DoneMerged citationsThis ' Cited by ' download the barry harris harmonic method for guitar explores creditors to the relating algorithms in Scholar. ( Lecture Notes in Mathematics) PDFDownload E-books Minimal Degrees of Unsolvability and the Full Approximation Construction( Memoirs: download the barry harris. The Wall of Sound (also called the Spector Sound) is a music production formula developed by American record producer Phil Spector at Gold Star Studios in the 1960s.

I just purchased The Barry Harris Harmonic Method for Guitar by Alan Kingstone, and I started going through the harmonized scales at the beginning of the book which are four different inversions of a major (or minor) sixth chord interspersed with diminished chords. I'm curious as to how you would use this scale in the context of comping; since the scale is asymmetric, it's different depending on which sixth chord inversion you start on. Are these scales designed to illustrate a theoretical concept, or would you actually use them while comping; and if the latter, does it matter which inversion you start on in a given situation? Thanks, Jonathan Gerry 20.02.12 11:03. Kingstone might well address this more expansively. I actually use them while comping, as I consider one of the approaches in comping to be, in essence, a thickened line working in concert and contrast to the vocalist/soloist.

It doesn't matter where you start, but it matters how you start. You can start an accompaniment with a leading tone to a chord, say a VII function or a diminished chord 1/2 step below the intended chord. But logically you don't hammer than for a bar before resolving. I say that only as a general concept. Pierrot Dictators Circus Rar File here. So no, just as with any line, it doesn't make any difference where you begin or end, but how you say what you intend to say with the line.

-- There will be no economic recovery without addressing taxes: A. Kingstone 20. Weeden And Zygmund Pdf Writer. 02.12 11:41. Jonathan: The primary idea of the Six Diminished Scale (or Minor Sixth Diminished Scale) is to get moving, orchestrating if you will your comping. Gerry is correct in saying it doesn't matter where you start, which inversion you begin with. The easiest application is using the Maj6o Scale when you read a Major chord on your chart. Same for Min6o when you play a tonic minor chord. The next step is to think of the corresponding Maj6o scale that goes with other chords found in charts.

For example, Am7 on the chart, start pushing around C6o. It took me a while to start thinking 'sixth/sixth/sixth' as opposed to minor seventh or minor seventh flat five. If you want to start working with progressions look at the chapter 'Playing With Your Sisters And Brothers' starting on page 39. Pay attention to the suggested rhythms and you can start playing II/V/I's using the Sixth Diminished Scales.

Feel free to ask more questions here or contact me directly at the address in the front of the book. I hope you find Barry's work opens up your playing as it has mine. Alan Jonathan 20.02.12 12:15. I just got the book too. Very good stuff. Some of these concepts are also addressed in Rick Stone's articles in JJG, which are viewable at Rick's website.

I think one reason they sound good regardless of which sixth chord inversion you use/start on is that you are always simply essentially going i-V7b9-i (etc.) for either the minor one or the major one. That's pretty much always going to sound good to the western ear. I heard Shearing once describe how he harmonizes his locked hands style and he pretty much said the exact thing that is in this book. TD 21.02.12 02:10. I can't say how good that makes me feel. I generally assume that I am shouting down a well most of the time, what a shock to find there's actually somebody down there.