My favorite thing about this channel (and the Labyrinth of Limitations) is that my ideas, understanding, and awe continue to expand. Barry’s system and way of thinking impose no limits but a process of infinite exploration into music, and that makes it all so much fun! Thank you to Chris for all your effort and energy.
Awesome, Congratulations on making your 100th episode🔥🔥🔥We appreciate your superb contribution to this wonderful style of playing. Stay Melodic my brother.
Congrats on the 100th episode! For anyone thinking about taking lessons with Chris, just do it! The few I've had were immensely valuable both in terms of the content, and the light they shined on what I need to do to progress. Great guy, musician, and teacher!
Chris, congratulations. 100 and we want oodles of episodes more!!!. Thanks for shedding light and spreading the Harris gospel. You and Thomas are bar none the best of the trade. Blessings!
Hi Chris - I havent commented in a while, but i want to congratulate you on 100 episodes. You've been a huge help to my understanding of Barry's teachings as well as my musical development, and I'm very grateful that you provide this wonderful info to everyone. Hope you and your family are doing well, and I'll try to cheer you on more frequently . Thanks again!
Great episode! Been looking forward to see your approach on the last four bars since your episode on the middle four bars. You're really unlocking bebop phrasing over the blues. Well done, Chris!
Looking forward to the next 100! Chris/chat I don't know if this has been covered yet butI've watched maybe half of the episodes and haven't found a video covering typical articulations/embellishments for lines, particularly the triplets as they pertain to guitar. The triplets you throw into your lines really add so much melody to otherwise ordinary lines. Could somebody point me to a resource? I try my best to emulate it but I find myself kinda half-nailing it and it comes off as contrived to my ears even though it's a sound I'm very familiar with hearing and can place in my own playing.It always comes down to where I go after the triplet and which notes I pick and which I pull off or hammer on... Maybe you could cover this in a video if you haven't already.
Bb7 into C is interesting because it's one of those 4 dominants family: G7 (most obvious), then Db7 (tritone), E7 and the Bb7. Their tonics form that diminished arpeggio. Happy 100 Chris! 🎉
yes.... backdoor dominant or iv minor but seeing it as a backdoor dominant you could add #4 (lydian-dominant) what in comparement with Fmin gives you a minormajor7 sound (very nice) or as backdoor dominant a suspended altered dominant sound
Like most guitar teachers when you demonstrate a scale or arpeggio you always start on the low E string ascending. (Are you a bass player?) Yet, in your applications you go right up to the top and start on the hi E or the B string and play lines descending. In the first 2 examples in this video you don't even use the low E string. Wouldn't it be less confusing to show the scales from high to middle register in mostly descending fashion as in their applications?
@@masterllama321 Still the B note from Cmaj7 would clash with the Bb from C7.... so there is probably no C7 under but some kind of substitution. It ends with C# being the third of A7 what would lead in the ii chord (D-7) in bar 9 so bar 8 has this preparation (A7 to Dmin) so the ii chord before the A7 would be Emin7b5 (G-6) but there is also no B note in this chord... so is it the 5th from E7 going to A7? thats the only logic to me.....
@@rezardominguez1064 the substitution under it is the Cmaj7. Honestly though, when you play something strong melodically, the B isn’t as dissonant as you might think, Especially if you play with a good rhythm section that’s listening to the soloist.
@@rezardominguez1064 also, the dissonance may be desirable in many situations. Consider the fact that the scale for the Tritone sub of C7 (F#7), also contains B natural on its fourth degree. Now, some people say that’s an avoid note, but really it’s the same as all other aspects of music, that is tension and resolution. Add to that the fact that dominant chords are well suited to dissonance by their very nature. I think of notes such as B over C7 as a strong spice: used incorrectly or too much, it will ruin the dish, however, when used deliberately, it can take your food to the next level.
Pick a song (melody) and learn it to all 12 keys and understand the connection between chords and notes. My first song was donna lee. I still practice it after 1 year. Good luck baby steps
Maybe start running the scales on a different scale degree? For example start running the scale from the 3rd. Once you can do that for all the scales then combine the scale run with a pivot. Start on the 3rd run up a few notes and then do a pivot. I highly recommend lessons with Chris. It has completely changed my guitar playing. Plus he really is a great guy.
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Happy 100, brother. This lesson is the perfect thing for it. Here’s to 10k episodes
Greetings, Thomas!
My favorite thing about this channel (and the Labyrinth of Limitations) is that my ideas, understanding, and awe continue to expand. Barry’s system and way of thinking impose no limits but a process of infinite exploration into music, and that makes it all so much fun! Thank you to Chris for all your effort and energy.
Speaking of blues, ever get into some Don Patterson? Love his lines! Anyway, Chris thank you so much and Barry of course!
Awesome, Congratulations on making your 100th episode🔥🔥🔥We appreciate your superb contribution to this wonderful style of playing.
Stay Melodic my brother.
Happy 100! Thanks for everything
Thanks for the 100! Incredible archive so far of TYLF BH.
WOW! CONGRATULATIONS on hitting 100!!! 🥳🥳
Your videos are SO useful - THANK YOU!!! 🙏🙏
Congrats on the 100th episode!
For anyone thinking about taking lessons with Chris, just do it! The few I've had were immensely valuable both in terms of the content, and the light they shined on what I need to do to progress. Great guy, musician, and teacher!
Chris, congratulations. 100 and we want oodles of episodes more!!!. Thanks for shedding light and spreading the Harris gospel. You and Thomas are bar none the best of the trade. Blessings!
