Can’t thank you enough for this!! This is the key to so many Charlie Parker-isms that I’ve played before from transcription/books but have never been able to figure out how to come up with my own. Stuff is too much fun to play!
Brilliant ✨thanks for sharing this recording of Barry. He plays amazing, bursts of creativity, ideas and always swinging. The lyricism and those musical quotes come out so naturally
8:13 if you are considering taking lessons with Chris this reaction will show you why you should. I’ve been studying with him and recently reconnected with him. He has a reverence for jazz that is profound. This reaction here is what it’s like every lesson. The mix of awe and discovery and just plain fun. Now I need to go back and work out those 16th note triplets!
Chris, what sets BH apart is that not only is he a great improviser/composer but he also has the pedagogical genius to communicate jazz AS distinct concepts ie pivoting, half-step rules, etc.. which can be mixed together or not. Btw, who do you think are the greatest jazz improvisers? Imho I think the Mt. Rushmore is Bird, Sidney Bechet, Django, Chick.
Problem of practice. I am deep in the Barry Harris universe--studying with one of his former bandmates really helps make sense of all the material out there. My issue is with the "surrounds." I love the pivots, the 5-4-3-2, the important chords, the family, and the 6th diminished scales--all the tip of the Barry iceberg (Barry-berg?) But surrounds/ enclosures sound so final when I play them--they make the flow of the line come to an end. I dunno why that happens. Seems like you can play endless pivots, Barry chromatics, and substitutions. But the second when I introduce enclosures--I start hearing the target note and the flow comes to an end. Odd, because I learned enclosures well before I learnt any of the Barry material. Apologies for the confusing post :)
That’s interesting. My habit is I normally end up playing an ascending chord or arpeggio after surrounding a note. I’ll have to try the surround notes at the end of my phrase.
Great ! thank you so much Chris Simple enlightening you enlarge m'y knowledge on barry's music theory ans its jazz bebop approche On your patreon Can i get more ? Pdf exercices ?
beautiful.. I'm having so much fun exploring so many ideas you have been exposing.. it is limitless what you can do by doing a little variation here and there with a couple of simple principles, ,isn't it? ... I wonder your thoughts on putting together whole 1/8 triplets lines and also 16ths lines.. specially the triplets I find particularly difficult to land in the good notes when following general chromatic/ half step rules.. thanks for all your content :)
Wowwww just awesome, brother. Inspired as always. Gonna check out that recording now
And YOUR channel is awesome too!
This is for grown phrasers… incredible lines 👏🏽👏🏽👏🏽👏🏽
Isaac Newton: "if I have seen further [than others], it is by standing on the shoulders of giants."
Can’t thank you enough for this!! This is the key to so many Charlie Parker-isms that I’ve played before from transcription/books but have never been able to figure out how to come up with my own. Stuff is too much fun to play!
This series is eye-opening
Brilliant ✨thanks for sharing this recording of Barry. He plays amazing, bursts of creativity, ideas and always swinging. The lyricism and those musical quotes come out so naturally
8:13 if you are considering taking lessons with Chris this reaction will show you why you should. I’ve been studying with him and recently reconnected with him. He has a reverence for jazz that is profound. This reaction here is what it’s like every lesson. The mix of awe and discovery and just plain fun. Now I need to go back and work out those 16th note triplets!
those fretboard inlays are amazing
This new recording kicks a**!!
Chris, what sets BH apart is that not only is he a great improviser/composer but he also has the pedagogical genius to communicate jazz AS distinct concepts ie pivoting, half-step rules, etc.. which can be mixed together or not.
Btw, who do you think are the greatest jazz improvisers? Imho I think the Mt. Rushmore is Bird, Sidney Bechet, Django, Chick.
Happy Thanksgiving to you and your family and Thank you forever giving!!
Thanks Chris for your work on explaining and sharing some of Barry Harris's phrases and methodes. Is has helped me enormously in creating lines.
Such a beautiful discovery!!!
Love this
These lessons are incredible please keep it up
Thank you for the great info., Chris!
So simply beautiful
Amazing info! Thank you
Yer an amazing teacher. the best parts of yer vids are your reflections. Like the last 2 mins of this lesson. cheers. thank you
Problem of practice. I am deep in the Barry Harris universe--studying with one of his former bandmates really helps make sense of all the material out there. My issue is with the "surrounds." I love the pivots, the 5-4-3-2, the important chords, the family, and the 6th diminished scales--all the tip of the Barry iceberg (Barry-berg?) But surrounds/ enclosures sound so final when I play them--they make the flow of the line come to an end. I dunno why that happens. Seems like you can play endless pivots, Barry chromatics, and substitutions. But the second when I introduce enclosures--I start hearing the target note and the flow comes to an end. Odd, because I learned enclosures well before I learnt any of the Barry material. Apologies for the confusing post :)
That’s interesting. My habit is I normally end up playing an ascending chord or arpeggio after surrounding a note. I’ll have to try the surround notes at the end of my phrase.
great lesson! thank you
Nice one thanks again man appreciate the free knowledge!
Thank you Chris!
Great ! thank you so much Chris
Simple enlightening you enlarge m'y knowledge on barry's music theory ans its jazz bebop approche
On your patreon Can i get more ? Pdf exercices ?
this is dope !
Chris do you think you'll do live workshops in the future? or virtual?
Looking to get back to lessons with you!
beautiful.. I'm having so much fun exploring so many ideas you have been exposing.. it is limitless what you can do by doing a little variation here and there with a couple of simple principles, ,isn't it? ... I wonder your thoughts on putting together whole 1/8 triplets lines and also 16ths lines.. specially the triplets I find particularly difficult to land in the good notes when following general chromatic/ half step rules.. thanks for all your content :)
How good are you at playing this stuff
Do you Will do othoer videos on TH-cam now that you work with open studio?
Thanks so much
Is it correct that Barry favours natural 11 when playing lines on dominant even though the minor 6 dim harmony approach yields #11?
I also would like to know this!!
I’d be curious if there is anything that you think is lacking in Barry’s approach? Having thoroughly studied it. Thanks. Cheers