For serious musicians only, but I think its hard to be a serious musician without a grasp of these concepts. Barry Harris may have done more to publicise these ideas than anyone, but noone owns them - they're right at the heart of bebop (especially Bud Powell and Charlie Parker). Be prepared to throw out everything you thought you knew - modern harmony is NOT based on seventh chords and two/five/ones, but on sixth chords and major and minor sixth diminished (chord) scales. Unending movement is the order of the day.

Learn how to play Barry Harris Harmony's and. I’m interested in this revolutionary new way Barry Harris Harmonic Method for guitar. (includes a PDF with.

For serious musicians only, but I think its hard to be a serious musician without a grasp of these concepts. Barry Harris may have done more to publicise these ideas than anyone, but noone owns them - they're right at the heart of bebop (especially Bud Powell and Charlie Parker). Be prepared to throw out everything you thought you knew - modern harmony is NOT based on seventh chords and two/five/ones, but on sixth chords and major and minor sixth diminished (chord) scales. Unending movement is the order of the day. This is NOT just another jazz guitar book, of which you probably already own dozens, most rehashing the same topics.

In science there is the old adage that a theory works until it doesn't. What I mean is that a theory works for a while, but as our knowledge progresses, that same theory becomes bogged down with more and more addendum and exceptions to keep it in agreement with known reality. Eventually the theory is so cumbersome that it is replaced with something simpler and more functional, more in agreement with reality. This brings us to jazz where we still talk about the V7 chord of a particular key even if its a G7 flat 9 flat 13 or some other form of G alt. None of the notes one plays are in the key of C or even in the chord G7, but we still try to force it into our little universe that says everything is a ii, a V or a I of the key we are in. And our theory then says we need to the play the 7th mode of the melodic minor scale built a half step above the root of the dominant chord.

Does this start to sound like a cumbersome and outdated theory for working in real time as a musician? This is where Barry Harris comes in. If you had to sum it up, his viewpoint is that the prison of ii-V-I is too static and confining, that jazz and all music should be about motion, even when the chord chart says the harmony is static. I think of it as a choice you have when planning a trip. You could board a jet plane at point A, zone out for a while in the generic looking cabin, step off at point B to take in a meal and a concert, and then fly on another generic jet where you zone out for another 2 hours before reaching point C for some more site seeing. Or in Barry Harris's concept you could choose to take a road trip instead, experiencing the gradual transition from point A to B to C, taking small steps and stops along the way (Barry says 'focus on small chords'), enjoying the journey, not just the destinations. So in a practical sense, where does that leave the jazz musician?

Well if you yearn to weave intricate harmonies rather than just bash out ii, V and I chords, then this method gives you the simple harmonic relationships to start making music on the fly. The book doesn't present a new harmony, but a new way of seeing jazz harmony beyond the confusion of 'well it doesn't have any notes in the key of C or in the chord G7, but we'll call it a G7 in the key of C anyway because it sort of functions that way.'

Instead you'll learn that almost any chord can be thought of as a related maj6 or min6, that each min6 or maj6 has an accompanying diminished 7 made up of the remaining 3 diatonic notes not in the 6th chord itself plus one extra note, that the two chords come together to form an 8 note bebop-like scale, and that this scale can be harmonized alternating between the 6th chord and its related diminished 7 chord. You'll learn that all of the voicings in that harmonized scale will work over the chord and that you can create new voicings on the fly by borrowing notes between the 6th chord and the diminished chord as you move between them in tension and release. Lastly you'll learn that any dominant chord has a parent diminished chord and that the 3 parent diminished chords each forms 4 dominant chords by lowering one note and that any of these 4 dominants can be substituted over any of the 4 related dominant roots to form various 'alt' forms. In other words, stop thinking in terms of an altered V chord that shares little in common with the key, and instead start thinking in terms of a parent diminished chord from which you can borrow any notes or chords you like to play over the root of a related dominant chord.

