2020. 1. 23. 18:54ㆍ카테고리 없음
Stumbled upon this Youtube channel run by 'Chris', a guitarist who has studied with Barry Harris since 1993.This is Episode 1. I learn something new every day - today it's that Barry Harris thinks of a scale run as tonic to 7th only - Barry don't do tonic to tonic.
Barry harris teaching schedule concert schedule jazz information jazz theory bebop jazz. Workshop Videos; Scale Tool for iPhone. Jazz Workshop Classes. No idea if 'Hector', who attended a 2013 workshop then wrote about the 5-4-3-2-1 phrases what omit starting on the 5 all the time, received more recently updated instruction from Barry than the other two authors. I recall doing that on another Barry Harris video - the one on YT about Stella By Starlight. Its pretty good, but some subtle.
He also states that Barry approaches the V chord only in a ii-V change. The way he practices scales is different from anything I've seen too, feeling the metronome on 2 and 4 instead of the 1 or 3:I actually found this video first, which is Episode 3 - 5-4-3-25-4-3-2 is a Barry Harris concept. Didn't quite get it, so decided to check out Episode 1 first. Click to expand.From what I gather, Barry's methodology spans several topics - from arranging to bebop lines.I'd assume those that took his workshops have more of a grasp on the methodology than those that haven't.
So take opinion/analysis from 'the internet' with a grain of salt - including this post. 'movement' (you'll see that keyword in some of those YT lessons) topics are semi-arranging lessons (multiple voices moving from one place to another) - but also within an improv setting (like spontaneous arrangement).Some of the movement topics are detailed - like moving from a specific chord to another specific chord (and how to improv that on the instrument)Included in 'movement'/arrangement is the concept of 6th diminished 'scales', but 6th diminished can also fall under 'lines' category. (see lesson 17 - 'borrowing notes'). It was during a bit of a whirlwind weekend sleeping on various couches in London, and I had a belter of a hangover so was there mostly to absorb the delicious boppy vibe. Quite a piano centric course, with lots on his approach to harmony in terms of comping. Still, I have some notes on this scribbled down, which read (in chord tones) as:5: 5 7 1 11 3 (5 as the highest note)4: 11 9 #9 3 (I'm guilty of using this one far too much!)3: 3 5 b7 92: 9 b7 7 11: R 7 b7 9 13 5 (This is a really classic bebop lick, used all the time!
9 down to 13 btw)So those are the phrases to be used on dominant chords to not just play the bebop mixolydian scale. They start on, you guessed it, 5, 4, 3, 2 and 1. They're basically just nice little phrases to break up purely scale-based playing. Click to expand.It's consistent with what Tom Cleary (the UVM teacher) wrote - all 4 phrases starting on the 5.No idea if 'Hector', who attended a 2013 workshop then wrote about the 5-4-3-2-1 phrases what omit starting on the 5 all the time, received more recently updated instruction from Barry than the other two authors.I've started working with the exercise taught in the Episode 1 video, as it's different enough from how I've practiced before.
I almost always used the metronome with the loudest beat marking the 1, and didn't think about just setting it to a steady 8th or quarter note pulse until I'd played a locally organized performance of Terry Riley's 'In C'. Those who have played it know that the piece changes to a wide variety of time signatures, but the pulse never changes.It was noted that using a metronome to click the 2 and 4 instead of 1 is not unique to how Barry Harris or his students practice. Nevertheless, I doubt it's that common a practice, and I'm certainly not in the habit of practicing that way, though perhaps this will change soon. Click to expand.I got tired of rewinding the video, so I started compiling my own notes.
^Watching now. It will be interesting to see Chris (guitarist in the OP) take when I get to it. He's made over 30 videos in this series.EDIT: The Bill Graham video is indeed quite informative and useful. I'll have to revisit it later, personally.
First order of business is to play along in time with the scale exercise in Chris' Episode 1 video. I can play the scales individually at tempo, but the 2&4 thing w/ the metronome and uneven division of the beat throws me off. So I got to get a handle on that first.Next is to be able to play along w/ the rhythm changes exercise on Episode 2. Then the licks in Episode 3. Click to expand.What I do in similar situations is rip the video to mp3 and load it into Transcribe!
In transcribe, there are several markers that can be used for annotation: section, measure, beat.This makes it way easier to document, randomly select, loop, slow-down any section I want to work on.Youtube does have some speed controls though.Transcribe! Section marker labels can be edited for a semi-useful description. By default sections are labeled alphabetically.the process can be done with videos as well, but I've not found a case where I need the visual information, and the audio only track is easier to work with.There are better apps for annotating audio (maybe intended for transcribing lectures). The music transcription apps have their own advantages. Click to expand.My first guitar teacher had me practice to a metronome but not w/ the click on 2 and 4. He wasn't really a jazz player anyway.
