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Pianist Barry Harris' method which outlines a more summarized, yet in-depth, approach to jazz harmony. Method adapted for guitar by Alan Kingstone. Chordal Mouvement & the 6th Dim Scale (Barry Harris) - Rick Stone. Barry Harris - sppn.info - Download as PDF File .pdf), Text File .txt) or read online. Barry Harris Jazz sppn.info - Download as PDF File .pdf), Text File .txt) or read online.

Barry Harris Pdf

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major and minor 6th diminished scales and how they can be applied to tunes. Vera Marijt - Barry Harri Vera Marijt, 'Barry Harris: Exploring the Diminished'. Here's a Short video discussing the Barry Harris Scale Exercise. This way of playing You can also download the PDF of my examples here: Blues in F – Barry. Here's a Short video discussing the Barry Harris Scale Exercise. This way You can also download the PDF of my examples here: Blues in F.

We will also talk about how to apply all these tools to your own music. As you can see through the first 3 and a half measures Barry just uses simple major scale ideas from the Bb major scale. How To Practice: Barry is truly a master at starting his jazz lines on different beats. He can take classic bebop licks that everybody plays and start them in unusual places.

It makes his phrasing and playing sound so fresh.

Specifically he varies the start of his phrases constantly. First, find 4 or 5 phrases that you really like the sound of. Practice playing just the rhythms of these licks and put your own notes on top. Playing jazz is just as much about playing good rhythms as it is about playing correct notes. Great phrasing is part of great rhythm! Barry uses a lot of chromatic motion to really get his lines moving forward.

One particular technique Barry uses alot is something called an approach pattern. When you play an an approach pattern instead of the normal expected note it delays the resolution of the line.

This can really extend the length of your riff and licks and will also help you string together different musical ideas. One example is measure 30 on the Ebmaj7 chord beat 1. Your ear expects beat 1 to be an Eb but Barry delays the resolution by playing 1 note above F the note and one note below D the note.

He eventually resolves it on beat 2. Take this one note above, one note below, and then resolution concept and try to apply it to any of your favorite jazz standards. You can come up with ideas that target any chord tone.

Now, if your short on time no problem. There is a special method that lots of famous players have used to build great jazz chops.

And again, even though this transcription is over a Rhythm changes chord progression, you can apply these improv techniques to any jazz standard. Remember to take your time when you study a jazz transcription. A well played solo is really a map and a guide for you. If you really dig in and study it properly it can change your playing forever. Copyright BarryHarris.

Improvised Lines & Harmony: An Introduction

Page 9 of 27 Issue 1. Page 10 of 27 Issue 1. Page 11 of 27 Issue 1. His understanding is based in a deep appreciation of the essential elements of harmony. Under his fingers, those simple truths blossom into a sound rich with spice and variety. To really grasp Barry's harmonic ideas, it is necessary to have a very thorough knowledge of major and minor sixth chords and diminished seventh chords.

I would suggest practicing these in root position and inversions in both closed and open positions. Barry would call them short and long chords.

One way to find the long chord is by swapping the top and bottom notes of a short chord.

Sixth chords, long and short For example, see how F6 short chords in root position and inversion can be lengthened. Example Also, play them like so: Example This should be done with all major and minor sixth chords. Then try the exercise in Example , which uses long chords and short chords.

Continue the pattern until you get back to bar 1, an octave higher. It takes quite a bit of thinking to keep the notes arranged in the same pattern, but you will find some unusual sounds are created in this very logical structure. Play slowly and listen. Page 12 of 27 Issue 1. Example Diminished chords, long and short Notice the use of the Gbdim71 chord for F7, to take us back to Bb6.

This movement from a diminished chord back to a sixth chord is the basis of many harmonic progressions. A thorough understanding of this movement underlies Barry's approach to chording. Practice the diminished sevenths as you have practiced the sixths, in long and short chords. You will find that both variations appear in lead sheets. Page 13 of 27 Issue 1. This movement is hidden in much of the harmony we play.

First of all, move from G6 to C6 Now, try these diminished passing chords. I've given these in long chords so you can immediately hear what a lovely, open, logical sound these moves can have. Example There are many harmonic situations based on these simple moves.

Here are just a few. CMa9 to C6. Like so: Now use Bbdim7 to connect them.

The Barry Harris Harmonic Method for Guitar

Page 14 of 27 Issue 1. Page 15 of 27 Issue 1. Below is an eight bar progression similar to the first eight bars of Ain't Misbehavin See how much of it is actually a movement from sixth chord to sixth chord via the diminished. Play this while singing the melody and listen for the logic in the sound of these chords.

Page 16 of 27 Issue 1. This scale, studied in its major and minor forms, can open up a wealth of possibilities for movement within a chord.

It can also widen your understanding of harmony in general. After exploring the use of this scale over the past few years, I can see that it has filled quite a gap in my harmonic knowledge and also provided me with unlimited material for creating fresh harmonic ideas. The major sixth diminished scale is the same as the diatonic major scale, but with an added note between the fifth and sixth degrees of the scale.

Major and Minor sixth diminished scales Example The minor sixth diminished scale is the same as the ascending form of the melodic minor, but also with an added note between the fifth and sixth. Example To get a feel for this scale on the piano, first practice it in thirds, like so - Example Notice that you must play G and A together as a third, as the note G falls between them in the scale. It takes some time to get accustomed to this unusual configuration.

Try it in other Copyright BarryHarris. Page 17 of 27 Issue 1. Example It's a combination of two things The C and A are from one diminished chord, Example the E and G are from another diminished chord. Example And there's one additional diminished chord that's not in the C6 chord the Do7. Page 18 of 27 Issue 1. The Ab says Move me.

Diminished notes have a way of saying Move me somewhere. Example You can begin to see the harmonic implications of the scale by building a chord up in thirds from each degree of the scale.

The chord generated off the first degree of the scale is C6. And off the second degree, D diminished Do. Example off the third degree, C6 in first inversion, and off the fourth degree, Do in first Inversion or Fo.

Page 19 of 27 Issue 1.

You will notice that only two chords are created - C6 and Do. Also do this with C minor sixth diminished scale. You will find that the chords generated are Cm6 and Do. Now, play the whole chord scale in short chords. Example To hear this a little more clearly, play it also in long chords, by swapping the top and bottom notes of each chord.

Example Another way to show it - go up the scale switching short and long.In the case of motif A.

Barry Harris Jazz Workshop.pdf

If you really dig in and study it properly it can change your playing forever. This resulted in about 35 pages of transcribed material, that I sorted and practiced during my Master studies. You will find that both variations appear in lead sheets. Popular in Popular Music. A notewise procedure gets you in trouble. His lectures and interactive instrument and vocal workshops focus on the complete aspects of music including improvisation. To really get the feel of his musical ideas, you must attend his classes.

It is more expansive than a single 7 noter and more manageable than 12 tone chromatic.