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Yeah that modal jazz album.Kind of Blue ain't shit

"Barry Doyle Harris (December 15, 1929 - December 8, 2021) was an American jazz pianist, bandleader, composer, arranger, and educator. He was an exponent of the bebop style."

Hahahahaha fhimt 3laya

Miss you broooo!

he is correct though

That’s what he’s there to do..

Lol hes teaching

How did you learn these things? I'm currently practicing it and have gotten the major 6th chord down in all keys, and I also got the drop-1, drop-2, drop-3 and drop-4 down aswell. What more can I work on?

He’s even louder than Barry 😂

He was translating for someone standing there who didn’t speak English

Still waiting..?

Milestones

Bro take it easy if Barry is happy ? Why are u upset about it :)

santimusica I'm Italian, the translator is annoying , I agree, I can't hear what Barry's saying

Totaly agree with that. His theory is very inspiring, his playing to ( i made transcriptions, always a lesson) but i like milestones as i like so what and all those modal tunes as i like bebop and standards, jazz is alive

Your statement isn’t entirely true. The Modal Jazz (or Jazz/Fusion) teaching is horrible. Including the teaching of Modal theory, that they expect you to apply to practical playing. Anyone can learn all The Modes and how to apply them, without even trying too, (when shown correctly) it can be learned as a byproduct of playing in a single key. From the modal names, right down to the differences of intervals, e.g: Lydian is a major scale with a #4 nonsense. It’s all unnecessary information. It’s like people think learning all this complicated modal music theory is going to help them play better music🙄. All the diatonic modes are contained within the Major scale, if people learn this correctly and focus on the seven different harmonic environments contained within this scale, like the chords/arpeggios/chord tones within it, then they will learn how to play ALL the modes as a byproduct. It’s all the same information just from a different perspective. If someone got a chair 🪑 and tuned it upside down, it will still be called a chair. (Although we now may have a different feeling about that same chair) Yet it doesn’t change the fact that it’s still a chair. But when diatonic“modes” are introduced, we not only call it something else, (when viewed from a different perspective) but we need to start comparing “why it now looks different from it’s original perspective. It’s insanity, and completely unnecessary. Same for all the other modes, like in the Harmonic minor scale. It’s basically the same diatonic scale just with the 5th note raised. (Compared to the Major scale) It’s modes are just the seven different harmonic environments found within it. Viewing modes as “scales in their own rights” was created to keep the “cat chasing it’s tail,” so too speak. Sure you can look at (and learn) it that way, but it’s unnecessary and will take you MUCH longer too learn.

@@jazznotes3802 are you saying that we should just forget about modes and only focus on the major scale of the tonal center? i.e don't think about the b2 b6 of E phrygian, only the basic chord tones (1 b3 5 b7). The upper chord tones naturally come from the diatonic major scale as you play them. I too have always felt the different naming very unnecessary and you should feel the varying dissonances of extensions instead of giving them very complicated names that add an extra level of complexity when playing

Just listen to the cours where he explain modes in jazz.

@@justanothernguyen2334 Not at all. I simply pointing out it’s MUCH easier to think of the “Phrygian Mode” as playing (outlining) the 3rd chord within the diatonic scale. You also don’t need to think of the intervals to play any of the modes. Intervals are simply a “measuring stick” so to speak, theoretical information about the sound, but they are NOT the sounds themselves. If you simply play the diatonic scale and go from “chord note to chord note,” outlining/emphasising the chord tones found on the 3rd chord of the diatonic scale , your playing Phrygian mode. The b2 and so on are still there to hear and play, without labelling them as such. For improving and playing what you hear it’s better to disregard the interval names and all theoretical information and think tonally instead. e.g Phrygian would be notes 3,4,5,6,7,1,2 and back to 3. (Think of Do, Rey, Me ….) This way you keep a consistent map, to the key your actually playing in. You don’t want a new one chord mentally when playing over each chord, otherwise there’s a disconnect from the music and how our ears actually work naturally. It’s called tonal ear trading and is WAY better that intervalic ear training. (Not my opinion, but fact) I played thinking of the intervals relating to the “chord of the moment” for years and it’s a nightmare, just like giving all the MODES of the Major scale a different scale patterns. It’s absolutely unnecessary! Why make things harder or more complicated than they truly are?

MISSSSS YOUUU !!!!!! TEACHER !!!! SEND ME YOUR PHONE NUMBER