Thanks for these videos! I like to start a phrase by syncopating the first note. For example - play the first note on the AND of 4 then add a rest on 1 and continue the phrase from the AND of 1 as if the phrase began on the 1 (hope that makes sense!).
Great stuff. Here’s a lesson idea: on bridge in rhythm changes, use the half step ideas while also incorporating minor 6th dim 3rds, 6ths, and contrary motion.
Thank you for these lessons. I find that the sounds that I am attracted to in bebop are mostly these step rules and leaps of say a 6th and a triad up or something. I am not really sure where to go for that language other than transcribing, which is what I am doing, but your videos are sooo helpful thank you.
Chris, somebody has to say it. You call these lines pretty and beautiful - but dude - a lot of that is your wonderful articulation and phrasing. For me, all the little things you throw in that aren't the "rule" are the ones that have me going WOW.
thank you Sir for your great lessons. I may ask if you can make a video talking about diminished major 7 chords (like the one at the beginning of stella by starlight as Barry says).
Just joined your program! Blessings. My teacher told me to play two octaves. I saw on video 1 how to play one octave, but how does barry say two do two octaves up,and also two octaves up and down? Thanks so much for sharing all this.
Thank you so much for expanding on Barry's half step rules. The potential to create awesome lines are endless! Do these extended half step rules also apply to Harmonic Minor?
Does the chromatic scale and half step rules apply to natural , melodic and harmonic minor , i get a bit confused with using them on the minor scale of chords . I noticed u used chromatic scale and dom half step rules over harmonic minor , bit major half step rules same with melodic minor ? Bit confused 🤯
Yes. It would seem the underlying theory on these runs is chord tones on the beat for non-chromatic passages, and scale tones on the beat for chromatic passages. It should be possible to make it more of a feel and hear thing than a memorized-rule thing.
what are these things that you are resolving to from these D7 examples G or tritone then G or something? What if you start with a half step before the triad then which rule would be good?
Question not nescessarily about this video. In regards to using Barry's chromatic rule over Maj 7 and Dom7 chords. If the 4th is landing on the strong beat, how do you get around that, or don't worry about it? Like, you wouldn't play the 4th on beat one of the chord for example. Just asking because if you adjust for the 4th, you loose the flow of the original chromatic idea.
The short answer is none of the rules as demonstrated end with the 4th degree on beat 1 of the second measure. Map them out. For example, in a rule of 0, starting on the 2, 4, 6 end nine eighth notes later on the 1,3, 5. In the rule of 1, you end on the same note you started on, which will not be a 4..
Intellectually brilliant, undeniably a higher intelligence created this approach, but too many 'Rules'.A brilliant mind has been able to analyse itself, and then present it in a pedagogical way. Acolytes will be eternal students, and never truly free to express themselves....
Hmmm .... Charlie Parker said “learn the changes and then forget them” and Mark Levine followed up with “you gotta learn jazz theory to get beyond theory”. You’re free to express yourself when you first learn the rules unless perhaps you were born a musical genius. Thank goodness Barry Harris provided us with some fairly easy-to get-started entry routes into bebop with his ‘rules’.
@@CHYPCAR Cheers for the thoughts, yeah it's a chicken/egg situation I guess. I'm not knocking the system, it's so clever, I've been enjoying this series and trying to absorb some of the concepts myself. However, sometimes an approach or philosophy needs to be tested with a direct and potentially challenging statement or 2 though I feel.
Finally makes sense . TY
ty for sharing,im actually checking all lessons from EP 1 to this one!!!
Every single video is inspiring!
For sure!
Thank you for these vids man!
Awesome as always! Thanks 🙏 so so much! Barry rules! 🙂
Excellent, thanks Chris!
Another great video!
Thanks for these videos!
I like to start a phrase by syncopating the first note. For example - play the first note on the AND of 4 then add a rest on 1 and continue the phrase from the AND of 1 as if the phrase began on the 1 (hope that makes sense!).
now thats awesome! easy to conceptualize and gets rid of the starting on the downbeat sound that I have been working with loll thanks
Muy inspirador
Great stuff. Here’s a lesson idea: on bridge in rhythm changes, use the half step ideas while also incorporating minor 6th dim 3rds, 6ths, and contrary motion.
