Yo Mr. White. Thanks for teaching me the art of a certain “meth”odology in the chemistry of music yo. I’m still working on how to make that “blue”note sound as great as yours. Keep up the great work yo.
I don't think I could even play chromatic lines that I liked until I found your videos about BH's chromatic scale. It basically changed me overnight. And there's so much to explore with it. Best part about all this material is how deep everything runs. You could take one of these ideas - half step rules, 6th diminshed scales, this rhythmic chromatic scale - and you could probably just play with one idea for your life and not run out of things to discover. Truly deep stuff.
@@thingsivelearnedfrombarryh2616I was wondering how I can apply this concepts to the blues. Is there a lesson on that posted on your channel.? Thank you beforehand.
I hear these kind of lines in bebop music all the time but I didn't ever think about it this way and never expected it as being such an easy rule which basically can be explained in one sentence - a real eye-opener. Thank you very much for this.
After trying to get my head round jazz improv for a good while. After watching your video I picked up my violin and had a wow moment and the flood gates swung wide open. Thank you.
I thought I had to learn arpeggios up and down and that'll it take me years to actually play anything jazzy. This is amazing, I'll practice it immediately.
And to the folks coming in who are bitten by the bug, take a lesson with Chris. He put me on a really good path for understanding my instrument better and making sense out of things that I've struggled with for years.
This is one of the best videos on jazz that I have ever watched on TH-cam. The reason I say this is because a musician can get wrapped around the axle dealing with only rules, not that they are not essential, but I believe what is more important and critical to mastering jazz, is HEARING.
man, these examples are so pretty! This is just my way of thinking of it, but I think of Barry's melodic teaching as being cohesive with the idea of target tones. my understanding of target tones is that there is a lot of flexibility in what they are and when they appear in a line. I think something that was really unhelpful about target-tone-heavy learning (in my own process) was that I was left thinking "ok, but how do I make an interesting line on the fly that creates meaningful tones within it, while not also copying another soloist outright?". All these beautiful Barry concepts that you teach on this channel, at least from my perspective, show us how to create the lines from the inside, without worrying about target tones so much --target tones are almost a bi-product (when playing Barry's chromatic to fill in an interval, the outer boundaries are expressed as target tones, in a sense. When doing a pivot, the same is true). This results in the wonderful bebop lines that are often compound melodies, with different notes connecting across bits of time to the notes that they seem to connect to on a different level (not sure if that makes sense). To me, focusing on target tones is a bit like saying "if you have a bunch of clouds, you're likely to have some rain", whereas using Barry's concepts are like saying "I'm going to MAKE some clouds, bring them together, and make some rain with them". Soooo this is just a long way of me saying that I agree with you and I also think that target tones are cohesive with Barry's teaching, it's just that his teaching allows us to create meaningful lines in such a freeing way, without worrying about target tones. Each vid of yours shows me how to make beautiful melodic lines, and primarily focusing on target tones makes things feel static/horizontal to me. Ok, I wrote a novel here. . . I still have a LOT to practice before I can make lines the way you do, so I don't put too much stock in my opinion on this lol
I started this concept a couple years ago and stopped. Guess I'm back 😅 thank you. 🙏🏾 And much respect for your tone. You drove home the frustration of these limitations with immaculate composure 👌🏽
WOW, thank you. How guitar player can be very good guitarist but not good teacher... it happens often. With you it seems interesting, not boring, clear... compliments
Hey Chris, Long time. Listening to you warmed my heart. I will be following you. I hear Barry when you speak. I know you stopped talking to me after what did and didn't happen with Barry and me. Barry and I still maintained a relationship for many years after. Thank you for this site, Peace and Love Jesse.
this is what i called music lesson. So profound, this is what musician really need. Many guitar guru in youtube spitting out BULLSHIT, coz actually they are youtuber, not a musician, and they only think about how to get a viral content.
