Barry Harris (live Transcript)(Part 1)Jazz Theory at Lincoln Center
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- Опубликовано: 3 окт 2024
- Music score added to show the notes played during this first lesson by Barry Harris at Lincoln Center's JAZZ ACADEMY.
Link to original, non-transcripted RUclips video: • Jazz Theory with Barry...
Link to music score shown in this video: www.noteflight.com/scores/view/06ba48431cce569a15ec9edbb983e775a5033529 I tried this exercise myself using the key of F# as the base. I did every single exercise in the transcript in the keys of F#, A, C, and Eb (i.e. minor thirds apart). In my opinion this exercise is one the best Barry Harris has ever come up with. I think facility with this exercise in all the keys is a gateway to the highest level of playing.
OH MAN!!! I appreciate it a lot! bless you for be kind enough to share!
I've had to watch multiple Barry Harris videos over the years to finally understand what he was teaching here. This is so helpful!!
This is beautiful, Thanks and God bless you for educating those coming behind us, by sharing the knowledge we will keep Jazz alive..
I am infinitely grateful for your b h transcriptions
This is just a modulation between tonic an dominant functioning chords and then restarting on a new tonic a minor 3rd away and repeating the cycle. It is taken from a ending created by Bud Powell... PS- m7 chords are Major6 chords, thus one makes the argument that it is the key centres of C, Eb, Gb(F#) , and A... Within these keys centres, the tonic chord is moving with the V7b9 chord (of course this is the same diminished 7th chord built on the 3rd of these dominants) yielding G7b9 (Key of C), Bb7 b9 (Key of Eb), Db7b9 (Key of Gb), and E7b9 (Key of A).... If you get anything out of these and other videos on Barry Harris "Bebop Diminished" scales, realize that when they modulate in some sort of movement, that movement is in relation to a Dominant7 chord with a b9 NOT a diminished 7th chord (that is only the visual structure of the V7b9 chord, the real function of the diminished 7 is a Dominant 7 and in this case, a V7b9).
if you are interested, you can read more here..yorkspace.library.yorku.ca/xmlui/bitstream/handle/10315/33597/de_Lima_Brian_J_2017_PhD.pdf?sequence=2&isAllowed=y
Thank you Dr. Jude! I downloaded your 343 page PhD thesis and look forward to learning from your very impressive work! Every paragraph of your book that I have examined so far (in its "pdf" form) has been riveting. For example from page 237, " ...growing up in the black church has shaped Harris’ delivery of his workshops and masterclasses. For example, I have often witnessed Harris’ theatrics firsthand. Like a church pastor, Harris is very vocal and animated, leading his disciples into a sermon that champions good (traditional jazz) over evil (non-traditional jazz)...." . Additionally the Bibliography to your thesis contains a treasure trove of references to explore. For example on page 275 of your bibliography you reference a video on the "BarryHarrisVideos" RUclips channel that by coincidence I have been studying the past two days entitled, "6th Dim Scale (Long Excerpt)". Thank you again for commenting and making your very helpful clarification.
@@robertgloverjr No problem, RdgJr619, My pleasure... if you click on my channel you can see myself
demonstrating his concepts in realtime over standards...take care
is incredible! I was satisfied learning from the transcription of the video, but now I am doubly satisfied by all that knowledge that you just spread in your thesis and that OF COURSE I am going to study! thank you!!!
to me it looks like he plays the 3rd, 5th, and the 9th in the right hand in the last exercise. instead of the root, 3rd, and 9th
also i really appreciate this upload
looks so to me too. and thank you kindly for this @rdgjr619 ❤
Yeah
Thank you, this is gold!
Hi, first of all thank you so much. I would like to point out that in the transcription when he harmonizes in tenths the RH thumb is on E not C.
Here is a VERBAL transcript that can be copy/pasted:
[Jazz Theory with Barry Harris, Part One:
[Jazz at Lincoln Center's JAZZ ACADEMY]
(Barry Harris and Eli Yamin)
...We'll try to get to it right quick...
There's so much, 'cause... there's so much so wrong over the world.
See, I've been traveling.
So, teachers are wrong all over the world.
I don't understand it.
What I don't understand most is, "Who do they ask how to teach in these colleges?"
See, that's what's wrong.
They surely didn't ask Hank Jones.
They didn't ask John Lewis.
They didn't ask Dick Katz.
John Bunch.
They didn't ask any of those cats.
And they're the ones we learn from.
Bud Powell, you know.
John Lewis.
