As soon as I saw the notification, I dropped everything to watch this video. I'm learning so much from you and it's very inspiring. I'm finally starting to realize how to use concepts to improvise as oppose to learning licks. I'm definitely going to watch this many times to mentally grasp everything. But I now know how to approach creating my own lines.
Really interesting piece of "reverse engineering" where we usually see a dominant having a relative minor on its V we now look at the relative minor suggesting its major by inference... nice and so much work I'll never get to a lesson.
Thank you so much for your efforts! These videos have been a real treasure as I navigate the teachings of Barry. Question: Did Barry ever have his classes work on jazz waltz? If so, I would love to see one of your videos on the topic. Cheers!
Thanks for the kind words. I dont remember ever working on a waltz at one of Barry's classes. He did write a beautiful waltz called To Duke with Love. Its really beautiful.
Hey Chris, Many jazz teachers advise transcribing as an efective tool for learning. Yet lots of students find that "nothing sticks". What is your take on this ? Did you transcribe much ? It is fun to transcribe Barry's solos but a lot of work to memorize and bring up to speed etc, that is if nothing will stick.
I transcribed some things like Bird and Bud Powell solos but I don't have the greatest memory. The thing that was more beneficial to me was analyzing 4 or 8 bars and then really learning a beautiful musical idea from it. I talk about this exact topic in the linked episode. czcams.com/video/McK-cKpHAYs/video.html
Could you recommend an order to learn all of these ideas (half steps rules, 5432, chromatic scale, etc.)? Should I follow the order you showed them in? Thanks so much for these videos, they are really helpful.
i get tripped out by stuff like how Bb7 is part of the dom family that Cmaj comes from (bdiminished) and that that sound can be b7 to 1, 4- to 1 or 2-7b5 to 1 depending on what the bass player says
Hi Chris Thanks for all the videos. Really transforming my playing. I ran into a snag regarding backdoor dominants. The usual half step rules don't seem to work out mathmatically. My conclusion is that the rules may be reversed in this situation. For example Eb7 #11 to F: If you start on 1 ( Eb) and descend through the scale, you don't add a note. However, If you start on the 2 (F), you would add a half step (E) if you want to land on the F (an octave below) after 4 beats. Does Barry have a rule for this? Are thing actually reversed as I am thinking? Thanks for your input.
In order to practice and play this phrasing properly, seems utterly important to know your scales and arpeggios perfectly. Am I wrong? Do you visualize the shapes or the notes?
I know the shapes, but I am making a big effort knowing the notes at the spot, visualizing scales in my mind. Dividing scales in tetrachords is helping me a lot. I remember George Van Eps saying that he got very angry when someone dismissed the knowing of scales. Why do you think people is so reactive about this? @@thingsivelearnedfrombarryh2616
@@sergiojaenlara2091 People have different ways of processing the same information. I find that if you start learning the shapes you eventually realize you need to know the notes as well.
@@thingsivelearnedfrombarryh2616 that is ok. I just wanted to know what was your own opinion about it. Also it sounds amazing the fact that he doesnt "believe" in modes. Believe is a very strong word. Amazing videos by the way. Thank you!
@@salassandoval It's actually not amazing considering his age and who he played with and learned from. Bird, Dizzy, Monk, Coleman Hawkins, Bud Powell etc...didn't think of music in terms of modes. Glad you're enjoying the videos brother. I feel these videos are the least I can do considering how lucky I've been to be around Barry .
This video is great in showing how to create ideas, the continual exploration on ideas, phrases, musical sentences. Thanks Chris!
The iv is such a beautiful chord in a major key. Thanks for sharing.
The missing part that nobody talked bout which is how to creat yr own music
and come up with ideas 💡 thank you for sharing knowledge 🙏
As soon as I saw the notification, I dropped everything to watch this video. I'm learning so much from you and it's very inspiring. I'm finally starting to realize how to use concepts to improvise as oppose to learning licks. I'm definitely going to watch this many times to mentally grasp everything. But I now know how to approach creating my own lines.
