Video

I was fortunate to be with Mulgrew Miller the whole week at The Conservatory in Tel Aviv together with my students and good I had my little camera with me. We miss Mulgrew and his music.

It is a workshop, not a concert. They are picking up the lines by ear and learning things on the fly. It does not mean to be perfect at the beginning.

right there with you bud

Repetition by Neal Hefti

Have you noticed? Where exactly?

Hello, thanks for reaching out. I had some issue with the server but I fixed it eventually. Can you try it again?

Sorry for the inconvenience, it was sorted

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@@AlecKatz Thanks.

Basically, it is three scales C dominant 7th scale for the C7, F dominant 7th scale for the F7 and a G dominant 7th scale for the G7

@@AlecKatz could you please tell me the dominant scale for c7? Would it just be 1-3-5-7?

the C dominant 7th scale is a major scale with a flat 7th, i.e.: c, d, e, f, g, a, b flat

@@AlecKatz golden. Thank you!

Me too!

Great phrase over a turnaround

Notice how he breathes

Thank you too!

Exactly. Then you always land on a dominant chord tone.

Oh, you mean starting at 3:30? Barry asks to play a descending F harmonic minor scale with insertion of half-step betwen first two notes. When there already a half-step use a neigbour note tp fill between them.

That's the starting idea but he takes it much further. One big idea is that you can use other notes in place of the added half-step, for variety. Not only semitones/ minor 2nds. I'll call these 'half steps' in quotation marks. The idea 'half-step' is expanded to mean play a note to a an extra rhythmic 1/8 note. For example on F harmonic minor descending, to add a 'half-step' between 6 & 5 the default would be to make it D Db C. But you could use DEC or DBC instead for that portion of the phrase. It creates many, many options for how to navigate a scale sound. The 1/2 step rules which are not detailed in this clip have other central provisions. On a descending scale, for example, starting on 1,3,5 or 7 can take one 'half-step' OR three 'half-steps'. Using normal semitones on a C7 scale starting on 1 would give either something like C(B)Bb AGFEDC (the B is the added 1/2 step), but it could also be CBBb AG FEEb DDbC. Starting on 2,4 or 6 uses either zero added 'half steps', or two 'half steps'. E.g., Starting on 2 (D) gives either 1) DCBbAGFEDC or 2) DDbCBBbAGFEDC. But in any of these examples, the 'half-step' doesn't have to be the chromatic in-between note. E.g., instead of CBBb AGFEDC you could use CABb AGFEDC or CDBb AGFEDC. Chris Parks on Things I Learned From Barry Harris youtube channel covers alot of this material.

@@robbyr9286 Your explanation is sensical. I have incorporated this as (a) you can always have a chromatic passing tone between diatonic scale tones that are a whole-step apart, and (b) you can "jump" away (instead of chromatic passing tone), and still hit the same diatonic target. The latter gives you an opportunity to create a secondary guide tone line, as well.

@@Osnosis That's the concept! The two factors I see missing in your description are 1) 'you can always'. The recommended rules for starting on 1357 vs 246 are different- typically one or three halfsteps on 135 or 7 & zero or two half steps on 246. 2) You can also add this kind of half step between adjacent scale tones which are only a semitone, not a whole step apart! E.g in a C major scale, you can use G or D as a 'half step' note in between the E & F, e.g., CBAGFGEDC or CBAGFDEDC. This is what Harris does in the this video w/ the G# A semitone in the A Harmonic minor. E.g., ABG#FEDCBA inserts the B as a 'half note' between A & G#. It could also have been AFG#FEDCBA.

Thank you Dror, likewise!

Thank you!

I love this too! The way Bud outlines the D7altered chord and lands on the ninths of a G7 chord. In fact the augmented fifth of D resolves half-step down to the 9th of G7. ✨

Yes. indeed

Actually, Erez, the guy in the back, helped to organize Mulgrew week at the Center in Tel Aviv. He was accompanying and taking care of Mulgrew so it maybe was his chance to take a breath a little and to chill. I am just sorry to choose the wrong angle for my camera at that day. Just wanted to capture Mulgrew's hands...

Absolutely!

Is this piece Thad Jones' response compositionally to "Takin a Chance on Love ?" It is a gambol that pays off !!! When Hank plays Thad it's good to HEAR

That's right, it is a contrafact on a Vernon Duke's song. Well done Sir! 👏🏻 I think it was first recorded on the wonderful album by Elvin Jones called "Elvin!", a rare recording where all three brother Jones play together plus Frank Wess on tenor and flute and Art Davis on the bass.

Thank you Wouter! Your contribution to the jazz education and Barry Harris legacy has a great value. Making it possible for the workshops to happen each year, year after year and in the academical environment helped for Barry's teachings to be at the highest level. It is also contributed the Master in further developement of his concepts and ideas ✨

Thank you, Shaked!

Thank you! Enjoy it