Here is PART 2: th-cam.com/video/BcgrDoSR40I/w-d-xo.html At 4:32, 4:52 and 6:04 the F dim maj7 chord is F B E G# not F Bb EB G#. This is a typo, thanks for your understanding. I am playing the correct chord however.
WOW! You've just blown my mind. I was 60 last week. I have an MA in Compositional Skills, have played and studied music since being 10 and I'd never heard of Barry Harris. That's the great thing about music.....it's as infinite as the universe itself. This answers so many questions I've had over the years when listening to the greats of bebop like Charlie Parker......where did those 'funny notes' come from? I'm going to go and now do some in-depth study on Barry and his teachings. My own compositions gravitate to pop and rock music more, but music is music and I've always loved jazz but never felt at home with those 'funny notes'. Your great video hits it on the head when talking about 'tension' and 'release'....all great music does this, whatever the genre. Thanks for one of the greatest music lessons of my life.
So glad this video helped you out! That’s exactly why this channel exists. Good luck on your Barry Harris journey, it’s a very deep well of great information!
There's enough in here to chew on for a couple minutes ;) My ear gets it though! My brain is still in the back of the room, but you broke this all down really nicely too - thank you for doing it!
This was the common way to harmonise music in the 1930s. Barrie certainly revived and taught it, but most musicians and band leaders used the approach way back.
@@NoteSmokinghi, if you get hold of some sheet music from that era, you'll find most of the underlying chords are major and minor sixths (not 7ths or 9ths), while the dominant chords are either triads or more often diminished 7ths. Also really good to listen to the sounds from that time and you pick it up quickly. There are a lot of original recordings on TH-cam now (Casa Loma, Count Basie, Memphis 5, red hot peppers, Django Reinhardt) Hope that helps.
Barry would wholeheartedly agree with this. I don’t think he ever claimed provincial ownership of any of this material, his own description of his musical lineage always began with Chopin and ended with Bird. He codified a method to teach and connect various concepts weaving into the music traditions he held in the highest regard.
So great to see you back. As many wonderful Barry Harris videos as there are out there, this one, I feel, adds fresh insight into the meanings and usages of Barry's concepts. Thanks so much!
Starting on the M7 and moving up the 6th dim scale, you get very nice chords, since each chord is mixing up notes from the diminished chord (tension) and notes from the 6 chord (resolution).
Excellent teaching Nathan. Exemplary stuff! Your generosity in sharing these musical treasures is sincerely appreciated. As a small thank you, I'm buying your debut album "Each Step" now. 🙂
Thank you so much, this opened my mind, really. I love the way you explain the relations between modes/scales and not just a chord, but harmony and chord changes. Please, do more of this. Thank you.
Thanks so much! So glad it helped you out! If your interested here are some other video dealing with beginning improvisation (if these are too easy there’s plenty more advanced videos on the channel!) Intro to improv: The BEST Method For Beginning Jazz Players! th-cam.com/video/Gt71rPeiThQ/w-d-xo.html Create easy jazz lines: Jazz Lines... Made EASY! A Guide On How To Build Lines th-cam.com/video/V1AC8CO2HJk/w-d-xo.html Use enclosures: How To Use Enclosures! th-cam.com/video/UlhLMczrZDg/w-d-xo.html How to use jazz vocab: How To Put JAZZ VOCAB Into YOUR Playing! th-cam.com/video/wRaFKwRVWmA/w-d-xo.html
Wow! That was a WEALTH of information!! Thank you so much. I've been working with the "Barry Harris" scale, but THIS is amazing!!! Thanks again and again!
Can you go over DROP 3 AND DROP 2 and 4 and how to use chords . When I usually play Barry Harris I usually do Chord then a diminished chord follows c6 D dim E Dim . Also could you go over cell phrasing. I think Coltrane uses those. 1235 Thank you
6:19 hi, after the E closure, you list C major diminished. You mean scale, correct? Which is the C major scale with the G sharp added. But the chord is still C Major7, not voiced like the Fdim major 7
Hi James. Yes this is a typo, thanks for pointing it out. I’ll make a comment correcting it. Sometimes mistakes happen. The voicing should be F, B, E, G#. If you listen to my playing though I am playing the correct chord.
4:49 there is a mistake in the chart on Fdim7 chord, it should have natural B and E ( you're playing it right). Also It's not #5, there can't be G sharp in Dhalfdim7 chord.
I liked this video. Still very much above my head (that's got to do with me, not the presenter). I think if I take one bit of it and go through the example things my get more clear.
