Careful, I played the tritone double sus and Mingus and Jaki Byard´s ghosts just passed by and gave me a look, they were having some good laughs though. Better say a prayer before you play it. Thanks Isaac, great quickie. I loved using it on Mingus "Goodbye Pork Pie Hat"
I just realized the tritone double sus itself resolves beautifully, for example C-F-F#-B (or starting from F#) working as an F7, maybe adding the Eb on top or in the middle, resolving to Bb. At least I liked it lol
Love how you are putting across Barry’s concepts and approaches. If you are interested, Ginastera Piano Concerto No 1 IV Toccata Concertata is brimming with these pairs of tritone fourths. Often functioning as chords in there own right. Great work. Keep ‘em coming.
Thanks for this lesson! I’m pretty sure I heard this sound in barry’s playing before. It’s nice to capture some of that into my playing! A nice place I found this move to work well is in the dominant 9 chord on the sixth bar of in a sentimental mood
Dear Isaac, really love your lesson about Barry’s method, really learn alot through the breakdown. Just wonder if you could do a lesson on some of his playing on certain music like : “She”, “isn’t she lovely”,”There will never be another you”, “Artist’s house masterclass with Barry Harris” about how he took the melody with chords together and how he move the chords etc. Plsssss🥺 Much love and appreciate ❤️❤️❤️
thats the theme to Unsolved Mysteries! Also used alot in the video game Majoras Mask. Also the key of C is yellow to me because I like to superimpose the color wheel over the circle of fifths and yellow makes the most sense as C to me.
I love that! I’ll have to check out those shows but yes it does seem like a common device in film and TV. I also love giving notes colors. Personally, I think D is yellow, and C is more of a light tan. But it’s very personal…
amazing content as always. It would be amazing a long video where you made a tutorial without going to deep in the concepts (since you already do in other videos) of a full standard with specific voicings and everything applying various barry things :)
Hey, Isaac! I’ve been studying extensively with Chris Parks and I’m looking to this searching for some answers to an interesting thing we’ve discovered. A fellow student used a Bbm6 as a sub for G7! Typically we think A7 but the notes line up for G7 as well! It would be a #9 b5 chord…I keep noticing this seemingly unrelated minor third, here being Bb and Db that seems to work it’s way into different spots. Just food for thought if you see this and have any insight! Thank you so much for the work you do, this music and this philosophy means so much to so many of us. Wishing you well 🙏
Cool idea. I think I’ve heard this idea described as a c7b5 with 2 borrowed notes from the diminished. Then just resolving the notes down to the chord tones. Are you also thinking of it that way?
This is exactly correct. You can think of it either way. again the power of the simplicity of BH thinking is the many connections between the ideas! thanks for posting!
Barry has done this planet so much good! Thanks for sharing
I wonder if there is or how Barry stuff gets into stacked 4th stuff. This was the closest thing I found quickly.
Whole tone chord moves - my mind immediately goes to everything monk or Duke lol
Totally. it simply is the "correct" way to think about it to get "that" sound
Careful, I played the tritone double sus and Mingus and Jaki Byard´s ghosts just passed by and gave me a look, they were having some good laughs though. Better say a prayer before you play it. Thanks Isaac, great quickie. I loved using it on Mingus "Goodbye Pork Pie Hat"
I just realized the tritone double sus itself resolves beautifully, for example C-F-F#-B (or starting from F#) working as an F7, maybe adding the Eb on top or in the middle, resolving to Bb. At least I liked it lol
Yes, another commenter pointed out the relationship to the 7b5 diminished. it all comes around
Love how you are putting across Barry’s concepts and approaches. If you are interested, Ginastera Piano Concerto No 1 IV Toccata Concertata is brimming with these pairs of tritone fourths. Often functioning as chords in there own right. Great work. Keep ‘em coming.
Thanks for posting i will check that out!
