …

If you’re playing rhythms with two attacks it’s either Go F6 into G7 … or F6 F#o into G7.

Three attacks it’s most likely F6 Go F6 into the G7.

So that kind of narrows the possibilities. I’ve just been improvising using one of those types of rhythm/movements and seeing what comes up in different keys. Rhythm has been the hardest thing for me with these so that’s been helping.

(not useful for you, but I also have been working with voicings on some odd string sets that I use for the chords I usually play since I don’t use drop twos often.)

[Bobby Timmons]

^ Sometimes I try to make the lil cell progress instead of only following cookie cutter BH. Like your example of dealing with a set (rhythmic) phrase.

For example, the pickup to autumn leavz in G minor I'll go with the melody note on top: G7 Ao7 G7#9 C-7. Crunchy af.

[Bobby Timmons]

First recording attempt at BH on a full tune. Some rubato grandiose BH Misty in B. Pretty happy with it for a first effort. Gonna keep practicing and try to get it more in time and the BH phrases more logical.

[docsteve]

BH means „bra“ in German. I‘ll leave the jokes to others.


Gesendet von iPhone mit Tapatalk

[joe2758]

The most pressing question I have is: what are some 6th/dim exercises I can use to build melodic chordal playing besides just running the scale of chords?

I think I can shed some light on this. I spent the last year only playing 6th dim scale ideas on the top 3 strings.

Here's what I suggest:

1. focus on 3 note voicings, not 4.
2.find fingerings where you can leave the same finger on the same string as much as possible
3. As for going beyond just running the scale:

You use "borrowed notes," which I assume you already know. But, a whole world opened to me when I practiced them by considering borrowed notes as "non-harmonic tones" (as it is referred to in classical music theory.), as opposed to using them more or less randomly. By studying this you will know which borrowed notes should be accented and how they resolve so that they sound "right." when you start doing things like a sus on the first string followed by a passing tone on the 3rd string followed by an appoggiatura on the 2nd string etc it starts sounding like that romantic "with strings" style to my ears. It's not more complicated, it is less complicated because you are thinking in movements as chunks.

Really consider this, like I said, it is all I did for a whole year. In fact I only played in one key so that this type of movement was my sole concentration.

edit to add: 3 against 4 is ideal, e.g. a triplet neighbor tone and eighth note passing tone at the same time.

[Bobby Timmons]

I think I can shed some light on this. I spent the last year only playing 6th dim scale ideas on the top 3 strings. Here's what I suggest:

You use "borrowed notes," which I assume you already know. But, a whole world opened to me when I practiced them by considering borrowed notes as "non-harmonic tones" (as it is referred to in classical music theory.), as opposed to using them more or less randomly. By studying this you will know which borrowed notes should be accented and how they resolve so that they sound "right."

Thx, that's good advice, I've noticed that.

1. Focus on 3 note voicings, not 4.
2. Find fingerings where you can leave the same finger on the same string as much as possible.

I surmise you didn't listen to my clip. :P

[joe2758]

I didn't realize that was you, i did listen to it. Nice playing. Sorry to waste your time I think I was just excited to share. Maybe it will help someone else haha

[Bobby Timmons]

Thx. Yeah no, you're not wasting my time. The advice about using voicings with less notes is good. I think that helps facilitate melodic playing. I also like your advice about building intuition with how to use the borrowed notes, I've noticed that.

[Bobby Timmons]

BH means „bra“ in German. I‘ll leave the jokes to others.

[Bobby Timmons]

[Bobby Timmons]

6th on the 5th for a minor 7 chord! Gives you a minor 11 sound. And no major 7th like the normal minor 7 6th dim.

[Bobby Timmons]

What tempos you guys reckon to use 6th/dim for? I'm thinking for sure obviously ballads, and I'm thinking apply it to medium but thin it out a bit as the tempo increases, and just not use it for up.

[joe2758]

You can use the "monk moves" at pretty fast tempos

[Bobby Timmons]

By that do you mean if you can do Monk moves fast, you can do BH moves fast? And what do you mean by 'Monk moves'?

[joe2758]

https://youtube.com/shorts/Rldzxk0p2...Mmr-ArxmZ3uyvo They are BH 6th dim moves that were dubbed "monk moves" by the BH guitar book author. Great for short rhythmic comping at high tempos.

[joe2758]

i wonder why my vid didn't show up

[A. Kingstone]

Hey Bobby, its me again.

I'll post this out of the goodness of my heart. I await your comments.

[Bobby Timmons]

Sounds like a good movement to me.