Would like to delve into these concepts a bit further and also understand the Major 6th diminished scale's applications in more depth.. I appreciate you expanding the basic diatonic chord formula to expand to extended chords and more provocative harmonies.
Many thanks for your very interesting and very clesr lesson. Please could you tell me what guitar are you using ?. Many thanks again and best regards from Italy
i remember when your channel started I had 2k subs and you had 2k now you have 25k and I still have 2k LOL BUT your content deserves 100k subs great stuff ! Great hard work and it shows !
Thanks for your question. I use the WH version as that is version that goes over a diminished chord. Doing this make all the strong beats of the diminished chord land on the downbeat. D e F g Ab bb B db D (strong beats in upper case)
At 4:40, when you apply the maj6-dim concept to a maj7 scale/chord, I’m not exactly sure what formula you use to get these other shapes/chords. Maybe you could explain?
Yeah no problem. It’s the same things as before (with maj6 shape) but now you use a major 7 chord and move it through the major 6th diminished scale. You can honestly do this with any voicing! I go more in depth in the part 2 to this video: th-cam.com/video/BcgrDoSR40I/w-d-xo.html
I've been drawing a blank so far with the dominant aug 9th chord. In A min it would G# aug ninth, a V chord with a raised root. But it's use is a half step down, a G aug 9th. Strange, misleading, and confusing names like the super locrian mode are attached. Your take on the matter? If stumped, so is Adam Manese, and Bateao ( spelling?). Maybe Barry Harris himself has no answer.
I believe there is a small mistake when explaining the borrowing concept. When you are going up in parallel motion using he drop2s on the 5th string the 4th degreeon for the FªMaj7 the tablatures have 8889 and I believe it should be 8999 or am I mistaken ?? Cheers and great videos
Hi! Just a quick question, when you’re explaining the Diminished Major 7 Chord near the end of the video you are playing the notes F B E G# (Ab) but the sheet music says F Bb Eb G#, am I missing something? Some of the other written out chords seem weird too but it could just be me. Great video otherwise!
Thanks for your comment. It’s a typo. Sometimes mistakes happen. The correct chord is F B E G#. The other chords are correct, this correct is pinned in the comment section. Thanks!
Hi Stan, this is because that's the sound this scale is based off of. You'll notice that in the video I take a major 6th chord and run it through Barry's scale. This creates two chords, the I and the V (the V is the diminished chord). The main point of the first part is that you can simplify basic chord progressions, a ii-V-I for example, into one sound based around Barry's scale. So instead of playing a line that covers all the sounds of a ii-V-I, you could instead play a line that switches back and forth from I to V (diminished). If you watch the first part it does explain this. The second part of the video I talk about expanding a sound. I did this by taking a MAJOR 7 chord and moving it through Barry's scale. This creates 7 different sound that you can play over one chord (the chord you started with).
Hello, thanks for your comment! As you can see from watching this video, it is not targeted at beginner audiences. I do, however, have videos that would be great for beginners. I've left you a great video linked below! Also there is TAB for all the examples in the corner of the screen :) th-cam.com/video/Gt71rPeiThQ/w-d-xo.html
Oh dear! Sing it. If you aint singing it, don’t play it. All this stuff is left brain. No one I admire does any of this. The scaffold is not the building. It’s sort of interesting, but it’s not inspired, it’s not jazz - whatever that means. 😵💫🥴🤨
Believe me, I'm not surprised at all. Post Berlkey has, in my humble opinion seen a rise in left-brain analysis. None of my heroes did any of this. These's nothing wrong with it, per se. I'm 70 with many thousands of gigs behind me: Swing, American Songbook, Honky Tonk, Soul, R&B, Blues. I hear young players all the time, and I can almost hear them thinking. That's ok, but it's just a start. If you teach them to sing what they play and fill their BAG, they will eventually be able to play what they sing. All the best to you and yours @@NathanBortonMusic
@@realchords8999 definitely agree! I think a lot of players don’t hear what they play, they just play it. Where I get a little sad is when people say something isn’t jazz because it is not a direct rip of birds language. Many players use theory to help them understand and hear new sounds. Peter Bernstein is a great example of someone who plays with the spirit of the blues and tradition, while also works with sounds other than bebop (not that I don’t like bebop, I honestly love it). If doing things like this helps open your ears to new sounds, then maybe one day you WILL be able to honestly hear it and organically incorporate it into your voice.
