practice notes: • Key of Bb: 5 is F, which triggers this phrase after you hit 5 (F), then maj7 (A), tonic (Bb), 4 (Eb), then 3 (D) • 4: start on 5 again, then 4 (Eb), then chromatically up to 3 (C-Db-D) • 3: start on 5, chromatic down to 3, then triad up from low 5 (F-A-C) • 2: 5 scale down to 2 (C), then 7 (A) chromatically to the 2 (C) triplet • Then put them all together. • Pick & choose whichever one you want. • Start on tonic (Bb) and descending put a half-step to 5, then do any of them. • Little “pivots” that lead to other interesting ideas. • Practice moving in 4ths, e.g. Bb, Eb, Ab, Db, Gb, etc. • Play these over any major chord.
Great content! Love it. To anyone wondering where the 5-4-3-2 naming convention comes from, I think Barry was trying to convey classic bebop fragments that use downward lines with leaps or skips that return upwards like you hear in countless bebop lines. On the 5, you leap down immediately from the 5th and return in some way upwards. On the 4, you play scale degrees 5 and 4, then leap down and bop your way back up. On the 3, you play 5-4-3 then leap down and come back up a triad (super common bebop phrase) You get the idea, I think this is Barry's way of codifying a lot of jump off points for lines and ideas that were all over the bebop era
Thank you for the knowledge Chris. My 25 year old son introduced my to Barry Harris. My Son took a couple of lessons in Brooklyn, with a Lady that taught Barry Harris method. I play electric bass and want to apply these principle to the bass, I don't want to do the regular Pentatonic runs. I have decided to by into Barry. Thank you for giving these lessons for free. My Son is a hip hop producer, he said that he found Barry on youtube. His method thru you teaches originality. How to find your own sound.
3 года назад+5
Just went through all 12 keys. The challenge is playing everything in one position. If you move around too much you might end up depending on the fingerings, whereas if you stay in one position you depend much more on your ears. Fantastic exercise! Thanks so much!
I love how the #5 & #4 pattern is all about targeting the 3rd of the I^7 chord, and the #3 & #2 pattern is all about targeting the 2nd of the I^7 chord. Based on this, I’ll make up some ideas targeting the 6th and the 7th which will be based on the V7 with the lines starting again from the 5th of the chord. Very good lesson and am a firm believer in always coming back to these fundamentals
Hey bruh, your lessons are very refreshing and unmatched. Your explanations are right on! Your videos have opened up a whole new world for me and believe me when I say that I’ve experienced a musical rebirth!!! You’re truly a Godsend
I appreciate the kind words Samuel. This is why I make these videos. I think Barry's method is so special and I've been blessed to be around him, the least I can do is share it with other musicians as best I can. Please share with your musician friends.
Thank you for sharing all this stuff. I was transcribing Red Garland's solo on "Almost Like Being In Love" and found the 5-4 line in one of the first licks. Its like a lightbulb exploded!
Hey Chris, Thank you so much for keeping this teaching alive. I found this channel 4 years after you created the content, but It's really helping me. I've been playing for 30 years and have been studying jazz more seriously for the last year. These lessons are exactly where I need them to be. I'm working on Rythm Changes with Oleo with my ensemble class at the Nashville Jazz Workshop and this stuff fits exactly what I'm working on. Thanks so much for taking the time to share this with the world!
Hey man, I’m a classical pianist trying to learn some jazz and even though your focus is guitar these are really great breakdowns of the concepts. Sometimes following the snippets of Barry on RUclips is tricky but you’re a great communicator and make it simple to practice the key ideas. Thanks so much!
Cool! I like that you are showing some real examples of using 5-4-3-2, lots of people just give the rules but never show examples. I love that exercise moving in 4ths!
Just now discovering this channel! Thank you so much for these videos man. The fact that you are out here sharing your interpretations of Barry's teachings for FREE, and all the while making it so easy and digestible for players of all skills. cant wait to dig through all these
Very nice, thanks. Charlie Banacos had a similar idea where he gave you 'classic phrases' based on each chord shape (and tensions), which he asked you to practice and use as launch pads or - as you do - points of reference.
You are the first person in a couple years of searching that has made the bebop language truly accessible to me. I really cannot explain how that important that is to me. Thank you so much
This Barry Harris cat is brilliant. He hears music in such a great way. It's so flexible, aurally beautiful and straight forward in it's "assembly". Thank you so very much for exposing me to this approach. I'll see you on Patreon.
As a guitar fan, I can say that your video here is just amazing. The talk, the practice breakdown, the examples, really represent the jazz standard. Very good job, sir!
Barry Harris yes great man I took one lesson than tworkshop in New York and he would repeat lines you know and teach a tune he would start off with small phrases like that and then you play the whole melody would've learned the whole bop head but he's so deep that I am trying to learn visa little improvisational tricks and is kind of difficult because Guitar the basic books really don't teach all that stuff the way a lot of people learn in the past is just listen to the records and try to mimic the records. There was no method to design improvisation like this so I'm gonna be checking out these videos.