With these simple relationships, one can now approach harmony in a non-static way, borrowing and passing through notes either within a moving harmonized 6th scale or from a dominant's parent diminished chord. All along the way, you'll create motion not only from ii to V to I, but also WITHIN each of those chords, AND you will understand what you are doing as you do it. I'll repeat: this is not new music, its bebop tried and true, but with a much more manageable system for the guitarist in terms of creative improv and comping on the fly. Its a bit like getting your first Apple computer. Last but not least, though developed by a piano player, the approach in this book is even better suited to the guitar, especially using Drop 2 voicings. Lets face it, voice leading is tough to think about on the guitar. Things that seem obvious looking at black and white keys, become a mystery on a fretboard.

Perhaps this is why the guitarist, more than the pianist, gets so easily locked into a ii-V-I static framework with nothing to say in between. Its the rare guitarist that can create the sort of lush solo work that is commonplace in the jazz piano world.

Yet, physically the guitar is better designed than the piano for slipping and sliding chords and shapes around easily. Using basic concepts of related diminished, 6th and dominant chord families along with note borrowing gives the guitarist an intuitive way to approach the subject of jazz harmony in real time to create musical journeys that do more than just stop off at ii, V and I for a quick look around. IF you decide to buy the book, buy Roni Ben-Hur's Cordability DVD along with it as an inexpensive introduction. Cara Untuk Mendownload Game Di Laptops. That will give you the basic tools of this approach before you dive in at a much deeper level represented by this book. Its all here beginner to advanced, but the Chordability DVD will handhold you painlessly through the basics and then you'll really be ready and eager for the deep water here. The information in this book is revolutionary.

As other reviewers have said, it's not for beginners. After completing this book, my head hurt for weeks trying to fit what I'd learned into my 40+ years of musical knowledge, which includes tonal (i.e. Classical) music theory. Shaking The Habitual The Knife Rar File more.

In particular, I was amazed that the majority of bebop could be contained within just three chords: Diminished 7th, Major 6th and Minor 6th. I was already familiar with the bebop major and bebop melodic minor scales (Mark Levine), but didn't realize that harmonizing them yields these 3 chords! Factoring in 'borrowing' from neighbor chords while harmonizing, all sorts of exotic chords can result. I like that thousands of possibilities open without having to get too analytical, just have fun playing. There're too many things I love about this book to mention in a review, so I'll end with one more. I like how Harris thinks about Diminished scales not as whole-step/half-step or half-step/whole step, but rather as considered in tonal music theory of dominant chords and their enharmonic resolution. After spending a couple of weeks with this one, it seems that there are endless possibilities for musical exploration using the concepts and guidelines put forth in this book.

Kingstone's writing style is refreshing and fun, and the organization of materials allows you to instantly become immersed in Barry Harris's brilliant ideas, while also making it easy to find, with a few page turns, any particular concept for review and deeper study. The big payoff is the solo on 'Like Someone in Love' at the end of the book: the solo is lovely, and it is also pedagogically tight in that he manages to display many of the ideas from the book in a musical context. There is a beat by beat analysis showing readers which concepts were put to use at any given point.

I have a strong musical background, and was very skeptical at first about the Barry Harris method in general. I am very glad that I went ahead and gave it a shot, and I think my improvising will never be the same! I think debate over whether this is the only way to do things is beside the point. Everyone should try this out for themselves and see what they think!

This doesn't make you sound like anyone in particular, it just helps you to explore a vast amount of musical possibilities in a fun and accessible way, and, in this case, that can't be overstated. I gave this a well-deserved five stars, and I think you should order it now...

Or maybe I should be telling folks to pass this one up (who needs the competition, right?).

Advanced Exercises: Interesting learning materials derived from and for Guitar After a while of practicing the Half-Step Practice Model (as explained in the booklet), I finally made up some of my own exercises. Here’s a good warm up (with scales) that I use on most days Note: If you have never encountered bebop scales, a good way to start practicing “in time” is this. It employs NO passing tone and is based on C dominant 7th (mixolydian) scale. Don’t know what a bebop scale is? No problem, What is the “Practice Model”? Without going into too much detail (no spoiler alert here!), Barry Harris has a way of making scales “fit” into bar lines which he calls The Half-Step Practice Model. This concept stems from the bebop language and it’s all about rhythms. In short, the model is a technique that adds 0, 1, 2 or 3 extra passing notes to regular scales.

