วีดีโอ

Is there a recording of the tune at the end? I can hear the 6 chord rules, and id like to learn it...

Yeah!😊

Great video Isaac. I was thinking TRITONE and then you did tritones minor😊

Thank you Isaac. Really helpful. Sound great for guitar and easy to play with 3 notes. Regards

This may be a silly question, but why does he stop at the operations of moving single notes up/down, moving consecutive notes up/down, and moving non-consecutive notes up/down? Why wouldn't you try something like, say, moving one note up and the other note down? Is there some restriction where these moves are only supported to mix two out of the three diminished 7 chords?

Thanks Isaac!

"The slow underneath.".. I'll have to use that the next time I explain why I like tapping on 1 and 3 (and 4 with my other foot) INSTEAD of 2 and 4. I learned that from my teacher--who studied under and played in band with the great Barry Harris (RIP).

Thanks a lot!!

amazing work maestro! how do you think about the second chord, the one that starts with E and has an F, A, and E on top?

2025 now. Miss your Barry Harris videos

GREAT video Isaac. Thanks much!!! After practicing this, here's a line I've been using a bunch lately: Bb A G E pivot Eb D Db B C. Hope you are well and looking forward to more Barry videos from you.

Thank you for such an informative, eye-opening, useful lesson. I’ve been playing guitar for many years. Recently gotten into jazz during the last few years. My playing changed nearly overnight. Mostly, I only listen to piano players now. As of today, I’ve watched this video about 5 times. Transposing it to guitar forces me into even deeper uncharted territory. I’m so excited. I feel almost like I’ve got a new instrument in many way. My musical frontier looks endless now. I wish I could like the video the 100 times. Thank you for your effort and for being such a good teacher.

You mention rules for triplets in this video. Do you have another video on that topic?

As a fellow jazz pianist and teacher - This is very clear and helpful. Thanks

I've learned so much from your channel~

Please can you continue this series of standard scales outline

You are welcome back have missed you please kindly continue with Barry Harris lessons please ❤

I've been studying this song off and on for a couple of months. I've tried to think about improv ideas using F harmonic scale and then C harmonic scale and building lines over the A part. But, your approach and its simplicity of breaking it down into triads and tritones over the V7b9 chord was a breakthrough. Thank you so much

Mah shlomcha? During the pandemic you generously gave us the best exposition of the Harris method on video. I hope you get back to making video tutorials for the masses.

Honored to call this man my teacher and mentor.

I'm glad to see a video posted to your channel after so long Isaac! You have undoubtedly been one of my all time most valuable teachers (despite never having met or interacted with you) since ~4 years ago when I first stumbled upon a video of one of Barry's classes and became enamoured by the mysterious art of jazz improv. Without your help I think I would have given up beofore I really started. Since then I have developed skills that I make myself proud with, and undoubtedly the course of my life has changed. WIth your help I have reached the point where I can now teach myself everything I need to know by analysing the records directly, although nothing would be more welcome than more of your extracurricular studies. Your ability to elucidate those mysterious sounds that came from the minds of Barry, Bud, Monk and so on in a fashion that is not only interesting but entertaining has been invaluable to me and many others. Whether you continue to make such tutorials or not, I won't miss the opportunity to say thank you!

Thank you so much for your videos!!! You helped me a lot

3 years ago I learned a lot from your Barry Harris video, they are gems.

If you cycle through all the keys with the dim 6th scale, playing the root chord as a maj6 and then a min6, you don't have to repeat them as the 6th on the 5th for the I & V7 chords. You also don't have to repeat them as the 6th on the 3rd for the i & i-7b5. It just saves you valuable practice time. I wasn't aware of 4 of the 5 dominant diminished scales until now. Thx, Isaac!

That was a great lesson, thanks!!!

Its so important to say that practicing as whole staff in a daily routin helps much to discover whole idea than step by step exercises. Because the whole map need to be seen. You need to watch the city thru bird eyes and to be aware whole cities towns' roads that connected each other . You need to feel and internalize the concept lying there . At the begining feeling that its a wasting time to exercise all those staff but in time the magic shows itself gredually. Thank you Mr Raz.