My teacher Axel Hagen told me about your channel, because I'm interested in all the Barry Harris' stuff. And with the first look I have to say that I appreciate your videos very much. These are very informative and helpful for me. Your channel is one of the best jazz-guitar content I've ever seen on RUclips. Thank you for your efforts. Greets from Würzburg
Thank you Steve. Axel is not only one of my favorite guitarists but one of my favorite people on the planet. He's wonderful. He has a lot of beautiful ideas using Barry's method too. I'm trying to get him to make his own tutorial channel as well. He has a lot to offer people as I'm sure you already know. Thanks for the kind words. Please share with your musician friends.
@@thingsivelearnedfrombarryh2616 You're Welcome. Yeah, I think to get him to make some tutorials too would be a gread addition. Maybe you will succeed to get him so.
Hey, Chris. Thanks for sharing what you've learned from Barry. And on guitar! Please check my understanding of 5-4-3-2. Let's say we're on a Bb major chord / scale (as in rhythm changes). 5 M7 T(onic) 4 3 would be: F, A, Bb, Eb, D. (Right?) 5 4 2 b3 3 would be: F, Eb, C Db, D. (Right?) 5 4 3 5 7 2 (or 9) would be: F, Eb, D, F, A, C. (Right?) 5 4 3 2 M7 T b2 2 would be: F, Eb, D, C, A, Bb, B, C. (Right?) Thanks!
Things I've Learned From Barry Harris Thanks, Chris. I like the sound of these lines. Lots of work to do but I don’t mind work when it ends in good music. 😊
I’m gonna have so much fun with this. No guitar till late Sat nite. I’m away at medical conference. I’ve been looking to fast forward my vocabulary in jazz improv and I can see this may be the accelerator I’ve been seeking. If so, your a genius to recognize genius.
Just finishing up my music degree and looking for new stuff to practice to keep my bass chops up and improve my guitar playing. I've been a fan of the bootleg kind of videos of Barry's lectures online. I'm really thankful for the work that you're doing and can't wait to keep going through this series. Thank you =)
Hey man. I can’t wait to learn these lead-in’s to Major chords, from a Jazz sounding approach. Don’t know how else to say it , but I’ve never played those type “sequences”. Just listening to you play them seems it will propel my improv in a much more Be-bop direction. Thanks. My 1st time with you. Well done. I’ll be back. Dr Brad Dallas,Tx
Thank you so much for fantastic wealth of knowledge you are sharing! I wonder: why do you start 5 and 4 on the downbeat, but do 3 and 2 as anacrusis? Shouldn't these licks works no matter what beat they are started on?
Hi Chris, I’m not sure how I stumbled on to your channel but I’m really glad I did. I’m only a couple of episodes in and I have so much to work on. The difference is (and why I’m excited) these exercises sound musical vs stale scales or straight arpeggios etc Bravo brother these vids/lessons are super awesome! Thank you. 👍🏻🤟👊💥
Mark Mertens Yes. Absolutely. Its been a busy last week or two but I'll keep these going for as long as I have something to share. I really enjoy doing it. If you have any suggestions for a topic of a video, I'd love to hear them.
I have a lot of questions, Chris. Here are a few: 1. How does Barry think about and use minor 6 diminished as a substitute for dominant chords (i.e., for alt and #11 sounds)? 2. A few lessons on the "borrowing" that Alan Kingstone & Rick Stone talk about. I'd love to hear it from your/Barry's perspective. 3. Any half step rules for major 6 or minor 6. Thanks!
First of all, thank you very much for all the knowledge you share in your videos, very kind of you! I was wondering if there is the 5432 for the dominant scale?
Best I’ve found so far by far....I was fortunate to get a Ted Greene book when I was in my early 20s....and joe pass too had some great books waaaaaay back in the day.....thanks!
maybe i'm on the wrong track, but I can not follow, what does Chris mean with 5-4-3-2 ?? In my opinion he plays ONE lick of more than one billion other bebop licks, what is the concept behind ? Thank you in advance for any clarifying comments...
So if you use these in a blues you would just flat the seventh and have more extrapolations for bopping the blues as well. I was cruising RUclips when I found Barry explaining his magic but it was on keys so it was a little hard to discern and translate on the guitar .Watched your first 3 episodes and got lots to work on. I'm proof , you can teach an old dog new tricks ...thanks .😎👍👍
this a great lesson man, thanks a lot ... i really got it, one just has to work on it i do have one question, you sir said we can use any of these over any major chord, so can we use them in their relative minors? like if i was playing in Bb, and i have a gmin7 chord, can i think of one of these (5,4,3,2) to play over that chord as well?
I'm not the guy, but I think you can and SHOULD do that, because Barry groups these two chords together and plays one scale over them, as in the rhythm changes in episode 2.
I went to Barry's class two Tuesdays ago. You weren't there. I have his blue lesson book and your explanations are making the book much easier to use. Because of your videos I started practicing scales on piano and I am becoming a better piano player. thanks Can you explain some of the licks you play after you use the 5432 rule? They really sound nice.
