Barry describes how in the '30s and '40s the NY kids knew this stuff (role of diminished chord) from 'old-time' hymns and rags, and then adapted it to the 'pop' tunes of the day mostly penned by European immigrants with classical music backgrounds, who also 'knew' it ... bringing us the jazz standard american songbook with its mix of afro-rhythms/dominant sounds and european harmonic forms... hip lesson to add your own neo-gospel vibe, thanks ! subscribed !
I have been watching you for a while. Your work is truly excellent. I am an old Jazz guy. I always have loved the way Gospel keyboardist would squeeze all the good flavors out of their chords. I also loved that distinct genre sound. You can't sit through a Gospel worship service without having your soul stirred. Thank you for your video on my hero Chick Corea. Thank you for your craftsmanship and your generosity. Barry Harris always seemed like a guy you might run into at Walmart. Nothing special humble guy... but when you look at his work, it is like he totally reimagined Western harmony. Thank you, brother. Excellent and useful work.
I remember as a kid when my father had his advanced students come I would hear this style of teaching in the 80s!!! Bu t I like your version!!! I need to sit with that!!!
I love what you did with it. Converting it to a Gospel feel. That was one of my greatest challenges. When I took lessons with Barry how do I apply to Gospel.
Sean, you never cease to AMAZE me. I really hope someone in any of those established Jazz Faculties throughout America hires you for a few MASTER CLASSES. There's no one else breaking it down like you. God Bless from Japan.
an ancient proverb says that we die twice. once is the physical death second is the last time your name is ever mentioned. thank you young brother for keeping Dr Harris alive...
I couldn’t put my finger on what this reminded me of and then I realized this exercise is one of the songs in Zelda. I had to look it up but it’s called the fairy fountain theme. It’s just in the key of F and a major 4 instead of a minor 4
Can you please do more breakdown videos of the Jazz academy videos! This aside from robotically playing the 6th diminished scale over and over in different directions is the first time i truly understood and implented movement into my playing! Thank you so much i may not be the mastermind Barry Harris himself but i want to sound really close to that style and you are an amazing teacher 🙌🏾🙏🏾
Even though this is very basic material that most serious and professional musicians have already uncovered we need good teachers like this guy who can help the beginners and the self-taught players understand what they need to do to improve their musicality. This guy is very good
I think this is what I was lacking to make more movements in my playing. Because, I learned this about Barry Harris, but I needed much understanding on how to use it. You are helping us with your amazing ear and teaching skills. Thank you.
Great vid man! Moving that melody to the left hand is so nice. First thing I thought of hearing this was Todd Galberth Lord you are good. Has that lick at one point in the arrangement
i saw barry harris video's when i just started playing the keys and as a beginner i went way over my head with all of this. thank you for giving me the chance to revisit the legend's teachings!! 🙏💫
You make everything ridiculously easy to understand. I remember watching the original version years back and I was wishing could grasp the concept. Thank you sir!!
Sean Sean !!! Thanks for sharing your experience with the world…. This video has explained and exposed secrets that open up unlimited possibilities in musicality!!!! RESPECT TO YOU SIR
Genius, since the sequence repeats after that, you have 3 of these sequences , [diminished chords] , 3 family to go trough. And you can get mastery of this sound, these tentions!
Sean! You the man bro! Such a beautiful exercise. Melody on the bottom is 🔥Lowkey reminds me of the melody from Andrae Crouch's song "The Promise". Keep up the great work my guy
For Barry Harris, it's the diminished chord (Ddim) that connects those four keys, not the minor chord. These four keys are "family" because they share the same diminished chord. This chord has a dominant function in each key so C and Eb aren't connected by Fm, they are connected by Ddim, a.k.a. Fdim, which functions as G7b9 in C and Bb7b9 in Eb. Your approach isn't "wrong"; it sounds great. It's just not what Barry taught.
hey thanks for writing. You're correct that I am not explaining Barry's approach here, but rather how his exercise has helped me. For me, the diminished chord is used to help with the order of what notes to practice in, but I am not seeing them as "connecting" chords. They just tell me what key to play next. I am using "connected" in the case of the Fmin, is because it happens to be in both keys (4 of C and 2 of Eb) so it helps me to see it as a sort of pivot chord for weaving in between those keys for gospel musicians (my channel is more gospel, a jazz approach could be entirely different)... Appreciate your comment!!
