Barry Harris Harmonic Method For Guitar Pdf Plans
- Barry Harris Harmonic Method For Guitar Pdf Plans Printable
- Barry Harris Harmonic Method For Guitar Pdf Plans 1
Barry Harris Harmonic Method for Guitar (by Alan Kingstone) The Barry Harris Harmonic Method for Guitar. This is the book that changed it all for me, harmonically speaking. Alan Kingstone is a student of Barry and wrote a comprehensive volume on the harmonic approach. And the best part is: it's for guitar! 'Harris' theory is an expansive generative method. It encourages musicians to create original phrases based, in part, on the cross-fertilization of rhythmic, melodic, and harmonic models embodied in the rules Harris promulgates.' Excerpts from 'Thinking in Jazz', by Paul F. Berliner, University of Chicago Press 1994.
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.
saludos!
Hey all. Since i've been starting some new skype and older students, a common thread/question is about inversions and voicings in general. I am working out a PDF which will most likely end up fairly lengthy. But here is my first little bit. I plan to get into beyond the drop 2 voicings i have, as well as discussing how we can get really cool sounds by changing one note in our basic chord and inverting it. Replacing the G with and F# (#11) in a Cma7 for instance. Open Triads, augmented, diminished and very altered/color chords, plus recognizing how shapes can overlap for many chords (like how and F#mi7b5 is also a D9, or an Ami6 etc.) and of course being able to recognize the top note, which is useful for chord melodies. I also like to discuss how we can use the top note of our voicings as a melody, even if we are merely comping for someone (think how ed bickert always sounds so damn lyrical when he comps). I will also probably end up writing out a couple studies using multiple concepts over a tune.
Barry Harris Harmonic Method For Guitar Pdf Plans Printable
What things do you guys have issues with regarding inversions and voicings? are the recommended ways to explore/apply them that I have useful at all? what would you like to see, or have more clarification on if anything?