I wanted to say these are the best videos I’ve seen in my 5 years of studying jazz everyday. The material lines up with what I learned from Mr. McPherson. Most eye opening are the chromatic scales, pivots, half steps- so far. These little patterns in this episode are are great, too. The value is you teach people a frame work for making their OWN lines. One question I have is how to think about the 1/2 steps on a major scale, for example, vs the chromatic scale. I feel like I would always just want to use the chromatic as it sounds so good. When would you use the 1/2 steps scale vs the chromatic scale? Using major as an example. Thats been a question I have been wondering about. Also there are some important concepts I don’t see or that you touch on but don’t fully elaborate on. Hope to talk more about this but this post is getting too long. Thank you!
I really liked this explanation! I'll definitely try the excercise. Thank you! But it makes me wonder, since this is based around the 5th triggering certain phrases, does he have equivalent phrases triggered by the other scale degrees as well? Or is it all centered around getting to the 5th? Looking forward to watching the rest of these videos.
@@gabrielvladimirdavis Not specifically on the Barry Harris method, but I find that applying the same way of thinking going from a starting note is a very useful way to think about lines I get from transcriptions. So an easy example would be 2 beats of G7 going to C7 starting from the 3rd, just 8th notes. Then some options could be: B Ab F Gb G B A G F E B Ab G F E B D F Ab G B D F Eb E B D Db B C B D G F E B D Ab Gb G And then applying it to different chord types, progressions, rhythms, starting notes, octave displacement, so it's kind of endless. Then you start thinking about all the ways you could finger it on guitar and yeah... Randy Vincent has a whole book about this called Building Solo Lines From Cells, which I enjoy, but it's usually more satisfying to grab things from transcribing, in my experience. It's a very neat and useful way to think about phrases.
Thanks for the insightful video! I’ve been looking for content like this forever. I was wondering, are these only for major chords or are there modifications that can be made to use on other chords? What is the target note when using these over chords? Thanks again!
Thank you for taking the time to make these videos. I have been studying Barry's method for about a year now on my own after learning chord/scale theory and this has been super enlightening since I felt like I was very lost before. I noticed you have a BJJ shirt on. Very cool! I am a fellow BJJ practitioner and jazz guitarist. Thanks again! I will be studying your videos.
Thanks Michael. Glad you're enjoying the videos. I'm not a BJJ practitioner, just a fan of it and MMA. I spend enough time getting my ass kicked by Barry's method. I don't think I could handle any more than that.
@@thingsivelearnedfrombarryh2616 Awesome...well either way, really appreciate you making these. You're making me realize that all I do is get my ass kicked all day. On the mats and then mentally by Barry's method. Ha!
I hear that. Playing licks I guess is ok if you are aware what its doing. But for sure its a brilliant exercise. Cant help think is there a 5432 for another chord type .. you could make one similar maybe.
Hi - Can I start by saying I've only seen episode 1&2 so far - but am not a stranger to Barry Harris' teaching. I really like your straight forward / to the point approach to these videos. Thank you so much for taking the time to upload them. As others have said - your practical examples are very helpful. I have some questions regarding the 5432 exercise in 12 keys. I can hear you play each 1 bar phrase and then you say " now all of them".... I cant figure out what you are doing after playing phrase once? Are you combining them into one long phrase?
Love this video. Watching it for the 10th time. 😅 I have a question though… when applying this to rhythm changes, do I need to do a bar of this in Bb then a bar of this in F, or can I stay on Bb? Like, after one bar, is the 5 now a C? Or is it still F?
Perfect explanation. You’re fast though. It would be handy if you also have a graphic showing the patters, a line saying 7 b7 6 5 4 3 2 b2 or whatever you’re teaching
Thanks for the great video! I'm trying to apply bits and pieces of this to improv over rhythm changes. Definitely not as slick as you but it feels like I felt 8 years ago whilst learning the minor pentatonic over some rock backing track, I'm doing it! :O So far the general thought process that I go through is like: 1) diddling around the scales from the previous video 2) oh hey here's the five 3) pick on of 5,4,3,2 pivots 4) diddle after pivot Does this sound about right? Also I'm curious if you use this for more than just a maj7? Like the Dom7 "scales" we've learned are just part of a major scale, would we still be able to pivot with the 5432's on a dom7?
I've just discovered your lessons and am really enjoying them. Are these 5432 lines meant to be starting points to start from or just one example of what could be done with this 5432 concept. I can see how many variations could be discovered just by starting on different beats in the bar.
I just watched Barry's webinar last Saturday where they went over this. Is there any way you be willing to go over the other variations of this? Minor, Minor b5, Dominant? Thanks for all you have done.
As stated in the video it's a good practice exercise to go over 5-4-3-2 in on key and then move around the circle of fifths through all 12 keys. Or you can practice using them in a song over a major chord!
@@danielwilliamson1630 hey daniel do you have problem with my question?! don't really like the "as stated" and the "!" so if you have a problem let me know
On harmonica these exercises are challenging. But with enough exercise I can play along at 75% speed. You only play the 4 keys here. Any chance you can make a video with all 12 keys? Would be perfect exercise video for me. Thanks!
Hey! First off loving these videos so much! I’m a rock player who’s wanted to learn jazz so long and this is really helping! Keep it up!!! Anyway, here’s a question I have: so let’s say I wanted to use this same 5-4-3-2 with a Bb7 chord. Would it be the same patterns, just flatten the 7ths whenever they occur in each of these patterns? For example, pattern 5 starts with the 5th then goes down to the major 7th. Would pattern 5 over a Bb7 start on the 5th and go down to the b7 then finish off the same with the tonic 4 5 notes after?? Or does Barry have different patterns for each type of chord (M7, m7, dom7, etc)?