My 2nd guitar teacher never brought up metronome practice at all. I guess he just assumed I was doing it on my own?I got into the jazz improvisation class once at the university - the big 'all instruments' one. We just played along with whoever was playing in the rhythm section. I don't remember any mention of how to practice with a metronome.
Then again the instructor for that quarter was a guest instructor who had taken over the class that year - he marched to a beat of a different drummer, to say the least.If you run into Tom, tell him I really appreciate his article. Granted, a lecture/lesson type 'transcription' is different than music transcription.For example, lectures might just require marking points in the lecture with some way of annotating them. Whereas music transcription might want a section/measure/beat paradigm.But for both music and lesson transcription, a slow down feature is useful.I've found in some situation 'speed up' is also nice if its a long lecture and its not too information dense.
(also can be used on audiobooks with a slow narrator, or for the impatient). I got tired of rewinding the video, so I started compiling my own notes.
Authentic be-bop approach. Barry Harris is the real thing.Some of the pearls of wisdom:Practice playing scales up from the root 'to the 7th', NOT to the 8th.Practice playing scales 'down from the 7th' not from the 8th.Use '5 4 3 2' phrases 'to get out of trouble'.We don't think about the ii chord scale, 'we think the V7 scale'.Practice the half step 'rules'.The three important arpeggio triads.Interrupt your chromatic scale with some 3rd leaps (chord tones) along the way.KC IslandRe: Best online Jazz Training workshops ever!06/08/19 03:01 PM 06/08/19 03:01 PMJoined: May 2004Posts: 6,442. Authentic be-bop approach. Barry Harris is the real thing.Some of the pearls of wisdom:Practice playing scales up from the root 'to the 7th', NOT to the 8th.Practice playing scales 'down from the 7th' not from the 8th.Use '5 4 3 2' phrases 'to get out of trouble'.We don't think about the ii chord scale, 'we think the V7 scale'.Practice the half step 'rules'.The three important arpeggio triads.Interrupt your chromatic scale with some 3rd leaps (chord tones) along the way.Love love love this Icon. 'Authentic be bop', is on the money. Not to hijack this Barry Harris thread, but I also wanted to mention an online jazz training site recommended by Doug McKenzie whom some of you may know from YouTube as Jazz2511.Mr.
McKenzie himself is a very experienced Jazz Pianist and professor based out of Australia. I learned about him via a recommendation from 7NoteMode on his Web site. Doug McKenzie had listed the following gentleman's online training on his site: Gjermund Sivertsen. The folks at the pianoworld forum have said some nice things about his training, although there are quite a few free video's available on YouTube from him as well. In full disclosure, I have not signed up for any of this training myself. But the YouTube video's are very interesting.It's also worth mentioning that Mr.
McKenzie also offers a DVD with all of his online video's (basically his solo and trio interpretations of jazz standards with his own analysis of what he's playing). This DVD is very inexpensive and would keep a person occupied for a very long time! They come with adobe pdf and midi files of the performances. AnthonyMRe: Best online Jazz Training workshops ever!06/11/19 05:12 PM 06/11/19 05:12 PMJoined: Jul 2013Posts: 189. I can vouch for the Doug mckenzie course. I bought his dvd about 7 years ago and I'm still sifting through it. It cost maybe $20 and contained an enormous amount of material, transcription pdfs, videos, midi files, bass and drum audio files to practice to.
He also offers an options to pay a nominal few every few years and hell send you on any newer files he's uploaded since you last purchased. It's a great resource if you put in the hours.Re: Best online Jazz Training workshops ever!06/11/19 06:09 PM 06/11/19 06:09 PMJoined: Sep 2011Posts: 7,598.Barry teaches what he calls the '5 4 3 2' phrases.Here's a nice example of practicing the '4' and the '3' phrases on the bridge of Cherokee. In this case starting on beat 2 and descending from the 5th.Of course you would first need to learn what the '5 4 3 2' phrases are from a previous workshop video.The man is a goldmine in a mostly clueless world.As far as the fine pianist McKenzie. I do not mind at all, the bringing of his name into the conversation. But this causes me to compare the two pianist teachers.McKenzie, a creative spirit no doubt, is a watered down Bill Evans. That is an unfair comparison, because Bill Evans is a deeper pianist than just about anyone, in a certain respect. His European connection ( Chopin, Ravel ) is unparalleled, in my opinion.But if one of the top jazz pianists ( Bill Evans ) could be said to have a 'weakness' it would be on the African American side of the reckoning.
Rhythm and Blues.Don't over react, I adore worship Bill Evans, and view him as a better pianist, with more knowledge even than Barry Harris. But Barry Harris has more be bop, and blues in his nature.And McKenzie is not in the same conversation, in spite of his excellence. We are talking the Greatest in the history of jazz piano. Think hierarchally.What Barry has to offer, NO ONE in jazz academia has, period. Just throwing out one thing to remember about Barry Harris method. As I learned from hanging with some name players Barry Harris is great and is the foundation that needs to be learned, BUT have to remember Barry doesn't like Jazz from about the mid-fifties onward.
