Straw-BARRY! Jeremy, I LOVED this video-these “Barry straws!” Not only are you brilliant, but your explanations and teaching style make this wonderful material so easily accessible. Thank you, and bravo, Maestro.
I like it when you say, "If I was going to try to do it like a normal person." It's fascinating how you deep think about these concepts and explain it for us normal people. Also, isn't it amazing how many good video ideas come from interacting with your students? StrawBarry!
I absolutely love to see videos in which a great pianist breaks down a concept and then goes into the nitty gritty of exactly how they use that in the context of a tune.
Lol, I totally forgot I wrote that! 😂I need to flex my creative writing muscle occasionally so I always write something silly in the description...such is life with my brain for better or for worse!
nah the 1st inversion triad take is solid; I feel like ive achieved like colors from other theory avenues and this is another star in the constellation. great, thanks for sharing
I’m honored that you liked it even though you studied with Barry. Any time I say anything about his work I worry that my the Barry Cult will come after me. 😂
@@JeremySiskind don’t be too humble Jeremy, I wouldn’t follow you in all this journey if I didn’t think your work is at the same level of all the great teachers, Mortensen and Barry included!
I understand that Barry had the general feeling that chords should not be "static events," that harmony was about movement. Perhaps this exercise is at least partly designed to start understanding moving voices around inside chords and voice leading them? Its a beautiful sound, and I love your ability to make so many permutations, Jeremy!
Jeremy thank you for explaining a Barry Harris idea. As great as he was musically his communicative skills never registered with me. I admired him a great deal but never could quite grasp what he was trying to teach me. You I dig. Thank you.
As a student of Barry for over 40 years… I thought your insights were acceptable There are too many ass clowns trying to cash in on Barry’s teachings on TH-cam … I did my dissertation on Barry’s methodologies vs conventional post secondary jazz curricula and you can see the disservice our schools are doing to the learning and compartmentalization of jazz as a commodity for mass consumption Anyways, my channel I don’t explain Barry’s teachings very often but rather play by example … I will always call out the poseurs on TH-cam that think they know what’s “going on “… but your video was acceptable
Deducing the partimento....no better case for the relevance of the old school and the limits of roman chord notation. I discovered that world chasing students of Barry Harris talking with Nikhil Hogan. What's old is new again :) Fiona Bicket has a Barry Harris booklet which would be an awesome subject for a video.
StrawBARRY! Very cool and useful lesson, I have been fooling around with this exercise for some time but got quite bored because I couldn't think of what to do or how to use it, so really nice to see this! Your playing with this idea on Someday My Prince Will Come was so beautiful! I was thinking if you would also play this kind of movement but using a different interval on the lower voice (left hand) so that it forms like an inner melody on a different interval in relation to the upper voice? Like a 10th or a 6th apart, to create some contrary motion
Jeremy you justify my subscription to Internet. I live in Paris (no complaint…) and I can profit from your teachings 12000 Kms away from you. Your books are great but there’s nothing like seeing your enthusiasm. And I like that you think music more than technique ! 60 years with Mozart (nice guy) but gee I wish they would have taught jazz in France in the 70’s. Keep up the good work. You can’t imagine how good and motivated I feel after watching your videos. Also, and I am not the only one I guess, I appreciate that you’re always trying to sell something. Which adds to your ‘honest guy’ look. And certainly not selling dream (How to play like Bill Evans in 3 months…). And that’s so nice to find a teacher who does not take his students for dummies !
Thanks Jeremy,greetings from England! Extremely useful and I like your style! I’ve started to do my own TH-cam tuition videos and I’m learning not just from your musicality but your relaxed approachable manner. All the best,Nick.
Thanks for the nice note! You need to be a pro member to see my classes. If you’re interested in registering for a discount, you can use this link: www.openstudiojazz.com/join/cg3bi?coupon=SISKIND
14:24 Could you please explain why the upper neighbor you chose on this G7 was not the diatonic upper neighbor, A (we're in Bb, you said, right?), but rather the chromatic upper neighbor, Ab? At 4:44 you mention that we usually prefer the diatonic upper neighbor, but chromatic lower neighbors. In the other chords in this "Some Day My Prince Will Come" sequence, it seems, you do use the diatonic upper one. Thank you!
I'd guess thats because the G7 is a dominant of the 2 chord Cm7. Dominants to minor chords usually make more sense with a b9 even if in the macro it's not a diatonic note
@@JeremySiskindWhen you're using the "sixth diminished scale", alternating inversions of sixths with appropriate inversions of the relevant diminished, you can mix notes from each ("borrowing" notes from a diminished and adding them to a sixth chord in some particular inversion to add colour.) So you can add, say, the seventh instead of the sixth, which in Harris' conception is borrowing from the diminished, but in everyone else's conception is just playing a major 7th. Or you can "borrow" the second or 9th, which comes from the diminished, but which everyone else just calls a 9th. On dominants they're just altered notes to everyone else. The disciples claim that it's helpful to see it as borrowing, but I haven't quite grasped the advantage thus far, although mastering a different conceptualization can never hurt. Isaac Raz is one of the better disciples here (yt); he also has videos on this exercise that you're demonstrating and variations on it; perhaps you know him.