@@SeanWilsonPiano also I know you didn't want to explain it this way so as not to confuse the self-taught and beginners out there who you are trying to help but what's more important is the sound that you are hearing and not necessarily the name or the label that we put on it. It's someone called something an f-minor and someone else calls it a. D dim you're really splitting hairs. The teachers explanation of why he's calling it and f-minor makes complete sense because now you're talkin about functionality. Why confuse the beginning student with the diminished concept when it's easier for the beginner to understand that f-minor is now the two chord of the new key Eb major. A seasoned player can readily interchange d diminished and f-minor but not so much the beginning student or the self-taught player who has not analyze something like this yet
@@ber334 appreciate the comment, "splitting hairs lol"--- Since my target audience is mostly gospel musicians, most who already play well, but new to theory, they don't understand a lot of these "nuances..." or why they matter to the song, so my videos are actually speaking to them... however, I do depend on the jazz guys to provide context where appropriate but don't want to get into the "weeds" with it, if you know what I mean
Awesome Sean🤗. Thanks so much for this breakdown and not only that but also how to apply it. The application of it is always where the difficulty lies. You have indeed simplified everything🔥
It'll be another hundred years before we can fully flesh out what Barry Harris did for music. Kind of like Bach, where people forgot about him for a while but then was rediscovered.
now every time i come across a minor iV ill alw think abt how i can modulate to that key a minor third away n up - good exercise to practice modal interchange?
Wow you really know your stuff lol, but how come some of the extra notes just don't sound well together? Is it supposed to or is it just an exercise? Because when I'm making beats and I use the piano roll, my cords they sound good together but idk if those cords are real cords and if they work together they sound good together, but then I got some "progression cords" at like 8 or 9 keys including top melody and my bass keys start to sound distorted in a way.. but when I take some away the sound starts to feel empty.. hard to explain haha trying to figure out how piano works, I can freestyle well I just can't understand music theory no matter how it's taught. It's weird. Haha
yeah I hear you, I think you gotta understand that "sounds" are subjective. So there could be some chord progressions in there that your ears just don't like, and that's ok. We all have our preferences. The goal of this channel is to experiment, find what you like, and create your own sound from the things you DO like
The four keys are a minor third apart, which happens to create a closed octave loop (a m3 above A is back to C). So there are a total of three loops: one "starting" on C, one on C#, and one on D.
Thanks for answering. 1. I understand the minor third relationship between the four keys and how they form a closed octave loop. 2. How did you determine that there are three other octave loops mentioned above, “starting on keys C, C#, and D,” in this example? 3. Can Berry Harris’s technique apply to these other loops as well? 4. 😊If your explanation is too lengthy for this format, what source do you recommend, that I can learn more about this idea? Thanks a bunch! You’ve already been very helpful.
@@samrogers6890 So, by the definition of a loop, you'd agree that the loop "starting" on C is the same as the loop "starting" on Eb, right? What notes between C and Eb would be skipped over by this particular loop? I don't have specific resources to point you toward, but I think you need to hammer into your mind the distinction between *pitches* (i.e., notes) and *intervals* (the spaces between pitches). This "technique", just like literally every other melody playable on the piano, is just a series of intervals. When you sing Happy Birthday, does it /need/ to start on exactly B-natural for you to recognize it as Happy Birthday? This practice technique is just a specific melody (i.e., series of intervals) that gets your hands, fingers, and ears working in a particular way that is distinctly useful for jazz and gospel styles of piano. The only way I could imagine a melody "not working" in a different key on piano is if you physically run out of keys on one side of the keyboard... in which case you can shift the entire thing up/down by an octave and try again. :D
Hey James, typically the 4th chord in the scale is major, in this exercise it is minor because we are switching keys. The minor 4, is the same as the minor 2 in the new key
Hey most of the application for the songs were taken from the 1st measure of the revised version, and loosely placed where my ear thought they could fit
Being the second chord of the next key it implies the dorian mode which has a natural 6th instead of a flatted 6th in the natural minor scale (aeolian mode)
Barry describes how in the '30s and '40s the NY kids knew this stuff (role of diminished chord) from 'old-time' hymns and rags, and then adapted it to the 'pop' tunes of the day mostly penned by European immigrants with classical music backgrounds, who also 'knew' it ... bringing us the jazz standard american songbook with its mix of afro-rhythms/dominant sounds and european harmonic forms... hip lesson to add your own neo-gospel vibe, thanks ! subscribed !