Wow wow wow!!!, I cannot thank you enough for sharing this. I know Sir Barry Harris is a genius...this is very gracious of you, you have set me free...i can see (hear) things way better now, thank you thank you thank you...thank you
Thanks again for sharing all this brilliance! I find myself coming back to this video again and again, both for information and for inspiration. As a guitarist myself, I especially appreciate it. Many years ago I tried learning from so many different methods and found myself utterly confused and not knowing where to begin and exactly what to practice. And much of what I did practice didn't sound particularly inspiring, no matter how "perfectly" I played it. But you're so right! Even these chromatic exercises you played, simply working your way through Barry's scale sound so hip and inspiring. Best of all, this is material you can keep learning and building from all your life. So beautiful. Cheers!
This is pure as gold...thanks a lot for sharing...it opened a huge door for me in a few moments...and as if you say it shows tons of choices...all thumbs up and regards from Germany...stay save
What a great companion piece to your original video describing this topic. While the lines you play are gold, it's the conception of being able to play any of the scale notes and utilizing other BH techniques which really make this practical. It gives the gift of coming up with your own lines and sounding good, without sounding specifically like you or anyone else. There is freedom and flexibility in this. Thanks again, Chris. This stuff is changing my playing in a good way.
It feels a very organic and a real way to build jazz solos on a fly using some brain work instead of playing 16 note lick from jazz books) Great! I'm subscribe
Thank you Chris, I remember Barry showing us this way of practicing this from each degree up and down the F minor scale in the late ‘90s in Holland. Mind-blowing. Took me some time to internalize it. I think is the most ridiculous thing i hear from students is “avoid” notes. I usually tell them to avoid using that “avoid” term. You represent things nicely (i probably already said that before..)
This is soooo good!! Genius and beautiful lines going every which way. I mean...it is prescriptive in and of itself but there are so many ways to go with it. Thanks so much for this. I'll definitely have to practice a lot to be able to implement it without having to think but....it will be well worth it.
Hi Chris. I just got through listening to an interview you did this past february.. The thing I got the most out of all of it, though l view some of your videos, is how musical the examples that you gave were. I could clearly see the context of all that you share. I never really got that from your videos. I even heard the jazz in the examples that you were giving. Personally, I don't like to work with rock musicians that now play jazz. I had difficulties getting around the sounds on the guitars that you used. Then the acoustic guitar really made a big difference for me. All I am saying is, of all your videos, I got the most from the interview, because there was a musical context that I could understand. Thank you so very much for those examples. By the way, my cousin is the bass player with Ronnie Ben Hur. Santi. Thanks for sharing. Please don't stop.
GR8 VID TAMING ODD NOTES... COOL TRICK IF you play a random note on the offbeat let your ear tell you where you are and adjust your next note to be in context...FANTASTIC exercise...CHEERS
This is pretty damn awesome. A lot of traditional jazz instruction is just too rigid. Coming from rock, where the stuff is mostly in a single key, you feel a lot of freedom in creating melodic lines. In jazz its sometimes hard to do that spontaneously because you're always concerned about target notes, arpeggiation, chord-scale relationships....your brain is on overdrive and you focus so much on making the changes that creative melodic lines go out the window. This is a fantastic jazz melodic device to achieve both.
@Ayustria SalmaI would say to practice it in all keys (and positions if you play guitar), and apply it to 2 5 1s and then on standards creating phrases, that start or end with this chromatic scale idea.
@Ayustria Salma Yoooo! Chromaticism is a huge part of gaining that jazzy freedom and getting that "jazz sound". Keep at it! Don't forget to have fun with it as well ;)
@@FrantzesElzaurdia what does this have to do with the half step rules, I didn't understand. does he play a major scale of Bb on the f7 with chromatisms?
This is amazing! As a free improviser, this is the simple yet powerful route back to the harmonic center. Greatly appreciate you and Barry for sharing this concept and demonstrating it so well.
