Felt compelled to do this: 1 Scales on the Blues 2 Scales for I Got Rhythm 3 Five-4-3-2 4 Barry's Chromatic Scale and Other Things 5 Half step rules 6 Barry's 4 Scales of Chords 7 First 4 Bars of the Blues 8 Scales for Cherokee 9 Scales for Donna Lee 10 Playing with the Family of Dominants 11 Bridge of Cherokee and Tricky Spots 12 Minor sixth diminished for Jazz Guitar 13 Minor sixth diminished Jazz Guitar Drop3 Drop2,4 14 Scales for How High the Moon Jazz Guitar 15 G6 and C6 Diminished Scale of Chords 16 Comping for How High The Moon Jazz Guitar 17 Borrowing Notes for Jazz Guitar 18 Scales and Soloing for Night in Tunisia 19 Comping for Night in Tunisia 20 First 4 Bars of I Got Rhythm 21 Soloing with Diminished 22 Soloing on Dominant 23 All the Things You 24 Practicing Triplets 25 Major Scale Half Step Rules 26 Chords in Major Scale Idea 27 Chord Ideas in C major 28 Minor 6th Diminished Chord Ideas 29 Half step rules for Harmonic Minor 30 Comping Ideas with 6th Diminished 31 Charlie Parker Idea 32 Charlie Parker Idea #2 33 Charlie Parker Idea #3 34 Playing Movement Major to Relative Minor 35 Movement Practicing Major to Sixth Dominant 36 Practicing 1 Major to 4 Minor Creating Lines 37 Five 4 3 2 in Minor and more Line ideas 38 Creating lines on Minor II V 39 Practicing creating lines with E-6th Diminished 40 Creating lines on 3 minor ,b3 minor
I’m six years late. I’ve played guitar for years, since I was 13. I am now 43. Played in rock bands my whole life, so all modes etc. all Boxy stuff. jazz has always been an adored form of music for me, and I always wanted to learn it, especially on guitar. Coltrane changed my life, when I was younger. It went from there. I am starting now in 2024. Thanks.
practice notes: • Blues in C major • Running a scale up: C7, tonic up to b7 • Up & down: Cmaj7, tonic up to 7 then back down to C# (3rd of A) • G7 up & down: G to F and back down to G • Play rhythmically correctly - very important • Metronome on 2 & 4 • C7 up, F7 up, then C7 up & down. Then F7 up & down, Cmaj7 up & down. Then G7 up & down, Cmaj7 up, G7 up. • In a ii-V, only think of V7 (G7 in this example). • Other common keys: F, Bb
|C7 |F7 |C7 |C7 | |F7 |F7 |C6 |A7♭13 | |G7 |G7 |C7 A7♭13 |G7 | This is how I see the chord structure of what Chris is playing. I love what's going on here with the A7b13 built off the Dmelodic minor. And until now I used to alway play the ii-7 chord especially in bar 9. I love this boiled down version!!! thanks @thingsivelearnedfrombarryh2616
Just a few thoughts. I've read almost all comments here and I see that Cmaj7 scale in bar 7 is aroused controversy. I agree that maj7 interval (B in C blues) can be heard on countless solos yet I believe that saying that there's Cmaj7 chord in C blues is not correct. Improvisers can play whatever they want, superimposed changes and so on. And there it is: Em7 chord played in the bar 7 going to A7 on bar 8 as a superimposed II-V (or IIIm7-VI7) just before that regular IIm7-V7 (Dm7 G7). That's where your B natural note comes from (superimposed Em7 chord, not Cmaj7) and then C# note (3rd of A7). Voila. Mystery solved. And by the way: all of a sudden that F# diminished chord fits too - if you play Em7 in bar 7 (it's like Eb diminished going into Em7). It also works if you choose to play regular C7 instead of Am7 in bar 7 because that F# (Eb) diminished resolves as well to both triads built on 3rd and 5th of C7 (it's like going to Em7b5 and Gm6). Last but not least: EXCELLENT series. I love your videos Chris. (and I love BH). Thank you for doing it all.
Good point. Historically blues chords in jazz all being dominant is a more recent concept. Listen to Louis Armstrong or Benny Goodman. The "I" chord was very rarely a dominant chord. More often a triad or 6 chord. But I agree with your analysis. The B probably more likely represents a Eminor chord
I think in certain situations when you have a iii chord, the melodic arpeggio really wants to be a I chord. And I think I hear that here. If I play an Emin7 arpeggio with a chromatic note on bar 7 (D# E G B D) it just doesn't sound as correct as playing a Cmaj7 arpeggio with a chromatic note (B C E G B) in the same place. So melodically speaking, the C major 7 actually makes more sense to me. I notice the same thing in songs that have a iii - biii dim - ii progression like in bar 4 of Tea for Two, when (for example in the key of C) it goes from E minor to Eb diminished, to me I really want to hear Cmaj7/E to Eb diminished.
@@Ambidextroid If there is any doubt, it is enough to go back to the roots, which is the blues based on 3 dominant chords. Jazz blues is no exception. Everything else is just muddying the waters. The same applies to the discussion of whether the chord in the first bar is a dominant 7. Analysis of many recordings and themes proves that there should be a sixth chord (i.e. C6 instead of C7) because the melodies do not contain a minor seventh, but rather a major sixth until the moment when the change to F7 is to occur in the fourth bar. It is enough to review a few well-known standards to confirm this. Thus you could say "actually makes more sense to me" again. We can discuss similar topics for a long time, but when we lose sight of the horizon, it is enough to return to the compass which is the original, root progression based on C7 F7 and G7. The rest is an outgrowth.