Glad you're enjoying these James. More to come
Really interesting piece of "reverse engineering" where we usually see a dominant having a relative minor on its V we now look at the relative minor suggesting its major by inference... nice and so much work I'll never get to a lesson.
FREEDOM! thank for your lessons
Freedom is what the goal is. Barry is Free. I'm hoping to get there in the next 50 years.
Excellent!!
Thank you so much for your efforts! These videos have been a real treasure as I navigate the teachings of Barry. Question: Did Barry ever have his classes work on jazz waltz? If so, I would love to see one of your videos on the topic. Cheers!
Thanks for the kind words.
I dont remember ever working on a waltz at one of Barry's classes. He did write a beautiful waltz called To Duke with Love. Its really beautiful.
Things I've Learned From Barry Harris thanks for the heads up!
Hey Chris,
Many jazz teachers advise transcribing as an efective tool for learning. Yet lots of students find that "nothing sticks". What is your take on this ? Did you transcribe much ? It is fun to transcribe Barry's solos but a lot of work to memorize and bring up to speed etc, that is if nothing will stick.
I transcribed some things like Bird and Bud Powell solos but I don't have the greatest memory. The thing that was more beneficial to me was analyzing 4 or 8 bars and then really learning a beautiful musical idea from it. I talk about this exact topic in the linked episode.
czcams.com/video/McK-cKpHAYs/video.html
You know this kind of tune if people don’t know yardbird suit .They can,t understand what you doing. Play with chord track will be nice!
Could you recommend an order to learn all of these ideas (half steps rules, 5432, chromatic scale, etc.)? Should I follow the order you showed them in? Thanks so much for these videos, they are really helpful.
Thanks Cameron.
I don't think the order is important, just tackle each one at your own pace until it's in your hands.
i get tripped out by stuff like how Bb7 is part of the dom family that Cmaj comes from (bdiminished) and that that sound can be b7 to 1, 4- to 1 or 2-7b5 to 1 depending on what the bass player says
Hi Chris
Thanks for all the videos. Really transforming my playing.
I ran into a snag regarding backdoor dominants. The usual half step rules don't seem to work out mathmatically. My conclusion is that the rules may be reversed in this situation. For example Eb7 #11 to F: If you start on 1 ( Eb) and descend through the scale, you don't add a note. However, If you start on the 2 (F), you would add a half step (E) if you want to land on the F (an octave below) after 4 beats. Does Barry have a rule for this? Are thing actually reversed as I am thinking? Thanks for your input.
In order to practice and play this phrasing properly, seems utterly important to know your scales and arpeggios perfectly. Am I wrong?
Do you visualize the shapes or the notes?
True. I visualize the shapes but i also know the notes. Whichever works better for you.
I know the shapes, but I am making a big effort knowing the notes at the spot, visualizing scales in my mind. Dividing scales in tetrachords is helping me a lot. I remember George Van Eps saying that he got very angry when someone dismissed the knowing of scales. Why do you think people is so reactive about this?
@@thingsivelearnedfrombarryh2616
@@sergiojaenlara2091 People have different ways of processing the same information. I find that if you start learning the shapes you eventually realize you need to know the notes as well.
I see it as a IV from C minor.... So a modal interchange. So C major to C minor. What do you think about that? Thanks mate!
That's ok I guess. I'm just pointing out how Barry teaches it. Barry doesn't believe in modes.
@@thingsivelearnedfrombarryh2616 that is ok. I just wanted to know what was your own opinion about it. Also it sounds amazing the fact that he doesnt "believe" in modes. Believe is a very strong word. Amazing videos by the way. Thank you!
@@salassandoval It's actually not amazing considering his age and who he played with and learned from. Bird, Dizzy, Monk, Coleman Hawkins, Bud Powell etc...didn't think of music in terms of modes.
Glad you're enjoying the videos brother.
I feel these videos are the least I can do considering how lucky I've been to be around Barry .
I'm available for skype lessons. Email me at chrisparksjazz22@gmail.com