Barry HarrisThe method

Learn with Chris Parks · Volume V of XIII

5Arpeggios and pivots

Barry’s arpeggio, the three important arpeggios of a dominant, minor 7 as two triads, and the pivot.

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Map of this module what each idea builds on
Barry's arpeggio and it…The three important arp…The important minorA minor 7 is two triadsThe moving minor arpegg…PivotsChord up: Barry's 'chor…Think the dominant: put…Triads up and down the …
Ideas in this module 6
  1. 1Barry’s arpeggio and its inversions
  2. 2The three important arpeggios of a dominant
  3. 3The important minor
  4. 4A minor 7 is two triads
  5. 5The moving minor arpeggio
  6. 6Pivots

Idea 1 of 6

Barry’s arpeggio and its inversions

For Barry an arpeggio is a triad with its bottom note repeated on top (A C E A), not a strummed chord and not the four-note ‘chord’. It is inverted by starting on the third or the fifth with the same notes, so the bottom and top always match (C E A C, E A C E), and every arpeggio must be known up, down and backwards from all three. Inversions turn one arpeggio idea into many phrases and let you connect it smoothly to the next chord.

Practise it: Play each arpeggio and its two inversions up, then down, then from the top; then alternate up and down through a moving progression such as D minor 7, C sharp minor 7, C minor 7, F7.

D7
𝄞
CEGC
  1. C
  2. E
  3. G
  4. C
Line
𝄞
C4ACEA
  1. A
  2. C
  3. E
  4. A
D major
𝄞♯
C4DAC5DG♭
  1. D
  2. F#
  3. A
  4. D
Bb major
𝄞♭♭
C4C5DFB♭B♭
  1. B♭
  2. D
  3. F
  4. B♭

Builds onChord up: Barry’s ‘chord’Triads up and down the scale

Barry’s own pages6.4 Arpeggio inversions and permutations0.2 Barry’s vocabulary

More on this 17 moments where Chris teaches it

Also called Barry’s arpeggios and their inversions, Arpeggio (Barry’s meaning), Arpeggio inversions, Inverting the arpeggio, arpeggio, invert, triad with the bottom note on top, 1-3-5-1, 3-5-1-3, 5-1-3-5, arpeggio from the third, arpeggio from the fifth

Where Chris teaches it

  1. 5:29First 4 Bars of I Got Rhythm · Episode 20
    D minor arpeggio from the root, third and fifth.
  2. 7:32First 4 Bars of I Got Rhythm · Episode 20
    The same with the F major arpeggio from root, third and fifth.
  3. 0:03A very important arpeggio · Episode 52
    Definition: a triad with the bottom note repeated on top.
  4. 0:42A very important arpeggio · Episode 52
    C major arpeggio on the seventh of D7.
  5. 0:39Yet Another Very Important Arpeggio · Episode 53
    A minor arpeggio and its inversions.
  6. 5:13How to create major lines from scales · Episode 63
    G major arpeggio, inverted from the third and fifth, then down.
  7. 8:46How to create major lines from scales · Episode 63
    The major six (1, 3, 5, 6) and its inversions as phrases.
  8. 4:11Making lines with the tritone’s minor · Episode 66
    E flat minor arpeggios with E flat, G flat and B flat repeated on top in turn.
  9. 7:33All the Things You Are with Minor Arpeggios · Episode 67
    Barry doesn’t call a strummed chord an arpeggio.
  10. 0:39The Six-Note Scale Idea · Episode 78
    The six-note scale inverted from the third and fifth
  11. 0:38A Minor Arpeggio Ideas · Episode 84
    A minor arpeggio in its three inversions, up and down
  12. 9:01Do You Know Rhythm Changes? · Episode 101
    D minor and F major arpeggios from the third and fifth
  13. 0:48Triad, chord or arpeggio? · Episode 129
    A C E A: Barry’s arpeggio; other people call the four-note chord an arpeggio.
  14. 1:25Triad, chord or arpeggio? · Episode 129
    Inversions: C E A C, then E A C E.
  15. 2:00Triad, chord or arpeggio? · Episode 129
    C major arpeggio C E G C and its inversions.
  16. 0:39Three very important arpeggios · Episode 137
    D major arpeggio D F-sharp A D, then invert from F-sharp and from A.
  17. 6:17Don’t play chord tones on the beat · Episode 143
    B-flat major arpeggio B-flat D F B-flat and its inversions.

