This 27-page eBook is a tutorial to understand the basics of the Barry Harris approach to improvised lines and harmony. Although notated for piano, this guide serves as good primer for any instrument including guitar.
The Barry Harris Approach To Improvised Lines Harmony Pdf
Using Barry Harris's 6th Diminished system. If you want to understand how to make an arrangement like this yourself (or how to improvise like this,) watch my video on the topic on youtube Here is a 27 page long PDF of guide tone line exercises for ii-V-I's in Major keys. Here's a video where I. Pianist Barry Harris' method which outlines a more summarized, yet in-depth, approach to jazz harmony. Method adapted for guitar by Alan Kingstone. Thread: Kingstone/Harris Harmonic Method for Guitar I know there is a dedicated Barry Harris thread, but most of it is focussed on single line improvisation.
In addition to adding the half steps, another aspect of his melodicapproach is to combine the 4 related dominant chord scales (that arederived from the diminished)to create lines. From C#dim 7 you get C7Eb7 Gb7 and A7so an example of the BH approach to combining the C7 dominant scale( mix) and the Gb dominant scale into a line over a ii V in F (withthe added half steps) might be something like this: 4 & 1 & 2 & 3 & 4 & 1 C B Bb Ab Gb F E Eb Db B CAnother aspect of his approach is that by playing the four relateddominants that are derived from the diminished, you are able to implyother chord movements.So if you have the C7 Eb7 Gb7 and A7 chords you can obviously play theC7 dominant scale to resolve to F. But...you can use those otherdominant scales to implay and play over other chord movements too.example: combine the A7 and Gb7 scales to play over C#m7 to F#7(Gb7).example: combine the A7 and Eb7 scales to play over Em7 to A7.If I understand the BH approach, it is really the related diminishedchord that forms the basis for it. I'm just getting into the BHmaterials so I'm far from being an expert on how to explain and applythis stuff.
I haven't seen the DVDs, but I have been to a lot of barry's groupclasses in NYC and to me, but I agree 100% with the above and feel thereal value is how he presents and drills the information, by singinglines and getting us to play them back and putting everything incontext of a tune always. it's one thing to understand passing tones,but it's another to be able to play that stuff at the tempos he callsin his classes. we were lucky enough to have jimmy lovelace on drumskeeping everyone honest when I was going :).--paul
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