I'm seeing it in 1890s ragtime Parlour Guitar Victory rag...and I see it in Bach's Etude 846 in C
That was so well said. This might be my favorite comment of all time. 😝 lol
I have been watching you for a while. Your work is truly excellent. I am an old Jazz guy. I always have loved the way Gospel keyboardist would squeeze all the good flavors out of their chords. I also loved that distinct genre sound. You can't sit through a Gospel worship service without having your soul stirred. Thank you for your video on my hero Chick Corea. Thank you for your craftsmanship and your generosity.
Barry Harris always seemed like a guy you might run into at Walmart. Nothing special humble guy... but when you look at his work, it is like he totally reimagined Western harmony. Thank you, brother. Excellent and useful work.
Theme do much for the insight and commentary! Appreciated!
This is absolutely the most powerful video I've seen on expanding the understanding the piano.
Bravo!!
Thanks so much for the support!
I remember as a kid when my father had his advanced students come I would hear this style of teaching in the 80s!!! Bu t I like your version!!! I need to sit with that!!!
Appreciate it man!
This is the simplest and clearest way I've seen the 'Torture Test' explained. Thank you so much Sean, you're an amazing teacher!
Thanks Derrick!
I love what you did with it. Converting it to a Gospel feel. That was one of my greatest challenges. When I took lessons with Barry how do I apply to Gospel.
Doc!! Much appreciated man!
I’ve followed your channel too and it’s pure gold!!!
Wow brother... You've just given me so much to work with!! Love from the Netherlands...
Great to hear man!
Sean, you never cease to AMAZE me. I really hope someone in any of those established Jazz Faculties throughout America hires you for a few MASTER CLASSES. There's no one else breaking it down like you. God Bless from Japan.
Doc!! Much appreciated man!
I remember this so well in class with Barry standing over my shoulder play play play!!!lol
Dude I forgot you were his protégé!! Ohh That’s why you be killing lol
You'll never believe what he did to a lobster that refused to play more than four notes at once. 🍗🍗
This freestyle or this mesh of a bunch of songs sound like a song on its own and it's crazy good! Wow.
an ancient proverb says that we die twice. once is the physical death second is the last time your name is ever mentioned. thank you young brother for keeping Dr Harris alive...
Your take on this exercise sounds like Take 6 movements to me! I love this!!!
yeah man, thanks for watching
I couldn’t put my finger on what this reminded me of and then I realized this exercise is one of the songs in Zelda. I had to look it up but it’s called the fairy fountain theme. It’s just in the key of F and a major 4 instead of a minor 4
You sir…you really have an ear!!!!💪🏾🔥
Thx for demystifying the great Barry Harris chords never understood it or why to learn it !
Yeah man!
Can you please do more breakdown videos of the Jazz academy videos! This aside from robotically playing the 6th diminished scale over and over in different directions is the first time i truly understood and implented movement into my playing! Thank you so much i may not be the mastermind Barry Harris himself but i want to sound really close to that style and you are an amazing teacher 🙌🏾🙏🏾
This is the exercise I’ve been waiting for my whole life.. thank you. Blessings
Thanks so much for the support!!
Even though this is very basic material that most serious and professional musicians have already uncovered we need good teachers like this guy who can help the beginners and the self-taught players understand what they need to do to improve their musicality. This guy is very good
Appreciate it!
This is basic?! Pray, what comes next? Would love to hear…thanks…
I think this is what I was lacking to make more movements in my playing. Because, I learned this about Barry Harris, but I needed much understanding on how to use it. You are helping us with your amazing ear and teaching skills. Thank you.