Idea 2 of 6

The three important arpeggios of a dominant

Every dominant has three important arpeggios: a major one on the root, a minor one on the fifth (the ‘important minor’) and a major one on the flat seventh, so D major, A minor and C major on D7. Every scale note except the sixth is in at least one of them, they hold the chord’s best sounds, and because the ii chord is the minor on the fifth they show why you can think only of the dominant. Over the tritone dominant you get three more, and ‘come down the important arpeggio’ was a common call in Barry’s class.

Practise it: Learn each one with its inversions in every position. Then, whenever a line lands on a scale note, choose which arpeggio it belongs to and go up or down that one.

D7
𝄞
CEGC
  1. C
  2. E
  3. G
  4. C
D7
𝄞
C4ACEA
  1. A
  2. C
  3. E
  4. A
Line
𝄞♭♭
C4C5DFB♭B♭
  1. B♭
  2. D
  3. F
  4. B♭
Line
𝄞♭
C4FCFA♭
  1. F
  2. A♭
  3. C
  4. F
Line
𝄞♭♭♭
C4CA♭E♭A♭
  1. A♭
  2. C
  3. E♭
  4. A♭

Builds onBarry’s arpeggio and its inversionsThink the dominant: put the ii away

Barry’s own pages6.1 Arpeggios on every degree; the three important arpeggios of a dominant scale6.4 Arpeggio inversions and permutations

More on this 35 moments where Chris teaches it

Also called The three important arpeggios, important arpeggios, arpeggios on the root, fifth and seventh, important arpeggios of a dominant

