One of the first things I wrote in my notebook during yesterday’s Barry piano workshop was when he said that “small chords can do everything.” I think this is partly what he meant. With the voices spread out and only three voices in the RH, it not only works as well as the “bigger” voicing, but it actually sounds cooler! Thanks, Isaac! Dave S.
This is probably the most in depth youtube channel on harmony that I've ever seen. I really appreciate this. This will have WAY more views in time when everyone finds this stuff. Thank you!
There's not enough material that goes deep like you do inside applying barry metod, you have no clue how perfectly timed after seeing every barry harris master class this comes to me, thanks
@@isaacraz Really the secrets of the diminished lie in this 3 note voicings excercises. You can clearly hear bach and all the geniuses in them. Using only 3 notes just opens so many layers on this dance with the diminished. Im starting to grasp why barry tought this dance contained the building blocks of our music. It's so beautiful how his teachings come true to you only when you actually start exploring in the piano, and slowly you start getting this deep understandings of music, its so pretty and magical, its really like being in hogwarts.
Thank you Isaac! This excercise really helped me wrap my head around which sixths chords to put "on top" so to speak. Maybe you've already talked about this, but it would be interesting if you could do a video on how you would practice these 3-note voicings over the chords to some chord-heavy standard. I've been struggling to find a way to get comfortable moving between the different kinds of sixth diminished chords in a musical way (going from one key center to another etc using the important minor and the tritone etc). I feel like its easy to get abit overwhelmed and I was just wondering if you might have any ideas on how to practice these things in a more tune based context, say for comping. Keep up the good work, this channel is a gold mine!
Totally agree Simon--there is actually a bit of ambiguity (at least, for me) in Barry's method with a few things and I was able to figure out some important things that helped me feel more comfortable and natural when playing. Everything still fits in the framework, but things like what to do with 7-note movements on a minor key (do we use natural or melodic minor, as an example?) and what scales to choose for dominant chords (altered? diminished? major on the 7th, minor on the 5th? dominant 6th diminished? whole tone?) still kind of get to me. I've been collecting some notes on how to apply some of these techniques to Body and Soul, maybe it would be of use to share.
Great video! I just don't know yet how to apply it to a random Jazz standard. By the way, did you replace the dominant 7th #5 from the earlier video with the dominant 7th b5 in this video?
I love all this foundation Barry teaches and are very useful for bebop, but is it as useful for modal jazz ,jazz fusion, avant garde jazz ,etc ? I'll wait for your answer? Thanks so much.
Yes! I I believe I did a video on that. It's very preliminary, but touches on one aspect where BH theory can apply to modern. There is much more to say on the topic ruclips.net/video/7qiE8hLlYy4/видео.html
I think you might be missing a chord rule, making there be 11 possible chords in total. Isn't there an IVm6dim chord scale for us on a dominant flat 9 chord? That's the only way I found how to negotiate the first two dominant chords in It Could Happen To You. So in the people's key of C, I believe it would be an Fm6dim scale over a C in the bass. Is that right or am I off my rocker?
There is actually another one that I didn’t talk about which is a minor sixth built on the b7 which is like a 7sus with a b9. (So in C: Bb m6/C) The beauty of this is that you can superimpose them any number of ways and come up with other combinations! the chord you described to me sounds like that but with a 5th pedal in the bass. (Now I’m feeling a little off my rocker! LOL) in the end of course it’s what sounds good to you. I stuck with the 10 chord routine because to me it was a decent scalable practice routine which helped me get my keys together. We can always expand from there. It was really more about practicality than artistry...
@@isaacraz Oh interesting! The minor 6th dim chordscale built on the b7 (Bb m6/C) does sound very appropriate on the 3rd note of It Could Happen to You! How interesting! I think I was liking the minor 6th dim chord scale built on the 4 (Fm6 dim/C) because it shares the same diminished as the following chord (Abmaj6/Fm7) but to be honest your version has more taste to it! I just need to remember to switch to the appropriate tension before leading into the Abmaj6. Ok, so now I'm going to erase the min6 on the 4 from my vocabulary and replace it with the min6 on the b7 because it does sound much tidier and more flavorful! Thank you so much.
Is there any explanation you can offer why there are very consistent references to "Drop 2, Drop 3, and Drop 2&4" but omitting Drop 2&3 (Or raising 2)... And spreading the voices wide from Root, 7, 5, 3 is quite majestic but not routinely discussed. Any thoughts?