Great vid man! Moving that melody to the left hand is so nice. First thing I thought of hearing this was Todd Galberth Lord you are good. Has that lick at one point in the arrangement
Yup!!
I like your take on this Barry Harris exercise. Could you please elaborate a little more on your additions?
i saw barry harris video's when i just started playing the keys and as a beginner i went way over my head with all of this. thank you for giving me the chance to revisit the legend's teachings!! 🙏💫
Yeah let me know how it goes!
You make everything ridiculously easy to understand. I remember watching the original version years back and I was wishing could grasp the concept. Thank you sir!!
Doc!! Much appreciated man!
Your expansion of Barry Harris's exercise is just beautiful. The exercise was beautiful to begin with, but now it's just beauty on beauty...
Glad it was helpful!
Sean Sean !!! Thanks for sharing your experience with the world…. This video has explained and exposed secrets that open up unlimited possibilities in musicality!!!! RESPECT TO YOU SIR
Thanks for another well explained lesson Sean.. i really appreciate you.🙏🏾
Thanks so much for the support!!
Great fairy fountain!
Awesome! Thanks for sharing Barry's concepts.
Yeah man! Thanks so much for the support!
Super Dope!
Definitely gonna try and learn this. Thx for sharing bro
Yeah man! Glad it was helpful!
Wow! Sean you are very much appreciated bro! I love learning stuff like this. You are a phenomenal musician and an excellent teacher! 👏🏽
Appreciate it man!!
I like the simple explanation of theory. I need a lot more work here.
Class in session doc!
14:52 Your application of this exercise here was really helpful Sean - thanks 😊…
Thanks for watching!
Genius, since the sequence repeats after that, you have 3 of these sequences , [diminished chords] , 3 family to go trough. And you can get mastery of this sound, these tentions!
This is amazing - I just started practicing. I can tell that if I do it every day it's gonna add a lot of my playing
Get it man!
This is a real rich sound. Thank you so much. I will really have to practice and practice until I understand it well
Wow, thank you bro!
Sean you are so ethereal my friend I wish I could meet you God bless your one of a million points of light for Christ
Doc!! Much appreciated man!
Sheeesh... I'm definitely jumping on this. Thanks a lot, Sean!
Appreciate it man!! Thanks for watching!
What a blessing incorporating this into my practice - not today but tuhday lol
Get it doc!
Yes @SEAN YOU ARE A GOOD TEATCHER
Thanks man!!
wow this video is excellent!
Glad you enjoyed it
This was so eloquent I have to learn it. It'll change everything for me
Thanks so much for the support!!
i'm trying this on guitar tonight!
seems very beneficial
this is great
Great job brother, you're blessed with the gift of teaching. Praise The Lord for you.
You're good man, I hope I grasp this music theory understanding soon.
Doc!! Much appreciated man!
Great video, great pace - I watched the whole thing. Cheers
yeah man, thanks for watching
Sean! You the man bro! Such a beautiful exercise. Melody on the bottom is 🔥Lowkey reminds me of the melody from Andrae Crouch's song "The Promise". Keep up the great work my guy
Appreciate it Carl!!!! Hope you been good bro
For Barry Harris, it's the diminished chord (Ddim) that connects those four keys, not the minor chord. These four keys are "family" because they share the same diminished chord. This chord has a dominant function in each key so C and Eb aren't connected by Fm, they are connected by Ddim, a.k.a. Fdim, which functions as G7b9 in C and Bb7b9 in Eb. Your approach isn't "wrong"; it sounds great. It's just not what Barry taught.
hey thanks for writing. You're correct that I am not explaining Barry's approach here, but rather how his exercise has helped me. For me, the diminished chord is used to help with the order of what notes to practice in, but I am not seeing them as "connecting" chords. They just tell me what key to play next. I am using "connected" in the case of the Fmin, is because it happens to be in both keys (4 of C and 2 of Eb) so it helps me to see it as a sort of pivot chord for weaving in between those keys for gospel musicians (my channel is more gospel, a jazz approach could be entirely different)... Appreciate your comment!!
