Ever since my guitar teacher shared his knowledge of Harris' method, I've totally converted to this way of navigating chord progressions. But it seems not many people here (or elsewhere for that matter) use his ideas much. And I don't mean just the diminished scales. Those can be found in Levine's book, as well as Randy Vincent's book; I mean all the 'movement' ideas, with 6th on the 5th substitutions, and brothers and sisters and what not. After working through some of the Alan Kingstone book (The Barry Harris harmonic method for guitar), it just seems that regular 'modal' analysis of chord progressions isn't as exciting and logical as this other way. Anyone else care to share their experiences with this material?
Perhaps we could start a workbook thread. I have many questions and ideas that I would love to share with like minded folks. I dig Barry's approach. But don't like many of the harmonic structure derived. The complete chords. What or how do you define Modal analysis.
I'll gladly go through. I might not like. But understand majority of approach.RegThanks for the reply Reg. I'm sorry for not being more specific. By modal analysis I simply meant using numbers as functions of the chord progression (ii-V7, etc).
Like when you find yourself asking: 'what the heck is this bIII7 b9 b13 doing there! Oh, it's just an inversion of a 6th diminished chord'. I just find it's easier to understand and visualize the motion of voices in a chord progression when I think of it all in this framework.
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Of course, I'm only just starting to work on this material for the past year so I still have a long way to go before I have it in my ear and fingers. By the way, regarding the 'complete chords', I tend to work on this stuff using both 3 and 4 note chord shapes for Drop 2 inversions. The 3 note shapes make for some real fluid comping voicings. I picked up the Alan Kingstone book a few months ago and the Roni Ben-Hur DVD more recently. There seems to be a wealth of possibilities available for accompaniment and chord melody/soloing. Rick Stone has three articles about the Harris method on his website that I've found to be very helpful. Scroll down the page to find the articles.
Barry Harris has stated that music should be about movement rather than just chords. This is how George Van Eps approached playing also. There are some short but very insightful Barry Harris clips on YouTube. Check them out.
Barry Harris is an Internationally renowned jazz pianist, composer and teacher. Harris is the recipient of an Honorary Doctorate from Northwestern University.
Barry Harris Pdf
He has received the Living Jazz Lega cy award from the Mid-Atlantic Arts Association, and an American Jazz Masters Fellowship from the National Endowment for the Arts. In addition, Dr. Harris received the Manhattan Borough President Award for Excellence.
Barry Harris Method
This award was given for recognition of his devoted public service and in honor of excellence in the field of music. He received the 1999 Mentor award for his work with young sters at the Manhattan Country School in NYC.
Barry Harris Harmonic Method For Guitar
Harris began playing jazz in Detroit in the 1940’s. Bebop absorbed his attention, particularly the music of Charlie Parker, Dizzy Gillespie, Bud Powell and Thelonious Monk. With an unrelenting inquiry into the nature of this music and his willingness to communicate it, Barry Harris now inspires and encourages many younger musicians. He’s come to be known as the “keeper of the bebop flame”. Barry Harris receives frequent requests to appear as a guest lecturer by Universities and various musical venues all over the world.
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His lectures and interactive instrument and vocal workshops focus on the complete aspects of music including improvisation, harmonic movement and theory. His schedule includes lectures in the United States, Holland, Italy, Spain, Switzerland and Japan. When he is not traveling, Dr. Harris holds weekly music workshop sessions in New York City for vocalists, students of piano & other instruments.
Barry Harris Harmonic Method For Guitar Pdf Files Average ratng: 5,8/10 2981votes The Wall of Sound (also called the Spector Sound) is a music production formula developed by American record producer Phil Spector at Gold Star Studios in the 1960s. Jazz Guitar Q&A: Barry Harris Harmonic Concept The Barry Harris Harmonic Method (for guitar) allows you to avoid playing those 'bland' II-V-I chords and add interest by connecting with chords in between.
A visitor on JazzGuitarLessons. Net asked me a question: How to apply some of the Barry Harris harmonic technique to standards? Here's the answer in video format. I created a little 8-bar example on how to use Barry Harris harmony on the great Jazz guitar standard 'Out of Nowhere'.
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In short: you can still use the concept of 'bebop scale' when using chords. Simply use the major 6 - diminished 7 with regular drop 2 and drop 3 voicings. This means that whenever you're sitting on ONE chord, you can play EIGHT different voicings. Pretty cool, uh? You can also learn to connect Jazz guitar chords in virtually any progression with this type of 'harmonic plumbing' See this page full the full questions / answer article: Here's PDF example of some chords in the Barry Harris Harmonic Concept (for Jazz guitar): And finally, please see the book by Alan Kingstone: The Barry Harris Harmonic Method for Guitar Subscribe.