Where Chris teaches it

  1. 10:52Half-step rules on the dominant scale · Episode 5
    On F7: F major, C minor and E flat major arpeggios.
  2. 13:33Half-step rules on the dominant scale · Episode 5
    The seventh is both the third of the C minor and the root of the E flat major arpeggio.
  3. 2:30Movement: I Major to IV Minor · Episode 36
    The minor arpeggio on the fifth of Bb7 (F minor) used for the IV minor bar.
  4. 5:54Creating lines on a minor II-V · Episode 38
    Important arpeggios of a dominant: on the root, the fifth and the seventh; coming down the major one from the seventh of G7.
  5. 6:56Using the pivot to make lines on I Got Rhythm · Episode 42
    Line on D7 coming down the C major arpeggio from the seventh.
  6. 0:42A very important arpeggio · Episode 52
    D7: the arpeggio on the seventh is C major.
  7. 0:00Yet Another Very Important Arpeggio · Episode 53
    The arpeggio on the fifth of D7 is A minor.
  8. 1:58Don’t Think 2-5, Just Think 5 · Episode 57
    F7: F major on the root, E flat major on the seventh, C minor on the fifth.
  9. 5:42Don’t Think 2-5, Just Think 5 · Episode 57
    Its tritone B7: B major on the root, A major on the seventh, F sharp minor on the fifth.
  10. 4:26Playing with the family of dominants on All the Things You Are · Episode 59
    F7 thinking includes the important arpeggios on the root, fifth and flat seventh.
  11. 1:05Making lines with the tritone’s minor · Episode 66
    D7: D major, A minor, C major; its tritone A flat 7: A flat major, G flat major, E flat minor.
  12. 7:33All the Things You Are with Minor Arpeggios · Episode 67
    Summary: major on the root, major on the flat seventh, minor on the fifth.
  13. 10:04Don’t Learn Target Notes; Barry’s Beautiful Chromatic Scale · Episode 80
    F7: arpeggios on the root, fifth and seventh; the C minor on the fifth, played down from its fifth
  14. 0:00A Minor Arpeggio Ideas · Episode 84
    D7’s important arpeggio on the fifth is A minor
  15. 0:38A Minor Arpeggio Ideas · Episode 84
    Inversions: 1-3-5-1, 3-5-1-3, 5-1-3-5, up and down
  16. 1:21A Minor Arpeggio Ideas · Episode 84
    The others on D7: D major on the root, C major on the flat 7
  17. 7:05IV Minor (Just Friends) · Episode 88
    Eb7: the arpeggios on the root, the fifth (Bb minor) and the flat 7
  18. 1:49Don’t Be Bored of the Blues · Episode 91
    Bb7 into Eb7 with the arpeggios on the root, flat 7 (Ab major) and fifth (F minor)
  19. 3:58We Don’t Know D7 · Episode 97
    Coming down the important arpeggio on the flat 7 of D7, C major
  20. 2:34Do You Know Rhythm Changes? · Episode 101
    An arpeggio is the triad with the bottom note repeated on top: Bb, D, F, Bb
  21. 2:34What can I do from the 2nd? · Episode 113
    D7 has D major, A minor and C major; from E (the second) come down the A minor arpeggio, 5-3-1-5.
  22. 3:56What can I do from the 2nd? · Episode 113
    E is also the third of the C major arpeggio, so come down C major from it.
  23. 3:34You’ve never played this on a blues · Episode 124
    Coming down the D-flat major arpeggio, the important arpeggio on the root of D-flat 7.
  24. 1:52Three very important arpeggios · Episode 137
    On the fifth: A minor, A C E A, and its inversions.
  25. 2:25Three very important arpeggios · Episode 137
    On the flat seventh: C major, C E G C.
  26. 3:35Three very important arpeggios · Episode 137
    D up to the third, a half step from 3 to 2, stop on E, then down the A minor arpeggio.
  27. 6:24Three very important arpeggios · Episode 137
    Every D7 scale note is in one of the three arpeggios except the sixth, B.
  28. 9:48Three very important arpeggios · Episode 137
    The tritone A-flat 7 has its own three: A-flat major, E-flat minor and G-flat major.
  29. 5:01The difference between a chord and an arpeggio · Episode 152
    The first, on the root of Bb7: Bb D F Bb
  30. 5:35The difference between a chord and an arpeggio · Episode 152
    Inverting: third on bottom and top, then fifth on bottom and top
  31. 6:07The difference between a chord and an arpeggio · Episode 152
    The second, on the fifth: F minor (F Ab C) with F on top, and its inversions
  32. 6:42The difference between a chord and an arpeggio · Episode 152
    The third, on the flat seventh: Ab major (Ab C Eb Ab), and its inversions
  33. 3:06Barry’s secret to playing through changes · Episode 153
    Coming down the important arpeggio from the 2nd of Eb7
  34. 6:10Barry’s secret to soloing: puzzle pieces · Episode 156
    On D7: D major, A minor and C major arpeggios
  35. 4:59Scale outlines: the first step to improvising · Episode 163
    On F#7: the arpeggios on the root, the fifth and the flat seventh

Idea 3 of 6

The important minor

The minor arpeggio on the fifth of a dominant (A minor on D7, C minor on F7) is the ii chord already contained in the V. Decorated with half steps below, surrounding notes or the scale tone above, it gives a minor colour that fits the dominant naturally, and chains of important minors follow the cycle of fifths through a tune. Applied to a dominant’s tritone, the same idea gives the tritone’s minor.

Practise it: Find all the A minors on the instrument and hear them over A minor 7 to D7; then add a half step below one, two or all three notes, surround them, or start on the scale tone above, over each dominant of the rhythm bridge.