@@SeanWilsonPiano also I know you didn't want to explain it this way so as not to confuse the self-taught and beginners out there who you are trying to help but what's more important is the sound that you are hearing and not necessarily the name or the label that we put on it. It's someone called something an f-minor and someone else calls it a. D dim you're really splitting hairs. The teachers explanation of why he's calling it and f-minor makes complete sense because now you're talkin about functionality. Why confuse the beginning student with the diminished concept when it's easier for the beginner to understand that f-minor is now the two chord of the new key Eb major. A seasoned player can readily interchange d diminished and f-minor but not so much the beginning student or the self-taught player who has not analyze something like this yet
@@ber334 appreciate the comment, "splitting hairs lol"--- Since my target audience is mostly gospel musicians, most who already play well, but new to theory, they don't understand a lot of these "nuances..." or why they matter to the song, so my videos are actually speaking to them... however, I do depend on the jazz guys to provide context where appropriate but don't want to get into the "weeds" with it, if you know what I mean
@@SeanWilsonPiano exactly that's what I was trying to say !!!!
That's why it's called music "theory" - cause people argue over it
Thank so much, Doc. We appreciate this so much, you've taken it to a new level! Blessing to you...
Appreciate it man!
Around the 2:40 mark, How come the 6 isn't Db instead of D when you go to the F minor.
Ooh waaaw i love that move !
Appreciate it man!!
You're a Great teacher Sean Thank you
Appreciate it man!!
Awesome Sean🤗. Thanks so much for this breakdown and not only that but also how to apply it. The application of it is always where the difficulty lies.
You have indeed simplified everything🔥
yeah man, thanks for watching
I've been shedding this for 6 hours straight. it's really tricky to figure out on the fly!
Wow man, 6 hours?! You gotta break it up!
Great thanks ❤
yeah man, thanks for watching
you're a beast sean!
Appreciate you man! Thanks for watching!
It'll be another hundred years before we can fully flesh out what Barry Harris did for music. Kind of like Bach, where people forgot about him for a while but then was rediscovered.
Yeah man! Thanks for watching!
"Excellent Brutha!" THX!!
Appreciate it man!
Musical wisdom.
Doc! Much appreciated man!
awesome vid
7:25 Don't understand what the Gb is doing there theoretically in this context. Sounds good and familiar tho.
What a great video. Great stuff as usual
Appreciate it man!
I Swear ur the 🐐…
He is a lamb, like all sons of God.
You know God isn't likened to a goat😅.
Yeah, I know what you mean tho.
Appreciate it man!
This is amazing
Doc!! Much appreciated man!
instant subscribe
Wow, thank you bro!
Wow. Rich sounding chords Sean Wilson.
Yeah man! Thanks for watching!
So nice
Appreciate it man!! Thanks for watching!
14:08 ayyee 😂
How about finger positions, is there a routine ? Especially with melody here.
now every time i come across a minor iV ill alw think abt how i can modulate to that key a minor third away n up - good exercise to practice modal interchange?
One question sir! Why, for the sake of this exercise, do you not keep the chords 4 notes in the gospelvariation? Its confusing to me... Thanks !
Na parte do exercicio revisado, não peguei a logica da mão esquerda, como a progressão harmonica trabalhou. Alguem poderia dar uma ajuda?
13:40 what's the song were you playing ?
I surrender all, hymn
Wow you really know your stuff lol, but how come some of the extra notes just don't sound well together? Is it supposed to or is it just an exercise? Because when I'm making beats and I use the piano roll, my cords they sound good together but idk if those cords are real cords and if they work together they sound good together, but then I got some "progression cords" at like 8 or 9 keys including top melody and my bass keys start to sound distorted in a way.. but when I take some away the sound starts to feel empty.. hard to explain haha trying to figure out how piano works, I can freestyle well I just can't understand music theory no matter how it's taught. It's weird. Haha
yeah I hear you, I think you gotta understand that "sounds" are subjective. So there could be some chord progressions in there that your ears just don't like, and that's ok. We all have our preferences. The goal of this channel is to experiment, find what you like, and create your own sound from the things you DO like
Part one is intuitive, part two (the revised routine) falls apart: What exactly are you doing there? How can I practice it? Which notes should I use?
Just follow the video slowly and repeat according to need. It's crystal clear.
