Barry Greene Video Lessons

You Stepped Out of a Dream may be a good lesson. :)

A Night in Tunisia has always given me a hard time, so I'd love to see a lesson on that.

Do Nothing Till You Hear From Me. I struggle with lines transitioning to the B part. I don't even know what to call it. Have you ever done a lesson on it? Suggestions?

TOPIC idea: Can you do a topic lesson on ways to more easily handle the different Dominant Cycles that are moving at both 1 and 2 chords per measure. Specifically, "half-step down" (as in "Remember" the way Hank Mobley does it), and whole step down. I know you what to play over them, but linking them together in a bebop musical fashion without it sounding like an exercise is what I'd love a lesson on.

WHAT ABOUT:
-LUCKY SOUTHERN
-SPAIN
-ANY Bb BLUES TUNE LIKE TENOR MADNESS, ETC
-MOANIN

OH TWO MORE BARRY,
-DO YOU HAVE A NAME? PAT MARTINO LIVE VERSION STYLE- A MUST LISTEN FOR ANYBODY !
- C'EST CIE BON

I have a suggestion that I think many viewers would welcome dearly. 5 position study part two. How to take your five position study to the next level. It can be about connecting positions, how to create movement, subs, how to modify the voicings etc. I think that would be great.

Hi Arntzn,

I totally agree with Barry on all this. I will also add that, As jazz students, all of us get caught up in pursuits that take us away from the most important focus, which is learning the language by transcribing and from existing transcriptions. Barry has countless tunes with PDFs of 20 pages or so of transcribed single line solos and chordal stuff including comping examples. He also has Great studies on major and minor 2-5-1s available to steal!! It's all there to make your own and get into your vocabulary!
It may be a good idea for us as students to use the same format as Barry's five position study and learn how to apply that to other tunes ourselves. We can experiment and explore modifying voicings and the other items you mentioned on our own.........

I know I am being very opinionated here and I don't want you to get the wrong impression....... I'm just an average player from Chicago.

Don't get me wrong I think everyone of your ideas and suggestions are good things to do........ Maybe we should be doing those ourselves as opposed to a Barry doing them for us....... ?

Just my $.02 on all of this. Bob B

You're all right. I know there's more than enough stuff on there. I guess that's why I like the lesson on TWNBAY so much with the five positions. It's a super efficient study everything all consolidated into one lesson throughout all the areas with gaps or overlap. Just continue doing what you Barry, I've love every one of your lessons. :)

A good way to practice connecting the forms horizontally is to do it one string at a time. Start with the High E string and play through changes whenever you are on the high E string, move forward or backward to the next/previous form. Repeat with all of the other strings. The same goes with scales and arpeggios. Once you can see the next form on each string, you will have the freedom to shift in and out of them. You will also find "comfort zones" where some strings are easier to shift on in certain lines/scales than others. If you practice the PDF's you can decode where Barry shifts from one form to another, but honestly I fined myself learning a line and then applying a fingering that I find more comfortable. I may stay more in one position, or shift where the PDF stays in a single form. I use the PDF's more for melodic ideas than a strict framework on how to finger a phrase.

It's very important to get the "pictures" of chord scales down by position. This will allow you to transcribe a solo that you know the changes to and then be able to analyze what the artist is doing based on the pictures you have internalized.

Another good thing to do is transpose. If you like the Autumn Leaves or TWNBAY 5 position study, transpose them to different keys. You will find that if you always play them in the same key, you tend to gravitate to playing in the two or three positions in the middle of the fretboard and you don't get a lot of work on the form(s) that is up in the 10th - 14th fret range. If you transpose you can get those forms down in the 3rd-9th fret range and they become more accessible. This is especially true with chord study. Voicings get difficult around the 12th fret.

What about using the Major blues scale over standards and jazzblues

Witchcraft
Segment (Charlie Parker)
Lullaby Of The Leaves
Yesterdays
Scrapple From The Apple
Coltrane's modal version of My Favorite Things

I hope to learn those tunes with your videos Barry. Thanks a lot.

N.

Hi Barry! Is it possible to do a lesson on a Chic Corea Tune? If you can do Armando's Rhumba that'll be great! Thanks for the lessons!
-Jun

Love your latest "But Beautiful" !! I've mentioned this early on in your lessons, but now after hearing this, I have to ask again. Maybe this is a "Stepping Stone" request or maybe it is for one of the other categories: How to transition for pick to finger-style. You play with your fingers so effortlessly. I know one option is for me to simply "go for it" and practice playing all the tunes and lines with my fingers in the obvious ways that come to me. But, I figured maybe you have run into this with other students and maybe you've come up with ways to speed up the process so I still have time to practice all the other stuff you teach.

I would love to see something with the “Sunny” changes. I feel like this is a unique set of changes (though they do move pretty quickly at times) - which you see repeated in a lot of tunes from the 60’s on.

Obviously you hear them in Sunny... some other examples:

- Red Clay by Freddie Hubbard in the solo section. Herbie Hancock’s solo in this tune is killer. In fact, HH on any of those CTI albums (incl. George Benson’s Other Side Of Abbey Road) has great solos.

- Road Song seems to have a form of the changes as the turnaround in the A section of the tune.

- For more contemporary versions, Soulive’s “Steppin’” uses them during the outro section & there’s actually a Janet Jackson tune from the 90’s that uses them too.