Very interesting, the posibilíties are endless
Yes! a common thing in BH world
Definitely will echo the other comments here about that 'whole tone sound'.... Beautiful stuff here. Thanks Issac
that makes sense since the 7b5 connects the whole tone and diminished worlds
Great, thank you! It's like the 7b5 scale with borrowed diminished notes 📝
Yes! correct
Your the freaking king!
only a devoted apprentice
Thanks for this lesson! I’m pretty sure I heard this sound in barry’s playing before. It’s nice to capture some of that into my playing! A nice place I found this move to work well is in the dominant 9 chord on the sixth bar of in a sentimental mood
Great place! over "like a flame that lights the gloom" love it
Love the channel! Im a Barry fan in Norway. You do a great job putting his teaching into nice lessons. Thankyou!
Thanks for the awesome feedback!
Dear Isaac, really love your lesson about Barry’s method, really learn alot through the breakdown. Just wonder if you could do a lesson on some of his playing on certain music like : “She”, “isn’t she lovely”,”There will never be another you”, “Artist’s house masterclass with Barry Harris” about how he took the melody with chords together and how he move the chords etc. Plsssss🥺
Much love and appreciate ❤️❤️❤️
Will Do! thanks for the suggestion!
Richie Bierach and Dave Liebman were into this voicing also- many years ago. Very interesting and thank you very much!
Yes! He won't say as much but BH theory IS modern theory. The more you get in to it the more it seems obvious!
Thanks for sharing this nice move. I’ve found it easier to play everything in my left hand. Maybe because I’m left handed.
Yes you can arrange it across both hands and across the whole keyboard
thats the theme to Unsolved Mysteries! Also used alot in the video game Majoras Mask. Also the key of C is yellow to me because I like to superimpose the color wheel over the circle of fifths and yellow makes the most sense as C to me.
I love that! I’ll have to check out those shows but yes it does seem like a common device in film and TV. I also love giving notes colors. Personally, I think D is yellow, and C is more of a light tan. But it’s very personal…
amazing content as always. It would be amazing a long video where you made a tutorial without going to deep in the concepts (since you already do in other videos) of a full standard with specific voicings and everything applying various barry things :)
That's a very valuable piece of feedback. will definitely do!
Hey, Isaac! I’ve been studying extensively with Chris Parks and I’m looking to this searching for some answers to an interesting thing we’ve discovered. A fellow student used a Bbm6 as a sub for G7! Typically we think A7 but the notes line up for G7 as well! It would be a #9 b5 chord…I keep noticing this seemingly unrelated minor third, here being Bb and Db that seems to work it’s way into different spots. Just food for thought if you see this and have any insight! Thank you so much for the work you do, this music and this philosophy means so much to so many of us. Wishing you well 🙏
Cool idea. I think I’ve heard this idea described as a c7b5 with 2 borrowed notes from the diminished. Then just resolving the notes down to the chord tones. Are you also thinking of it that way?
This is exactly correct. You can think of it either way. again the power of the simplicity of BH thinking is the many connections between the ideas! thanks for posting!
THANKS. Is there any song/piece that has this movement as written?
Not sure of an exact source, but there are so many applications to have fun with...
I tried it on "Solar" (approching Fmaj7 from F# (as C7b9 tritone sub)) . It adds a little bit of dissonance to the changes.
That is an awesome idea I never thought to use it there! Sounds great
Isaac, would`t G7 be in the peoples key ?
Yes. You are correct. Let's call it "the people's 7th chord" lol
@@isaacraz the dialectics of tonality
Ever evolving work in progress for the perennial academic navel gazer (Hey I resemble that remark)
Barry's birthday was the 15th I believe
Yes it was!
What if you sus the other one and unsus the other? In C you get either G C Db F or G B Db F#
Leading through G B Db F to G A C E
And what if you have the roots and fourths/thirds of other dominants that come from the same diminished? What a wormhole
Yes! we can make connections all day and night with this kind of thinking! thanks for sharing!