Barry says when young he made some rules for himself - AND THE CLIP ENDS?! The rules are the most important thing! Praying there is a Part 2, a continuation.
Yes, Barry is great!!!! I was there at the Boxing Theatre. It is funny to hear Barry tell this story in his way. They deserved to be honored at the BIG grammys. He tells and plays it like it is!!!
I love love love love Barry Harris. He really is the greatest jazz/bebop pianists of them all. His sophistication and versatility has everyone beat. He just KNOWS! Musically speaking, Barry is a true genius. I can't explain it any other way. May he live forever!
Pianist chiming in...the translator is not annoying because I speak Spanish well, so Italian is just background noise like playing in a club setting. Musicians are never distracted by something else. I'm listening closely and working on his diminshed 6th scales in all keys. Really improving my technique now as I practice, practice and more practice. Pays the bills here and makes me a far better musician for paying close attention to his wise counsel. Then I also know a bit of French so not a problem here. I often have to multi-task while playing engagements and never miss a beat even if someone is talking to me on the side. Concentration from years and years of working in places where the sound level is sometimes loud but when we get the room silent it's because we're pushing past the noise and people listen...how it's done, people...if your technique is solid, even a crashing sound won't distract you from playing well and keeping time with the band. Just another opinion here. Nothing more or less. Listen to the man's words, he tells compelling stories that can help any musician become a better player and listener.
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?
I am going to get his whole course but a lot of the stuff he is saying is his opinion I do love the way he teaches jazz but jazz did not stop with him jazz continues to evolve in to other things. Jazz fusion Modal Jazz ect....
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
@@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?
"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."
The translator should've just recorded BH and later made a video with subtitles for the people who want to understand what BH is saying. There is no need to understand what BH is saying instantly because everything he is teaching takes time to unpack anyway.
Barry says when young he made some rules for himself - AND THE CLIP ENDS?!
The rules are the most important thing!
Praying there is a Part 2, a continuation.
Still waiting..?
Yes, Barry is great!!!! I was there at the Boxing Theatre. It is funny to hear Barry tell this story in his way. They deserved to be honored at the BIG grammys. He tells and plays it like it is!!!
The treatment of the true jazz players was disgraceful. Sad to hear. Barry’s take on the ‘jazz’ education “system” is very revealing and meaningful.
I love love love love Barry Harris. He really is the greatest jazz/bebop pianists of them all. His sophistication and versatility has everyone beat. He just KNOWS! Musically speaking, Barry is a true genius. I can't explain it any other way. May he live forever!
Great ! Barry tells it like it is, he talks the same way he plays--- with total honesty.
Thanks for sharing, hope there's more.
1:54 hahaha i love this legend
Wonderful
"What do you think about Modal Jazz?"
Barry: Nothing
😁😁😁
Awesome answer
Pianist chiming in...the translator is not annoying because I speak Spanish well, so Italian is just background noise like playing in a club setting. Musicians are never distracted by something else. I'm listening closely and working on his diminshed 6th scales in all keys. Really improving my technique now as I practice, practice and more practice. Pays the bills here and makes me a far better musician for paying close attention to his wise counsel. Then I also know a bit of French so not a problem here. I often have to multi-task while playing engagements and never miss a beat even if someone is talking to me on the side. Concentration from years and years of working in places where the sound level is sometimes loud but when we get the room silent it's because we're pushing past the noise and people listen...how it's done, people...if your technique is solid, even a crashing sound won't distract you from playing well and keeping time with the band. Just another opinion here. Nothing more or less. Listen to the man's words, he tells compelling stories that can help any musician become a better player and listener.
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?
I am going to get his whole course but a lot of the stuff he is saying is his opinion I do love the way he teaches jazz but jazz did not stop with him jazz continues to evolve in to other things. Jazz fusion Modal Jazz ect....
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?
TH-cam jazz teachers hate this XD
this vid could save an artists life lol!!!!
Yeah that modal jazz album.Kind of Blue ain't shit
he's right
You think the wars took out allot of the old classical improv knowledge?
Who is this person? I’d like to research him, but all I know from this video is his name is Barry.
"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."
WTF WHO EDITED/FILMED THIS VIDEO?????? WHY END IT THERE???
The translator should've just recorded BH and later made a video with subtitles for the people who want to understand what BH is saying. There is no need to understand what BH is saying instantly because everything he is teaching takes time to unpack anyway.
He’s even louder than Barry 😂
He was translating for someone standing there who didn’t speak English
What's the name of the song at 1:51
Milestones
Man he talks alot
he is correct though
That’s what he’s there to do..
Lol hes teaching