I don't ever remember him using these rules on a dominant 7th chord. I'll ask him the next time I speak to him. Great question! He does use them on minor though. He does the same ones.
@@thingsivelearnedfrombarryh2616that means the 5-4-3-2 is meant to be played on the V chord? I think you play it on the I chord at one point in this video (Ab). My question is did Barry mention that you have to lower the 3rd or the 7th? Is this the 5th of the chord of fifth of the current tonal center (no different on I chord but different on the V7). I experiment and to me b3 sound better on minor cadence and playing with the 7th was not prettier. Therefore I'm seeing this as 5-4-3-2 of the tonal center (not the current chord) and lower the 3rd in minor key. Am I missing something? The alternative is this is always referring to the Vchord and therefore never needs to be adapted (b3,b7).There is similar question in the comments but your answer let me wondering.
HI Chris, Is it necessary to understand all of the technical stuff, or just tune my ear to what's going on and copy your lead? I'm thinking that eventually, it'll all make sense.
Chris - Thank you for this entire series. On this episode, I am not grasping the rationale for the nomenclature "5-4-3-2". It seems that this is a nice series of riffs to memorize, but I just can't see the naming or mnemonic value of "5-4-3-2". I am missing a key obvious point, no doubt !
You're very welcome Jerry. He calls the the first idea "5" because it is triggered from the 5th degree in the scale "F". 4 is triggered after you hit the 4th degree which is Eb. Etc... I hope that clears it up.
To recap, the "5-4-3-2" refers to notes of a descending major scale (from the 5th) that serve as starter notes of a "canned" riff. Each associated riff must be memorized. The cascaded sequence of four riffs starting on 5-4-3-2 notes does sound good, but this is tough to recall "instantly" on the bandstand !
practice notes:
• Key of Bb: 5 is F, which triggers this phrase after you hit 5 (F), then maj7 (A), tonic (Bb), 4 (Eb), then 3 (D)
• 4: start on 5 again, then 4 (Eb), then chromatically up to 3 (C-Db-D)
• 3: start on 5, chromatic down to 3, then triad up from low 5 (F-A-C)
• 2: 5 scale down to 2 (C), then 7 (A) chromatically to the 2 (C) triplet
• Then put them all together.
• Pick & choose whichever one you want.
• Start on tonic (Bb) and descending put a half-step to 5, then do any of them.
• Little “pivots” that lead to other interesting ideas.
• Practice moving in 4ths, e.g. Bb, Eb, Ab, Db, Gb, etc.
• Play these over any major chord.
Man I love this community
Nice one. Thanks. 👊🏻
I keep coming back to these lessons. You may be doing more to spread the word about Barry Harris than anyone else. Thanks.😊
Great content! Love it. To anyone wondering where the 5-4-3-2 naming convention comes from, I think Barry was trying to convey classic bebop fragments that use downward lines with leaps or skips that return upwards like you hear in countless bebop lines.
On the 5, you leap down immediately from the 5th and return in some way upwards.
On the 4, you play scale degrees 5 and 4, then leap down and bop your way back up.
On the 3, you play 5-4-3 then leap down and come back up a triad (super common bebop phrase)
You get the idea, I think this is Barry's way of codifying a lot of jump off points for lines and ideas that were all over the bebop era
i think u kinda answered my question above...
I needed this. Thank you.
Thank you for the knowledge Chris. My 25 year old son introduced my to Barry Harris. My Son took a couple of lessons in Brooklyn, with a Lady that taught Barry Harris method. I play electric bass and want to apply these principle to the bass, I don't want to do the regular Pentatonic runs. I have decided to by into Barry. Thank you for giving these lessons for free. My Son is a hip hop producer, he said that he found Barry on youtube. His method thru you teaches originality. How to find your own sound.
Just went through all 12 keys. The challenge is playing everything in one position. If you move around too much you might end up depending on the fingerings, whereas if you stay in one position you depend much more on your ears. Fantastic exercise! Thanks so much!
I love how the #5 & #4 pattern is all about targeting the 3rd of the I^7 chord, and the #3 & #2 pattern is all about targeting the 2nd of the I^7 chord. Based on this, I’ll make up some ideas targeting the 6th and the 7th which will be based on the V7 with the lines starting again from the 5th of the chord. Very good lesson and am a firm believer in always coming back to these fundamentals
Hey bruh, your lessons are very refreshing and unmatched. Your explanations are right on! Your videos have opened up a whole new world for me and believe me when I say that I’ve experienced a musical rebirth!!! You’re truly a Godsend
I appreciate the kind words Samuel. This is why I make these videos. I think Barry's method is so special and I've been blessed to be around him, the least I can do is share it with other musicians as best I can.
Please share with your musician friends.
Thank you for sharing all this stuff. I was transcribing Red Garland's solo on "Almost Like Being In Love" and found the 5-4 line in one of the first licks. Its like a lightbulb exploded!
8minites of video translates into 8 hours of exploration!. Thank you for your effort and excellent approach!