Interesting, thanks
Thank you for these lessons. I find that the sounds that I am attracted to in bebop are mostly these step rules and leaps of say a 6th and a triad up or something. I am not really sure where to go for that language other than transcribing, which is what I am doing, but your videos are sooo helpful thank you.
Absolutely silver bullets to slay the jazz beast 😂.....
Another greater lesson Chris!
I'll be getting back with you asap to set up our lesson time.
Btw, can you do a video for Blue Bossa?
Chris, somebody has to say it. You call these lines pretty and beautiful - but dude - a lot of that is your wonderful articulation and phrasing. For me, all the little things you throw in that aren't the "rule" are the ones that have me going WOW.
I know right it's his resolving melodic ideas that are so colorful yet simple melodies like those classic phrases from the jazz pioneers...
You right and i wanna learn it.
Beleza cara!
thank you Sir for your great lessons. I may ask if you can make a video talking about diminished major 7 chords (like the one at the beginning of stella by starlight as Barry says).
Loving these lessons I have the same bird poster on my wall. Can you spot the misprint? Hard to unsee it after spotted. Again thanks 🙏
Just joined your program! Blessings. My teacher told me to play two octaves. I saw on video 1 how to play one octave, but how does barry say two do two octaves up,and also two octaves up and down? Thanks so much for sharing all this.
What picks are you using?
Anyone know if Chris covered anything about half step rules in those other scales like melodic minor or the like?
Please..write downyour examples..rules..etc
What model guitar is that I can’t find I
Thank you so much for expanding on Barry's half step rules. The potential to create awesome lines are endless! Do these extended half step rules also apply to Harmonic Minor?
Chris actually did a video on the harmonic minor early on.
I agreed though, the Harmonic Minor should get some more attention.
@@JoePariseauMusic I believe it was ep29.
I would assume the principal of the altered five (7#5, 7b5, 7b9, #9, #11, and b13) of 1 minor should hold true to resolve into 1 minor...
Does the chromatic scale and half step rules apply to natural , melodic and harmonic minor , i get a bit confused with using them on the minor scale of chords . I noticed u used chromatic scale and dom half step rules over harmonic minor , bit major half step rules same with melodic minor ? Bit confused 🤯
whats the main reason these half step rules are not taught for ascending line ? is that right or is there a lesson on that ? kind regards
I second this question
so in short it's the rule for whatever note lands on beat?
Yes. It would seem the underlying theory on these runs is chord tones on the beat for non-chromatic passages, and scale tones on the beat for chromatic passages. It should be possible to make it more of a feel and hear thing than a memorized-rule thing.
what are these things that you are resolving to from these D7 examples G or tritone then G or something? What if you start with a half step before the triad then which rule would be good?
I would imagine half step before triad would be rule like the chord.
Question not nescessarily about this video. In regards to using Barry's chromatic rule over Maj 7 and Dom7 chords. If the 4th is landing on the strong beat, how do you get around that, or don't worry about it? Like, you wouldn't play the 4th on beat one of the chord for example. Just asking because if you adjust for the 4th, you loose the flow of the original chromatic idea.
The short answer is none of the rules as demonstrated end with the 4th degree on beat 1 of the second measure. Map them out. For example, in a rule of 0, starting on the 2, 4, 6 end nine eighth notes later on the 1,3, 5. In the rule of 1, you end on the same note you started on, which will not be a 4..
Honestly?! This is KILLER info, but you’re blowing by it, WAY too quickly.
Intellectually brilliant, undeniably a higher intelligence created this approach, but too many 'Rules'.A brilliant mind has been able to analyse itself, and then present it in a pedagogical way. Acolytes will be eternal students, and never truly free to express themselves....
Hmmm .... Charlie Parker said “learn the changes and then forget them” and Mark Levine followed up with “you gotta learn jazz theory to get beyond theory”.
You’re free to express yourself when you first learn the rules unless perhaps you were born a musical genius.
Thank goodness Barry Harris provided us with some fairly easy-to get-started entry routes into bebop with his ‘rules’.
@@CHYPCAR Cheers for the thoughts, yeah it's a chicken/egg situation I guess. I'm not knocking the system, it's so clever, I've been enjoying this series and trying to absorb some of the concepts myself. However, sometimes an approach or philosophy needs to be tested with a direct and potentially challenging statement or 2 though I feel.
@@LeighGhostTao I saw Barry say in a video “first learn the rules and then you can break them” (paraphrased)