Isaac, isn't it true that you can find both the minor 7th and the minor 6th in the same scale? For example in Gb major, I see Abmin7 and F-half-dim7, which is really Abmin6 in disguise (6th in bass, and an Ab minor triad on top). Is this of significance?
🙂👍I've seen so many great videos and it's always easier to explain it than to practice 10 chords in 12 keys! It may be easier to momentarily disconnect your association of any specific 7th chord with the Parent Key Concept to better appreciate the elegant depth of this approach: When the 6th diminished scale is applied, you take the 4 notes of a 6th chord or a dominant 7th chord and alternate them with a diminished 7th chord (no overlapping common tones). This creates 8 note scales that generate infinite harmonies (tensions) by "borrowing" notes, delaying resolutions and placing those chord/scales into many different contexts. So Abm6 functions as the "important minor" of Db7 (9), the "tritone's minor" of G7 (alt) and also the Fm7(b5) which would be called "a minor chord with the 6th in the bass" AKA vii7(b5) or ii7(b5) or #iv7(b5). Abm7 is a B6 (could also be a rootless Db9sus or a rootless Emaj9).
Yeah it’s all about how you “think” about it: F half dim is the diatonic chord on the 7th of Gb which will take you to Eb minor, the relative minor. It’s all connected!
The volume of the piano is often way too loud and proportionally distorted in relation to the spoken voice which spells out the explanations and examples; the sound balance is off which is a real shame because the materials are very interesting.
I had plans this year, but then I discrovered this channel. Never thought I'd be rich, but these chords...
LOL, I had plans but then I discovered Barry Harris! Yes it’s amazing how simple, and how three notes can give you so much
One of the first things I wrote in my notebook during yesterday’s Barry piano workshop was when he said that “small chords can do everything.” I think this is partly what he meant. With the voices spread out and only three voices in the RH, it not only works as well as the “bigger” voicing, but it actually sounds cooler! Thanks, Isaac! Dave S.
This is probably the most in depth youtube channel on harmony that I've ever seen. I really appreciate this. This will have WAY more views in time when everyone finds this stuff. Thank you!
hey! i hope you come back to youtube. you are the only one that has managed to make any sense on barry harris. please come back :)
Thank you, Isaac, for being quick, yet slow enough to follow. You're a great teacher.
thanks for that awesome feedback!
Excellent; as usual it gives me butterflies, Tis very exciting stuff
Me too!
I've been following and learning from you for a while now. Thank you.
Thanks! Keep coming back, more to come
There's not enough material that goes deep like you do inside applying barry metod, you have no clue how perfectly timed after seeing every barry harris master class this comes to me, thanks
Thank you so much for that! This kind of validating and thoughtful comment is a real inspiration to receive!
@@isaacraz Really the secrets of the diminished lie in this 3 note voicings excercises. You can clearly hear bach and all the geniuses in them. Using only 3 notes just opens so many layers on this dance with the diminished. Im starting to grasp why barry tought this dance contained the building blocks of our music.
It's so beautiful how his teachings come true to you only when you actually start exploring in the piano, and slowly you start getting this deep understandings of music, its so pretty and magical, its really like being in hogwarts.
Yes. Let the muggles enjoy their “1-5-6-4” songs. BH is the TRUTH
Thank you Isaac! This excercise really helped me wrap my head around which sixths chords to put "on top" so to speak.
Maybe you've already talked about this, but it would be interesting if you could do a video on how you would practice these 3-note voicings over the chords to some chord-heavy standard. I've been struggling to find a way to get comfortable moving between the different kinds of sixth diminished chords in a musical way (going from one key center to another etc using the important minor and the tritone etc). I feel like its easy to get abit overwhelmed and I was just wondering if you might have any ideas on how to practice these things in a more tune based context, say for comping.
Keep up the good work, this channel is a gold mine!
Totally agree Simon--there is actually a bit of ambiguity (at least, for me) in Barry's method with a few things and I was able to figure out some important things that helped me feel more comfortable and natural when playing. Everything still fits in the framework, but things like what to do with 7-note movements on a minor key (do we use natural or melodic minor, as an example?) and what scales to choose for dominant chords (altered? diminished? major on the 7th, minor on the 5th? dominant 6th diminished? whole tone?) still kind of get to me. I've been collecting some notes on how to apply some of these techniques to Body and Soul, maybe it would be of use to share.
