Most important TH-cam channel to me. I know you're generally very humble about 'only' passing on BH's teachings but through that alone you don't know how much you've changed how I play, and actually think about music in general now. The fact you articulate the ideas so well makes a huge difference.
Hmm bridge is a couple 251s, is this done on a lot of tunes? I wasnt aware of this alternative... Its just a minor 4 chord instead of 2/5 isnt it? If you are saying A half diminished you are saying a C 4 minor with the six in the bass... thinking a bit further, 4 minor is important minor of F7 so that explains the scale choice a bit
How about playing bebop acoustic guitar with an upright bass and a drummer with a simple drum kit (snare, bass, hi-hat and maybe a tom)--this would go over well in NPR's "Mountain Stage" program, methinks. Check out David Grisman and his "Dawg Grass" ideers for a potential blend, for music must move "forward" and if it can pay the bills, so much the bettah! If you can re-frame some of these ideers, you can make a Homespun Tapes series (or bettah) on incorporating chromaticism into bluegrass-type songs, wherein solos are often streams of 8th notes. You took a chance by using TH-cam for sharing, and I am just suggesting some potential options. Peace and success!
Congratulations on a terrific channel. I really appreciate all the information and I enjoy your playing. I wonder if you might be able to talk sometime about dealing with the major nine on the dominant as well as the major six on that occur when you use Barry Harris‘s family of dominants on a minor II V. to my ear, these sound a little strange in a minor context. Did Barry ever talk about this. Eg, A or E note on a dominant leading into Cm as a tonic I also wonder if he had a specific diminished 6 th application for dominance going to Minor tonics that doesn’t have these intervals. Otherwise it sounds like an autumnal Cadence
Great content...and I'm amazed that I understand it all. You are truly a very good teacher. Thank you so much for your time and expertise (By the way, I'm not even a guitarist, I play piano).
Thank you so much for the video! I know that each process takes more time than just leaning scales and shapes for blowing, but I believe in Barry’s music theory that makes us to become more free and creative after all. I couldn’t have a good grasp of family of dominants when Barry came to Toronto to teach, but I have better idea now and your video even made me to be in better place. Your guitar playing is so beautiful!!
Great video as ever Chris. Really enjoy all of your videos. I’ve been working with the Barry method for a good few months now and I love how it leads to great discoveries. I’ve been to the last few online sessions and love how Barry is still discovering things at his age!
Many thanks for sharing your knowledge...very generous..I'm wondering if pentatonics are/were a topic in Barry Harris' world? Kind regards from Germany...
Hi Chris. For Jazz beginners, would you consider in the future posting videos with demonstrations of using Barry's method for chord solos and single line improv. on some standards like Summertime, Autumn Leaves and Blue Bossa.
I have just literally been focusing on playing with family this week , wonderfully insightful as always . Thank you for your time and passion with sharing with us all !
Great to see a new installment. If we can use B7 into D7 into GM instead of D7 into GM, does it mean I could also use B7 D7 over the iiV? , since Am D7 can be substituted for D7 ?
Do you think i can put in a blues in A7, A flat minor 6 diminished scale (instead of A7) to D flat minor 6 diminished scale (instead of D 7 ) and E flat minor 6 diminished (instead of E 7) i don't know if you know what i mean, it's seem to me that i apply barry harris method and i try to go further. I already know from you that i can use ,instead of D flat half diminished in the context of A7 : E half diminished, G half diminished or B flat half diminished. Do you think i's ok to do that ?
I'm curious too, although even just adding a b5 to the bridge has upped my game tremendously. Seeing the connection between the first 4 and the second 4 of the bridge as the family of dominants is now building new neural intelligence in me to understand all of music from a more bird's eye view.
At first, I was wondering how you got from Am7 chord to F7 scale. Then I realized, after flatting the 5, it is not Am7-5, or "half-diminished," but in Barry World, it's Cm6 and think V, not ii. Cm6 is played as F7. Right?
Great to see you're still going with this series. Personally Im still digesting the first 5 videos. One thing I notice (and forgive me if this has been explained in previous videos) is that often when talking about scales to a given song you mention scales "up and down" but that resolve to the 3rd of another chord. E.g F7 scale up and down to the 3rd of D (F mixolydian ending on an f#). Have you explained this idea in other videos?
Man, this is complicated! How do you have time to think about all that while you're blowing over changes? I just think about where it's going, then make sure I resolve it when it gets there. If I get the rhythmic feel right, what cumes out sounds like jazz.
