Volume II · LinesStage 7 of 15
7
Building lines and phrases over changes
Thinking in scales and phrases, building phrases from small pieces, connecting chords.
- 7.1 Think in scales and phrases, not chords Barry held that knowing chords at the piano does not teach you to improvise. Chords come from scales, so a soloist thinks in scales, and in phrases and movements that carry a line from one key to the next, rather than spelling out each chord.
- 7.2 Building phrases from small pieces (class phrases) Barry built class phrases from small named pieces (a run with its half step, a chord on some degree, a triad, a numbered phrase) and had the class play them back in time. The phrases were examples; the lesson was how to put pieces together.
- 7.3 Getting through changes Which chord to run, landing on the third, turnbacks, IV to I When chords pass quickly you choose which to run and where to land, usually on the third of the next chord. Barry also wanted stock movements in your hands: IV back to I through IV minor, and turnbacks to the top of the form.
- 7.4 Seeing the phrase before you play it; feeling the shape of the melody Use the rests: imagine you are making up the next phrase and try to see at least its beginning before you play it, so the mind leads the hands. Barry also wanted players to know the tunes and melodies well enough to play melodically.
- 7.5 Rhythmic placement Starting phrases in different beats and bars Where a phrase starts changes what it says. Barry moved phrases onto other beats, ‘ands’ and bars, preferred entries off the beat, and drilled starting points so a line would fit the form and still land right.