Thanks Simon! I would be delighted to. That’s a great idea. I’m glad you’re getting use out of the vids!!
@@marcusstoica If you would be interested in sharing your notes over email I would love to take a look.
Simon.fransman@gmail.com
Well done, Isaac! Keep it up.
Thanks!
Thanks Isaac!!
Very helpful. Thx.
Thanks!!
Great video! I just don't know yet how to apply it to a random Jazz standard.
By the way, did you replace the dominant 7th #5 from the earlier video with the dominant 7th b5 in this video?
I love all this foundation Barry teaches and are very useful for bebop, but is it as useful for modal jazz ,jazz fusion, avant garde jazz ,etc ?
I'll wait for your answer?
Thanks so much.
Yes! I I believe I did a video on that. It's very preliminary, but touches on one aspect where BH theory can apply to modern. There is much more to say on the topic
ruclips.net/video/7qiE8hLlYy4/видео.html
"3 note voicings" Brings to mind 3 voice counterpoint of Bach et al
I think you might be missing a chord rule, making there be 11 possible chords in total. Isn't there an IVm6dim chord scale for us on a dominant flat 9 chord? That's the only way I found how to negotiate the first two dominant chords in It Could Happen To You. So in the people's key of C, I believe it would be an Fm6dim scale over a C in the bass. Is that right or am I off my rocker?
There is actually another one that I didn’t talk about which is a minor sixth built on the b7 which is like a 7sus with a b9. (So in C: Bb m6/C) The beauty of this is that you can superimpose them any number of ways and come up with other combinations! the chord you described to me sounds like that but with a 5th pedal in the bass. (Now I’m feeling a little off my rocker! LOL) in the end of course it’s what sounds good to you. I stuck with the 10 chord routine because to me it was a decent scalable practice routine which helped me get my keys together. We can always expand from there. It was really more about practicality than artistry...
@@isaacraz Oh interesting! The minor 6th dim chordscale built on the b7 (Bb m6/C) does sound very appropriate on the 3rd note of It Could Happen to You! How interesting! I think I was liking the minor 6th dim chord scale built on the 4 (Fm6 dim/C) because it shares the same diminished as the following chord (Abmaj6/Fm7) but to be honest your version has more taste to it! I just need to remember to switch to the appropriate tension before leading into the Abmaj6. Ok, so now I'm going to erase the min6 on the 4 from my vocabulary and replace it with the min6 on the b7 because it does sound much tidier and more flavorful! Thank you so much.
Is there any explanation you can offer why there are very consistent references to "Drop 2, Drop 3, and Drop 2&4"
but omitting Drop 2&3 (Or raising 2)...
And spreading the voices wide from Root, 7, 5, 3 is quite majestic but not routinely discussed.
Any thoughts?
Of course there’s a million ways to voice it but those “standard” voicings come from arranging and are generally the ones that are discussed in class
Isaac, isn't it true that you can find both the minor 7th and the minor 6th in the same scale? For example in Gb major, I see Abmin7 and F-half-dim7, which is really Abmin6 in disguise (6th in bass, and an Ab minor triad on top). Is this of significance?
🙂👍I've seen so many great videos and it's always easier to explain it than to practice 10 chords in 12 keys!
It may be easier to momentarily disconnect your association of any specific 7th chord with the Parent Key Concept to better appreciate the elegant depth of this approach:
When the 6th diminished scale is applied, you take the 4 notes of a 6th chord or a dominant 7th chord and alternate them with a diminished 7th chord (no overlapping common tones). This creates 8 note scales that generate infinite harmonies (tensions) by "borrowing" notes, delaying resolutions and placing those chord/scales into many different contexts.
So Abm6 functions as the "important minor" of Db7 (9), the "tritone's minor" of G7 (alt) and also the Fm7(b5) which would be called "a minor chord with the 6th in the bass" AKA vii7(b5) or ii7(b5) or #iv7(b5).
Abm7 is a B6 (could also be a rootless Db9sus or a rootless Emaj9).
Yeah it’s all about how you “think” about it: F half dim is the diatonic chord on the 7th of Gb which will take you to Eb minor, the relative minor. It’s all connected!
Anyone can teach me this Barry Harris harmony I need a teacher ?
I would be delighted to : please message me directly at isaac@wholemusicllc.com if you'd like some details?
The volume of the piano is often way too loud and proportionally distorted in relation to the spoken voice which spells out the explanations and examples; the sound balance is off which is a real shame because the materials are very interesting.