Nice explanation. The "Chasing the chords" idea is more of an approach designed to get people facile with hearing appropriate scales per chord and getting fingers to be active. However, educators (at least the ones I had) then pitch the idea that in doing so, one comes to realize, as you point out, that F7 lines will also cover Cmin7. The idea of chasing each and every chord in a chord dense tune (along with any one or two beat substitutions) just locks me up. But there are some players who are great at it. Guess I'm lazy in looking for ways to play over as many chords as I can. Then again I'm just a rock and soul guy who tries to work in jazz sensibilities now and then.
After seeing some of the videos in order I get it about the title here. I see how this is working already to kind of set you up to naturally land on the target notes.
Thank you for the effort to spreading the truth out. I am chasing Barry's footsteps and your videos are so helpful... Magnificent inside from the source...
Thanks a lot, a lot ! for sharing your experience with us, and for your very clear and simple explanations, it's a huge help and each video is like a gift ! Greetings from Paris (France). Definitely the best jazz guitar youtube channel and more generally about music, in my opinion. I never leave comments but I had to do it this time.
Thank you for sharing your knowledge on this topic. I definitely have some more great fundamentals to now add to my practicing routine. Great instruction on this!
I applied the chromatic concept and its a great addition to my regular lines, thanks for the insight. I dont think target notes(guide tones) are as bad as you make them out to be, to me they just tell you what a given note sounds like on the strong beat of the bar, they are not alfa and omega, after all there are more notes than two, to play on the strong beat of a chord.
You've inspired me to dig out Roni Ben-Hur's book and go through it again. It's inspiring to find Barry's students that have absorbed his teaching and the creative freedom that comes from it. Great video. Liked and subscribed. Thank you!
Hi. Nice. I see the parker poster and I hear parker! Yea .. been going to the piano lesson people a lot and have heard mention of harris...Ha ha good title reverse psychology "Don't dare learn the target notes!"
What an amazing Channel!! I just discovered Barry Harris from a Chopin changes video cause I love classical guitar n wanna learn some Chopin at some point!
Can someone explain more on the part where he says you go “down from the chord?” He plays the chromatic line then arpeggiates a chord but what are the rules to the which chords you arpeggiate?
Thank you so much for sharing your wisdom, this scale really helps connect things together. However I'm running into problem when I would like to apply this to major chords. Is there an alteration that can be made so that 7 would fall on downbeat instead of b7? Thank you again.
I haven't watched full video yet, but about the thought that "ignore C minor 7, it's just part of the F7," sometimes my thought (I think it was from a Oscar Peterson lesson video Open Studio did and some intuitive thought) is to ignore both and just play Bb major ideas over both of those. Like, what is the 1 in the 2-5 progression? Play that sometimes and you are already home. Really works over songs like Moment's Notice or even/especially Giant Steps where you can basically just think about 3 keys instead of 12(?) keys. Have a great day.
Thank you, Heisenberg.
Haha
Anton LaVey?
Say his name!
Yo Mr. White. Thanks for teaching me the art of a certain “meth”odology in the chemistry of music yo. I’m still working on how to make that “blue”note sound as great as yours. Keep up the great work yo.
@@jessepinkman7349 jesse what the fukc are you talking about
Wow. This chromatic idea is like the ultimate "instant bebop" concept I've ever heard. Really powerful and not hard to understand at all!
...And falls beautifully on Guitar.
This video alone is like a months worth of woodshedding that is a game changer. Thanks, man.
It took me a while to get it together. I'm still working on it.
These lessons are for advanced Jazz players not beginners even intermediate will struggle. Thank you alot I can now understand the barry
I don't think I could even play chromatic lines that I liked until I found your videos about BH's chromatic scale. It basically changed me overnight. And there's so much to explore with it. Best part about all this material is how deep everything runs. You could take one of these ideas - half step rules, 6th diminshed scales, this rhythmic chromatic scale - and you could probably just play with one idea for your life and not run out of things to discover. Truly deep stuff.
Yes. Barry's stuff is the deepest.
