TILF Barry Harris EP 51 What is the name of this Chord?
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- čas přidán 27. 08. 2024
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This is the Fifty First in several episodes discussing the things i've learned from Barry Harris I started studying with Barry in 1993 and still learn from his teaching every day. I hope I can use this channel to help other musicians who are interested in Jazz but find it a little too cerebral. I think Barry's method, while being cerebral, is also direct and most important beautiful. Please Subscribe and feel free to comment below on how I can improve this channel I'm available for skype lessons if you prefer. Email me at chrisparksjazz22@gmail.com
The G6 with two borrowed notes at 11:18 is so cool. I stumbled upon that chord when I was working on a rendition of “But Beautiful”.
Barry’s method and Chris’ teaching has totally reignited my passion for music and given me so many new ideas to work on. Thank you Chris, let’s do some more lessons soon.
Barry is the one.
I am finally good enough to appreciate your channel. TY so much .
Very interesting, thank you for sharing.
Thank you Mikko. You have a great channel. Thank you also for sharing.
Those chords with borrowed notes are so difficult to label because they are contrapunctual and not harmonic. I think we must look at the borrowed notes as appoggiaturas or unprepared suspensions (they usually resolve stepwise). Then, as in counterpoint, we can find the real underlining harmony knowing where those notes must resolve. Anyway, I really love your channel!!!
For those of you new to these concepts, or needing to brush up on what you already know, get a 1:1 lesson with Chris! I did and it’s immensely helpful to unlock new secrets.
Hi Chris, I've watched and learned from many of your videos but for 2020 my goal is to go back through all of them and really nail down the concepts I've previously skipped or glossed over. Thanks for continuing to provide this valuable and inspiring info!
Glad you're enjoying these John. Barry's method has brought me so much pleasure. Glad to share it. Email me if you're interested in a Skype lesson if you get stuck at any point.
Suddenly I realize why these brilliant musicians are so forward looking. They see an inexhaustible number of possibilities with the 4 scales, and would rather explore the unknown.
Barry is still doing that very thing at 90. Just imagine that.
9:30 absolute gold 😄👌
man, your videos are blowing my mind .thank you so much for sharing your learnings on barrys conceptions.
greetings from brazil
Chris, what can I say? This is a brilliant and simple way to approach chromatic harmony. What a gift from Barry! Yes, it sounds beautiful. Thanks for another excellent presentation.
Thanks Michael. I've spent the last 27 years trying to work on these gifts that Barry has given to all of us. It's a work in progress.
Love your videos, love hearing you play that thing. Thanks again
Thanks Dylan.
7:20 Nice demonstration of how the IVm chord fits into Barry's system!
Thanks Azomyte
It’s been said before, but that’s a pretty guitar
You constantly hit concepts of Barry's that spark my curiosity. Admittedly, this concept is a great area of opportunity for me, but I understand it much better after watching your video. Many thanks, Chris!
Happy New Year James.
@@thingsivelearnedfrombarryh2616 Happy New Year Chris.
This is great content, by far the best video on chords I've ever seen on yt
Thanks Konrad. Barry's method is really special.
Thank you Chris, it is so deep! Happy holidays!
Yeah man it is. By the way, Sheila sang Anthropology for Barry on his birthday. I saw it on a livestream. I think it's on CZcams. Awesome.
@@thingsivelearnedfrombarryh2616 I saw that, she did sing it here in Munich too at the premiere of the Blue Note movie, acapella no less...did you get to hear Barry's radio shows from the 70ies? freshairarchive.org/search?keyword=barry%20harris
👍👍I definitely hear the beautiful contrary motion, which I know is certainly not always an easy endeavor on the guitar, keep up the great work!
Yes, buddy, once we accept the functional harmonic theory based on 12 tones it’s clear that BOTH chord tones AND diminished tones are alterable through borrowing! Although I get quite a few arguments over that. Merry Christmas to you and family. I know I’m well overdue for a lesson but you do give us a lot of work to do...hehe!
Thanks David. Let's set up a lesson soon.
If a Cm is a G6 with borrowed notes, then a G6 is a Cm with borrowed notes.
thank you sooo much!
The chord after that is interesting (9:52) although it's not really a chord. The chord symbol would just read C/G and the progression sounds like a subdominant resolving to a tonic (subdominant to tonic can be recognized by a lead tone for the 3rd of the tonic but no lead tone for the root).
