Barry Harris Method vs. Organic Fretboard Logic

What was the question?

Simon King asked about the relationship between improvisation, harmony, and the popular Barry Harris method. He also noted that the VLJG method feels very organic and wanted thoughts on comparing the two.
[12:29]

The core idea (in plain English)

There are only 12 notes in music. While different methods label things differently, the underlying sound is often the same. For example, the "diminished 6th" concept in the Barry Harris method produces sounds very similar to how Wes Montgomery🔗 used chord solos. If you cling too tightly to one complex method without understanding the 12 notes, you might get lost. However, if you understand one logical system deeply, you can see the truth in all other methods.
[15:17]

Fretboard breakdown (what to play)

  • The 12 Notes: Realize that every method is just a way to organize the same chromatic scale. [15:17]

  • The Wes Connection: Wes Montgomery was already using the sounds attributed to these methods (like diminished movement between chords) organically on the fretboard. [16:57]

  • Translation: Once you know your fretboard well, you will hear a "Barry Harris" explanation and realize it is a sound you might already know through a different visualization.

Common mistake to avoid

Avoid thinking that a new method will change your life instantly. Methods are tools, not magic. If you know one side of the music really well, the other sides become easy to understand. [16:57]

A 10-minute practice assignment

Take a simple chord progression you know. Instead of applying a new scale, try to fill the space between chords with diminished shapes, mimicking Wes Montgomery's block chord style. Listen to if it matches the "method" sounds you assume you are missing. [16:57]

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