@@thingsivelearnedfrombarryh2616I was wondering how I can apply this concepts to the blues. Is there a lesson on that posted on your channel.? Thank you beforehand.
I’m so glad I’ve come back to this again. My brain wasn’t ready the first time years back
I hear these kind of lines in bebop music all the time but I didn't ever think about it this way and never expected it as being such an easy rule which basically can be explained in one sentence - a real eye-opener. Thank you very much for this.
After trying to get my head round jazz improv for a good while. After watching your video I picked up my violin and had a wow moment and the flood gates swung wide open. Thank you.
This video literally changed my thinking, I was so stuck on chord tones. I wish they had taught this when I was studying jazz in college.Thank you!!!
That´s good. The problem with learning the chord tones or the passages to get there, is that you basically sound exactly the same as everyone.
Barry's chromatic scale brings Charlie Christian's music very strongly to my ears.
What an ego free presentation of a revolutionary concept. So good. 🙏❤️ the amount of times you said beautiful was telling too.
It's hard to have an ego when you're in a class taught by Barry. We're all in awe.
@@thingsivelearnedfrombarryh2616 you’re honoring his legacy beautifully. Thank you for introducing me to these incredible ideas.
I thought I had to learn arpeggios up and down and that'll it take me years to actually play anything jazzy. This is amazing, I'll practice it immediately.
And to the folks coming in who are bitten by the bug, take a lesson with Chris. He put me on a really good path for understanding my instrument better and making sense out of things that I've struggled with for years.
This is one of the best videos on jazz that I have ever watched on TH-cam. The reason I say this is because a musician can get wrapped around the axle dealing with only rules, not that they are not essential, but I believe what is more important and critical to mastering jazz, is HEARING.
man, these examples are so pretty! This is just my way of thinking of it, but I think of Barry's melodic teaching as being cohesive with the idea of target tones. my understanding of target tones is that there is a lot of flexibility in what they are and when they appear in a line. I think something that was really unhelpful about target-tone-heavy learning (in my own process) was that I was left thinking "ok, but how do I make an interesting line on the fly that creates meaningful tones within it, while not also copying another soloist outright?". All these beautiful Barry concepts that you teach on this channel, at least from my perspective, show us how to create the lines from the inside, without worrying about target tones so much --target tones are almost a bi-product (when playing Barry's chromatic to fill in an interval, the outer boundaries are expressed as target tones, in a sense. When doing a pivot, the same is true). This results in the wonderful bebop lines that are often compound melodies, with different notes connecting across bits of time to the notes that they seem to connect to on a different level (not sure if that makes sense). To me, focusing on target tones is a bit like saying "if you have a bunch of clouds, you're likely to have some rain", whereas using Barry's concepts are like saying "I'm going to MAKE some clouds, bring them together, and make some rain with them". Soooo this is just a long way of me saying that I agree with you and I also think that target tones are cohesive with Barry's teaching, it's just that his teaching allows us to create meaningful lines in such a freeing way, without worrying about target tones. Each vid of yours shows me how to make beautiful melodic lines, and primarily focusing on target tones makes things feel static/horizontal to me.
Ok, I wrote a novel here. . . I still have a LOT to practice before I can make lines the way you do, so I don't put too much stock in my opinion on this lol
Man, your last video still has me messed up. So much stuff to check out.
Fantastic comment no worries
I started this concept a couple years ago and stopped. Guess I'm back 😅
thank you. 🙏🏾
And much respect for your tone. You drove home the frustration of these limitations with immaculate composure 👌🏽
We all really appreciate these videos, man.
It just does not end! Barry’s method truly is exciting, it shows that the guitar has yet to be fully explored. The possibilities are overwhelming!
Exactly right James.
WOW, thank you. How guitar player can be very good guitarist but not good teacher... it happens often. With you it seems interesting, not boring, clear... compliments
Your Language is stupid good. I love everything about this video. Amazing teaching, thank you for this.
