bPLEASE SEE MY NEXT POST FOR DEFINITIVE 54321 PATTERNS OVER MAJOR AND DOMINANT CHORDS/bHiya Matt.I went on a 2 day masterclass with Barry this past summer. Nice guy, we got on well. Good to hang with a bit of history too - I wrote a thesis on Thelonious Monk so it was good to chat someone who knew him personally. He was really involved in the classic Detroit scene, taught a lot of great players some stuff PC included. This article gives an idea: url='was during a bit of a whirlwind weekend sleeping on various couches in London, and I had a belter of a hangover so was there mostly to absorb the delicious boppy vibe.
Quite a piano centric course, with lots on his approach to harmony in terms of comping. Still, I have some notes on this scribbled down, which read (in chord tones) as:b5:/b 5 7 1 11 3 (5 as the highest note)b4: /b11 9 #9 3 (I'm guilty of using this one far too much!)b3: /b3 5 b7 9b2: /b9 b7 7 1b1: /bR 7 b7 9 13 5 (This is a really classic bebop lick, used all the time! 9 down to 13 btw)So those are the phrases to be used onu dominant chords/u to not just play the bebop mixolydian scale. They start on, you guessed it, 5, 4, 3, 2 and 1. They're basically just nice little phrases to break up purely scale-based playing.This stuff all relates to classic bebop vocabulary of chord tone enclosure etc to play nice long flowing lines through the changes. The best reference I've found is David Baker's 'How To Play Bebop', which codifies and breaks down lots of typical bebop devices for you to take through the keys and incorporate in your own playing.
I would say that his books are a must-have for people wanting to learn to speak that kind of language. It'll really help extend your lines whilst still making the changes. This article gives a nice demonstration of how chord tone enclosure makes lines more interesing: url='you're interested in Barry's playing, check out some of his albums, or his sideman work with people like Lee Morgan, Hank Mobley, Dexter Gordon etc. Although the Baker books are good, you can transcribe it direct from the source on records! You hear different players use preferred variations on the usual bebop vocabulary. For example Clifford Brown used this a lot: 3 7 9 1 (hitting that root on the downbeat). You can hear it in his classic Joy Spring solo at 1m47s, 2m22s (displaced by a quaver, cheeky) 3m01s, all over major chords.
You can use it over dominants too though, and over minor chords if you flat the 3. Lee Morgan does this in his incredible solo on Moanin' at 2m06s. In general, it's nice to break up lines into these little snippets, you get loads of mileage out of your transcription that way, and frankenstein your own new ideas.media(Joy Spring)media(Moanin)Let me know if you have any more questions That Joy Spring solo is full of excellent bop lines and enclosures, you're welcome to a copy of my transcription if you want? Edited June 1, 2015 by Hector. Thanks for your replies, Hector that all sounds pretty epic!
Yeah, so Mikey has, I think, mis-heard in a few places, and I made a couple of typos in my post as well as not being very clear in the first place. I was in a rush and made a right hash of it, probably more confusing than helpful!
I'll try to explain a bit better:My previous post now correct for dominant 7thscolor=#282828font=helvetica, arial, sans-serifTo clarify, in that video Barry is prefacing pattern 4 with the the fifth e.g. In C: G F D Eb E. This is just so that it fits in with putting chord tones on strong beats, I have listed it from the 4th to match the 54321 nomenclature. Mikey has GFCDE, which is not what is demonstrated./font/colorcolor=#282828font=helvetica, arial, sans-serifI should apologise for copying out these licks in a rush and not watching the video attentively, Barry is talking here about outlining harmony of a Maj9 chord, but I wrote out the patterns for a dominant 9 chord, sorry! Patterns need to change for dominant vs. Lads, was shedding these recently and found I had bmore /btypos in my original post! Urgh.Instead of what was written, pattern 3 for major should be:E G B DThe same pattern for dominant is:E G Bb DI'll edit my original post since this is one of the google hits when searching '54321 barry harris', but putting this so that you're aware.
Will also whip off some PMs in case you miss this thread.I'll also try to remember to dig up that brownie transcription for you. Edited June 1, 2015 by Hector. No problemo dude!By the way, that line over a dominant chord E G Bb D (3 R b7 9) is played in the video linked as dropping down to the 5 before coming back up. That general pattern can be used off any chord tone for a reeeeeeally boppy sound, and can be used both dropping down to the second note and playing up, as well as just playing straight up.
