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Originally Posted by grahambop
Ah yes, bar 8 outlining E-7 to A7 b13 b9 ....
Last edited by rintincop; 09-10-2018 at 04:18 PM.
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09-10-2018 03:58 PM
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Originally Posted by joe2758
Ernest Ranglin guitar with Monty Alexander blues in F :
Last edited by rintincop; 09-10-2018 at 07:47 PM.
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I think also that Barry is trying to get people familiar with these sounds while using as few scales as possible. So that maj7 scale is a simple/economic way of getting them to hear the important target sounds on that turnaround.
Of course when the masters play they also have loads of other ways of doing it.
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Originally Posted by tamirgal
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This has been a good lesson for me, it has awakened a recognition of a nuance I had been overlooking. I recall jazz pianist Bill Bell was also fond of playing major 7th tonics sometimes on his blues. Even at the top!
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I tend to think:
Fmaj7 (F7) | Bb7 (Bo7) | Fmaj7 | F7 |
Bb7 | (Bo7 or Eb7) | Fmaj7 | D7b9 |
C7 | % | F7 turnaround
IV is definitely 7 - and can take the blues scale.
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Originally Posted by rintincop
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Originally Posted by christianm77
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Originally Posted by joe2758
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Just gonna leave this here... Skip to 7.50 and listen to Barry play the blues.
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Originally Posted by don_oz
Obviously big part of "bluesyness" is the melodic construction and the interplay between melody and harmony. Workshop videos do not seem to get into this aspect very much but treat blues as a 12 bar bebop improvisation vehicle. Not much difference between the way blues is covered and say the way Rhythm Changes is covered with respect to building lines. Focus is more about addressing the specifics of the harmony.
Clearly Barry Harris' playing has plenty of "bluesyness", it's just not covered in the workshop package unless I missed something.
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in workshop #2 there's a chorus of how he actually comps blues (and rhythm changes). Also a guitar friendly version. Changed they way I comp
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Originally Posted by Reg
?
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Originally Posted by joe2758
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More blues by Barry
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Originally Posted by don_oz
Can anybody please post an example of a less conventional (ie less bluesy) BH blues tune that was discussed earlier in this thread.
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Originally Posted by Tal_175
There are tons of others recordings of him course...
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Here's a nice chorus of Blues in C by Barry. Seem to be a phrase he worked on with students in a workshop in Rome 2016.
Love the general rhythmic displacement feel here, and the tritone line in bar 10.
Bar 7 and 8 is classic bebop lick of C major down to the third of A
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How would Barry Harris scale outline the first couple lines of "Fly Me To The Moon"?
|| A-7 | D-7 | G7 | C |
| F | B-7b5 | E7b9 | A-7 |
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Maybe C major from A to G
G7 for two bars
C major for one
C major from F to F for one
G7 to the third of E7 for two
A minor 6 dim
?
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i’d second Christian’s plan (except i think he meant F to E nbd)
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My bad. I’ve said seven Hail Marys to atone.
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i was trying to avoid the sarcastic remark by saying nbd and i still get it lol. whats obvious to us is t obvious to everyone. ill stay off your lawn sorry
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I’ve not only let you down, I’ve let myself down
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god you’re a prick haha
Julian Lage Trio, Amsterdam, April 17 2024
Today, 02:19 AM in The Players