Barry Greene Video Lessons

Haven't done a lesson on double time but it is a great idea!

The original harmony on the first bar was indeed a diminished chord (Bbo7). Because at this time, musicians were more comfortable playing II-V's, the progression was modified for improvising. Bbo7 is the same as A7b9. add the ii chord, E-7b5 and you have a minor ii-V!

I am aware of the rest stroke. Benson uses it as well as the gypsy guys. I have no background in that all though it's clear it works:)

This lesson covers that, although it's focus is doing this as way of harmonizing improvised solos on the spot.
https://barrygreenevideolessons.vhx.tv/videos/harmonizing-solo-s-topic-driven

Thanks! -barry

Thanks for the answers Barry.

I was wondering whether you have any content on motivic development, idea generation or how to make your solo more interesting?

Do you play differently when you are in a trio setting compared to playing with a keys player? In relation to how you think of your lines and adding comping bits in between

Also another lesson idea could be for what we could play in breaks such as at the end of A Night in Tunisia to launch into the solo. I always struggle to come up with something that has a bit of interest and energy to it.

This is a very good idea for a lesson but in the meantime let me say this. I always am hearing everything, regardless if its a one chord vamp or a complex tune like Moments Notice. You already have the right idea. If you're thinking about chord scale relationships while actually playing music, you will sound that way. For practice, of course, it should be gloves off and digging deep into harmonic possibilities, but if making music is your goal, all that needs to be forgotten about. You are right about the importance of your ear when playing any kind of music. Here are some examples of things that I did to help me.

1. Transcription. The most accelerated way to get your ear together. Don't write it down until you have it memorized.

2. Play tunes in different keys everyday. Unrehearsed, just pick a tune you know well and a random melody note. Play the rest of the melody by ear, and don't use the fingering you already have memorized.

3. Pick a tune from your memory that you don't play. Play it on your guitar. For an added challenge, put a metronome on so you feel the pressure of keeping good time.

4. And this from my Berklee days, play a melody to a tune on only 2 strings, this will force you to hear intervals and not rely on memorized fingerings.

Thanks for the request, I'm going to think about how to approach that in a lesson.
-barry

#4 is from the Mick Goodrick method. Did you study with Mick?

No, but I’ve been aware of some of those methods that he uses for quite a while :-). Hope you’re doing well Kurt
-barry

Hey barry

Thank you for your great and quick response. Much appreciated. I totally agree with your advice. Furthermore I really try to sing everything, to really ingraine everything in my minds ear. Basically the same thing your suggesting. I know. But in my perspective it deepens the understanding between you and the music you want to relate to. As Deana Derose says: " If you can sing it, you can play it". Thanks again.

Thanks you Jim!

Glad you liked it Jim, much more to come!

-barry

Thank you! I’ve had some requests for softly lately. I’ll get to that this week! -Barry

Thank you! I’ve had some requests for softly lately. I’ll get to that this week! -Barry

Yes, it's a beautiful tune. I have two more lessons that I am preparing to do, but this is a great request. Thanks Josh!

OK, I just realized that at 19:10 of the video lesson you do play through it so sorry for the false alarm. I'll have to listen to it a few times and keep practicing. Thank you!

Good one thanks

Yes, I would like that one also. :)