I don't think like this when playing in the moment. I practice like this so that when the moment comes, I'm playing something that sounds good. It's helped me immeasurably.
Does Barry ever talk about using minor scales over minor chords( for improvising not comping aka 6th diminshed) or does he always use a dominant like you demonstrate here?
Yes. The first change which is Amin7b5 to D7, you can also use Cminor6th diminished to D7 to GMajor or even just Cminor6th diminished straight to GMajor.
Another excellent and helpful/applicable video.... I love the honesty with regards to the fact we are all scratching the surface.... I tell my students this in case they feel I have it all sussed out... the joy and constant magic with all of this is the fact we are hopefully evolving and finding out as we travel along on our personal journey with this wonderful music. This is an honest and inspiring approach and one I resonate with a lot... the real deal.... thank you.
Hello and thank you for your so amazing teaching. But unfortunately I'm a bit long to understand. I still don't understand how we have F7 playing on the Am7b5. I've memorized that it's the same chord that Cm6, so for comping we use Cm6dim . And Cm6 is F9. But the scale we have is then FlydianDom add #9 (F G G# A B C D Eb F). Is it to say that this is in the comping way of thinking, and when soloing, we just take mixolydian with half steps rules and etc.? THanks a lot in advance, and again for your work. Jonathan
I’ve always found it challenging as to whether or not I should look at a dominant 7th chord from the tritone’s minor perspective or the diminished… In a Dm to G7 to CM6 I can use both Abm6 OR the appropriate Octonic scales/chords I think. But I have trouble creating convincing harmonic movements with either one.
This is the best channel, thanks Chris. When Barry says run F7 up and down to the third of d, does that simply just mean land on F# or am I missing something?
OK, I think I've hit the wall a little on this one, but that probably is just my lack of familiarity with the tune. HOWEVER, just going to say at this point that it is SO liberating to think so much more musically like this than having been a bit of a slave to altered modes and position playing for so long. Wow. So much more musically focussed, and less noodly. I started this journey with the Modern Method by William Leavitt, youtube AI joined the dots and led me to Barry Harris. Your channel here is revolutionising jazz improv for so many people. THANKYOUTHANKYOUTHANKYOU
That diminished scale on the whole bridge was cool. I was going to ask how that worked or if you could go further into that but like you said afterwords, we have to get it into the instrument more importantly.
Most important TH-cam channel to me. I know you're generally very humble about 'only' passing on BH's teachings but through that alone you don't know how much you've changed how I play, and actually think about music in general now. The fact you articulate the ideas so well makes a huge difference.
Thank you Mac. More to come.
Great to see you back, I was getting withdrawal!
More to come brother.
Yet another awesome lesson!
I hope you and your family are doing well!
But like dude , like why are you using a guitar with no markers!?!?
Haha. I'm working on getting a guitar with fret markers.
@@thingsivelearnedfrombarryh2616 I had stuck a small point to the 7 box when I was studying classical it helped me a lot
markers, what's wrong with picks?
Hmm bridge is a couple 251s, is this done on a lot of tunes? I wasnt aware of this alternative... Its just a minor 4 chord instead of 2/5 isnt it? If you are saying A half diminished you are saying a C 4 minor with the six in the bass... thinking a bit further, 4 minor is important minor of F7 so that explains the scale choice a bit
Thank you for this!! The sound of using the D7 scale on F#min7(b5) just somehow feels so right!
Work both ways like 7b5arp from the 3 rd of dom chord (gBenson)
sure because it come from G major so D7 it's just the 5 degree of G major
How about playing bebop acoustic guitar with an upright bass and a drummer with a simple drum kit (snare, bass, hi-hat and maybe a tom)--this would go over well in NPR's "Mountain Stage" program, methinks. Check out David Grisman and his "Dawg Grass" ideers for a potential blend, for music must move "forward" and if it can pay the bills, so much the bettah! If you can re-frame some of these ideers, you can make a Homespun Tapes series (or bettah) on incorporating chromaticism into bluegrass-type songs, wherein solos are often streams of 8th notes. You took a chance by using TH-cam for sharing, and I am just suggesting some potential options. Peace and success!
Pat Martino did this a years ago ! I knew it from him !
Did anyone ever tell you that you look like Bryan Cranston/Walter White???