Thank you so much for taking the time to make and put all these videos out here. Liked and subscribed for sure!
Hey Chris, Thank you so much for keeping this teaching alive. I found this channel 4 years after you created the content, but It's really helping me. I've been playing for 30 years and have been studying jazz more seriously for the last year. These lessons are exactly where I need them to be. I'm working on Rythm Changes with Oleo with my ensemble class at the Nashville Jazz Workshop and this stuff fits exactly what I'm working on. Thanks so much for taking the time to share this with the world!
Hey man, I’m a classical pianist trying to learn some jazz and even though your focus is guitar these are really great breakdowns of the concepts. Sometimes following the snippets of Barry on RUclips is tricky but you’re a great communicator and make it simple to practice the key ideas. Thanks so much!
You're welcome Alexander.
Barry is a national treasure and I am so thankful for your clear and easy explanations!
Cool! I like that you are showing some real examples of using 5-4-3-2, lots of people just give the rules but never show examples. I love that exercise moving in 4ths!
The Nikhil Hogan Show Thanks Nikhil. I'm glad you're enjoying these. More to come. I promise.
I can't belive I can take these awsome lessons for free mate thank you so much
0:36 : 5
1:03 : 4
1:30 : 3
2:03 : 2
2:23 : recap
2:38 : combination
3:41 : starting on the tonic
4:45 : IMPORTANT CONCEPT (half step rules to help you being rhythmically correct/ landing correctly)
5:09 : practice routine
7:14 : important concept
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527.2
love how you break these down into bite-size pieces. looking forward to hitting the keyboard and practicing episodes 1 and 2. thanks!
Pretty sure I'm going to practice this for the rest of my life. Thanks!
Just now discovering this channel!
Thank you so much for these videos man. The fact that you are out here sharing your interpretations of Barry's teachings for FREE, and all the while making it so easy and digestible for players of all skills. cant wait to dig through all these
Chris: I'm going to go thru your TILF Barry one at a time. Thank you, Larry
same
Very nice, thanks. Charlie Banacos had a similar idea where he gave you 'classic phrases' based on each chord shape (and tensions), which he asked you to practice and use as launch pads or - as you do - points of reference.
I just discovered this channel a week ago. OMG - this is sooo good. I play the piano, but the concept still applies.
You are the first person in a couple years of searching that has made the bebop language truly accessible to me. I really cannot explain how that important that is to me. Thank you so much
Your channel is my favourite thing I’ve found on here in quite a bit, thank you so much man
great vocabulary bebop-language, Chris, very helpful
Fantásticas video lessons adoro show de bola Adoro ❤🎉
This Barry Harris cat is brilliant. He hears music in such a great way. It's so flexible, aurally beautiful and straight forward in it's "assembly". Thank you so very much for exposing me to this approach. I'll see you on Patreon.
The examples sound really sweet in this video! They make me want to practice!
As a guitar fan, I can say that your video here is just amazing. The talk, the practice breakdown, the examples, really represent the jazz standard. Very good job, sir!
I've been working on these for a week getting them in my ear. Thanks for this series, It certainly simplifies trying to transcribe from piano.
Muchas gracias por compartir de esta manera tan clara esta información del Maestro Barry Harris
.Gran trabajo ,felicidades.
You're welcome Jose. Please share with your musician friends.
Barry Harris yes great man I took one lesson than tworkshop in New York and he would repeat lines you know and teach a tune he would start off with small phrases like that and then you play the whole melody would've learned
the whole bop head
but he's so deep that I am trying to learn visa little improvisational tricks and is kind of difficult because Guitar the basic books really don't teach all that stuff the way a lot of people learn in the past is just listen to the records and try to mimic the records. There was no method to design improvisation like this so I'm gonna be checking out these videos.
My teacher Axel Hagen told me about your channel, because I'm interested in all the Barry Harris' stuff. And with the first look I have to say that I appreciate your videos very much. These are very informative and helpful for me. Your channel is one of the best jazz-guitar content I've ever seen on RUclips. Thank you for your efforts. Greets from Würzburg
Thank you Steve. Axel is not only one of my favorite guitarists but one of my favorite people on the planet. He's wonderful. He has a lot of beautiful ideas using Barry's method too. I'm trying to get him to make his own tutorial channel as well. He has a lot to offer people as I'm sure you already know.
Thanks for the kind words.
Please share with your musician friends.
@@thingsivelearnedfrombarryh2616 You're Welcome.
Yeah, I think to get him to make some tutorials too would be a gread addition. Maybe you will succeed to get him so.
Wie geht's :)
Hey, Chris. Thanks for sharing what you've learned from Barry. And on guitar! Please check my understanding of 5-4-3-2. Let's say we're on a Bb major chord / scale (as in rhythm changes). 5 M7 T(onic) 4 3 would be: F, A, Bb, Eb, D. (Right?) 5 4 2 b3 3 would be: F, Eb, C Db, D. (Right?) 5 4 3 5 7 2 (or 9) would be: F, Eb, D, F, A, C. (Right?) 5 4 3 2 M7 T b2 2 would be: F, Eb, D, C, A, Bb, B, C. (Right?) Thanks!