It's just stacking chord tones + extensions in thirds off a given starting chord tone. Usually the next note following the lick is the chord tone below the note you just landed on.So for C dominant sound, that pattern off every chord tone:From 3rd: E G Bb D (3 5 b7 9)From 5th: G Bb D F (5 b7 9 11)From 7th: Bb D F A (b7 9 11 13) (This is pretty much the honeysuckle rose lick, if you chuck a C at the front)Here's a monster line incorporating this concept (without dropping down to the second note). One of my favourite warm ups!http://jazztrumpetlicks.com/2009/04/this-bebop-scale-exercise-will-help-develop-your-improv-jazz-skills/.
bPLEASE SEE MY NEXT POST FOR DEFINITIVE 54321 PATTERNS OVER MAJOR AND DOMINANT CHORDS/bHiya Matt.I went on a 2 day masterclass with Barry this past summer. Nice guy, we got on well. Good to hang with a bit of history too - I wrote a thesis on Thelonious Monk so it was good to chat someone who knew him personally. He was really involved in the classic Detroit scene, taught a lot of great players some stuff PC included. This article gives an idea: url='was during a bit of a whirlwind weekend sleeping on various couches in London, and I had a belter of a hangover so was there mostly to absorb the delicious boppy vibe. Quite a piano centric course, with lots on his approach to harmony in terms of comping. Still, I have some notes on this scribbled down, which read (in chord tones) as:b5:/b 5 7 1 11 3 (5 as the highest note)b4: /b11 9 #9 3 (I'm guilty of using this one far too much!)b3: /b3 5 b7 9b2: /b9 b7 7 1b1: /bR 7 b7 9 13 5 (This is a really classic bebop lick, used all the time!
9 down to 13 btw)So those are the phrases to be used onu dominant chords/u to not just play the bebop mixolydian scale. They start on, you guessed it, 5, 4, 3, 2 and 1. They're basically just nice little phrases to break up purely scale-based playing.This stuff all relates to classic bebop vocabulary of chord tone enclosure etc to play nice long flowing lines through the changes. The best reference I've found is David Baker's 'How To Play Bebop', which codifies and breaks down lots of typical bebop devices for you to take through the keys and incorporate in your own playing. I would say that his books are a must-have for people wanting to learn to speak that kind of language. It'll really help extend your lines whilst still making the changes.
This article gives a nice demonstration of how chord tone enclosure makes lines more interesing: url='you're interested in Barry's playing, check out some of his albums, or his sideman work with people like Lee Morgan, Hank Mobley, Dexter Gordon etc. Although the Baker books are good, you can transcribe it direct from the source on records! You hear different players use preferred variations on the usual bebop vocabulary. For example Clifford Brown used this a lot: 3 7 9 1 (hitting that root on the downbeat).
You can hear it in his classic Joy Spring solo at 1m47s, 2m22s (displaced by a quaver, cheeky) 3m01s, all over major chords. You can use it over dominants too though, and over minor chords if you flat the 3. Lee Morgan does this in his incredible solo on Moanin' at 2m06s. In general, it's nice to break up lines into these little snippets, you get loads of mileage out of your transcription that way, and frankenstein your own new ideas.media(Joy Spring)media(Moanin)Let me know if you have any more questions That Joy Spring solo is full of excellent bop lines and enclosures, you're welcome to a copy of my transcription if you want? Edited June 1, 2015 by Hector. Thanks for your replies, Hector that all sounds pretty epic!
Yeah, so Mikey has, I think, mis-heard in a few places, and I made a couple of typos in my post as well as not being very clear in the first place. I was in a rush and made a right hash of it, probably more confusing than helpful! I'll try to explain a bit better:My previous post now correct for dominant 7thscolor=#282828font=helvetica, arial, sans-serifTo clarify, in that video Barry is prefacing pattern 4 with the the fifth e.g. In C: G F D Eb E. This is just so that it fits in with putting chord tones on strong beats, I have listed it from the 4th to match the 54321 nomenclature. Mikey has GFCDE, which is not what is demonstrated./font/colorcolor=#282828font=helvetica, arial, sans-serifI should apologise for copying out these licks in a rush and not watching the video attentively, Barry is talking here about outlining harmony of a Maj9 chord, but I wrote out the patterns for a dominant 9 chord, sorry! Patterns need to change for dominant vs.
Lads, was shedding these recently and found I had bmore /btypos in my original post! Urgh.Instead of what was written, pattern 3 for major should be:E G B DThe same pattern for dominant is:E G Bb DI'll edit my original post since this is one of the google hits when searching '54321 barry harris', but putting this so that you're aware. Will also whip off some PMs in case you miss this thread.I'll also try to remember to dig up that brownie transcription for you. Edited June 1, 2015 by Hector.
Barry Harris Jazz Pianist
No problemo dude!By the way, that line over a dominant chord E G Bb D (3 R b7 9) is played in the video linked as dropping down to the 5 before coming back up. That general pattern can be used off any chord tone for a reeeeeeally boppy sound, and can be used both dropping down to the second note and playing up, as well as just playing straight up. It's just stacking chord tones + extensions in thirds off a given starting chord tone. Usually the next note following the lick is the chord tone below the note you just landed on.So for C dominant sound, that pattern off every chord tone:From 3rd: E G Bb D (3 5 b7 9)From 5th: G Bb D F (5 b7 9 11)From 7th: Bb D F A (b7 9 11 13) (This is pretty much the honeysuckle rose lick, if you chuck a C at the front)Here's a monster line incorporating this concept (without dropping down to the second note). One of my favourite warm ups!http://jazztrumpetlicks.com/2009/04/this-bebop-scale-exercise-will-help-develop-your-improv-jazz-skills/.