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

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.

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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.

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. BTW Howard Rees did several good articles on some of the harmonic stuff from a pianistic point of view for Keyboard mag years ago I think they are still available here. Greg AJK, 7:08 น. Here is a review of the book in question from a while back.

Paul C View profile More options Sep 12 2006, 9:17 pm I haven't seen this mentioned here before, so I thought some of you might like to hear about a new book/cd combination by my fellow Torontonian and Barry Harris/Howard Rees student, Alan Kingstone. As I know Alan personally, I won't pretend to an objective review, but I will say that any jazz guitarist interested in bebop harmony, especially as taught and practiced by Barry Harris, will find this to be an informative, highly useful, and generally quite gentle introduction to the business of thinking of the music as movement based on harmonized 8-note scales; of progressions as interlocking sequences of 6th voicings; and of dominants as, well, dominant. Unlike Roni Ben-Hur's recent book, which emphasizes scales and lines, Alan's is concerned almost entirely with the harmonic aspects of Barry Harris's teaching. While those aspects are beautifully demonstrated in the harmony chapters of the two volume workshop video (now dvd) series produced by Howard Rees, the emphasis there is mostly although not exclusively on piano. (Alan is the guitar player on volume 2.) What Kingstone's new book does very well is translate what are often intensely pianistic ideas to the guitar in ways that are both practical and musical.

The book starts by harmonizing Barry's four main 8-note scales (major 6 diminished, minor 6 diminished, 7 diminished, and 7b5 diminished), supplying drop voicings (and partial voicings) in all inversions. These are shown in standard notation and fingering charts ('boxes').

Alan then moves on to the role of the diminished chord in Barry's harmony, Barry's ideas about related dominants and how they can substitute for one another, voicings that use 'borrowed' notes, and the use of all this in movement through commonly-encountered progressions. The book ends with a chapter on scale practice, a detailed analysis of an exemplary arrangement of a standard (Like Someone in Love) using many of the 'moves' described in earlier chapters, and an appendix that systematically sets out a wide range of voicings playable on guitar. Alan Kingstone's 'The Barry Harris Harmonic Method for Guitar' is published by Howard Rees's Jazz Workshop Productions and available from his website (), from Aebersold, and probably from lots of other places too. Pmfan57, 11:05 น.