The D# present in the chord is a lead tone for the 3rd of the subdominant itself but is just sounding at the same time as the resolution (the "E"). That happens in four part classical harmony a lot when moving voices 'clash' in that way.
There's no point in stopping the music at a clash and trying to find a chord name for a cluster which will resolve. It's C/G (or IV6/4) with one voice still playing a lead tone of a previous chord.
Man that sure sounds like a lot. I'm not musically trained at all except for my studies with Barry.
Your explanations all seem much more complicated. I think calling it G6th diminished scale and knowing that every one of these chords comes from that scale gives you endless possibilities. I'm not sure if I would have gotten to that point with any other musical concept.
@@thingsivelearnedfrombarryh2616 I'm sure you could have. Let me say it in a simpler way:
- you can use any dominant and/or subdominant at any time as long as you resolve at some point to a tonic.
- You can make any chord a tonic
- you can keep notes from previous chords (retardation) or anticipate notes from upcoming chords (anticipation) and create any cluster you want as long as you resolve!
@@ChristiaanvanHemert Is that really simpler than saying it's a G6th diminished ? I'm not sure about that.
@@thingsivelearnedfrombarryh2616 Good point! Maybe it's simpler but not more practical. I would call the 6th dim scale a heuristic: a shortcut to something more complex.
I think it's good to realize though that my three rules open up to many more interesting sounds way beyond just borrowing from neighboring dim chords. If you're at all interested in that, just listen to Petrushka or the Rite of Spring by Stravinsky or anything by Resphigi.
Herbie Hancock and Wayne Shorter have used retardation harmony in many of their tunes as well. Now of course there's people like Maria Schneider, Vince Mendoza and Jacob Collier who really push the boundaries of building tension with pedal points, counterpoint and clusters while still being completely (or mostly) harmonically tonal.
Not saying anything negative about Barry's system btw. It inspires many people and that's good. It's just that I get the feeling sometimes that people who are really into that (and correct me if I'm wrong) stop exploring other options and systems. There's a whole world of harmony beyond just this one thing and it's great to explore lots of it if theory is your thing!
@@ChristiaanvanHemert I don't know. I think it's both simpler and more practical. For me, learning a method takes a lot of trial and error time. Until I feel confident that I really have a handle on it, it's hard to look elsewhere. Barry has been using his method his whole life and still finds new things in it. There are many ways to look at theory true, but Barry's is the most precise and applicable for me.
I'm just curious, what would you think about a painter who could discuss painting in great detail? The usage of light? What canvas to use? Which colors work best? But, when you saw their work, it wasn't good at all.
This is how I feel about people who talk about theory. What good is it unless they can actually play? Barry's method is only worth talking about because his playing is filled with beautiful chord after beautiful chord and beautiful line after beautiful line. His playing is proof of his method.
Also, If I might, you talk about "a whole world of harmony beyond just this one thing." If you consider Barry's 4 scales of chords just one thing, you should probably look into it a little further. I'm not sure how you can minimize without really understanding it but more important, being able to use it.
Very sorry for the many comments but I feel I need to clarify my comment to you on my channel about having no interest in theory.
I come from classical music, both playing and orchestration and arranging. I have studied classical music theory and orchestration for years and worked for a long time in that field.
When I said I'm not interested in music theory I just meant that it didn't help me when I started learning to play jazz guitar some years ago so I left it all behind.
No problem brother. Barry's method is the only thing I know. It's helped me to improvise with single notes and with chords. Maybe looking at Harmony with Barry's 4 scales of chords you might see something you haven't seen before.
I know Pasquale would conquer.
@@thingsivelearnedfrombarryh2616 Perhaps but jazz for me is the study of phrases and theory is not part of that (for me). Gypsy jazz is my "homebase style" and you learn that style by learning Django solos. I learned to play bebop by using the same method and studying bebop solos (among which Barry Harris solos). Theory was never needed (again for me).
@@ChristiaanvanHemert The study of phrases is theory. Unless you're satisfied with copying a bunch of Django or Bud Powell or Barry phrases. Jazz is about improvisation. What can you do with phrases that you haven't analyzed through theory other than regurgitate them? That's classical music not Jazz.
@@thingsivelearnedfrombarryh2616 Altering the lines based on what my ears like works for me. But listen, that's just me. I'm not claiming that my method is good for everyone, just for me. Many roads can lead to a professional level, mine is just one of them!
@@ChristiaanvanHemert Very True brother.