Great piece Isaac, and will performed! Love it 🙌. Are you per chance a Zappa fan? Question: Which instrument did you record first? And how many takes did you need to do?

To me, You are the best explainer of the Barry Harris 6 Dim Scale in youtube dude. Thank you!

Good stuff. Thanks for the lesson.

But you didn't do the final A! How do you outline biii moving between iii(I) and ii? Because it's an 8 note scale, so it can't be up to the 7th. Seperately, what do you do if you only have two beats - or four beats! - per chord (such as during a turnaround). For example, something like (not in this All the Things, in one that begins on the I chord, 2 beats per chord): Cmaj7 - Ebmaj7 - Abmaj - Db7 (top of tune= C) Or (also 2 beats each) C - F7 - Emin7 - A7 Or even the A section of Rhythm Changes

🥰

Barry Harris aside, I think some of your fingering has been influenced by Chico Marx.

Got to play so many times to really get what you say but its cool I think maybe to realize that when soloing we can start changing the chord before the bar is over... I mean we are even into thinking of the third bar but its easier if you think one chord 2 bars

Thanks again my man... get a lot out of one concept and maybe coupled with another. I mean have heard of the seven notes outline but did not really go much further. So for a little example fun to ascend and do the reverse at end then descend an octave up and do it at end, I mean infinitesimal in possibility

Barry's concepts have revolutionized my musical thinking. They are so natural, that I just found myself using them. In the 2nd-to-last figure in this (classical) arrangement, I added it without even realizing it! th-cam.com/video/SI_en6Wik0g/w-d-xo.html Thanks for making this video--it all helps!

Awesome! Never will see dominants same way again

Thanks for a great explanation, but I'm not sure if my ear is out of tune or the piano ?

Beautiful what you do on April in Paris, beautiful voice too. Is your Patreon still working ? I tried to subscribed but was not able to finalize the process with paypal (from France).

Kool. Now you don't have to look up at us. 😂

First of all Issac thank you for sharing Barry’s concepts with such love and dedication. A few weeks back I couldn’t understand why there was an extra note or two in the beginning of the melody and I even tracked down the earliest recording of the tune and still couldn’t find those notes. Just moments ago I watched Barry playing it live and heard the extra notes. I knew it couldn’t have been you flubbing the melody 😂. I love the devil in all the details. So many shades of mood and color!

First of all Issac thank you for sharing Barry’s concepts with such love and dedication. A few weeks back I couldn’t understand why there was an extra note or two in the beginning of the melody and I even tracked down the earliest recording of the tune and still couldn’t find those notes. Just moments ago I watched Barry playing it live and heard the extra notes. I knew it couldn’t have been you flubbing the melody 😂. I love the devil in all the details. So many shades of mood and color!

Great videos👍👍👍

I just wanted to add something I learnt from Bill Grahams video on major half step rules: if you put "6" in the odd category (1 or 3 half-steps added) and 7 in the even category (0 or 2 half-steps added) most twists with inserting at top or bottom resolve nicely. E.g. starting from 6 with 1 halfstep: you land nicely on the 6 again by inserting only b13 immediately. Starting from 6 with 3 halfsteps category 1: you land nicely on 1, after inserting b13 immediately, then b3, b9 . Starting from 6 with 3 halfsteps category 2: you insert b13 immediately, then b9 and b7, then land on 6 again. Starting with 7 will work with 2 half steps category 2 also perfectly (immediately adding b7, b13). Using 2 half steps category 1 show the same problem however of having to wait until the bottom part. When starting from 7 I only use category 7. Note that it might perhaps also be allowed by BH to let half steps fall on the beat? E.g. starting from 7 using 2 half steps category 1 would let b13 fall on the beat but still resolve nicely to land on 1! the b13 and 4 on the beat might be interpreted as acting as suspensions resolving to 5 and 3. I think it also sounds good. I also saw a BH workshop transcription where added tones indeed fall on the beats in the chapter on half step rules.

so this flat five nd the minor6 is actually part of the same diminished that gives birth to G7. so beautiful!

please come back to us!