6:35 I love that you use this tune as an example, as in those classic Chet Baker Sing's records, his pianist (I can't remember the name at the moment, always uses this diminished movement stuff, I just transcribed the comping to Baker's recording of "Dancin' on the Ceiling" and, it was so easy to hear all the movements after studying some Barry theory along with some of your videos.
Excellent teaching. Have been checking out many Barry Harris videos as well as people explaining it but yours have been the most helpful and practical. Now time to practice
Isaac Raz you mentioned you were not able to edit your videos. I started a RUclips channel after I lost all my gigs due to the Pandemic and have been using Lumafusion on my IPad and it is easy to edit once you figure it out . I miss playing with others but at least it has given me something to keep me busy and learning something new. It’s also possible to put notation into you videos. I did one on analyzing a Bach Fugue and the notation came in handy although it is quite time consuming to do.
Hey Isaac, been playing with family lately and I like the sounds you’re getting here. I have a question: have you ever heard of playing with the family of the tonic chord to generate passing/dominant functioning chords? For example: Say we’re in C and we’re playing drop 2’s or shells (depending on the voice leading). Sometimes instead of a regular ii - V - I, I like to the sound of Dm9 - Gb6/Db - Cmaj9 . Currently, I think of that Gb chord as being mode mixture from the altered scale (oof I know), or from the hw dim. But it’s one of C’s family members, and I wonder if you know of a way that Barry might’ve rationalized this move. Thanks for the great lessons 👍
03:25 The diminished genealogy You can change one or two notes to derive other chords... For example start with C# dim. C7 Eb7.... Dmin7b5 etc by raising one note... etc
Thanks for some useful applications, Isaac. It’s always most helpful to me when you put these ideas and movements into song examples-which you do a lot, and which I appreciate. -Dave S.
This (what i call) "Reverse Torture Exercise" at 10:25 is exactly that what i'm looking for: new and fresh ideas/variations!!! Thanks once again Isaac!
Hi Isaac. Revisiting your videos after a couple years. Can you clarify what you are saying at 6:05? How do we drop anyone of those notes a minor third? I can't seem to make that work. I get if you keep moving the A natural that you dropped, but what about the other notes? Love your stuff! Thanks!
Thanks for your content Isaac, really finding it useful. Have you considered making pdfs with transcriptions and written explanations of these videos and selling them for a small fee? Would be useful for viewers and help to support your channel. Just a thought, keep up the good work 👍
thanks! yes I misspoke. if you move two consecutive notes down you get 4 sixth chords, and if you move them up you get another 4 a fifth away from the previous for a grand total of 8 sixth chords!. two NON consecutive notes gives you two seventh flat five chords.
Can you do a vid about a good way to practice Barry's dim6 scale of chords both hands through all keys, I know it's infinite but something reasonable, is it better with three notes, 4 notes, contrary....?
I will do, and yes starting with the three note voicings is definitely a good policy. If it’s helpful, I’ve tried a “key of the day“ approach where I do several things in one key. Check out the video on my 10 chord routine: three note version for an example of this
I thought of a good example. Scott Joplin's Original Rags (1898) Am7 Am7b5 D7 resolving to G. The whole phrase could be thought of as Eb dim7th (D7) to Gmajor. www.mutopiaproject.org/ftp/JoplinS/original/original-let.pdf Measure 5.
I really appreciate your videos, but I think you missed Barry's point on these families. What I understand, they're not about creating sequences, but understanding the interchangeability between the same family chords, and how you can apply the scale to those chords. The concept is basically usable in every bar of any jazz standard.
Just attented via zoom the b.h. masterclass of yesterday and it was really awsome ......thanks .......great material ........✌
There is no substitution for the real thing! Glad you made it!
6:35 I love that you use this tune as an example, as in those classic Chet Baker Sing's records, his pianist (I can't remember the name at the moment, always uses this diminished movement stuff, I just transcribed the comping to Baker's recording of "Dancin' on the Ceiling" and, it was so easy to hear all the movements after studying some Barry theory along with some of your videos.
Thank you, Isaac. This was extremely clear and useful. Very much appreciated.
Excellent teaching. Have been checking out many Barry Harris videos as well as people explaining it but yours have been the most helpful and practical. Now time to practice
Thanks Ken! More to come
Isaac Raz you mentioned you were not able to edit your videos. I started a RUclips channel after I lost all my gigs due to the Pandemic and have been using Lumafusion on my IPad and it is easy to edit once you figure it out . I miss playing with others but at least it has given me something to keep me busy and learning something new. It’s also possible to put notation into you videos. I did one on analyzing a Bach Fugue and the notation came in handy although it is quite time consuming to do.
