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  1. #76

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    Barry also has other useful devices such as pivots, arpeggios, diminished runs etc. which get incorporated in the lines. I don’t think it’s all just half-step rules.

    Again, I think watching Chris Parks’ videos is a good way to see all these devices put together to make convincing lines. He often runs them into the resolving chord to show how to end the lines.

    As I understand it, he has got all this stuff directly from Barry over many years, so I guess this is how Barry would present it. Maybe the books don’t really put it all across in quite the same way Barry teaches it, I don’t know.

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    The Jazz Guitar Chord Dictionary
     
  3. #77

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    Quote Originally Posted by grahambop
    Barry also has other useful devices such as pivots, arpeggios, diminished runs etc. which get incorporated in the lines. I don’t think it’s all just half-step rules.
    Good point grahambop.
    The half-step descending rules focus on the beat and actually reverse off the beat. They are designed to keep you rhythmically in line but you must resolve in some fashion.

    Quote Originally Posted by grahambop
    , I think watching Chris Parks’ videos is a good way to see all these devices put together to make convincing lines. He often runs them into the resolving chord to show how to end the lines.
    This may be why introducing these ideas without specific progression outlines might prove confusing.

    Quote Originally Posted by grahambop
    As I understand it, he has got all this stuff directly from Barry over many years, so I guess this is how Barry would present it. Maybe the books don’t really put it all across in quite the same way Barry teaches it, I don’t know.
    Anyone who has been invited ( as Chris Parks has been ) by BH to be in the studio during a recording session of original works is about as close to the source as you can get.

    If you don't care for the materials that's fine, but you can't get any closer via a book or video.

  4. #78

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    What scale is this?-viola-c7-pattern-png

    The graphic above is an arguably a forensic analysis of the Viola pdf provided by the OP.
    The stops in RED are formed from two groups of the F major 6 dim scales and the few tones moving down to the lower register
    are also in this scale; the only tone absent is A ( black ).

    I can't answer for Mr. Viola's iteration on this scale that is his creative input and there is no other information offered, however the source is mapped.

    Any student of BH methods would know that the E dim 7 chord which is part of the F major6 dim scale spells C7b9.
    This may have been Mr. Viola's inspiration if the chord actually was in F major.