Good points, great video! Barry insisted that jazz is the development of classical, and so I like the Alla Turca reference. The figured bass stuff is really an important point, too. If you know your enharmonics and chord functions, I think this Wagner piano-score video goes right along with what Barry taught, and what you're saying: th-cam.com/video/HFxB6DoEUXs/w-d-xo.html
@@JeremySiskind There may be a bit of distortion (only when you play the piano)…like it’s clipping…Not sure if it’s on my end, or what you’re putting out. I haven’t figured that out.
![[TH] 2024 PMGC League | Survival Stage วันที่ 1 | PUBG MOBILE Global Championship](http://i.ytimg.com/vi/FVFT-PFwU80/mqdefault.jpg)
It's rare that you find a REAL teacher on youtube.
I hope you liked the video, Mr. cursed Swordsman!
Straw-BARRY! Jeremy, I LOVED this video-these “Barry straws!” Not only are you brilliant, but your explanations and teaching style make this wonderful material so easily accessible. Thank you, and bravo, Maestro.
You know how much I love my Barry theory. Cheers Jeremy!
I’m glad you didn’t hate it! I’m speaking with no authority on Barry’s pedagogy here…
@@JeremySiskind I will gladly ramble endlessly and uncontrollably about his methods at our next dinner. Haha
I like it when you say, "If I was going to try to do it like a normal person." It's fascinating how you deep think about these concepts and explain it for us normal people. Also, isn't it amazing how many good video ideas come from interacting with your students? StrawBarry!
Absolutely! I try to steam from the very best! 😜
Damn 15:45 was beautiful. Did not expect to be so moved by an instruction video
I absolutely love to see videos in which a great pianist breaks down a concept and then goes into the nitty gritty of exactly how they use that in the context of a tune.
Great! Love it, George - enjoy!
Straw Barry. Another great lesson from Jeremy!
Two thanks are better than one, right? 😉
i can't believe it - finally the culmination of all our years of searching for the third property bro!!! thanks for the lesson :) 🍓
Lol, I totally forgot I wrote that! 😂I need to flex my creative writing muscle occasionally so I always write something silly in the description...such is life with my brain for better or for worse!
Your explanation is very good and clear. Thank you ❤.
nah the 1st inversion triad take is solid; I feel like ive achieved like colors from other theory avenues and this is another star in the constellation. great, thanks for sharing
Thanks, Ant!
straw Barry! So good to see applications in action. I'll be watching for your new content at Open Studio!
Great! I look forward to seeing you there.
Best lesson ever on the subject! I’ve studied with Barry and tuned his piano for his concerts in Rome, so it’s a real gift for me!
I’m honored that you liked it even though you studied with Barry. Any time I say anything about his work I worry that my the Barry Cult will come after me. 😂
@@JeremySiskind don’t be too humble Jeremy, I wouldn’t follow you in all this journey if I didn’t think your work is at the same level of all the great teachers, Mortensen and Barry included!
Quite nice application to embellish an already beautiful standard
It is really lovely, isn’t it? Inversions are so underrated!
I understand that Barry had the general feeling that chords should not be "static events," that harmony was about movement. Perhaps this exercise is at least partly designed to start understanding moving voices around inside chords and voice leading them? Its a beautiful sound, and I love your ability to make so many permutations, Jeremy!
I’m not the expert here about what Barry thought but I think there are lots of really fun and lovely ways to use this!
Thanks Jeremy, This is very helpful!
Yay, I’m glad it’s helpful, Kathy!
Jeremy thank you for explaining a Barry Harris idea. As great as he was musically his communicative skills never registered with me. I admired him a great deal but never could quite grasp what he was trying to teach me. You I dig. Thank you.
I get it and to each their own. I don’t spend time watching his content but there sure are a lot of gems hidden in there 😉.
StrawBARRY! Very useful. Thank you, Jeremy.
Thanks much, Stuart! Be well, friend!
This is actually a really interesting concept
Thinking of it from the third up
Never seen that before
Gonna play around with that
Thanks
Cool! I’m glad it opened up something new for you, Silver!
As a student of Barry for over 40 years… I thought your insights were acceptable
There are too many ass clowns trying to cash in on Barry’s teachings on TH-cam … I did my dissertation on Barry’s methodologies vs conventional post secondary jazz curricula and you can see the disservice our schools are doing to the learning and compartmentalization of jazz as a commodity for mass consumption
Anyways, my channel I don’t explain Barry’s teachings very often but rather play by example … I will always call out the poseurs on TH-cam that think they know what’s “going on “… but your video was acceptable
Phew! Thanks, Brian!