Builds onThe three important arpeggios of a dominant

Barry’s own pages6.1 Arpeggios on every degree; the three important arpeggios of a dominant scale9.7 The important minor and the tritone’s minor (minor 6 dim over a dominant)

More on this 17 moments where Chris teaches it

Also called The important minor (on the fifth of the dominant), minor arpeggio on the fifth, the minor on the fifth of the dominant

Where Chris teaches it

  1. 10:56Minor sixth diminished chords in drop 2 · Episode 12
    The fifth of E flat 7 is B flat, so B flat minor 6 serves E flat 7 (the tritone of A7).
  2. 6:03Comping for A Night in Tunisia · Episode 19
    A common E flat 7 guitar chord has a B flat minor 6 on top of its root.
  3. 5:35Soloing on Dominants · Episode 22
    On D7 the important minor is A minor; phrases on it over D7, G7, C7, F7.
  4. 2:30Movement: I Major to IV Minor · Episode 36
    The important minor arpeggio on the five of a dominant is minor (F minor on Bb7).
  5. 7:07Creating lines on a minor II-V · Episode 38
    D minor, the important minor on G7: three half steps to the tonic, then down a D minor arpeggio from the third.
  6. 6:20Creating lines from Bud Powell ideas · Episode 43
    Bud Powell’s half-step idea on C minor, the important minor of F7.
  7. 1:49Yet Another Very Important Arpeggio · Episode 53
    Half step below the first note of the A minor arpeggio, then from the third and the fifth.
  8. 3:04Yet Another Very Important Arpeggio · Episode 53
    Half steps below two of its notes.
  9. 5:55Yet Another Very Important Arpeggio · Episode 53
    Descend starting on the scale tone above each arpeggio note, with a half step in between.
  10. 7:46Yet Another Very Important Arpeggio · Episode 53
    First step: find all the A minors on your instrument and see them when thinking A minor to D7.
  11. 2:35Don’t Think 2-5, Just Think 5 · Episode 57
    On C minor to F7: start on 4, come down to 2 (also the fifth of C minor) and down a C minor arpeggio.
  12. 5:32Playing with the family of dominants on All the Things You Are · Episode 59
    C minor arpeggio from the fifth of F7 on the bridge of All the Things You Are.
  13. 11:25Making lines with the tritone’s minor · Episode 66
    D7’s important minor, A minor, run into E flat minor.
  14. 1:19All the Things You Are with Minor Arpeggios · Episode 67
    All the Things You Are: F minor, B flat minor, then E minor from E flat 7’s tritone A7.
  15. 4:57All the Things You Are with Minor Arpeggios · Episode 67
    A flat 7’s tritone D7 gives A minor; F minor, B flat minor, E minor, A minor.
  16. 5:40All the Things You Are with Minor Arpeggios · Episode 67
    The minors fall a fifth at a time: E minor to A minor brings you to D flat.
  17. 6:47The Tritone · Episode 77
    Coming down B flat minor, the important minor of E flat 7.

Idea 4 of 6

A minor 7 is two triads

Barry hears a minor 7 chord as two triads: its own minor and the major triad on its third, so D minor 7 holds D minor and F major. That doubles the arpeggios available on turnarounds and on runs of chromatic minor chords, and lets you link one chord’s minor arpeggio to the next chord’s major one.

Practise it: Over D minor 7, C sharp minor 7, C minor 7 to F7, play the D, C sharp and C minor arpeggios, then the F, E and E flat major ones; then go up one and down the next.

Builds onBarry’s arpeggio and its inversions

Barry’s own pages6.1 Arpeggios on every degree; the three important arpeggios of a dominant scale9.1 Sixth chords rule

More on this 10 moments where Chris teaches it

Also called A minor seventh is two triads, minor arpeggio plus major arpeggio, minor triad plus relative major triad