I've been playing for 50 years. This concept along with other Barry Harris ideas are game changing...wow
Very enlightening content. Feels like playing a maze game with and against myself when I try to make new melodies. Thanks for sharing this knowledge
Hey Chris, Long time. Listening to you warmed my heart. I will be following you. I hear Barry when you speak. I know you stopped talking to me after what did and didn't happen with Barry and me. Barry and I still maintained a relationship for many years after. Thank you for this site, Peace and Love Jesse.
Okay...whoa. After just a few minutes of using this way of thinking my lines already sound way better over ii, V, I’s. Cheers!
Barry is a Genius.
Cool chromatic scale concept. I have never thought of it like that. Btw Django-style guitarists ignore the ii chord all the time 🤠👍
Thanks Mikko. Wanted to thank you again for your support for the channel. It has helped a lot.
Yes, Barry's chromatic scale is wonderful.
Joe Pass too
@@letsdanceonhere Yeah. I heard Joe Pass say that he thought of 2 5 1 as just 5 1.
@@mickeysoltys6960 He even thinks in 1 as 5-1 .He says (he is alive, you know) every note of the V7alt fits into I.
This answered a lot of questions I have been thinking about lately!
What a refreshing point of view! The demo lines sound like music to me. Excellent video, as usual.
Thank you Michael.
5:23 chromatic scale rules - this video is amazing thank you!
this is what i called music lesson. So profound, this is what musician really need. Many guitar guru in youtube spitting out BULLSHIT, coz actually they are youtuber, not a musician, and they only think about how to get a viral content.
Wow wow wow!!!, I cannot thank you enough for sharing this. I know Sir Barry Harris is a genius...this is very gracious of you, you have set me free...i can see (hear) things way better now, thank you thank you thank you...thank you
Thanks again for sharing all this brilliance! I find myself coming back to this video again and again, both for information and for inspiration. As a guitarist myself, I especially appreciate it. Many years ago I tried learning from so many different methods and found myself utterly confused and not knowing where to begin and exactly what to practice. And much of what I did practice didn't sound particularly inspiring, no matter how "perfectly" I played it. But you're so right! Even these chromatic exercises you played, simply working your way through Barry's scale sound so hip and inspiring. Best of all, this is material you can keep learning and building from all your life. So beautiful. Cheers!
This is pure as gold...thanks a lot for sharing...it opened a huge door for me in a few moments...and as if you say it shows tons of choices...all thumbs up and regards from Germany...stay save
Thank you Wolfgang. More to come.
What a great companion piece to your original video describing this topic. While the lines you play are gold, it's the conception of being able to play any of the scale notes and utilizing other BH techniques which really make this practical. It gives the gift of coming up with your own lines and sounding good, without sounding specifically like you or anyone else. There is freedom and flexibility in this. Thanks again, Chris. This stuff is changing my playing in a good way.
Very interesting, it's been a while I was looking for sthing interesting because seeking for the heart and soul of the Music. Thank you
Wow, that chromatic scale feels like it’s opened so many doors for me. Thank you so much for everything you do!
Thanks for this video. It really made a difference to my practice routine, no shying away from those chromatic lines ever again! 🙏
thanks you Chris
You're welcome.
It feels a very organic and a real way to build jazz solos on a fly using some brain work instead of playing 16 note lick from jazz books) Great! I'm subscribe
Lot's of treasure to dig in here . Thanks :)
Yes. So many things.
Watching this thinking, "How the hell am I not subscribed to this guy? "... Done! Thanks for the super clear explainations!
Thank you Chris, I remember Barry showing us this way of practicing this from each degree up and down the F minor scale in the late ‘90s in Holland. Mind-blowing. Took me some time to internalize it.
I think is the most ridiculous thing i hear from students is “avoid” notes. I usually tell them to avoid using that “avoid” term.
You represent things nicely (i probably already said that before..)
Thank you Alec. I appreciate it. More to come.