Mark Rhodes you got it brother
Things I've Learned From Barry Harris Thanks, Chris. I like the sound of these lines. Lots of work to do but I don’t mind work when it ends in good music. 😊
TY
I’m gonna have so much fun with this. No guitar till late Sat nite. I’m away at medical conference. I’ve been looking to fast forward my vocabulary in jazz improv and I can see this may be the accelerator I’ve been seeking. If so, your a genius to recognize genius.
Just finishing up my music degree and looking for new stuff to practice to keep my bass chops up and improve my guitar playing. I've been a fan of the bootleg kind of videos of Barry's lectures online. I'm really thankful for the work that you're doing and can't wait to keep going through this series. Thank you =)
This is so rad, thanks for the video man!
This is amazing! Thank you for breaking this down. I've seen his videos and your video is the missing link for me!
Same
I got lost when you said 'put them all together'
Hey man. I can’t wait to learn these lead-in’s to Major chords, from a Jazz sounding approach. Don’t know how else to say it , but I’ve never played those type “sequences”. Just listening to you play them seems it will propel my improv in a much more Be-bop direction. Thanks. My 1st time with you. Well done. I’ll be back.
Dr Brad
Dallas,Tx
Thanks Dr. Brad. I hope you enjoy the rest of the episodes.
All the credit belongs to Barry. It's 100 percent his method.
Extremely helpful, Chris.clear and well illustrated. Thanks very much for sharing this information
You're welcome Mal. I'm glad you're enjoying these videos. Please share with your musician friends.
transformed my playing immediately :)
You are very kind to share all this info sir... Than you!!
Thank you so much for fantastic wealth of knowledge you are sharing! I wonder: why do you start 5 and 4 on the downbeat, but do 3 and 2 as anacrusis? Shouldn't these licks works no matter what beat they are started on?
Hi Chris, I’m not sure how I stumbled on to your channel but I’m really glad I did. I’m only a couple of episodes in and I have so much to work on. The difference is (and why I’m excited) these exercises sound musical vs stale scales or straight arpeggios etc Bravo brother these vids/lessons are super awesome! Thank you. 👍🏻🤟👊💥
Chris, are you still producing new videos beyond Episode 16? These lessons are very helpful. I hope you continue them!
Mark Mertens Yes. Absolutely. Its been a busy last week or two but I'll keep these going for as long as I have something to share. I really enjoy doing it.
If you have any suggestions for a topic of a video, I'd love to hear them.
I have a lot of questions, Chris. Here are a few: 1. How does Barry think about and use minor 6 diminished as a substitute for dominant chords (i.e., for alt and #11 sounds)? 2. A few lessons on the "borrowing" that Alan Kingstone & Rick Stone talk about. I'd love to hear it from your/Barry's perspective. 3. Any half step rules for major 6 or minor 6. Thanks!
Great questions Mark! Really good ideas for future videos. More to come.
I think I need to see this one on paper
Great lesson Cris...Thanks for teaching...Your Telecaster is a best piece of guitar..
Loving the content man. I'm going through them all from the top. See you in 6 years!!!
HELP- If was writing out #4 how do I correctly scribe the chromatic notes ? 5-4-2-?-3...? Thank you. Love these videos and community
These are great. Thanks
This is very helpful. Thank you.
First of all, thank you very much for all the knowledge you share in your videos, very kind of you! I was wondering if there is the 5432 for the dominant scale?
Best I’ve found so far by far....I was fortunate to get a Ted Greene book when I was in my early 20s....and joe pass too had some great books waaaaaay back in the day.....thanks!
Thank you Chuck. Barry's method is so beautiful. Please share with your musician friends.
Thanks for sharing your knowledge
great content, man. Beautiful channel you have here.
I like it. I'm going to give it a try
What triggers, or what determines the notes following each beginning note? 5 to Maj7 to tonic to 4th to 3rd
maybe i'm on the wrong track, but I can not follow, what does Chris mean with 5-4-3-2 ?? In my opinion he plays ONE lick of more than one billion other bebop licks, what is the concept behind ? Thank you in advance for any clarifying comments...
Im confused. how come the ones starting on 3 and 2 both start on the 5. I thought the whole point is each ending start out on the said degree.
Great video.
So if you use these in a blues you would just flat the seventh and have more extrapolations for bopping the blues as well.
I was cruising RUclips when I found Barry explaining his magic but it was on keys so it was a little hard to discern and translate on the guitar .Watched your first 3 episodes and got lots to work on.
I'm proof , you can teach an old dog new tricks ...thanks .😎👍👍
Thanks for the kind words Danny. Please share with your musician friends.
this is great, thanks
Hi thanks for all your great videos!
Would you 5432 on dominant chords and minor? How would you change the notes?
this a great lesson man, thanks a lot ... i really got it, one just has to work on it
i do have one question, you sir said we can use any of these over any major chord, so can we use them in their relative minors?
like if i was playing in Bb, and i have a gmin7 chord, can i think of one of these (5,4,3,2) to play over that chord as well?
I'm not the guy, but I think you can and SHOULD do that, because Barry groups these two chords together and plays one scale over them, as in the rhythm changes in episode 2.
How long do you think we should focus on each of these exercises? A week? A day? I guess it depends on the students ability.
