Love this post, perfect way to Swing into the weekend. I sing and play flute and love your content and your way of laying information out and exploring the application into tunes. Chris Park's page is a wealth of Harris theory (Things that I Learned from Barry Harris.) I find myself challenged with integrating the concepts into my playing. I appreciate you creating this post.
This is my favorite lesson EVER other than the Goodrick thesaurus 2-video lesson (from 18 months ago?-- because that lesson hipped me to the forgotten Goodrick texts). But I must say-- Monk does not make musical mistakes; our ear is not yet educated enogh for his Bop, and it does us all a continued disservice to undermine the harmonic cogency with a pre-emptive "apology" that Monk "might not make sense, and that's okay." I scold us all, Mikko as well, because music is mathematical and there are all sorts of counter-intuitive discovered objects in mathematics like the Klein Bottle, but no one apologizes for Klein's state of mind before discussing the object. Within our musical tradition, in historical acknowledgement of their personal suffering, we undermine-- to our own detriment-- the work of Tatum, Monk, and Powell by attributing their success to mental illnesss or freak talent.
With this said, this lesson becomes a primer for Big Band chord voicings of the 40's, Mikko's use of C6th-Dim chord scale is tasty. And gentle. The way Mikko approachs this tune is so gentle and inside. This my go-to Monk tune upon which I feel most comfortable, my stuff is absolutely angular, camping out on as much open-string discord as possible. I literally play this composition like an Atari 8-bit crusher pedal: smashing the half-step b5 substitution and camping out on the b5,5,b6,6 of any chord with the supposed sonority coming from shared notes that function differently a 1/2 step apart-- if a shared note goes from b6th to 5th of the next chord without changing pitch, it can be clangorous. Mikko's return to the non-substitute V-I cadence and use of Harris's scale beautifies this tune like a Grant Green piece. Also enjoy the bossa lessons, and bossa now informs your technique. Rock on!
@@Mikkokosmosoh ok a video title popped up and I sent a student there but maybe it was a TH-cam change. I’ll check out your other videos on the BH method too!
Great stuff, but like most Barry Harris material it’s going to take multiple views to get it all under my fingers. Same with the TILF Barry Harris TH-cam channel
Love this post, perfect way to Swing into the weekend. I sing and play flute and love your content and your way of laying information out and exploring the application into tunes. Chris Park's page is a wealth of Harris theory (Things that I Learned from Barry Harris.) I find myself challenged with integrating the concepts into my playing. I appreciate you creating this post.
Thanks for sharing your knowledge😊
Thanks for watching
Great lesson . Thanks.
Thanks you Mikko, great lesson🎉
Glad you like it 😃
Sounds great Mikko, the trouble is I always think about Hans Groiner when I hear this tune...
Haha he "fixed" the tune 😂
This is my favorite lesson EVER other than the Goodrick thesaurus 2-video lesson (from 18 months ago?-- because that lesson hipped me to the forgotten Goodrick texts). But I must say-- Monk does not make musical mistakes; our ear is not yet educated enogh for his Bop, and it does us all a continued disservice to undermine the harmonic cogency with a pre-emptive "apology" that Monk "might not make sense, and that's okay." I scold us all, Mikko as well, because music is mathematical and there are all sorts of counter-intuitive discovered objects in mathematics like the Klein Bottle, but no one apologizes for Klein's state of mind before discussing the object. Within our musical tradition, in historical acknowledgement of their personal suffering, we undermine-- to our own detriment-- the work of Tatum, Monk, and Powell by attributing their success to mental illnesss or freak talent.
With this said, this lesson becomes a primer for Big Band chord voicings of the 40's, Mikko's use of C6th-Dim chord scale is tasty. And gentle. The way Mikko approachs this tune is so gentle and inside. This my go-to Monk tune upon which I feel most comfortable, my stuff is absolutely angular, camping out on as much open-string discord as possible. I literally play this composition like an Atari 8-bit crusher pedal: smashing the half-step b5 substitution and camping out on the b5,5,b6,6 of any chord with the supposed sonority coming from shared notes that function differently a 1/2 step apart-- if a shared note goes from b6th to 5th of the next chord without changing pitch, it can be clangorous. Mikko's return to the non-substitute V-I cadence and use of Harris's scale beautifies this tune like a Grant Green piece. Also enjoy the bossa lessons, and bossa now informs your technique. Rock on!
Sensacional 🔥🔥🔥🔥🔥👌
man this is cookin
Great video man
Glad you like it 😃
Oz Noy plays quite a few Monk tunes … 👍👍
You were gettin "Monkish" with that last group of ideas
10:08 If you call this a G7b9 chord then that's an A double flat, I don't make the rules!
I was hoping for B section ideas. I find it very difficult to create any improv that sounds good
What happened to the other video with the book?
I have several videos where I mention the book. Nothing has happened to them?
@@Mikkokosmosoh ok a video title popped up and I sent a student there but maybe it was a TH-cam change. I’ll check out your other videos on the BH method too!
Great stuff, but like most Barry Harris material it’s going to take multiple views to get it all under my fingers. Same with the TILF Barry Harris TH-cam channel