Where Chris teaches it

  1. 3:56First 4 Bars of I Got Rhythm · Episode 20
    D minor 7 as a D minor triad and an F major triad; the arpeggio chains that follow.
  2. 15:38First 4 Bars of I Got Rhythm · Episode 20
    Recap: D minor or F major, C sharp minor or E major, C minor or E flat major.
  3. 1:21Lines on the III, flat III, II Minor Turnaround · Episode 40
    B minor 7 is a B minor arpeggio and also a D major arpeggio.
  4. 1:57Lines on the III, flat III, II Minor Turnaround · Episode 40
    B minor with D major, B flat minor with D flat major, A minor with C major.
  5. 2:37Lines on the III, flat III, II Minor Turnaround · Episode 40
    Up one arpeggio, down the next, or all up or all down.
  6. 7:46Lines on the III, flat III, II Minor Turnaround · Episode 40
    Put one chord’s minor into the next chord’s major: up B minor, down a half step to D flat major for B flat minor.
  7. 9:09Lines on the III, flat III, II Minor Turnaround · Episode 40
    Summary of the pairs for the III, flat III and II chords.
  8. 6:01Creating lines on the movement from I to the flat III diminished · Episode 41
    The III chord is a B minor triad and a D major triad; run D major into G flat major.
  9. 8:04Middle of a blues: bars 5 to 8 · Episode 58
    E minor 7 is an E minor triad and a G major triad.
  10. 8:39Middle of a blues: bars 5 to 8 · Episode 58
    Over E minor, E flat minor, D minor Barry may think G major, G flat major, F major triads.

Idea 5 of 6

The moving minor arpeggio

Take the important minor arpeggio (A minor on D7) and move only its root down by half steps, A to G# to G to F#, the move everybody knows from 1 to major 7 to flat 7 to 6. The arpeggios become minor, augmented, major and minor-6-like. Barry plays one up, steps down a half step and plays the next one up, very fast, and does it from the third and fifth too.

Practise it: Slowly, from each degree (root, third, fifth), play the four arpeggios all up, all down, then alternating, over A minor to D7, and move it up in half steps.

D7
𝄞♯♯
C3AC4C5GC6A♭G♭
  1. A
  2. G#
  3. G
  4. F#

Builds onThe important minor

Barry’s own pages6.2 The augmented arpeggio and the diminished on the third of the dominant6.4 Arpeggio inversions and permutations

More on this 6 moments where Chris teaches it

Also called root down a half step: 1, maj 7, b7, 6, minor, augmented, major, minor 6 arpeggios

Where Chris teaches it

  1. 1:21A Minor Arpeggio Ideas · Episode 84
    The root of the A minor arpeggio moves down: A, G#, G, F#
  2. 2:37A Minor Arpeggio Ideas · Episode 84
    First one up, second one down, and other combinations
  3. 3:15A Minor Arpeggio Ideas · Episode 84
    From the third (3-5-1-3) and the fifth (5-1-3-5); only the tonic moves
  4. 4:31A Minor Arpeggio Ideas · Episode 84
    Barry’s version: minor, augmented, major and minor 6 arpeggios, each up, stepping down a half step
  5. 5:42A Minor Arpeggio Ideas · Episode 84
    Then down; practised over A minor to D7 and moved up in half steps
  6. 6:49A Minor Arpeggio Ideas · Episode 84
    Practise from each degree slowly; mixing directions gives a million phrases

Idea 6 of 6

Pivots

To pivot a four-note chord, play its first note where it is and the other three an octave lower, so the line turns around instead of running one way: on F7, F, then A, C, E flat below, which is also note, down a sixth, up a triad. Chris calls it a neat hack for changing where the scale tones fall and for keeping a line in position, and says you only know pivots when you can do one instantly from any degree called out, on the beat or on the ‘and’, on any scale, diminished chords included. Bird, Bud, Rollins, Hawkins and Lester Young all used it, and it takes a half step below or a nap back on any of its notes.

Practise it: Pivot the chord from every degree of the major, dominant and minor 6 diminished scales, then in random order (call out a degree), then on the ‘and’. Then trigger pivots inside lines, such as three or four scale notes into a pivot, and don’t keep using only your favourite one.