The end result is the rhythmical alignment of “strong notes on strong beats” within the bar. This simply means that we get chord-tones 1-3-5-7 on downbeats. The three optional passing notes can be found between degree b7 and 3 (in a ). Here, added passing notes in red: The Bebop Scale The primary scale which is, by the way, a great starting point for most teachers (including yours truly), and most commonly referred to as “bebop scale” only has ONE passing note between b7 and 1 (in this case, the “B natural” note). The most basic bebop scaleis therefore: But, obviously, the Barry Harris Workshop goes beyond this simple scale by using two more available passing-tones. Let’s say you wanted to start the scale on something else than the root, it wouldn’t always work! Try it and see for yourself.

So Barry found a solution to this musical problem Zero and Two Passing Tones Let use the “F” (the fourth degree) as an example in the same old, C7 mixolydian scale.You can have either: 1- NO passing tone added or 2- Two passing tones! As you can see, the arrows point to chord tones. Notice how they fall on downbeats after the scale is “rebalanced” because of the presence (or absence) of passing tones. One and Three Passing Tones One more example: starting on the 3rd (“E” note).

You can have either: 1- One passing tone or 2- Three passing tones! By now, I think you get the idea This is just a principle, of course.

You have to own the Barry Harris Workshop to really “get it” and understand how it works. It always better to explain it to you! What Am I doing Different from Barry? So, yes: I like the idea behind Barry’s Half Step Practice Model very much.

I’ve been working with the Barry Harris Workshop DVDs for years now. And yes: I even took the time to write my very own exercises (in mixolydian only) based on the whole approach. Here’s what I’m adding. My variations on the original concept: • Each line starts with a pickup of three 8th-notes and • Each scale degree is treated in two “phases”: 1. Placed on beat “one” (after the pickup) 2. As part of the pickup (beat “four”) Confused? Basically, if you play them “my way” you’ll get all the musical juice from the original Barry Harris Workshop exercises plus a few added bonuses. A picture is worth a thousands notes, so here’s an example.

I turned this (Original “Barry Harris Workshop” way): into this (Phase one and Phase Two) Ready? See below for the complete set of exercises. Don’t forget to read the practice suggestions! The Entire Exercises: Scales from different degrees using pickups Without further ado. Practice suggestions Go very slow! Use a metronome and learn the lines at ridiculously slow speeds. This is like “programming” the lines into your ears and fingers. Repetition: Repeat one line as much as you to need to memorize it.

Test yourself: stop looking at the paper and play the line Fingerings: Use the suggested fingerings (in TABS) or come up with your own. But, whatever you do, stick to the same fingerings for a while.It becomes easier to “ingrain” lines in working in this fashion; you may always fix your fingerings later.

Octave: You can start most lines at different octaves on the guitar. I wrote down only basic starting points here. See how far up (and/or down) the fretboard you can go with the same line. Analyze and Investigate: How many passing notes are present in the line and why? Can you invent some variations on this line? Etude: Once each line is memorized individually, play the entire thing, front to back as an etude.

Practice Phase 1 separately from Phase 2: Then practice them together in the end, you’ll realize they’re the same old thing! Chromatics: The chromaticism in the pickups can be changed to suit your taste/style. I’m sure you could come up with many different interesting pickups. (as I’m barely scratching the surface here, with only the most obvious ones) Discard the paper: Learn the two pages by heart! Learn in all keys: Play through, at first. • The whole page in different keys or • Play one line at a time in 12-keys Don’t forget to check out this literature (The Barry Harris Workshop DVDs and The Alan Kingstone Book on the Barry Harris Harmonic Method).