On Oct 10, 3:38 pm, kentburnside wrote: > Any thoughts on the B.H. Harmonic Method For Guitar? Has anyone > worked with/through it?

Nov 5, 2015 - Barry Harris (photo: Mirko Caserta). Pianist, composer, music theorist, and educator Barry Harris is one of our last links to the extraordinary. The more I learn about Barry Harris' jazz theory system the more interesting it becomes. Some thoughts after watching Barry Harris' Workshop videos Vols. I and II: They're hours of video featuring Barry Harris a pianist who was 'there' in bebop from the beginning.

Oddisee zip. Back in the late 80's or early 90's the jazz faculty at McGill University handed classes over to Barry Harris for one week and the results on the students were amazing. He also inspired those of us who were on the staff at that time. Although the 'Passing tone' scale or 'bebop' scales theory is well known in a ' scratching the surface' way, the ramifications of it's prolonged and intense study and application are not so well known. There is also a harmonic or chordal component to Barry's concept that is much less known.

It's application to guitar presents some fingering and adaptation issues but there is much to learn and explore. Any text that covers any portion of the Barry Harris method will I'm sure be of great value to the serious player. If you get into it,prepare to to be challenged to 'go deep' ie: serious long term commitment to intense practice and study.

Greg Rick Stone, 15:20 น. I worked through all of this stuff when I studied with Barry (for about 5 years in the 80s, and then a couple more years to review in the early 90s).

And YES, if you're interested in playing authentic bebop phrasing (or really pretty much any jazz style) then understanding this stuff is pretty much the key (and by 'understanding' I mean being able to play it upside-down, inside-out and backwards effortlessly). So, I concur with Greg. Be prepared to commit. It's something that you practice, not something that you 'think' about when you're playing.) Yes it ALL 'fits' on the guitar just fine. Ronny Ben-Hur actually wrote a book called 'Talk Jazz' that works you through all the 'rules' with fingerings for guitar, although you probably ultimately come up with your own. Barry also teaches some very cool harmonic concepts which revolve around what he calls the Sixth/Diminished scale.

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There are major and minor 6th versions of this scale and it can be used to create harmony as well ans melodic lines (I wrote some articles on this for Just Jazz Guitar about 10 years ago, you can download them from my website). -- Musically Yours, Rick Stone Website: Recordings: Videos: Myspace: EPK: dwabeslim, 18:31 น. > > Yes it ALL 'fits' on the guitar just fine. Rick, the fingering issues I spoke of refer to the maj and min 6th diminished as chord scales and borrowing notes in the voicings which are impossible to do in all closed voicings on guitar and though the guitar friendly drop 2 and 3 voicings are much more facile when one tries to borrow more than one voice at a time or start to take complex voicings through the scales, as always certain compromises will have to be made compared to piano. I certainly didn't mean to suggest it was not applicable to our instrument. Quite to the contrary IMO.