D7
𝄢♯
C3DACG♭
  1. D
  2. F#
  3. A
  4. C
Line
𝄞♯
C4GBC5DG♭
  1. G
  2. B
  3. D
  4. F#
Am6
𝄞♯
C3ACEG♭
  1. A
  2. C
  3. E
  4. F#
Line
𝄞♭
C4BC5DFA♭
  1. B
  2. D
  3. F
  4. A♭
C7
𝄞♭
C3C4DFAB♭
  1. B♭
  2. D
  3. F
  4. A
F7
𝄞♭
C3FACE♭
  1. F
  2. A
  3. C
  4. E♭

Builds onChord up: Barry’s ‘chord’

Barry’s own pages6.7 Pivoting

More on this 51 moments where Chris teaches it

Also called Pivoting, Pivot, pivot from the seventh, pivot a chord, pivot a triad, pivoting a chord, note, down a sixth, up a triad, octave displacement

Where Chris teaches it

  1. 4:06The bridge of Cherokee and tricky spots · Episode 11
    F#7 phrase: up from the 5th to the 2nd with two half steps, pivot a chord, then two notes of the tritone.
  2. 2:28Soloing on Dominants · Episode 22
    A chord up from the seventh of D7, pivoted: first note, then the next three an octave lower.
  3. 4:19Soloing on Dominants · Episode 22
    6 chromatically to 5, then pivot a chord from 5, with a triplet between 3 and 4.
  4. 11:41Half-Step Rules for Harmonic Minor · Episode 29
    A pivot inside a harmonic minor phrase starting off the beat.
  5. 7:50Playing the movement from major to relative minor · Episode 34
    A pivot used to get down to the third of A7 in Confirmation.
  6. 4:13Movement: Major to the Sixth Dominant · Episode 35
    The ‘3’ of 5-4-3-2 explained as pivoting the chord up from the third.
  7. 2:05Using the pivot to make lines on I Got Rhythm · Episode 42
    The problem: chords up the D7 scale on the top strings run out of position; sax players run out of range.
  8. 2:38Using the pivot to make lines on I Got Rhythm · Episode 42
    D7 chord from the tonic: keep D, play F sharp, A, C an octave lower.
  9. 3:52Using the pivot to make lines on I Got Rhythm · Episode 42
    The same from the next degrees of the scale.
  10. 4:27Using the pivot to make lines on I Got Rhythm · Episode 42
    From G (the fourth of D7): keep G, then B, D, F sharp an octave lower.
  11. 5:03Using the pivot to make lines on I Got Rhythm · Episode 42
    Pivots on all seven degrees of D7.
  12. 5:42Using the pivot to make lines on I Got Rhythm · Episode 42
    Lines on the bridge of I Got Rhythm using pivots, half steps and 16th triplets.
  13. 9:17Using the pivot to make lines on I Got Rhythm · Episode 42
    Aim at a target note, then pivot the chord from it.
  14. 10:23Using the pivot to make lines on I Got Rhythm · Episode 42
    Chris overuses the pivot from the seventh because it feels good; learn them all.
  15. 12:36Using the pivot to make lines on I Got Rhythm · Episode 42
    Pivot works on any scale: harmonic minor, major, sixth diminished.
  16. 3:38Playing the blues with Barry’s chromatic scale and pivots · Episode 48
    Pivot defined again and combined with Barry’s chromatic scale on a B flat blues.
  17. 3:28How to create lines from scales · Episode 60
    Chords up the D7 scale, then pivoted all the way up.
  18. 4:37How to create lines from scales · Episode 60
    Triads with a half step below combined with a pivoted chord.
  19. 1:07How to create major lines from scales · Episode 63
    The ‘3’ of 5-4-3-2 in G major is a pivot: a triad up from the fifth.
  20. 6:47The Tritone · Episode 77
    A pivot inside a tritone line.
  21. 3:24Don’t Learn Target Notes; Barry’s Beautiful Chromatic Scale · Episode 80
    Start on F, one half step, then pivot, over C minor to F7
  22. 6:03We Don’t Know D7 · Episode 97
    D7: hit the D, then F#, A, C an octave lower; from every degree
  23. 6:43We Don’t Know D7 · Episode 97
    Call out any degree of D7 and pivot from it at once
  24. 4:33Do You Know Rhythm Changes? · Episode 101