Do I understand correctly that borrowing is not necessarily done from the diminished one half step above (or one whole step below), but also from one of the other two diminished? Or even from multiple diminished simulatenously?
Great episode, mixing the technical stuff with the more philosophical language Barry often uses to describe his approach. Regarding that other comment thread of him vs. Bach/Chopin et al: his original compositions on his albums are on the same level as those guys, perhaps even a higher level musicality-wise but that is matter of personal taste and subjectivity. I wish we had orchestral stuff from him, and I bet those classical folks would take him more seriously if he had a large enough body of work in their own realm. There’s a warmth to his harmonies you don’t get from anyone else and it comes from his enlightened understanding of tonal harmony. Outside of original stuff though, how would Barry interpret a lead sheet in his approach? Like for each chord written, he relates it to a 6th/dim pair and moves them accordingly?
He relates everything to his scales of chords.
Things I've Learned From Barry Harris thanks! so the scale is the central piece of his approach, he is playing whatever he wants as long as it is in the scale of the chord written? As a solo piano player I’m always playing my own bass notes out of habit but all that matters is keeping the left hand in scale/time with the right. I need to experiment more, I always find myself falling back to the same handful of voicings I’ve practiced. The approach almost gives me too much freedom to know how to use it!
Hi Chris!
Thanks a lot for sharing.
If it is OK, I have a question: suppose you go to the piano and hit 9 different notes.
If we look at the 4 scales of chords, each one of them is made up of 8 notes.
Or suppose you hit 4 consecutive chromatic notes. from what I see non of those 4 scales have that pattern.
I am curious how you will look at those.
Thanks!!
Fantastic video thank you.
Is the diminished scale of chords(ie. C dim7 & B dim7) not part of Barry Harris's system?
Thank you.
If you add the C# diminished to the other 2 diminishes, you have the answer to where Barry gets his 4 scales of chords from.
Is there a comprehensive text that covers all these TYLF (things YOU learned from) Barry Harris?
No, but I give Skype lessons if you're interested.
Deep
Barry is deep.
Are you using g6 because it’s actually g6 or is this implying that it be any major chord with borrowed diminished notes resolved into it ?
Incredible ... thank you! I’d love to take lessons from you someday.
Also - I have watched many videos of Barry’s classes but I haven’t seen one where he has the student play 10 notes and then tell them the scale. Do you know of one out there?
I've never seen a video of it.
Just email about lessons when you're ready.
@@thingsivelearnedfrombarryh2616 Sounds good. Have you spent much time with the Van Eps Harmonic Mechanism books?
I've got a question, i'm curious about the dom seven diminished scale. Exemple in Bb will the diminished chord be C Eb Gb and Ab? Is the usual A from G6dim scale is lowered a half tone so you get a weird diminished? Or maybe it is another way around I know diminishes are just an half step away from beign a 7 chord... thank you again for your time.
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.
Hey Chris, what would the approach be for which chord scales to use for the Lady Bird turnaround? I'm guessing C for C, Ab would cover the Eb7 to Ab and then just play a D7?
Qwhat ddo I play On the em in g key on Dom seven scale
Hello which ending chord do you use with the C minor and G6 ?is that D-Ab-Bb- F# ? Is it substitution of Dmaj? Thanks for your lesson the best since david gauthier stoped his.
Very interesting, but I have to say I don't really get it. Or let me rephrase: I get it but it seems like reinventing classical theory that has already been established for hundreds of years since Bach!
The chord at 9:36 is a B7/D#. The third however is doubled which creates unusual voice leading with one 3rd going to the root of Em and the other 3rd down to the 7 of Em. It sounds nice on guitar and piano because of the uniformity of timbre between the voices.
However if you write these voicings for a string orchestra or quartet the voice going down will stick out and distract from the melody. Not a distaster but doubling the 3rd in a V6/5 chord (in four part harmony) will always create voice leading problems in orchestration.
So Bach talked about the 4 scales of chords?
@@thingsivelearnedfrombarryh2616 Bach didn't talk about anything. His compositions are the basis for harmony and counterpoint theory as we know it. This of course has been codified way after Bach.
The four scales thing would perhaps be rephrasing of a small part of music theory which is applicable to a specific style/period of jazz. That can still be very useful of course! I just like to see things in a classical perspective when I think about harmony just because there's a decades of thought in that field by thousands of music theory experts. Rick Beato is a good source for this on CZcams!