Hey Isaac, been playing with family lately and I like the sounds you’re getting here. I have a question: have you ever heard of playing with the family of the tonic chord to generate passing/dominant functioning chords?
For example: Say we’re in C and we’re playing drop 2’s or shells (depending on the voice leading). Sometimes instead of a regular ii - V - I, I like to the sound of Dm9 - Gb6/Db - Cmaj9 .
Currently, I think of that Gb chord as being mode mixture from the altered scale (oof I know), or from the hw dim. But it’s one of C’s family members, and I wonder if you know of a way that Barry might’ve rationalized this move.
Thanks for the great lessons 👍
03:55 thats right! Its a scale in a higher dimension (thats the best way I could muster to thinking about it)
Thank you 🙏🏽
03:25 The diminished genealogy You can change one or two notes to derive other chords... For example start with C# dim. C7 Eb7.... Dmin7b5 etc by raising one note... etc
Thanks for some useful applications, Isaac. It’s always most helpful to me when you put these ideas and movements into song examples-which you do a lot, and which I appreciate. -Dave S.
Thanks! great question...
I’m a huge fan of the Barry Harris method, useful for all sorts of music genres
8:50 Thundercat must've known something about this when he wrote 'tron song' , what a great sound
This (what i call) "Reverse Torture Exercise" at 10:25 is exactly that what i'm looking for: new and fresh ideas/variations!!! Thanks once again Isaac!
Lol no not torture!! Bliss!
@@isaacraz I agree :-)
Thanks Isaac, Examples from Barrys records would be cool. I suggested it as well on the TILFBH channel but no reply.
Hi! What is the tune at 5:45?
Hi Isaac. Revisiting your videos after a couple years. Can you clarify what you are saying at 6:05? How do we drop anyone of those notes a minor third? I can't seem to make that work. I get if you keep moving the A natural that you dropped, but what about the other notes? Love your stuff! Thanks!
For C#dim7 the diminished family is the key centers C A F# Eb. All the chords generated by the dim7 chord work
Thanks for your content Isaac, really finding it useful. Have you considered making pdfs with transcriptions and written explanations of these videos and selling them for a small fee? Would be useful for viewers and help to support your channel. Just a thought, keep up the good work 👍
@Dave A Check the Patreon page. Patrons get access to transcriptions. -Dave S.
thewordnerds Fantastic, thanks Dave 👍
What he said... :) Thanks!
Love your videos Isaac! btw If you lower 2 consecutive notes you can get 4 different major 6th chords, correct?. you said 2 at 3:32.
thanks! yes I misspoke. if you move two consecutive notes down you get 4 sixth chords, and if you move them up you get another 4 a fifth away from the previous for a grand total of 8 sixth chords!. two NON consecutive notes gives you two seventh flat five chords.
Thanks a lot. Greatly appreciated. Cheers.
10:00 hell yeah!
Can you do a vid about a good way to practice Barry's dim6 scale of chords both hands through all keys, I know it's infinite but something reasonable, is it better with three notes, 4 notes, contrary....?
I will do, and yes starting with the three note voicings is definitely a good policy. If it’s helpful, I’ve tried a “key of the day“ approach where I do several things in one key. Check out the video on my 10 chord routine: three note version for an example of this
great!
I thought of a good example. Scott Joplin's Original Rags (1898) Am7 Am7b5 D7 resolving to G. The whole phrase could be thought of as Eb dim7th (D7) to Gmajor. www.mutopiaproject.org/ftp/JoplinS/original/original-let.pdf Measure 5.
14:00
Yes I was rushing a little to avoid getting too long winded. Sorry! The family of Eb diminished is D F Ab and B
A major 6th chord is generated from the dim7th chord by .....
Moving 2 consecutive notes either up or down. See ruclips.net/video/-rFcOWDhmfo/видео.html
It would be helpful if you could spell out the key examples really slowly. Thanks for a great lesson!
Noted!
I really appreciate your videos, but I think you missed Barry's point on these families. What I understand, they're not about creating sequences, but understanding the interchangeability between the same family chords, and how you can apply the scale to those chords. The concept is basically usable in every bar of any jazz standard.
It’s both
Don't edit that out! lol
LOL I"m not proud...