Yes Nathan. Forgive me. I was trying to be constructive. I really thing singing everything you play makes it natural and allows the musician to own it, so to speak. Cheers@@NathanBortonMusic
Please do MORE Barry Harris!
More to come in the future!
Here is PART 2: th-cam.com/video/BcgrDoSR40I/w-d-xo.html
At 4:32, 4:52 and 6:04 the F dim maj7 chord is F B E G# not F Bb EB G#. This is a typo, thanks for your understanding. I am playing the correct chord however.
At 4:52 and 6:04...
@@pgaace yes also there it’s because I used the same graphic for each frame. Thanks
The pdf is spelled wrong too. I was racking my brain trying to figure out how it was a FDim7. It’s a nice sound.
@@stringitydigity1 yep. It will be the typo that haunts me forever lol
Oh, yes. My question is answered
WOW! You've just blown my mind. I was 60 last week. I have an MA in Compositional Skills, have played and studied music since being 10 and I'd never heard of Barry Harris. That's the great thing about music.....it's as infinite as the universe itself. This answers so many questions I've had over the years when listening to the greats of bebop like Charlie Parker......where did those 'funny notes' come from? I'm going to go and now do some in-depth study on Barry and his teachings. My own compositions gravitate to pop and rock music more, but music is music and I've always loved jazz but never felt at home with those 'funny notes'. Your great video hits it on the head when talking about 'tension' and 'release'....all great music does this, whatever the genre. Thanks for one of the greatest music lessons of my life.
So glad this video helped you out! That’s exactly why this channel exists. Good luck on your Barry Harris journey, it’s a very deep well of great information!
Thanks! This is one of the best explanations of Barry Harris’s concepts that I’ve ever encountered.
There's enough in here to chew on for a couple minutes ;) My ear gets it though! My brain is still in the back of the room, but you broke this all down really nicely too - thank you for doing it!
Glad it helped you!
I’ve listen to a lot of different Barry Harris tutorial, yours is definitely one of the best . As we say in French: Felicitation 🎶🎶🎶🤓
Your explanation and demonstration were very clear and easy to understand the concept and yes a deeper dive into the topic.
Thanks so much! Here is part 2 if your interested: th-cam.com/video/BcgrDoSR40I/w-d-xo.html
Love the Barry Harris ideas! Keep them coming.
Glad you like them! Barry is the ultimate teacher
This was the common way to harmonise music in the 1930s. Barrie certainly revived and taught it, but most musicians and band leaders used the approach way back.
Would love some sources on that if you’re able to, please.
@@NoteSmokinghi, if you get hold of some sheet music from that era, you'll find most of the underlying chords are major and minor sixths (not 7ths or 9ths), while the dominant chords are either triads or more often diminished 7ths. Also really good to listen to the sounds from that time and you pick it up quickly. There are a lot of original recordings on TH-cam now (Casa Loma, Count Basie, Memphis 5, red hot peppers, Django Reinhardt) Hope that helps.
Barry would wholeheartedly agree with this. I don’t think he ever claimed provincial ownership of any of this material, his own description of his musical lineage always began with Chopin and ended with Bird. He codified a method to teach and connect various concepts weaving into the music traditions he held in the highest regard.
@@JohnSuttonMusic ✅️
Another great lesson, thank you!
My pleasure!
So great to see you back. As many wonderful Barry Harris videos as there are out there, this one, I feel, adds fresh insight into the meanings and usages of Barry's concepts. Thanks so much!
Wow, thank you!
This was very useful. Thank you for explaining idea behind the Barry Harris scale.
You're very welcome!
As a bass player starting to get into the BH concept, I found this to be awesome! I'm hooked on your channel now. Great work!
Excellent video - thanks for digging into this!
Thanks for watching! Hope it helped!
your teaching style and lessons are truly wonderful. Thank you for the goldmine of ideas and examples. Cheers!
You're very welcome!
Starting on the M7 and moving up the 6th dim scale, you get very nice chords, since each chord is mixing up notes from the diminished chord (tension) and notes from the 6 chord (resolution).
This is gold! Thank you
You're very welcome!
Excellent teaching Nathan. Exemplary stuff! Your generosity in sharing these musical treasures is sincerely appreciated. As a small thank you, I'm buying your debut album "Each Step" now. 🙂
I really appreciate that! I hope you enjoy the record!
Thank you so much, this opened my mind, really. I love the way you explain the relations between modes/scales and not just a chord, but harmony and chord changes. Please, do more of this. Thank you.
Glad the video helped you out! Barry is the man!