Hi Chris - I havent commented in a while, but i want to congratulate you on 100 episodes. You've been a huge help to my understanding of Barry's teachings as well as my musical development, and I'm very grateful that you provide this wonderful info to everyone. Hope you and your family are doing well, and I'll try to cheer you on more frequently . Thanks again!
100 phenomenal lessons. Long may they continue. Thanks Chris!
Never enough of the blues! Congrats on the 100th episode and just echoing the comments below: long may they continue!! Have a good one brother
Congrats on 100 episodes! What a great insight into the jazz language. Thanks for sharing all these nuggets!
Thanks a lot Chris and congrats to your 100!
Awsome Stuff and you are the best!
Greetings from Germany....
Merci Chris pour cette 100 ème !!!!
Congratulations on 100 episodes! All of them have amazing information. Thanks again for sharing Barry Harris' method. I've learned so much!
100! I’m so proud of you my friend. I wish I could hit like 100 times.
Great lesson Chris, thanks for all of the inspiration.
Great episode! Been looking forward to see your approach on the last four bars since your episode on the middle four bars. You're really unlocking bebop phrasing over the blues. Well done, Chris!
Congratulations on a centenary of episodes. Love your work
I just go to all your videos and click like.
Century of progress! Props!
Great stuff as usual! Congrats on your 100th episode, man!
100 gems! Thank you
Barry must be so proud of you…
Great Stuff !
ayee, happy epsiode 100
Congrats Chris!! Loving the series
Thank you so much ! I have so many exercises written down to study. You're doing great!
Great lesson!
Happy 100th! Always great content thanks so much for what you do!
Happy 100th! Is there a lesson where you talk about the first 8 bars of Cherokee by any chance? I will keep searching, Thank you very much!
Congrats on 100! Love this series!
Thanks for sharing Chris.. Genius stuff
Looking forward to the next 100! Chris/chat I don't know if this has been covered yet butI've watched maybe half of the episodes and haven't found a video covering typical articulations/embellishments for lines, particularly the triplets as they pertain to guitar. The triplets you throw into your lines really add so much melody to otherwise ordinary lines. Could somebody point me to a resource? I try my best to emulate it but I find myself kinda half-nailing it and it comes off as contrived to my ears even though it's a sound I'm very familiar with hearing and can place in my own playing.It always comes down to where I go after the triplet and which notes I pick and which I pull off or hammer on... Maybe you could cover this in a video if you haven't already.
Bb7 into C is interesting because it's one of those 4 dominants family: G7 (most obvious), then Db7 (tritone), E7 and the Bb7. Their tonics form that diminished arpeggio. Happy 100 Chris! 🎉
yes.... backdoor dominant or iv minor but seeing it as a backdoor dominant you could add #4 (lydian-dominant) what in comparement with Fmin gives you a minormajor7 sound (very nice) or as backdoor dominant a suspended altered dominant sound
Great stuff. Question: Can I use these major substitutions i.e. Cmaj instead of C7 as a sax player playing over a “regular” blues with all dominants?
Hell yeah bröther
Happy 100 Chris 🎉🎶
Like most guitar teachers when you demonstrate a scale or arpeggio you always start on the low E string ascending. (Are you a bass player?) Yet, in your applications you go right up to the top and start on the hi E or the B string and play lines descending. In the first 2 examples in this video you don't even use the low E string. Wouldn't it be less confusing to show the scales from high to middle register in mostly descending fashion as in their applications?
Congratulations on 100!
❤
So you’re using the scale outlines as place holders for the scales played with the “scale rules”?
dude!!
Very deep. Wish you could add a looper. you could hear the chord too
felicidades! 1 question: why Cmaj7 in bar 7and 8 and bar 11?
Sounds beautiful is my guess. It’s a sub for C7 commonly used by Bird, Bud, Dizzy, etc....
@@masterllama321 Still the B note from Cmaj7 would clash with the Bb from C7.... so there is probably no C7 under but some kind of substitution. It ends with C# being the third of A7 what would lead in the ii chord (D-7) in bar 9 so bar 8 has this preparation (A7 to Dmin) so the ii chord before the A7 would be Emin7b5 (G-6) but there is also no B note in this chord... so is it the 5th from E7 going to A7? thats the only logic to me.....
here i try some of these concepts: th-cam.com/video/GTBPbhdkHs8/w-d-xo.html
@@rezardominguez1064 the substitution under it is the Cmaj7. Honestly though, when you play something strong melodically, the B isn’t as dissonant as you might think, Especially if you play with a good rhythm section that’s listening to the soloist.
@@rezardominguez1064 also, the dissonance may be desirable in many situations. Consider the fact that the scale for the Tritone sub of C7 (F#7), also contains B natural on its fourth degree. Now, some people say that’s an avoid note, but really it’s the same as all other aspects of music, that is tension and resolution. Add to that the fact that dominant chords are well suited to dissonance by their very nature. I think of notes such as B over C7 as a strong spice: used incorrectly or too much, it will ruin the dish, however, when used deliberately, it can take your food to the next level.
I still don't get how to transition from scale outline to improv. Can you suggest any baby steps to gradually modify scales to lines?
Pick a song (melody) and learn it to all 12 keys and understand the connection between chords and notes. My first song was donna lee. I still practice it after 1 year. Good luck baby steps
Sorry not getting how that relates to transitioning from scales to lines
Maybe start running the scales on a different scale degree? For example start running the scale from the 3rd. Once you can do that for all the scales then combine the scale run with a pivot. Start on the 3rd run up a few notes and then do a pivot. I highly recommend lessons with Chris. It has completely changed my guitar playing. Plus he really is a great guy.
Scales are just outlines, not wessels for improve. Step one of many things presented throughout the channel.
👍👍
dont get why sometimes c major scale
analyse Parker's lines, that's what he played