It reaches its highest point at D (b3 or #9 of the B7) and then descends a C harmonic minor tonic triad. The figure is pretty simple, basically an arpeggio of the B7 chord but with the addition at the beginning of the b9 (thus the altered sound): 1-b9-3-5-b7.
It is a simple but hip phrase-Hall anticipates the dominant chord by starting the arpeggio-like figure on the last beat of the previous measure.
#Barry harris harmonic method for guitar by alan kingstone full#
You can see a larger version either by clicking on the image or checking out the full transcription below. In measures 15–16, Hall plays a nice altered arpeggio over a minor ii-V (F#min7b5 to B7b9). So what did I find? Here are two small ideas that I want to fully integrate into my improvisational toolbox: So I went back to Hall and Stella to see what is there. But the real value, I am realizing, is the process of incorporating material from the solo into my real-time playing. It clarifies, and in many cases, demystifies, the process of improvisation (at least in the bop and post-bop idioms). The process of putting down solos, note-by-note, rhythm-by-rhythm really is enlightening. Once I start one, I really just want to finish it. Yet I find the process of transcribing becoming an end in itself. What you are "discovering" is a musical idiom in practice, and that, of course, is what you are trying to play in the first place. I use the Transcribe! software-inexpensive and powerful. Nearly every player and teacher will tell you to transcribe, and I can see why. I have more on Barry Harris and 6th diminished chords/scales coming, but before that I wanted to write a bit more about transcriptions.
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