Barry Harris line building for fusion??!

#jazz #jazzguitar #jazzfusion #fusionguitar #barryharris #bebop #instructional #tutorial #improvisation #musictheory
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[@astorina]

Excellent demos of what one can introduce chromatisme in its line ! I will work your examples ! Thx

[@nilkilnilkil]

yayyy ...

[@isaacbeen2087]

later styles derivative of bebop seem to lean more in the pandiatonic direction to me; any hierarchy of tones in the line construction above each chord seems much less obvious to me in later styles, as a general trend, and I think the intervallic hierarchy in voicings dissolves as well (major sevenths preferred over minor ninths in earlier styles generally speaking) ... is that a fair comment? for instance Kenny Wheeler and his contemporaries often put the flatted third and the flatted fourth in an altered dominant chord right next to each other in voicings, while later composers like Ben Monder and such will displace this interval an octave becoming the most dissonant interval of all, the minor ninth ... a wider number of tones and intervals seem to be present in the 'essential voice-leading' of later styles, to put it another way ... / great playing and ideas in this video ... and I hope my somewhat disconnected and poorly articulated thoughts here make some sense ...

[@JazzGuitarScrapbook]

Pandiatonic is a good word for the post modal cst approach. Early modal playing is more rooted in bop, but I feel post Berklee (which means post Gary Burton/Mick Goodrick really) the emphasis has been on permutations of pandiatonic pitch sets, so to speak. In terms of the intervallic side it’s kind of interesting that chord scales started as acoustically agreeable stacks of thirds and now people combine them into all sorts of clusters that would be considered violent dissonances in the 18th century or even earlier jazz, but today are used for I chords…. And yet the theory places sometimes quite arbitrary prohibitions on ‘avoid notes.’ Also the CST thing is time invariant, all these pitch sets are ‘fungible’ whether in lines or voicings - while bop lines are dependent on note order. Probably a video in there somewhere.

[@Malcolm.Y]

When I see this type of presentation, I always wonder does the presenter consider that the elements of melody were explored and refined by the likes of Bach and Motzart. All that was under people's fingers and in their ears before Swing led to Bebop to Cool, to Modern, Fusion, or whatever. Or is it not worth mentioning, or over the heads of the intened audience? I can certainly see that "Barry Harris" is all the rage, now. And thisngs are so, because "Barry says." Until a couple of years ago, I never heard of him, and learned from the Coker books, like Patterns for Jazz, which has all of Barry's melodic "system," and more. Coker quotes 5-10 solos that use variants of the basic melodic pattern. A popular Barry channel likes to say - as Barry people we KNOW - which often mean denying the existence of the II-chord, in Am7-D7. That is, Barry people KNOW that it's all D7, (or sometimes the Am7 is REALLY C8).. Then, he says the arpeggios on the A and C notes are "important" (and should be what we used to call "stressed") Realy?? You want me to arpeggiate the same Am7 that you told me to ignore?? lol FWIW, Pat Martino prefers the opposite, and tells imself it is all Am7 - and somehow, he produces the same patterns of chromatic passing tones as Barry's method. And gets the same flat-five chord "substitutions," going from Am7 to Evm7.

[@JazzGuitarScrapbook]

There’s a lot to unpack here… maybe a few videos worth. I don’t know Coker’s method … so I can’t comment. Maybe if it works well for you there’s not much point confusing yourself with another approach? I did learn to play bop via Barry; I went to his classes on and off for 15 years, and never saw any scare quotes seeing as we was a real person in a room with a piano. I suppose now his reduction to ‘Barry Harris’ is no doubt inevitable. The thing about iim7 is a bit weird. In fact we play iim7 all the time; what we do in Barry world is treat it as a suspension of the dominant, which is to say we basically chunk the ii V into one scale and employ it freely with tritone subs etc. Anyway to go into this stuff in great detail is obviously beyond the scope of a comment; or, indeed a 20m KZbin video.

[@leoosiku]

Larry Coryell

[@nilkilnilkil]

Have you listened to telemakus - new heritage? Let me know what you think ... some brilliant stuff !!!

[@JazzGuitarScrapbook]

Listen to it later for sure. Looking at the cover art it looks like a 1970s stoner wall poster and I am all in favour

[@nilkilnilkil]

@@JazzGuitarScrapbook yea that's exactly what i thought about the sleeve ...

[@nilkilnilkil]

you can't avoid fusion and be a swinging purist type IMO ... but some fusion is bad too, true ...

[@jahsiconn]

Pls make a video on spain or other chick tunes like got a match

[@JazzGuitarScrapbook]

OK! :-) I thought someone might ask

[@nilkilnilkil]

@@JazzGuitarScrapbook I must say, Spain is a corny tune ...

[@JazzGuitarScrapbook]

@@nilkilnilkil that’s the appeal. Especially if you do the concerto de bloody Aranjuez intro. Chick revelled in though… hearing Chick perform it with Bobby McFerrin was pretty sick as the kids say.