Sweet telecaster btw .
I went to Barry's class two Tuesdays ago. You weren't there. I have his blue lesson book and your explanations are making the book much easier to use. Because of your videos I started practicing scales on piano and I am becoming a better piano player. thanks Can you explain some of the licks you play after you use the 5432 rule? They really sound nice.
Maybe you would benefit from private lessons. My email is chrisparksjazz22@gmail.com .
Let me know if you're interested.
Man, your lines sound so much like Barr Harris!
:)
I wanted to say these are the best videos I’ve seen in my 5 years of studying jazz everyday. The material lines up with what I learned from Mr. McPherson. Most eye opening are the chromatic scales, pivots, half steps- so far. These little patterns in this episode are are great, too. The value is you teach people a frame work for making their OWN lines.
One question I have is how to think about the 1/2 steps on a major scale, for example, vs the chromatic scale. I feel like I would always just want to use the chromatic as it sounds so good. When would you use the 1/2 steps scale vs the chromatic scale? Using major as an example. Thats been a question I have been wondering about.
Also there are some important concepts I don’t see or that you touch on but don’t fully elaborate on. Hope to talk more about this but this post is getting too long.
Thank you!
This guy must be something if Stan Getz is watchin!
@@jamesrussell5196 lol
I really liked this explanation! I'll definitely try the excercise. Thank you! But it makes me wonder, since this is based around the 5th triggering certain phrases, does he have equivalent phrases triggered by the other scale degrees as well? Or is it all centered around getting to the 5th? Looking forward to watching the rest of these videos.
Did you ever get an answer for stock phrases not starting on the 5th?
@@gabrielvladimirdavis Not specifically on the Barry Harris method, but I find that applying the same way of thinking going from a starting note is a very useful way to think about lines I get from transcriptions.
So an easy example would be 2 beats of G7 going to C7 starting from the 3rd, just 8th notes. Then some options could be:
B Ab F Gb G
B A G F E
B Ab G F E
B D F Ab G
B D F Eb E
B D Db B C
B D G F E
B D Ab Gb G
And then applying it to different chord types, progressions, rhythms, starting notes, octave displacement, so it's kind of endless. Then you start thinking about all the ways you could finger it on guitar and yeah... Randy Vincent has a whole book about this called Building Solo Lines From Cells, which I enjoy, but it's usually more satisfying to grab things from transcribing, in my experience. It's a very neat and useful way to think about phrases.
@@gitarmats Thanks @Mats you have given me lots to try out!
Thanks for the insightful video! I’ve been looking for content like this forever. I was wondering, are these only for major chords or are there modifications that can be made to use on other chords? What is the target note when using these over chords? Thanks again!
Would Barry use the same patterns in a minor context? Thanks!
Thank you for taking the time to make these videos. I have been studying Barry's method for about a year now on my own after learning chord/scale theory and this has been super enlightening since I felt like I was very lost before. I noticed you have a BJJ shirt on. Very cool! I am a fellow BJJ practitioner and jazz guitarist. Thanks again! I will be studying your videos.
Thanks Michael. Glad you're enjoying the videos.
I'm not a BJJ practitioner, just a fan of it and MMA.
I spend enough time getting my ass kicked by Barry's method. I don't think I could handle any more than that.
@@thingsivelearnedfrombarryh2616 Awesome...well either way, really appreciate you making these. You're making me realize that all I do is get my ass kicked all day. On the mats and then mentally by Barry's method. Ha!
@@michaeld585 Barry has been kicking my ass since 1993 and I wouldn't have it any other way.
Is this the same as constructing motifs (motives) ? Or essentially the same ? Love the lessons !!
Hola saludos. Para qué sirve estos saltos dentro de la escalad dominante?
what is that 5-4-3-2 system ? the first note i 5th from Bmaj7 skale that is F but the rest I do not know what is going on !
I hear that. Playing licks I guess is ok if you are aware what its doing. But for sure its a brilliant exercise. Cant help think is there a 5432 for another chord type .. you could make one similar maybe.
Gold.
Hi - Can I start by saying I've only seen episode 1&2 so far - but am not a stranger to Barry Harris' teaching. I really like your straight forward / to the point approach to these videos. Thank you so much for taking the time to upload them. As others have said - your practical examples are very helpful. I have some questions regarding the 5432 exercise in 12 keys. I can hear you play each 1 bar phrase and then you say " now all of them".... I cant figure out what you are doing after playing phrase once? Are you combining them into one long phrase?
Love this video. Watching it for the 10th time. 😅
I have a question though… when applying this to rhythm changes, do I need to do a bar of this in Bb then a bar of this in F, or can I stay on Bb? Like, after one bar, is the 5 now a C? Or is it still F?
Perfect explanation.
You’re fast though.
It would be handy if you also have a graphic showing the patters, a line saying 7 b7 6 5 4 3 2 b2 or whatever you’re teaching
Thanks for the great video! I'm trying to apply bits and pieces of this to improv over rhythm changes. Definitely not as slick as you but it feels like I felt 8 years ago whilst learning the minor pentatonic over some rock backing track, I'm doing it! :O
So far the general thought process that I go through is like:
1) diddling around the scales from the previous video
2) oh hey here's the five
3) pick on of 5,4,3,2 pivots
4) diddle after pivot
Does this sound about right?