Hi Nathan, Im New at Jazz guitar glad i found your Post, thank You:)
Thanks so much! So glad it helped you out! If your interested here are some other video dealing with beginning improvisation (if these are too easy there’s plenty more advanced videos on the channel!)
Intro to improv: The BEST Method For Beginning Jazz Players!
th-cam.com/video/Gt71rPeiThQ/w-d-xo.html
Create easy jazz lines: Jazz Lines... Made EASY! A Guide On How To Build Lines
th-cam.com/video/V1AC8CO2HJk/w-d-xo.html
Use enclosures: How To Use Enclosures!
th-cam.com/video/UlhLMczrZDg/w-d-xo.html
How to use jazz vocab: How To Put JAZZ VOCAB Into YOUR Playing!
th-cam.com/video/wRaFKwRVWmA/w-d-xo.html
Thanks for the great video! Your explanations are clear and the examples sound great!
You're very welcome!
Excellent. I really want to grasp this
Great! Let me know if you have any questions!
@@NathanBortonMusic thank yu i will do
Thank you very much sir, I came to know from your class those lessons and l shall try and follow your advice .
All the best! If you have any question just contact me through my website :)
Wow!!
Fantastic lesson!!
Thanks👍🎩👌
Glad you liked it!
Wow. Always so much to learn. Thanks
Hi Nathan, I just subscribed because just this one video has enough gems of information to keep me occupied for the next few years 🤩! Thanks 🙏.
Really appreciate that :)
I love the way you explained this! Thanks for the amazing lesson, man :)
Thanks for watching!
This is great stuff ! Thanks so much. 😁
So happy you are finding it helpful!
This was really helpful especially not knowing annnnny theory lol just progressions lol I only know of Barry cause Mob Deep
Really nice and simple. Thanks. Pls go deeper into improvising with the BH concept.
Thanks, will do!
This is very good material. I am wondering about using a Bb in the line at about 3:42 as Bb in neither the C maj dim or D min scales. Thanks
Really appreciated the content here... thanks Nathan.
Great video man, well done
Thanks for the visit!
Love the video and concepts. Double check the tab for the Fomaj7 chord.
The correction has been pinned in the comment section, thanks!
Wow! That was a WEALTH of information!! Thank you so much. I've been working with the "Barry Harris" scale, but THIS is amazing!!! Thanks again and again!
Can you go over DROP 3 AND DROP 2 and 4 and how to use chords . When I usually play Barry Harris I usually do Chord then a diminished chord follows c6 D dim E Dim . Also could you go over cell phrasing. I think Coltrane uses those. 1235 Thank you
Excellent content and instruction, thank you Nathan!
Glad it was helpful!
Wow! There’s so much in this lesson.
Thanks Larry! There defiantly is!
Excellent
Thank you so much 😀
yeah more barry harris method it’s such a deep well
You got it!
Very definitely made jazz makes sense for me.
Thank you that’s awesome! 👍❤️
You are so welcome!
Brilliant thanks so much
Glad you enjoyed it and hope it helped!
Great stuff as always. Happy New Year!
Nice to see you again! Thanks so much and happy new year to you as well :)
Great lesson like usually. thanks i Really appreciate this amazing concept
Glad to hear that!
very good christmas present
Happy holidays!
Maybe I'm missing something, but is that F diminished major 7 written correctly on the staff (F, B flat, E flat, G sharp) at 6:02 mins. in the video?
Beautiful Tone from that guitar
Thank you kindly!
6:19 hi, after the E closure, you list C major diminished. You mean scale, correct? Which is the C major scale with the G sharp added. But the chord is still C Major7, not voiced like the Fdim major 7
Happy New Year, Nathan. Another great video with amazing content.
Good to see you again Ron I hope things are going well for you and happy new year to you as well!
Very clear...thanks
Glad it was helpful!
at 4:52 you have for the F diminished maj7chord written as F , B flat, E flat ,G# ? ? how is that part of scale ?
Hi James. Yes this is a typo, thanks for pointing it out. I’ll make a comment correcting it. Sometimes mistakes happen. The voicing should be F, B, E, G#. If you listen to my playing though I am playing the correct chord.
Can you explain the Barry Harris concept of “movement” as it applies to jazz guitar?
You’ve got a great channel!
Thank you so much!
4:49 there is a mistake in the chart on Fdim7 chord, it should have natural B and E ( you're playing it right). Also It's not #5, there can't be G sharp in Dhalfdim7 chord.
