TILF Barry Harris Ep35 Movement Practicing Major to Sixth Dominant. Creating Lines
Vložit
- čas přidán 10. 01. 2019
- / tilfbarryharris
This is the Thirty Five 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.
I'm playing A Fender Custom Shop through a Tone King Imperial MKII
Another great episode Chris. I appreciate that you played lines slower and over a few times here. I think it makes your examples easier for many to follow and will allow us to absorb the ideas easier. Thanks again!
Thanks Pete. Let me know if you have any other suggestions for how I can improve the lessons. I very much appreciate your feedback.
Great video, Chris! I honestly think this is a great balance of really practical, slow application , development of ideas etc. To me, this felt more like what I have always imagined the class was like , where Barry takes the time over many minutes and repetition , to just go over basic ideas, tweaking them, building phrases a few notes at a time. This is what is missing in jazz education. Thanks for taking the time .
This is exactly what Barry's classes are like except the lines are much more beautiful. As far as I'm concerned, Barry is the preeminent Jazz educator.
Glad you're enjoying these.
I really appreciate that Chris has done these videos and really opened up the teachings of Barry Harris to us. I have donated to him for his time and suggest others do the same!
These videos have totally changed my approach. I watch them weekly. Thank you so much.
These videos are amazing, Chris. I've only become aware of your channel a couple of weeks ago, but it has already helped me to implement ideas from Barry Harris that I have practiced for years but only understood in a superficial way. Thank you so much for this wonderful gift that you have given us.
Thanks Thomas. Glad you're enjoying the videos. All the credit belongs to Barry. It is his method. I'm just trying to pass some of this on as best I know how.
Please share with your musician friends.
Thank you very much.very insightful, providing many paths to cultivate and grow ideas.. thanks again
Great explanation of the Barry Harris pedagogy. When I knew the outlines concepts in the past I didn't know what to do with that neither.
Thanks Sergio. I think a lot of people struggle with how to use Barry's method to put lines together. I'm going to make a bunch of videos like this about how I tackle it.
I apologize for the video being cut off at the end.
t
really nice lessons. after many years of going through every jazz guitar book, this is the only approach that every made sense. barry’s chromatic scale changed my whole thought process about chromaticism. I would love to see you go through a whole song like blues for alice or all the things you are. thanks for your inspiring teaching
Interesting thing I realized is that playing the line in Bb takes you right to the beginning of the line in F, and on down the line. Becomes a nice exercise if you just keep playing it
Great teaching!
Thank you John. Barry's method is the greatest.
Great videos. This is the first series of videos I’ve seen that does Barry Harris justice. Would you be interested in doing a video on round midnight or body and soul? You mentioned body and soul in an earlier video and I really liked your take on round midnight.
Both of those songs are great. I'll tackle those in the future.
Thanks for the kind words Christian. Please share with your musician friends.
Chris:
Thanks so much for your generosity of time and spirit in sharing what you've learned from Barry Harris. There is a ton of eye-opening material on your channel, and I appreciate your insight that these ideas and techniques are about improvising at the highest level, and not necessarily restricted to genre (although I do love bebop!) There's already a lifetime of practice material here, but I will gratefully respond to your request for ideas to cover:
1. Would love to get your take on the middle 4 and last 4 bars of the major/dominant blues (as a follow-on to your initial video on the subject).
2. The minor blues, as requested below, would be a great addition ... so many possible substitutions (or movements) to apply within the form and elsewhere.
David
I'll try to make those into future videos. I appreciate the feedback.
Thank you for sharing your knowledge! I have two questions regarding things that I saw in this video: 1) Do you consciously chose not to resolve to the 3rd of D7 on 1st beat, but on the 3rd beat instead? Are there rules or hints on this topic? Do we have to outline a chord change on 1st beat? or just follow the line and see if it wants to be resolved on 1st or any other beat of a chord change? In other words do we have to play F# on the first beat of D7 (coming from F6 for example) ? The reason Im asking this, because there are a lot of book/lessons that emphasise the importance of outlining chord changes on 1st beats of a change. 2) how do we play scale outline exercise if we have F6 and D7 two beats each? since we don't have enough beats to play f up & down, how do we play F scale resolving do F# after two beats? Thank you!
12:13 i have heard that intro on She Rote :)
Hey man love the videos, some one of the best out here. I’m interested in skype lessons, do you have an email I can contact you at?
Sure Eli. It's chrisparksjazz22@gmail.com
Sorry it took me so long to respond. I just saw your comment now.
Hi Chris, Joe again. 😊
I'm working on trying to apply the BH Ear Training scales to a Minor Blues, but I'm having an issue with the Minor 2-5 iim7b5 to V7alt. I'm also messing around with 1-4, im7 to ivm7. On the im7 should I play C(1) D(2) Eb(b3) F(4) G(5) A(6) Bb(b7)? Or should I play Ab(b6) instead. Or, should I only play up to the 6th and include the b6 as well? Also, you'd said Barry thinks of ii-V7's as just V7's. But what if the V7 is V7alt? In a Minor Blues or Latin tunes the Minor iim7b5 to V7alt is very common. If Barry thinks of the 2-5's as just 5's then I'm not sure how to do that when the V is Altered. Dm7b5 has a root D (the 5th of G) but the V7alt has a b5 and #5. Should I use the Phrygian Dominant Scale for the Minor iim7b5 - V7alt? In the key of Cm it would be G(1) Ab(b2/b9) B(3) C(4) D(5) Eb(#5/b6/b13) F(b7). If I try to play the altered scale over the V7alt I run into the problem that there are two 3rd's and no D(P5) from the iim7b5 (Dm7b5). I'd really appreciate the advice. Thank you sir in advance for everything you do! 😁🎸🎶
Great question Joe. I should probably make a video on scales for a minor blues. If we were playing a minor blues in C starting with Cminor, Barry would play C Minor 6th diminished scale for C, F minor 6th diminished for the F and for the Dmin7b5 to G7 he would play Bb7 up and down to the 3rd of G.
That's just a basic outline.
I hope this helps.
@@thingsivelearnedfrombarryh2616 Thank you so much Chris! Yes, please do make a video on the Mirror Blues ala Mr. PC etc. Another interesting scale outline would be Take the "A" Train (the #11 chord), Sweat Georgia Brown, Take Five, and Caravan. I've found doing the scale outlines extremely helpful, I'd love to see more on this concept. How does Barry make the rhythm "come out right on time signatures like 6/8 or 5/4 etc. How might Barry do a scale outline on a ii-V7 that is only half a bar (2 beats) would he just do a V7 arpeggio? How I can help with your channel in whatever way possible, it's the least I can do for your awesome advice. I've actually taken the time to make guitar pro 7.5 files transcribing every logical fingering for the scale outlines etc. I can send them to you if you'd like. 😊 One final thought, do you think the 5432 would work if you played it the same way but changed the 3 to a b3? I'll have to try that, maybe it would work on the Minor Blues or something like Summertime or Blue Bossa? How does Barry play on modal tunes? Ok ok, I know I'm asking tons of questions lol. 🤣 Thanks brother! ✌🎸😎🎶
you dig it absolutely right, man) thanks a lot and keep on!
Thanks bromberg! Please share with your musician friends.
I'm available for skype lessons. Email me at chrisparksjazz22@gmail.com