No. I've been compared to Brad Pitt but never Bryan Cranston. 😂
Congratulations on a terrific channel. I really appreciate all the information and I enjoy your playing.
I wonder if you might be able to talk sometime about dealing with the major nine on the dominant as well as the major six on that occur when you use Barry Harris‘s family of dominants on a minor II V. to my ear, these sound a little strange in a minor context. Did Barry ever talk about this. Eg, A or E note on a dominant leading into Cm as a tonic
I also wonder if he had a specific diminished 6 th application for dominance going to Minor tonics that doesn’t have these intervals. Otherwise it sounds like an autumnal Cadence
Fantastic lesson Chris!!
You be smokin brother👍😄👍
Great content...and I'm amazed that I understand it all. You are truly a very good teacher. Thank you so much for your time and expertise (By the way, I'm not even a guitarist, I play piano).
Chris this stuff is gold, man. Thanks so much for the way you do these videos and what you give to the world.
Barry deserves the credit. It's all his theory. Thanks for the kind words.
I understand that, it’s great material. But the time you put in and the presentation is just fantastic, man. Thank you.
Thank you so much for the video! I know that each process takes more time than just leaning scales and shapes for blowing, but I believe in Barry’s music theory that makes us to become more free and creative after all. I couldn’t have a good grasp of family of dominants when Barry came to Toronto to teach, but I have better idea now and your video even made me to be in better place. Your guitar playing is so beautiful!!
Thank you Koji. Barry's method is beautiful.
This is very much like Pat Martino’s Parental Forms ideas.
Great video as ever Chris. Really enjoy all of your videos. I’ve been working with the Barry method for a good few months now and I love how it leads to great discoveries. I’ve been to the last few online sessions and love how Barry is still discovering things at his age!
Yes Andrew. Even at 90 he finds new things. True Master. I've been taking the Saturday Zoom classes too. Just great.
Many thanks for sharing your knowledge...very generous..I'm wondering if pentatonics are/were a topic in Barry Harris' world? Kind regards from Germany...
He plays 1 2 3 5 6 in a lot of situations.
Hi Chris. For Jazz beginners, would you consider in the future posting videos with demonstrations of using Barry's method for chord solos and single line improv. on some standards like Summertime, Autumn Leaves and Blue Bossa.
Good ideas for future episodes.
I have just literally been focusing on playing with family this week , wonderfully insightful as always . Thank you for your time and passion with sharing with us all !
Glad you're enjoying the videos Paul. More to come. Please share with your musician friends.
great lesson!!what's the brand name of your acoustic?
It's an 80's Lowden.
Great to see a new installment.
If we can use B7 into D7 into GM instead of D7 into GM, does it mean I could also use B7 D7 over the iiV? , since Am D7 can be substituted for D7 ?
Yes. It sounds beautiful too. I play F7 down to D7 for the beginning of the bridge of Rhythm Changes which is usually just D7.
@@thingsivelearnedfrombarryh2616 Whoo! Going to try that right now... thanks for the insight.
Beautiful sounding Guitar. Which Guitar is it?
Do you think i can put in a blues in A7, A flat minor 6 diminished scale (instead of A7) to D flat minor 6 diminished scale (instead of D 7 ) and E flat minor 6 diminished (instead of E 7) i don't know if you know what i mean, it's seem to me that i apply barry harris method and i try to go further. I already know from you that i can use ,instead of D flat half diminished in the context of A7 : E half diminished, G half diminished or B flat half diminished. Do you think i's ok to do that ?
On A7 I play Bb minor6th diminished. On D7 I play Eb minor6th diminished. (Half step above any Dominant chord)
@@thingsivelearnedfrombarryh2616 thanx
Thanks, very Nice lesson!!!! I ll be very interresed to see how you play on the A of all thé things you are....thanks
I'm curious too, although even just adding a b5 to the bridge has upped my game tremendously. Seeing the connection between the first 4 and the second 4 of the bridge as the family of dominants is now building new neural intelligence in me to understand all of music from a more bird's eye view.
At first, I was wondering how you got from Am7 chord to F7 scale. Then I realized, after flatting the 5, it is not Am7-5, or "half-diminished," but in Barry World, it's Cm6 and think V, not ii. Cm6 is played as F7. Right?
Nicely put
Great to see you're still going with this series. Personally Im still digesting the first 5 videos. One thing I notice (and forgive me if this has been explained in previous videos) is that often when talking about scales to a given song you mention scales "up and down" but that resolve to the 3rd of another chord. E.g F7 scale up and down to the 3rd of D (F mixolydian ending on an f#). Have you explained this idea in other videos?