I liked this video. Still very much above my head (that's got to do with me, not the presenter). I think if I take one bit of it and go through the example things my get more clear.
If you have any questions please let me know!
Would like to delve into these concepts a bit further and also understand the Major 6th diminished scale's applications in more depth.. I appreciate you expanding the basic diatonic chord formula to expand to extended chords and more provocative harmonies.
Thanks Scott! Will make a part 2 soon, be on the look out!
Happy New Year, Mr. B.
Thanks James, happy new year to you as well! Hope things are going great and thanks for sticking on the channel for all these years :)
@@NathanBortonMusic My pleasure Sir.
Thanks 👌🏽👌🏽👌🏽
You're welcome 😊
Many thanks for your very interesting and very clesr lesson. Please could you tell me what guitar are you using ?. Many thanks again and best regards from Italy
Thanks so much! My guitar is a Benedetto Bravo Deluxe! Great guitars I highly recommended them
@@NathanBortonMusic An acoustic archtop? I couldn’t tell from the video! Beautiful!!
Thank you!
You bet!
i remember when your channel started I had 2k subs and you had 2k now you have 25k and I still have 2k LOL BUT your content deserves 100k subs great stuff ! Great hard work and it shows !
Just came across your youtube over here in asia
Great! Hope you enjoy the channel and find some useful information!
Heyhey , cool Video but the chord on f at around 5:00 should be f,b,e,g# right ?
Thanks for the comment, yes this issue has been noted and I’ve pined the correction in the comments.
awesome
Thanks for watching!
Hallo Nathan, at 3:40 Bb comes not from this scale!? Anyway thanks!
Hey! Thanks for pointing that out. This issue has been addressed and corrected in the comments section. Thanks for watching!
I could be wrong but the Fsharp dim chord is notated wrong in both music and tab in the M7 music; it shows a minor 11 chord. However, great work!!
Thanks! Yes that’s a typo that has been addressed in my pinned comment.
Trillon thx!
No problem!
Thanks so much! I really like the diminished major 7th--what a great sound, and the idea of being able to substitute the full diminished with that!
On the minor dim 6th you played an F# in the lower octave?? Which is not written, in the higher octave you played it as written.
this Fmaj7dim really reminds me of barney kessel's playing
It sure does!
you lost me pretty early on but i love the sounds of the shapes you're playing.
Thanks! Sorry I lost you though :(
im confused with the FdimMaj7 why does it have a Eb and Bb instead of E and B natural ?
It’s a typo, please look at pinned comment for more details
Hi. At 3.40 why do you use the Ddim WH scale as opposed to the Ddim HW scale? Thanks.
Thanks for your question. I use the WH version as that is version that goes over a diminished chord. Doing this make all the strong beats of the diminished chord land on the downbeat. D e F g Ab bb B db D (strong beats in upper case)
This Is great easy to Understand TY so much. So If I play the C major # 5 added . Do I play the Diminished scale On a C or C#
So for the video I used D diminished, that being the whole half diminished scale off D. That scale subs for the V7 chord. Hope that clears it up!
Hi, I got confused when you expanded the sound with major 7, I didn't get the concept, pls can you explain?
At 4:40, when you apply the maj6-dim concept to a maj7 scale/chord, I’m not exactly sure what formula you use to get these other shapes/chords. Maybe you could explain?
Yeah no problem. It’s the same things as before (with maj6 shape) but now you use a major 7 chord and move it through the major 6th diminished scale. You can honestly do this with any voicing! I go more in depth in the part 2 to this video: th-cam.com/video/BcgrDoSR40I/w-d-xo.html
@@NathanBortonMusic thanks!
Advanced Thank you Practice and listen
Grande Nathan. Barry Harrys sempre molto interessante , continua...anche con Thelonious Monk. Mille grazie
Thanks so much! yes, I will have to do a monk video soon
Okay thanks I will always follow you.
4:56 Fdimmaj7 isnt right but good vid
I've been drawing a blank so far with the dominant aug 9th chord. In A min it would G# aug ninth, a V chord with a raised root. But it's use is a half step down, a G aug 9th. Strange, misleading, and confusing names like the super locrian mode are attached. Your take on the matter? If stumped, so is Adam Manese, and Bateao ( spelling?). Maybe Barry Harris himself has no answer.
I believe there is a small mistake when explaining the borrowing concept. When you are going up in parallel motion using he drop2s on the 5th string the 4th degreeon for the FªMaj7 the tablatures have 8889 and I believe it should be 8999 or am I mistaken ?? Cheers and great videos
Hi David, appreciate that. Yes, that mistake has been pointed out and I made a comment (and pinned it) addressing that typo. Thanks for watching!