    A pivot at the flat 7 of F7, then down the scale to the third
  25. 6:10Pivots are pretty: the minor sixth diminished scale · Episode 105
    A minor 6: keep the A, play C, E, F# an octave lower
  26. 7:17Pivots are pretty: the minor sixth diminished scale · Episode 105
    B diminished pivot: B, then D, F, Ab an octave lower; then every chord of the scale
  27. 10:18Pivots are pretty: the minor sixth diminished scale · Episode 105
    Know pivots on major and dominant scales too; a hack to change placement
  28. 1:07Pivots with a twist: starting them on the ‘and’ · Episode 110
    G major: G, then B, D, F# down an octave; from every degree
  29. 2:14Pivots with a twist: starting them on the ‘and’ · Episode 110
    Chris always starts pivots on the beat; How High the Moon at 130
  30. 4:03Pivots with a twist: starting them on the ‘and’ · Episode 110
    The same pivot started on the ‘and’ of one, and from the third
  31. 5:09Pivots with a twist: starting them on the ‘and’ · Episode 110
    His habit: the pivot from the seventh on C7, moved onto the ‘and’
  32. 3:56What can I do from the 2nd? · Episode 113
    A pivot from the second of D7, on the beat and on the ‘and’.
  33. 1:43Master-level phrasing: a pivot, then a surround · Episode 126
    C7 from the flat seventh: B-flat D F A up, or the pivot with D F A an octave lower.
  34. 0:35Something old is new again: fresh ways to pivot · Episode 132
    On D7: chord up D F-sharp A C; pivot keeps D and plays F-sharp A C an octave lower.
  35. 1:42Something old is new again: fresh ways to pivot · Episode 132
    He once thought pivots starting on the ‘and’ were wrong; they are beautiful.
  36. 2:51Something old is new again: fresh ways to pivot · Episode 132
    A pivot is also: note, down a sixth, up a triad.
  37. 5:05Something old is new again: fresh ways to pivot · Episode 132
    Jeffrey’s idea: a half step below the second or the third note of the triad.
  38. 6:17Something old is new again: fresh ways to pivot · Episode 132
    Combinations: below the first and third, or all of them.
  39. 7:48Three very important arpeggios · Episode 137
    He overuses the pivot from the seventh, so he adds half steps below to freshen it.
  40. 7:28Don’t play chord tones on the beat · Episode 143
    For 20 years he played pivots only on the beat; on the ‘and’ they are great.
  41. 10:22Barry’s secret to playing through changes · Episode 153
    From the 3rd of E7, pivot a chord
  42. 4:26Barry’s secret to soloing: puzzle pieces · Episode 156
    The pivot on D7: D, then F# A C an octave below
  43. 0:00Pivots, pivots and more pivots · Episode 161
    Barry’s ‘pivot’ is what others call octave displacement; all the masters use it
  44. 1:40Pivots, pivots and more pivots · Episode 161
    F A C Eb: hit the F where it is, then A C Eb down an octave
  45. 2:14Pivots, pivots and more pivots · Episode 161
    Another way to see it (from Lee): down a sixth, then up a triad
  46. 2:47Pivots, pivots and more pivots · Episode 161
    Barry’s practice: chord up, then pivot, from F, Eb, D and so on down
  47. 3:52Pivots, pivots and more pivots · Episode 161
    Chris long thought pivots were always on the beat; they start on the ‘and’ too
  48. 6:11Pivots, pivots and more pivots · Episode 161
    Four notes up into a pivot on the ‘and’, then down a scale note
  49. 7:17Pivots, pivots and more pivots · Episode 161
    Luis or Dom’s sequence: pivot, down a scale note, pivot, all the way down
  50. 8:25Pivots, pivots and more pivots · Episode 161
    Two or three pivots in a row, then half-step rules
  51. 10:26Scale outlines: the first step to improvising · Episode 163
    ‘A habitual pivot person, especially from the flat 7’