Barry Harris Workshop Video Clips
So Barry is a foundation but a lot has happened since the mid-50's so there is more to learn past Barry.That would explain why he prefers to name certain scales 'G7' and 'C7' instead of 'G Mixolydian' and 'C Mixolydian'. He seems focused on bebop era jazz and not so much into the modal jazz that came later.In any case, I'm trying out his stuff and seeing where it takes me. Just throwing out one thing to remember about Barry Harris method. As I learned from hanging with some name players Barry Harris is great and is the foundation that needs to be learned, BUT have to remember Barry doesn't like Jazz from about the mid-fifties onward. So Barry is a foundation but a lot has happened since the mid-50's so there is more to learn past Barry.That would explain why he prefers to name certain scales 'G7' and 'C7' instead of 'G Mixolydian' and 'C Mixolydian'. He seems focused on bebop era jazz and not so much into the modal jazz that came later.In any case, I'm trying out his stuff and seeing where it takes me.But why complicate a simple G7 with 1000+ year old Greek modes that in reality have little to do with be bop?Why do teachers do this.
Generation after generation?As far as going beyond mid 1950's. Crawl, walk, jog, run, sprint. Are youa already a jogger?
Can you play be bop like Barry?This rushing forward, is suspicious to me. The more you move away from restrictions of the past, the more you open loop holes for jive playing. Who can criticize a Cecil Taylor. How would you know?
I say master 1950's first.For instanceBill EvansBarry HarrisJoe SampleWynton KellyOscar PetersonAhmad JamalRed GarlandCedar WaltonWork on these for a while. Just throwing out one thing to remember about Barry Harris method.
As I learned from hanging with some name players Barry Harris is great and is the foundation that needs to be learned, BUT have to remember Barry doesn't like Jazz from about the mid-fifties onward. So Barry is a foundation but a lot has happened since the mid-50's so there is more to learn past Barry.That would explain why he prefers to name certain scales 'G7' and 'C7' instead of 'G Mixolydian' and 'C Mixolydian'. He seems focused on bebop era jazz and not so much into the modal jazz that came later.In any case, I'm trying out his stuff and seeing where it takes me.But why complicate a simple G7 with 1000+ year old Greek modes that in reality have little to do with be bop?Why do teachers do this.
Generation after generation?As far as going beyond mid 1950's. Crawl, walk, jog, run, sprint.
Are youa already a jogger? Can you play be bop like Barry?No, that's why I'm looking into his teachings.I wouldn't dream of telling Barry or anybody else sharing his method to switch to using Greek names - in case that wasn't made clear in my previous posts.
One of the licks that Parker uses in both these solos is what I call the ‘seven down to the third’ scale. This name comes from the scale approach that Barry Harris teaches to the minor ii-V progression. As shown below, the minor ii-V progression has the same ascending-fourth/descending fifth root motion as the major ii-V progressions discussed in the last post, but the ii chord is a minor 7 flat five (rather than simply a minor seventh) and the V chord, in simplest version of the progression, is a dominant seven flat nine chord (rather than simply a dominant).
Barry’s approach to the minor ii-V, like many of his other teaching concepts, is based on the ‘seventh scale’ (a.k.a. The mixolydian scale).
Rather than assigning two different scales to the two chords of the minor ii-V, as many improvisation methods do, Barry uses a ‘seven up and down’ pattern with a seventh scale starting a major third below the root of the ii chord (or a minor third above the root of the V chord).This scale choice has multiple benefits: for one, it is a pitch collection which is consonant with the m7b5 chord but avoids accenting its root. Also, when the ‘seven down’ half of the scale is ended on the note a half step above the scale’s root, it outlines a fully diminished chord that functions as a rootless voicing of the V chord.The author is pianist Tom Cleary.As for me, I'm still working on executing Barry's blues scale exercise with good time, heh. Barry is a pure gold mine, and the nicest human ever.You have to get an in person lesson or master class while this man is still with us!I just heard that students either pay a $40/year membership or $10 per class to attend Barry's class.That is an insane deal to study this stuff with the man himself.I wonder if anyone here has done the class. Peeps who live in NYC are lucky.I'm nowhere near the level of you guys, so I'm contentedly plugging away at just playing his basic blues changes and rhythm changes exercise in time. I'm using Barry Harris Method for several months now. What a relief.
No more modes, hooray!!!Here are two great teachers of Barry's method (for piano) on YT:Conner builds Barry's world from the ground up. Better by far than watching shots from Barry's masterclass, which are good, but random in level and focus. If I could keep only one video tutorial series this would be it.Bill also has sheet music, free and very cheap (both), to back up his sessions.And here are a ton of Barry Harris transcriptions from the YT vids and other teachers.