But see, they goofed on that.
So most of the schools are wrong.
So what we're trying to do...
You are I, we're trying to show some of the things that are right.
Okay, you can start with that... we just do up the scale....
Wooo!
You see, you've never done that before.
See, what you do.... See, that way you practice in 4 keys...
You practice in C, you practice in Eb...
'Cause this is all related....
Everything...everything is minor 3rds.
Minor 3rd is the most important thing of all.
Major 3rds are pretty good 'cause...
with the whole tone scale you get the major 3rds.
But with the diminished you can put minor 3rds.
And, see, the minor 3rds (C, Eb, Gb, A)... those majors are brothers and sisters...
They're family.
So, C major's family is Eb
Eb's family is F#
F#'s family is A
See, that way we learn all...
See, you did real simple...
Now, I can make you do this....
(7:44) (Barry Harris and Eli Yamin)
You get to know a little bit about each one of those keys.
And you be surprised. Man, I've been listening to a record of Bud Powell playing.
I heard most of this stuff on that record.
Exactly. Exactly
I say, see...what we don't know is, we have to learn EVERYTHING.
Simple things.
Simple things.
'Cause when we start messing with OUR scales.
See, most people don't know OUR scales.
See, We've got some of these young students....
In order to know this music you've got to know that from C and B....
C to B is 12 tones.
And see, I'm sort of religious so I say, "Oh, 12 disciples".
And then I say, "Yeah, and 12...1 and 2...that's 3: the trinity: the father, the son, the holy ghost".
I go through the whole bit. I mean, the atheists in the group are going to argue with me.
But, I don't care (laughs).
But now we come to the part...we say:
"Oh, 12. We can say 12. Then we say, you know, after God made the world, that 12 is the world.
Our world is the chromatic scale.
So then God said, now he said, "I'm still lonely."
So, what'd he do?
He made man and woman.
So we've got to find out what...
Now see, most people they don't know what man and woman is....that's sound.
See, man and woman is 2 sixes. They come from the 12.
12 divided by 2 is 6.
There are 2 sixes, and that's your 2 whole tone scales.
They're right between C and B.
(6 whole tones: C, D, E, F#, G#, and A#)
(6 whole tones: C#, D#, F, G, A, B).
See, that's all 12.
It's right there.
(10:18) So, see what I do, I say:
"Oh, God made them. That's man and woman.
You know what they do first?
They have children.
So you now, they go to bed, end of with children.
So here we've got, C whole tone scale to Db whole tone scale: that's man and woman.
And then we say, "what comes next?"
Three goes into 12 four times.
Three 4's, what are they?
student: Well, you've to the diminishes... 3 diminishes.
Right... diminished 7ths, right.
What about the D and A? ("DNA").
Play the C diminished 7th (C, Eb, Gb, A).
Look at it: is there a way it came from the 2 whole tone diminished scales?
student: these 2 notes (C and Gb) come from the first whole tone scale (C,D,E,Gb,Ab,Bb) ,
and these two (Eb and A) come from the other whole tone scale (Db,Eb,F,G,A,B).
So there's no question.
Understand (laughs).
When I was teaching you years ago, I never would have thought this (laughs)
That's the "DNA" (laughs).
"DNA" (laughs).
Well,you now, "DNA", just started, You know, they haven't been going that long... (laughs)
See, the "DNA" (laughs).
Thanks a lot!
Can someone explain why in the torture test the ii chord - Dm7 - the melody has a B natural? This isn’t in the F6dim scale.
Thank you!!
thank you!
Why does the first row end with Fmin7? Shouldn't it be Fdim7? Why is there an Eb?
Think of it as I ii iii iv. Every 4th chord is acting as a ii from a new key. Fm is the ii in Eb
Eb’s relative minor key is Cm, so it’s a pretty neat way of moving to a parallel key.
Key of C/Am to Eb/Cm.
I ii iii iv in Eb, our iv chord is an Abm chord. View it as a ii chord and so the next row of I ii iii iv starts in what key? It’s Gb.
Does that help?
anyone can provide some example of using eb, gb, and a in the key of C or vice versa?
they are both blue notes
ruclips.net/video/SgvbYBOoi_g/видео.htmlsi=jm5pGGWblce6zORh
ruclips.net/video/SgvbYBOoi_g/видео.htmlsi=jm5pGGWblce6zORh
Here on piano
ruclips.net/video/SgvbYBOoi_g/видео.htmlsi=jm5pGGWblce6zORh
🙂