Lots of things to like here. 1) Using Ab major scale starting on the 6 for Fm7. 2) Tritones minor for Eb7 3) Using Ab7 and Tritones minor for Ab7 4) Fm to Bbm, the Em to Am. easily play one line then same line down a half step. ...but maybe the best... 5) The look on your fac as you played some things you hadn't tried before. Great stuff as always Chris! Still waiting for that Confirmation video :-)
What a wonderful lesson! Love it that you extend your example to almost a full chorus. And what a great illustration of how to get to the IV chord (treating the I as dominated). Thanks!
I once had a very well-known jazz educator insist to me that the Fm7 in bar 1 should be treated as a Dorian sound. I still can't play this song without thinking about that. The "all minor chords in jazz are Dorian" thing never felt right to me.
Love these videos. Honestly one of the best resources on TH-cam. I'm curious, do you find these approaches work just the same if you have someone comping undreneath?
Thanks man for this insightful vídeos. I'd like to ask you something: how does Barry think about lines when phasing with 6 on 4 or 3 on 2 in balladas, because I know that half steps rules are to fit the tempo but when you are phasing like that, should it be different?
That's a great question. The only way I can answer is to say Barry feels a ballad tempo better than almost everyone. I can't even pretend to describe how he feels the time. I know he talks about feeling 6 but man, he can really do it. I'd love to be able to feel just a couple of bars like that.
Another a very informative vidéo, thank you very much for sharing ! there is one thing i did not understand...Why replace the Ab7M with Ab7 (dominant) ? It is only a choice of "taste" ? thanks again
Hi, Chris, how are you doing? Wanted to come back to ask you something. On the scale outline for All the things you are, what scale should we play on the Cm7, right after that CMaj7? An Abmayor scale or a EbMayor scale?
Is there a book by Barry Harris ...so I can practice playing across changes...eg ...play from middle c to its next octave but when playing on the way back we play the next chord ...this would help me greatly....
Forgive me if this has already been addressed and I missed it but is there a reason Barry only has students play scales to the 7th? I like the way things sound and line up with the meter when we only play to the 7th but I never really understood his reasoning.
If you play up and down to 7 using 8th notes, it keeps chord tones on the beat. Playing the outlines helps to hear the chord. It's a brilliant way to get comfortable with what scales to play where.
Lots of things to like here.
1) Using Ab major scale starting on the 6 for Fm7.
2) Tritones minor for Eb7
3) Using Ab7 and Tritones minor for Ab7
4) Fm to Bbm, the Em to Am. easily play one line then same line down a half step.
...but maybe the best...
5) The look on your fac as you played some things you hadn't tried before.
Great stuff as always Chris! Still waiting for that Confirmation video :-)
What a wonderful lesson! Love it that you extend your example to almost a full chorus. And what a great illustration of how to get to the IV chord (treating the I as dominated). Thanks!
Thank you Tamir.
Great ideas , as usual. Would like to see a chart of ATTYA using 'Barry's chords.
Thanks ☮☕
I once had a very well-known jazz educator insist to me that the Fm7 in bar 1 should be treated as a Dorian sound. I still can't play this song without thinking about that. The "all minor chords in jazz are Dorian" thing never felt right to me.
Power move and think of compound minor instead
Yeah, the Fm7 is definitely functioning as a vi7.... not a ii7
@@guidemeChrist Sorry for the late reply. Not sure I understand the term "compound minor." Can you fill me in?
Such great lines, man. That example using all the minors with e minor going to a minor is fantastic
Love these videos. Honestly one of the best resources on TH-cam. I'm curious, do you find these approaches work just the same if you have someone comping undreneath?
Thanks man for this insightful vídeos. I'd like to ask you something: how does Barry think about lines when phasing with 6 on 4 or 3 on 2 in balladas, because I know that half steps rules are to fit the tempo but when you are phasing like that, should it be different?
That's a great question. The only way I can answer is to say Barry feels a ballad tempo better than almost everyone.
I can't even pretend to describe how he feels the time. I know he talks about feeling 6 but man, he can really do it.
I'd love to be able to feel just a couple of bars like that.
Wow using the minors sounds wild
I know. Really great!
Another a very informative vidéo, thank you very much for sharing ! there is one thing i did not understand...Why replace the Ab7M with Ab7 (dominant) ? It is only a choice of "taste" ? thanks again
Wohoo
Hi, Chris, how are you doing? Wanted to come back to ask you something. On the scale outline for All the things you are, what scale should we play on the Cm7, right after that CMaj7? An Abmayor scale or a EbMayor scale?
Is there a book by Barry Harris ...so I can practice playing across changes...eg ...play from middle c to its next octave but when playing on the way back we play the next chord ...this would help me greatly....
Forgive me if this has already been addressed and I missed it but is there a reason Barry only has students play scales to the 7th? I like the way things sound and line up with the meter when we only play to the 7th but I never really understood his reasoning.
If you play up and down to 7 using 8th notes, it keeps chord tones on the beat. Playing the outlines helps to hear the chord. It's a brilliant way to get comfortable with what scales to play where.