@@ChristiaanvanHemert I would say the proof is in the playing. Rick Beato, although being knowledgeable about certain things, like people who have perfect pitch, doesn't know the first thing about Barry's method or his 4 scale of chords. The proof is the video he made about 6th diminished scale. It's laughable. He's unable to play the scale of chords up in a simple drop 2 voicing. He's 100 percent unqualified to make a video about anything to do with Barry Harris. He lost my respect after that.
Rick Beato ,in his life, has never played music on the level of Barry Harris. Ever. Barry is a Master. Rick Beato is a CZcams star.
The bigger question is, do you feel satisfied with how you chord? Are you able to improvise with chords while accompanying a soloist or singer? Do you play the same boring voicings every other guitar player plays?
The answer for me to all these questions was what you'd think before I met Barry. He's made me feel much more free on the guitar. Nobody else has done that.
All you have to do is listen to Barry play a 4 or 8 bar intro to a ballad and you realize how special his method is. There are levels to this. Barry has reached the top.
@@thingsivelearnedfrombarryh2616 Barry Harris is a great player! If I like something I would just transcribe it!
I'm satisfied with chording but I'm not terribly interested in it. I'm more interested in lines, but that's just my personal preference. I like Peter Bernstein's chording much more than Pasquale's but I love and admire them both. For chords I would mostly use Peter as a source though.
About Beato: I don't know how he plays but it's undeniable that he has a huge, huge knowledge about music theory. Yes, standard classical harmony and counterpoint but that is an enormous body of knowledge.
I don't judge someone's playing based on a theory lesson. I play a lot every video so you can judge that for yourself. Do you have videos of yourself playing with a groove behind it? I would really love to listen to it!
i want to learn thatt. there is too many videos of you and i dont know where to start. pls help
It's all about context. Isolated, I would describe them as follows:
1: Cmin.
2: B7, 3rd in the bass.
3: could be seen as C7#9, 5th in the bass, no b7th.
4: could be seen as C7#9, no b7th.
In the specific voiceleading contexts that you've planted them in, clearly they function as you've described. Take a chord, borrow some notes, sure. It would be misleading and unhelpful to describe the first chord as 'G6 with borrowed notes' without giving context. So, it's not that I take issue with the information you're presenting; it's that it's put across in a way that is unnecessarily oblique. It would make more sense to say:
"Here's a G6 chord in the context of an established progression. Ok, let's add movement while retaining congruent voice-leading by borrowing some notes from the diminished scale. Now what do we call the resulting voicing? It doesn't matter."
Actually, Barry wouldn't agree. The idea for this video came from him having his students put ten fingers on random notes on the piano, then he tells them which different scales they could come from. It's beautiful actually. It's also brilliant. I don't see the 4 scales of chords anywhere near as well as Barry but I thought I'd use a few examples. The point of the video is to show that you can improvise with chords in a beautiful way on the spot. Naming the chord is not important.
Perhaps it would make more sense to say it a different way for you, but that's you.
I've been studying with Barry for 27 years. The only thing I care about when it comes to this channel is never speaking out of place. My love for Barry and his method would never allow it.
I think you should be careful saying what Barry would agree or not agree with.
@@thingsivelearnedfrombarryh2616 As I said, I understand the concept, but if you play Cmin without context, the most useful way to describe it is as Cmin. Yes, it's beautiful and yes, it's a brilliant way to derive interest and movement, but the way you arrive at those voicings is the important bit. You explained this, of course. The way I would put it is that a Cminor voicing *could* be seen as G6 with borrowed notes, depending on the context. The bit I have trouble with is you saying that Barry *would*, (the implication being "by default"), see it as G6 with borrowed notes, without any context. I understand that this might just be a by-product of the way you conceived the video, and I'm not sure if your intention was to imply that he always would, but that's how it might appear to a beginner, hence my commenting in the first place. If the video began with the played examples, then we would have pause to consider the function of those voicings. You could then legitimately ask what the chords are. In that instance, I would agree that the Cmin shape, isn't functioning as a Cmin chord. I'm not trying to be pedantic; I just think that you're presenting fantastic information here that could be confusing to beginners if it's presented in a non-linear form.
@@noisyneil I appreciate your comment and suggestions. I'll keep them in mind for future videos.
Thanks brother.
@@thingsivelearnedfrombarryh2616 I hope you didn't feel like I was giving you a hard time. I think your channel is ace! 👍🏼