Great to see your channel growing!! 🎸
Thanks Gary. I appreciate it.
This is soooo good!! Genius and beautiful lines going every which way. I mean...it is prescriptive in and of itself but there are so many ways to go with it. Thanks so much for this. I'll definitely have to practice a lot to be able to implement it without having to think but....it will be well worth it.
Genius..known about Barry...thank you sir...very cool...I just love chromatics....
It's really pretty
One of the best videos you have done Chris this answered so many of my questions
Chris, again bravo for this new video, thanks again for sharing your knowledge.
You're welcome Bruno. More to come.
Hi Chris. I just got through listening to an interview you did this past february.. The thing I got the most out of all of it, though l view some of your videos, is how musical the examples that you gave were. I could clearly see the context of all that you share. I never really got that from your videos. I even heard the jazz in the examples that you were giving. Personally, I don't like to work with rock musicians that now play jazz. I had difficulties getting around the sounds on the guitars that you used. Then the acoustic guitar really made a big difference for me. All I am saying is, of all your videos, I got the most from the interview, because there was a musical context that I could understand. Thank you so very much for those examples. By the way, my cousin is the bass player with Ronnie Ben Hur. Santi. Thanks for sharing. Please don't stop.
GR8 VID
TAMING ODD NOTES... COOL TRICK
IF you play a random note on the offbeat let your ear tell you where you are and adjust your next note to be in context...FANTASTIC exercise...CHEERS
You are a wonderful teacher! I can’t believe I haven’t stumbled on your videos until now, thank you
This is GUITAR GOLD man! Thanks!
This was a really good one. Thank you 🙏
This is pretty damn awesome. A lot of traditional jazz instruction is just too rigid. Coming from rock, where the stuff is mostly in a single key, you feel a lot of freedom in creating melodic lines. In jazz its sometimes hard to do that spontaneously because you're always concerned about target notes, arpeggiation, chord-scale relationships....your brain is on overdrive and you focus so much on making the changes that creative melodic lines go out the window. This is a fantastic jazz melodic device to achieve both.
@Ayustria SalmaI would say to practice it in all keys (and positions if you play guitar), and apply it to 2 5 1s and then on standards creating phrases, that start or end with this chromatic scale idea.
@Ayustria Salma Yoooo! Chromaticism is a huge part of gaining that jazzy freedom and getting that "jazz sound". Keep at it! Don't forget to have fun with it as well ;)
@@FrantzesElzaurdia what does this have to do with the half step rules, I didn't understand. does he play a major scale of Bb on the f7 with chromatisms?
This is amazing! As a free improviser, this is the simple yet powerful route back to the harmonic center. Greatly appreciate you and Barry for sharing this concept and demonstrating it so well.
Nice for sharing with us ! Thx from belgium
Nice explanation. The "Chasing the chords" idea is more of an approach designed to get people facile with hearing appropriate scales per chord and getting fingers to be active. However, educators (at least the ones I had) then pitch the idea that in doing so, one comes to realize, as you point out, that F7 lines will also cover Cmin7. The idea of chasing each and every chord in a chord dense tune (along with any one or two beat substitutions) just locks me up. But there are some players who are great at it. Guess I'm lazy in looking for ways to play over as many chords as I can. Then again I'm just a rock and soul guy who tries to work in jazz sensibilities now and then.
couldn't say it better myself great observation to critique those target note rules !!!!
Thanks again for this series. Game changer
After seeing some of the videos in order I get it about the title here. I see how this is working already to kind of set you up to naturally land on the target notes.
Thanks Chris .
You're welcome.
That's a lot of notes. Great stuff.
Thank you for the effort to spreading the truth out. I am chasing Barry's footsteps and your videos are so helpful...
Magnificent inside from the source...
Glad to see you back playing after Seinfeld broke your thumbs with his car.
Thanks a lot, a lot ! for sharing your experience with us, and for your very clear and simple explanations, it's a huge help and each video is like a gift ! Greetings from Paris (France). Definitely the best jazz guitar youtube channel and more generally about music, in my opinion. I never leave comments but I had to do it this time.
