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Originally Posted by matt.guitarteacher
He also told me I am a good singer another time... So hey, cosmic balance....
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01-29-2017 09:50 PM
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BTW Barry is not merely a great player, he is legitimately one of the greats. He plays on quite a few of my favourite bop records, including More Power (Dexter Gordon) and West Coast Blues (Harold Land, featuring Wes.) He is one of the greatest bop pianists.
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Originally Posted by ragman1
It seems the OP wants to compose his own progressions using the system (he said that at least twice), I suppose it could be used to assist with that.
I agree Wave is not the best vehicle. I tried some BH stuff and it didn't seem quite appropriate, the bossa tunes have quite specific harmony. I suppose you could do a chord solo with it though.
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Originally Posted by grahambop
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Originally Posted by ragman1
Originally Posted by ragman1
Originally Posted by ragman1
Originally Posted by ragman1
Originally Posted by ragman1
Originally Posted by ragman1
Originally Posted by ragman1
Originally Posted by ragman1
I think you've missed my point, which is that Barry Harris's harmonic approach is completely compatible with performing Wave - or other bossa nova tunes, or other styles.
I think the 'rules' in post no. 3 show the 'hows' - but I don't think the concession in the follow-up post (no. 56) goes nearly far enough to acknowledge the scope of the approach for performing, improvising and arranging:
Originally Posted by grahambop
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Originally Posted by christianm77
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Originally Posted by destinytot
Mike McKoy? Oh, I knew him quite well. I used to turn up at his gigs and chat outside the caff in the Brighton Lanes. Nice player. He was up at the Uni then. Last I heard, many moons ago, he'd made a CD that won an award. Something like that.
You're not him, are you? Can't tell from your vid but the voice is vaguely familiar possibly. I think he/you wore big glasses in those days, could be wrong.
Nice version, btw.Last edited by ragman1; 01-30-2017 at 07:42 AM.
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Originally Posted by bossa
Last edited by destinytot; 01-30-2017 at 08:03 AM.
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Originally Posted by ragman1
Originally Posted by ragman1Last edited by destinytot; 01-30-2017 at 08:22 AM.
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Originally Posted by ragman1
Barry Harris chord movements - My Romance
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I've heard tonal gravity explained - basically - as harmony descends by step.
That's why things like sequences, descending basslines and fourthwise harmony have a sense of natural inevitability about them, while things going in fifths, ascending basslines and so on have a feeling of 'climbing.'
It really does work for diatonic harmony....
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Originally Posted by grahambop
I watched/listened to one of the BH vids and he played a bit, sounded very nice. But, of course, he was using both hands over a few octaves. Apparently it can transfer to the guitar which has naturally less range.
I don't really do chord melody so perhaps I don't relate to this well.
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Originally Posted by destinytot
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Noodling about with some BH harmony ideas
Dropbox - Wave and Barry Harris.m4a
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Originally Posted by ragman1
Last edited by grahambop; 01-30-2017 at 04:00 PM.
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Originally Posted by ragman1
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Originally Posted by destinytot
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Originally Posted by grahambop
Do you think it translates to the guitar all right? I'm not saying it doesn't, just wondering.
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Originally Posted by ragman1
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Thanks for all your help, really great full for all the time and help on the post.
My main goals are to think the Harris way, as I am currently enrolled @ jazzschoolonline, that teaches Harris, but they don't answer emails quite often.
I would like to learn more about the chord movements of Harris' method between those original chords, 6th transformations, harmonic implications of it(Harris), transforming it and applying interesting new ideas of compositing, creating the method has to offer. I don't mind if will sound different and will loose their original bossa soul. It's for academic purposes only.
Borrowing, etc..How to think using this...how to approach a song, learn from it and apply to you own compositions, reharm, etc.
I would like to see more examples applied to chord progressions, songs.
What to do, how to think when we have chords the has two different scales, two different dimished chords, like the first three chords of Wave.
D7M Bbº Am7
It's easier when we have Dm7b5 - G7 - Cm6 but even for that progression, what we could do, movements, etc...
Thanks again.Last edited by bossa; 01-30-2017 at 09:26 PM.
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Originally Posted by ragman1
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Originally Posted by bossa
Originally Posted by bossa
Originally Posted by bossa
Also, thank you very much for correcting the spelling of 'Jobim' in the thread title.Last edited by destinytot; 01-31-2017 at 05:01 AM.
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Originally Posted by bossa
x5656x Fm6 (Dm7b5)
x7868x Edim
x8989x Abm6 (G7#5b9)
x5646x Bdim (G7b9)
x6778x Ebmaj7 b5 (Cm 6 9)
The last chord could be viewed as an Eb6 which I have tweaked a bit, or as a Cmin6 with the 9 borrowed from the next diminished chord.Last edited by grahambop; 01-31-2017 at 12:48 PM.
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Originally Posted by grahambop
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Originally Posted by ragman1
Also of course it makes a nice F 13 9 chord to use instead of F7.
16" 1920s/30s L5
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