Ok sorry I didn’t see the foot note. Although what you played sounds good too. Great video.
No worries!
You can also fun this scale pattern borrowing 2 or even 3 notes.
Defiantly! You get some crazy chords doing that!
Hi! Just a quick question, when you’re explaining the Diminished Major 7 Chord near the end of the video you are playing the notes F B E G# (Ab) but the sheet music says F Bb Eb G#, am I missing something? Some of the other written out chords seem weird too but it could just be me. Great video otherwise!
Thanks for your comment. It’s a typo. Sometimes mistakes happen. The correct chord is F B E G#. The other chords are correct, this correct is pinned in the comment section. Thanks!
Explain his concept in totality
lost first time: why is the first chord a major 6?
Hi Stan, this is because that's the sound this scale is based off of. You'll notice that in the video I take a major 6th chord and run it through Barry's scale. This creates two chords, the I and the V (the V is the diminished chord). The main point of the first part is that you can simplify basic chord progressions, a ii-V-I for example, into one sound based around Barry's scale. So instead of playing a line that covers all the sounds of a ii-V-I, you could instead play a line that switches back and forth from I to V (diminished). If you watch the first part it does explain this. The second part of the video I talk about expanding a sound. I did this by taking a MAJOR 7 chord and moving it through Barry's scale. This creates 7 different sound that you can play over one chord (the chord you started with).
Magnifique travail. Tutos très pédagogique. Félicitations. Abonné à ta chaîne direct...
Thanks so much Jean for the sub! Hope you can find more videos on my TH-cam that help you!
that 3-5 stretch with ring and middle fingers on the c6 is painful
major diminished scale is just the bebop scale.
It’s conceptually very, very different! the Ab/G# is not a chromatic passing note, it’s an essential note for the harmony.
I don't understand how you harmonized this
Please see my other comment
I could never play this
You can! Anything is possible with practice!
Sorry Fdim M7 chord!
FALA MUITO.
FALA MUITO.
FALA MUITO.
THANK YOU!!!
The way you teach it's still difficult for a beginner to understand, maybe with tabs might be easier....
Hello, thanks for your comment! As you can see from watching this video, it is not targeted at beginner audiences. I do, however, have videos that would be great for beginners. I've left you a great video linked below! Also there is TAB for all the examples in the corner of the screen :)
th-cam.com/video/Gt71rPeiThQ/w-d-xo.html
moire pattern on the shirt, very distracting
:(
Better off telling beginners to this where to start and how to kead up to this stuff. Its confusing!
He calls it a flat 6th not a sharp 5.
Thanks for pointing that out
Oh dear! Sing it. If you aint singing it, don’t play it. All this stuff is left brain. No one I admire does any of this. The scaffold is not the building. It’s sort of interesting, but it’s not inspired, it’s not jazz - whatever that means. 😵💫🥴🤨
I think you’d be surprised how many jazz players do this. Also I’d encourage you to expand your view of what jazz is.
Believe me, I'm not surprised at all. Post Berlkey has, in my humble opinion seen a rise in left-brain analysis. None of my heroes did any of this. These's nothing wrong with it, per se. I'm 70 with many thousands of gigs behind me: Swing, American Songbook, Honky Tonk, Soul, R&B, Blues. I hear young players all the time, and I can almost hear them thinking. That's ok, but it's just a start. If you teach them to sing what they play and fill their BAG, they will eventually be able to play what they sing.
All the best to you and yours @@NathanBortonMusic
@@realchords8999 definitely agree! I think a lot of players don’t hear what they play, they just play it. Where I get a little sad is when people say something isn’t jazz because it is not a direct rip of birds language. Many players use theory to help them understand and hear new sounds. Peter Bernstein is a great example of someone who plays with the spirit of the blues and tradition, while also works with sounds other than bebop (not that I don’t like bebop, I honestly love it). If doing things like this helps open your ears to new sounds, then maybe one day you WILL be able to honestly hear it and organically incorporate it into your voice.
Yes Nathan. Forgive me. I was trying to be constructive. I really thing singing everything you play makes it natural and allows the musician to own it, so to speak. Cheers@@NathanBortonMusic
@@realchords8999 appreciate your thoughts and also agree. Have a good one!
Barry Harris’s approach is game changing for sure. Great lesson.
Cheers 🍻🇦🇺
It sure is! Thanks for watching!