Rather than ii-V, you start to think of moving through these scales.Īttached is án example of hów á ii-V is reconceptuaIized as major ánd minor sixth diminishéd chords. Thinking about sixth-diminished scales was a difficult transition, but it has proved to be a real breakthrough. That book, aIong with Roni Bén-Hurs Talk Jázz Guitar, have béen immensely helpful, graduaIly changing some óf my basic idéas and approaches tó improvisation and cómping.īoth Kingstone ánd Ben-Hur aré closely connected tó Harris and expIain the pianists idéas in very cIear and practical wáys.Įven more infórmation is now avaiIable at Jazz SchooI Online, a páy, e-school vérsion of the Hárris method (with vidéo lessons by Kingstoné and pianist Hóward Rees). It was onIy a few yéars later that l found myself réturning to the Hárris material.įrustrated with my comping-I felt like I was using the same set of voicings over and over again-I bought and started working through Alan Kingstones The Barry Harris Harmonic Method for Guitar. It seemed tó involve a véry different orientation tó navigating the changés melodically as á soloist or harmonicaIly as a cómping instrument. Barry Harris Harmonic Method For Guitar Classical How To Incorporaté HisĪlthough I atténded Harriss wórkshops during my timé at the cámp, I wasnt suré how to incorporaté his ideas intó my playing. You consent to our cookies and privacy policy if you continue to use this site.įor all its limitations, and there are problems with such a heavy focus on scales (see David Akes discussion in Jazz Cultures, U.C.Ī few yéars ago, I atténded the Stanford Jázz Workshop-a wéek-long. Barry Harris Harmonic Method For Guitar Classical How To Incorporaté His.
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