Sean can you transcribe any song from Quenell and Jamar jones album. I’m a premium member btw. Pleaseeeee
How does Barry Harris choose the four keys and their order to cycle through the chords ?
The four keys are a minor third apart, which happens to create a closed octave loop (a m3 above A is back to C). So there are a total of three loops: one "starting" on C, one on C#, and one on D.
Thanks for answering.
1. I understand the minor third relationship between the four keys and how they form a closed octave loop.
2. How did you determine that there are three other octave loops mentioned above, “starting on keys C, C#, and D,” in this example?
3. Can Berry Harris’s technique apply to these other loops as well?
4. 😊If your explanation is
too lengthy for this format, what source do you recommend, that I can learn more about this idea?
Thanks a bunch! You’ve already been very helpful.
@@samrogers6890 So, by the definition of a loop, you'd agree that the loop "starting" on C is the same as the loop "starting" on Eb, right? What notes between C and Eb would be skipped over by this particular loop?
I don't have specific resources to point you toward, but I think you need to hammer into your mind the distinction between *pitches* (i.e., notes) and *intervals* (the spaces between pitches). This "technique", just like literally every other melody playable on the piano, is just a series of intervals. When you sing Happy Birthday, does it /need/ to start on exactly B-natural for you to recognize it as Happy Birthday?
This practice technique is just a specific melody (i.e., series of intervals) that gets your hands, fingers, and ears working in a particular way that is distinctly useful for jazz and gospel styles of piano. The only way I could imagine a melody "not working" in a different key on piano is if you physically run out of keys on one side of the keyboard... in which case you can shift the entire thing up/down by an octave and try again. :D
Hi , any chance of getting the music score. Thanks
Why can we play the minor 4th of the major scale? Beginner theorist here looking for help
Hey James, typically the 4th chord in the scale is major, in this exercise it is minor because we are switching keys. The minor 4, is the same as the minor 2 in the new key
Beautiful explanation
@@SeanWilsonPiano Thank you for explaining that, music theory still seems so confusing at this stage. I appreciate your content.
@@jamessullivan1830 The tonic notes keys: C E♭ F♯ A, or C E♭ G♭ B𝄫 are each a minor 3rd apart, which is also a C°7 chord.
Maybe you should revisit the F# block - in # scales are no b chords……
yes, this is correct. This is a gospel thing, we don't like saying A# lol...
Genio
@sean question, would the “2” chord of the upcoming key be seen as the “5” setup to the new key, especially with the no 5 and the 7th added?
Hmm, my ear tells me it could be a type of 5 into the new key...
Benny Harris wrote the Great Fairy Fountain.
❤❤❤❤
Can you please cover any of the songs from Cory Henry’s newest album? It’s truly inspiring
Gotta check it out!
Can someone tell me what VST's Sean uses?
Keyscape piano
I was kinda lost with the application of the revised version, didn't which moves were being used
Hey most of the application for the songs were taken from the 1st measure of the revised version, and loosely placed where my ear thought they could fit
@@SeanWilsonPiano Thank you!
I'm new to piano. Why is the 4th Chord a minor? Always hear 4th is major
The 4 chord is minor in THIS exercise
@@SeanWilsonPiano thank you
I was wondering why is he says that the 6 note of d minor is B when it’s actually B flat?
Can really hear what may have influenced the Zelda Fountain theme
I was wondering why is he says that the 6 note of d minor is B when it’s actually B flat?
Being the second chord of the next key it implies the dorian mode which has a natural 6th instead of a flatted 6th in the natural minor scale (aeolian mode)
Ooooooooweeee❤
I like this
Wow, thank you bro!
first part in C sounds like "World 3" from super mario 3... the underwater land lol
Sounds like a progression from Zelda Ocarina of time
I didn't know two white keys next to each other work like that
okay, this is gonna be fun, if Sean is already struggling with the keys ... 😬
this here. i found it. !!!
fairy fountain
This reminds me of the Fairy Fountain theme from Zelda.
The first exercise reminds me of Zelda music for some reason... The fairy fountain theme ruclips.net/video/5aX_IZr_a9Y/видео.html
ruclips.net/video/tF-XoYlGy34/видео.html