@@JeremySiskind haha, at least you have a good sense of humour as well
Deducing the partimento....no better case for the relevance of the old school and the limits of roman chord notation. I discovered that world chasing students of Barry Harris talking with Nikhil Hogan. What's old is new again :) Fiona Bicket has a Barry Harris booklet which would be an awesome subject for a video.
StrawBARRY! Very cool and useful lesson, I have been fooling around with this exercise for some time but got quite bored because I couldn't think of what to do or how to use it, so really nice to see this! Your playing with this idea on Someday My Prince Will Come was so beautiful!
I was thinking if you would also play this kind of movement but using a different interval on the lower voice (left hand) so that it forms like an inner melody on a different interval in relation to the upper voice? Like a 10th or a 6th apart, to create some contrary motion
Jeremy you justify my subscription to Internet. I live in Paris (no complaint…) and I can profit from your teachings 12000 Kms away from you. Your books are great but there’s nothing like seeing your enthusiasm. And I like that you think music more than technique ! 60 years with Mozart (nice guy) but gee I wish they would have taught jazz in France in the 70’s. Keep up the good work. You can’t imagine how good and motivated I feel after watching your videos. Also, and I am not the only one I guess, I appreciate that you’re always trying to sell something. Which adds to your ‘honest guy’ look. And certainly not selling dream (How to play like Bill Evans in 3 months…). And that’s so nice to find a teacher who does not take his students for dummies !
Sorry I meant ‘that you’re NOT always trying to sell…”
That's so very nice! Thank you for these words, Jack! I'm honored.
Thanks Jeremy,greetings from England!
Extremely useful and I like your style!
I’ve started to do my own TH-cam tuition videos and I’m learning not just from your musicality but your relaxed approachable manner.
All the best,Nick.
Hey Nick! Thanks for the nice note and best of luck with your channel! (Tuition? Is that an English thing?)
Hi jeremy, Im an open studio member but i cant find your Content. Where i should look? Btw, your lessons are so Tasteful! ❤
Thanks for the nice note! You need to be a pro member to see my classes. If you’re interested in registering for a discount, you can use this link: www.openstudiojazz.com/join/cg3bi?coupon=SISKIND
Great lesson! StrawBarry!
Thanks, Cliffy! Enjoy!
You’re great Jeremy!
I think you’re great, Sergio! Thanks, my friend!
Really nice! Strawberry.
Thanks, Sylvia. Happy practicing!
14:24 Could you please explain why the upper neighbor you chose on this G7 was not the diatonic upper neighbor, A (we're in Bb, you said, right?), but rather the chromatic upper neighbor, Ab? At 4:44 you mention that we usually prefer the diatonic upper neighbor, but chromatic lower neighbors. In the other chords in this "Some Day My Prince Will Come" sequence, it seems, you do use the diatonic upper one. Thank you!
I'd guess thats because the G7 is a dominant of the 2 chord Cm7. Dominants to minor chords usually make more sense with a b9 even if in the macro it's not a diatonic note
Very informative. Do you also use his “borrowing” technique? I’d assume you do because it creates great tension sounding chords.
I haven’t really studied his terminology - does this refer to borrowing notes from the parallel minor (particularly the b6?)
@@JeremySiskindWhen you're using the "sixth diminished scale", alternating inversions of sixths with appropriate inversions of the relevant diminished, you can mix notes from each ("borrowing" notes from a diminished and adding them to a sixth chord in some particular inversion to add colour.) So you can add, say, the seventh instead of the sixth, which in Harris' conception is borrowing from the diminished, but in everyone else's conception is just playing a major 7th. Or you can "borrow" the second or 9th, which comes from the diminished, but which everyone else just calls a 9th. On dominants they're just altered notes to everyone else. The disciples claim that it's helpful to see it as borrowing, but I haven't quite grasped the advantage thus far, although mastering a different conceptualization can never hurt. Isaac Raz is one of the better disciples here (yt); he also has videos on this exercise that you're demonstrating and variations on it; perhaps you know him.
Hi Jeremy! thanks for your videos! are really good, I live in Uruguay, can I buy your book from here?
I’m glad you like the videos! You can buy PDFs from my site or physical books from Amazon. Let me know if you need help finding them!
@@JeremySiskind Found it! thanks!!
Straw Barry!
Thanks for watching, Mark!
@@JeremySiskind
Love your playing
And your teaching approach!
Good points, great video! Barry insisted that jazz is the development of classical, and so I like the Alla Turca reference. The figured bass stuff is really an important point, too. If you know your enharmonics and chord functions, I think this Wagner piano-score video goes right along with what Barry taught, and what you're saying: th-cam.com/video/HFxB6DoEUXs/w-d-xo.html
No natural 9th on my half-diminished chord? That's the last straw, Barry !!!
Sound scratted
I don’t know what that means! So…thank you?
Something noicy in background disturbing in that streaming
@@JeremySiskind
There may be a bit of distortion (only when you play the piano)…like it’s clipping…Not sure if it’s on my end, or what you’re putting out. I haven’t figured that out.
Straw Barry. Another great lesson from Jeremy!
Many thanks, Jorge!