Does f7 scale up and down ending on the 3rd of D imply that the scale for the d7 chord is a flat 9 flat 13?
Oh Man. This episode is SO GREAT. Thank you for sharing your insights about the family. This started my practice day off right, my friend
Thanks brother. I'm waiting on your next episode man.
th-cam.com/video/OAe3-OWBEic/w-d-xo.html
This is still one of my favorite Episodes.
@@thingsivelearnedfrombarryh2616 i'm getting on it!
Awesome lesson. Does Barry do that with all 2-5’s? Changing 2 to m7b5 that is
Not all but you can do it.
Man, this is complicated! How do you have time to think about all that while you're blowing over changes? I just think about where it's going, then make sure I resolve it when it gets there. If I get the rhythmic feel right, what cumes out sounds like jazz.
I don't think like this when playing in the moment. I practice like this so that when the moment comes, I'm playing something that sounds good. It's helped me immeasurably.
Chris i have learned so much here..............even after playing and studying for 50 years.....thank you !!
Great to hear Ken. More to come.
Does Barry ever talk about using minor scales over minor chords( for improvising not comping aka 6th diminshed) or does he always use a dominant like you demonstrate here?
Yes. The first change which is Amin7b5 to D7, you can also use Cminor6th diminished to D7 to GMajor or even just Cminor6th diminished straight to GMajor.
Great teacher in every sense.
Interesting as always!
Thank you Mikko! I appreciate it man. Barry's method is never ending.
Another excellent and helpful/applicable video.... I love the honesty with regards to the fact we are all scratching the surface.... I tell my students this in case they feel I have it all sussed out... the joy and constant magic with all of this is the fact we are hopefully evolving and finding out as we travel along on our personal journey with this wonderful music. This is an honest and inspiring approach and one I resonate with a lot... the real deal.... thank you.
Thanks for the kind words Gary.
Hello and thank you for your so amazing teaching. But unfortunately I'm a bit long to understand.
I still don't understand how we have F7 playing on the Am7b5. I've memorized that it's the same chord that Cm6, so for comping we use Cm6dim . And Cm6 is F9. But the scale we have is then FlydianDom add #9 (F G G# A B C D Eb F).
Is it to say that this is in the comping way of thinking, and when soloing, we just take mixolydian with half steps rules and etc.?
THanks a lot in advance, and again for your work.
Jonathan
I’ve always found it challenging as to whether or not I should look at a dominant 7th chord from the tritone’s minor perspective or the diminished…
In a Dm to G7 to CM6 I can use both Abm6 OR the appropriate Octonic scales/chords I think. But I have trouble creating convincing harmonic movements with either one.
Thank you for continuing to share!
You're welcome John.
This is the best channel, thanks Chris. When Barry says run F7 up and down to the third of d, does that simply just mean land on F# or am I missing something?
Andrew Lucia I think it is expressed that way to emphasize that the original chord, the written one is D7
Yes. F7 up and down to the 3rd of D7. It's an F#. Glad you're enjoying the channel. More to come.
Wow
OK, I think I've hit the wall a little on this one, but that probably is just my lack of familiarity with the tune. HOWEVER, just going to say at this point that it is SO liberating to think so much more musically like this than having been a bit of a slave to altered modes and position playing for so long. Wow. So much more musically focussed, and less noodly. I started this journey with the Modern Method by William Leavitt, youtube AI joined the dots and led me to Barry Harris. Your channel here is revolutionising jazz improv for so many people. THANKYOUTHANKYOUTHANKYOU
your videos could be louder
Great to see you online!
Thank you Mark
Man if you do lessons sign me up!
That diminished scale on the whole bridge was cool. I was going to ask how that worked or if you could go further into that but like you said afterwords, we have to get it into the instrument more importantly.
Great Ideas and suggestions for building blocks all right under the fingers to boot...! Thank You! ;-)
Thanks for another great video!!!
You're welcome.
Lol. I have to put this down now. I'm going to be late for work.
So much to unpack here. Thanks
It's never ending.
Great lesson. Thanks for sharing!!
You're welcome. More to come.
Very well explained great lessons ! Thank you .
I love the way he explains things.
Yes, very interesting and inspiring.
This is GOLD!!!
this is so helpful, thank you!