Thanks Igor. More to come.
Beautiful Scale Thank you . Great runs from itl.
omg this is the holy grail right here !Thank You !
Thank you for sharing your knowledge on this topic. I definitely have some more great fundamentals to now add to my practicing routine. Great instruction on this!
Wow, excellent concept! Thanks for sharing 🙏
What a fantastic video. You’ve got a great ability in showcasing your knowledge in an intelligible way.
Wow. Just wow. Time for me to get back into guitar.
Brilliantly demonstrated. Thanks a mill.
Thank you Henry. More to come.
Great video, there's so much here, everything a jazz guitarist needs, including Tissue Paper Squares :)
I applied the chromatic concept and its a great addition to my regular lines, thanks for the insight.
I dont think target notes(guide tones) are as bad as you make them out to be, to me they just tell you what a given note sounds like on the strong beat of the bar, they are not alfa and omega, after all there are more notes than two, to play on the strong beat of a chord.
I think the underlying concept is that the movement from ii to V is much weaker than the resolution from V to I. Not avoiding target notes generally
My goog God ..this is amazing .
Do you have a pdf ...a book .. thank you for sharing ...Francis in Berlin, Germany
I just released a course at openstudiojazz.com I think you'll like it
man... this is amazing. thank you soooo much for sharing this with the world
Fantastic sharing as usual, stay well and thanks a lot!
Thanks Alex. More to come.
Been having so much fun practicing this! Can't thank you enough!
I think of the ii V combo Cm7 -F7 as Eb Lydian and use George Russell's Lydian Chromatic Theory.
You've inspired me to dig out Roni Ben-Hur's book and go through it again. It's inspiring to find Barry's students that have absorbed his teaching and the creative freedom that comes from it. Great video. Liked and subscribed. Thank you!
This was fantastic. I’ll be doing a lot of shedding over this stuff. Thanks for sharing.
Thank you, greetings from Argentina
Thank you.
Greattttt lesson man !!!! Congrats ! What about create an on line course (recorded lessons) about Barry Haris, with pdf ?
Well relayed and played. Thanks for this share.
Beautiful playing. Best explained
Thank you you're amazing
Absolutely fantastic
Hi. Nice. I see the parker poster and I hear parker! Yea .. been going to the piano lesson people a lot and have heard mention of harris...Ha ha good title reverse psychology "Don't dare learn the target notes!"
THANKS, H!
What an amazing Channel!! I just discovered Barry Harris from a Chopin changes video cause I love classical guitar n wanna learn some Chopin at some point!
He dropped a bomb shell on this love it.
Thanks Judah. More to come.
What a lesson!! Subscribed.
I’m play on a midi keyboard, but this has helped me conceptualize this aspect of theory.
Fantásticas video lessons show de bola adorei ❤🎉
Can someone explain more on the part where he says you go “down from the chord?” He plays the chromatic line then arpeggiates a chord but what are the rules to the which chords you arpeggiate?
Youre a great teacher.
Thanks for this great lesson
This is pure gold
This is fantastic 🙏
Thank you so much for sharing your wisdom, this scale really helps connect things together. However I'm running into problem when I would like to apply this to major chords. Is there an alteration that can be made so that 7 would fall on downbeat instead of b7? Thank you again.
I haven't watched full video yet, but about the thought that "ignore C minor 7, it's just part of the F7," sometimes my thought (I think it was from a Oscar Peterson lesson video Open Studio did and some intuitive thought) is to ignore both and just play Bb major ideas over both of those. Like, what is the 1 in the 2-5 progression? Play that sometimes and you are already home. Really works over songs like Moment's Notice or even/especially Giant Steps where you can basically just think about 3 keys instead of 12(?) keys. Have a great day.
really nice. tasteful. and well versed
So powerful concept. Thanks again ;-) !