Also I'm curious if you use this for more than just a maj7? Like the Dom7 "scales" we've learned are just part of a major scale, would we still be able to pivot with the 5432's on a dom7?
I've just discovered your lessons and am really enjoying them. Are these 5432 lines meant to be starting points to start from or just one example of what could be done with this 5432 concept. I can see how many variations could be discovered just by starting on different beats in the bar.
Glad you're enjoying the channel. I think you should take these and expound on them however you'd like.
I just watched Barry's webinar last Saturday where they went over this. Is there any way you be willing to go over the other variations of this? Minor, Minor b5, Dominant?
Thanks for all you have done.
this is a great lesson i just have one question........after you so the Bb in 5-4-3-2 then i go to Eb 5-4-3-2 then so on and so to the Ab then Db?
As stated in the video it's a good practice exercise to go over 5-4-3-2 in on key and then move around the circle of fifths through all 12 keys. Or you can practice using them in a song over a major chord!
@@danielwilliamson1630 hey daniel do you have problem with my question?! don't really like the "as stated" and the "!" so if you have a problem let me know
On harmonica these exercises are challenging. But with enough exercise I can play along at 75% speed. You only play the 4 keys here. Any chance you can make a video with all 12 keys? Would be perfect exercise video for me. Thanks!
I still dont understand how you expand these 4little phrases to long cool phrase? Can anyone explain to me???
There are limitless ways to expand them. I use many examples in other videos. If these aren't helpful, I also give Skype lessons.
these are really useful. is there a way to learn more of these?
To think that you didn't know the F7 scale at the outset. Fantastic application and exposition. Best explanation out there. Thank you.
Thanks for the kind words. Please share with your musician friends.
Awesome
Hey! First off loving these videos so much! I’m a rock player who’s wanted to learn jazz so long and this is really helping! Keep it up!!!
Anyway, here’s a question I have: so let’s say I wanted to use this same 5-4-3-2 with a Bb7 chord. Would it be the same patterns, just flatten the 7ths whenever they occur in each of these patterns? For example, pattern 5 starts with the 5th then goes down to the major 7th. Would pattern 5 over a Bb7 start on the 5th and go down to the b7 then finish off the same with the tonic 4 5 notes after?? Or does Barry have different patterns for each type of chord (M7, m7, dom7, etc)?
I don't ever remember him using these rules on a dominant 7th chord. I'll ask him the next time I speak to him. Great question!
He does use them on minor though. He does the same ones.
For the Minor, 5 would be 5 lower Maj7 1 4 b3
4 would be 5 4 2 4 b3.
3 would be 5 4 b3 lower 5 Maj7 2
2 would be 5 4 3 2 Maj7 chromatic to 2
Thanks for the clarification! Makes sense
Are the phrases meant to be modified for dominant scales for playing over ii-V7 as well?
Easily Confused Yes. Barry sees every 2-5 as just the 5. So D min7 to G7 takes the G7 scale.
@@thingsivelearnedfrombarryh2616that means the 5-4-3-2 is meant to be played on the V chord? I think you play it on the I chord at one point in this video (Ab). My question is did Barry mention that you have to lower the 3rd or the 7th? Is this the 5th of the chord of fifth of the current tonal center (no different on I chord but different on the V7). I experiment and to me b3 sound better on minor cadence and playing with the 7th was not prettier. Therefore I'm seeing this as 5-4-3-2 of the tonal center (not the current chord) and lower the 3rd in minor key. Am I missing something? The alternative is this is always referring to the Vchord and therefore never needs to be adapted (b3,b7).There is similar question in the comments but your answer let me wondering.
HI Chris, Is it necessary to understand all of the technical stuff, or just tune my ear to what's going on and copy your lead? I'm thinking that eventually, it'll all make sense.
Chris - Thank you for this entire series. On this episode, I am not grasping the rationale for the nomenclature "5-4-3-2". It seems that this is a nice series of riffs to memorize, but I just can't see the naming or mnemonic value of "5-4-3-2". I am missing a key obvious point, no doubt !
You're very welcome Jerry.
He calls the the first idea "5" because it is triggered from the 5th degree in the scale "F". 4 is triggered after you hit the 4th degree which is Eb. Etc...
I hope that clears it up.
To recap, the "5-4-3-2" refers to notes of a descending major scale (from the 5th) that serve as starter notes of a "canned" riff. Each associated riff must be memorized. The cascaded sequence of four riffs starting on 5-4-3-2 notes does sound good, but this is tough to recall "instantly" on the bandstand !
@@MyJ2B Also they can be used in various ways. For instance you can do 5 4 or 5 3 etc.
@@thingsivelearnedfrombarryh2616 I think you mean the scale of Bb right?
I'm confused as to why you call then "5", "4" etc since they all begin on the 5 (F)
Kind of an insignificant question, but any reason you are playing them twice when you run through?
Chris, as student of the guitar, I'd appreciate your contact info. relative to discussing a lesson or two.
chrisparksjazz22@gmail.com
Great
Always 5 and 4 start on the one? And 3 and 2 start on the 2?
Man. This is the bees knees. Wow.