And by the way, as for what makes more sense to me. I found one solution that works better for me than all the rest. Where there is A7 just before Dm7 (VI7 > IIm7), I just think C7b9 without the root. It's quite easy to see, whenever you play the dominant, you can play a diminished arpeggio from the third, fifth and seventh + from b2 (b9). And the diminished arpeggio Dbdim7 resolves beautifully on Dm7. Somehow it sounds better to my ear this way than using other methods there (Phrygian dominant and so on). Just a tip. Maybe it will be useful to someone.
just revisiting the first 3 vids after coming back to them several times a year--and it's finally clicking. Thank u again for making these incredible vids that reward anyone who puts the time into really absorbing the information by practicing the stuff! I never wanted to be a be-bop clone but i also wanna speak the language so i can converse. You can't find your voice if you ain't even in the conversation.
This channel is one of the best out there in RUclips, truly amazing stuff. Chris you are amazing! I've known about it and have subscribed already for a while, but I have recently decided to take a more 'academic' approach and go through the lessons a bit more methodically. Barry's concepts are so fascinating!
I am just a beginner learning to play jazz guitar, I checked a lot of channels and finnaly make a decision to go through your Barry Harris episodes because I think is the only one that present a well organized, structured and progresive learning, I am 54 and join your channel little late but I have illusion to learn a lot of this awesome music master from you, thank you so much for sharing music wisdom, very appreciated!
I have learned a little bit about Barry Harris' teachings from other sources, and I like what I have learned so far enough to want to find an authoritative source that I can study progressively. So I like the format of your channel. Hopefully, I will go through many episodes!
I only just came across your amazing channel! Starting at ep. 1 and going through them all! This is such a gift, thank you for recording these! Be safe!
Figured I'd start @ the first episode. And in the first 3 min you blew my mind. The last time I heard someone say to feel/tap the 1 and 3 was in 1991. It was Oscar Peterson giving a seminar at Humber College for the jazz students. He had a bunch of the "better" players come up and asked them to play both ways. Counting on 2 and 4 and then count on the 1 and 3. The difference was astounding. Never forgot that lesson. Thanks for the memories.
@@chrisinglik4115 it wasn't anything new. Oscar just explained that to get that swinging eighth note feel most musicians are taught to tap or feel the 2 and 4. He went on to explain ( this was 30 years ago, so forgive my memory), back in the day the "real" jazzers always tapped on 1 and 3. You can experiment yourself and see which one works better for you. I think his point was just because everyone says its suppose to be one way doesn't mean it works for everyone.
@@ska2dt Thank you. It's interesting for me because all my life I was told to tap on 2 and 4. Then I heard Hal Galper who' said that both 1234 and 24 lead to very stiff phrasing and we all should tap. feel and listen to music in half-time which makes our brains more relaxed and our phrases more fluid - thus 1 & 3.
OMG this is so helpful. I just discovered Barry a few days ago and love his perspective. I just needed it fed to me a little slower and you are the answer i needed. Thank you.
Glad i've found your channel, been trying to absorb some of Barry's teachings the last few months and it's great to see it well explained and demonstrated on guitar. Will be checking out your other videos. Thank You.
Chris - thank you so much for this series. Ive been playing rock and blues guitar for most of my life and at the age of 58 I have just started out on a journey to learn to play jazz in a structured way. I only found your channel recently and its already a revelation for me. I am only just getting to grips with these concepts, but already I am getting some nice chromatic flavours into my playing - which I've wanted to be able to do for years. I hope to be able to steadily progress through your lessons over the next few years. I know you are interpreting Barry's ideas for us mere mortals, but you should be rightly proud of your amazing contribution to the guitar playing community. Nice work !
Awesome video, man. Since I found all these Barry Harris videos I feel like I am really beginning to understand jazz and now I found you, giving more in-depth explanations. Thank you so much.
Great thanks! I went to a few of Barry's Classes and gigs when I was at school in New Jersey 2012 to 2015. I have a copy of his Book, but having this in guitar format is great!
You are a very generous human being. You have laid out the approach without reservation, shining a light on the path so I can follow. Your humble, direct approach says clearly you want people to get the material. I have on my list of projects a task to write out the exercises in notation software and share them with you. I don't know that I'll get there. Work etc. intrudes. The impulse to be generous with my time and energy is inspired by your work.
Thank you for the kind words Tom. I think Barry is the generous one. He's been giving this information away since he was a teenager. I hope you enjoy the other episodes. Barry's method is truly wonderful. I plan on doing these videos for as long as I have something to share.
@@thingsivelearnedfrombarryh2616 I've been through numerous episodes numerous times. It's my practice routine now. I need to write it down to organize my workouts. I have yet to get much in my playing ... I'll have to have patience. But thank you.
The best instructional video course ever!!!Does not matter what instrument you play.I am a bassist. You have filled in so many spaces.I love the fact that it is not teaching you licks but how to invent your own.Please Please Please do a detailed video on rhythm changes.(Like the one you did on the 1st 4 bars of the blues showing all the permutations).
That was awesome. I'm a sax player that loves Barry's videos but didn't know where to start. Your video was like "Follow the Yellow Brick Road" and Barry is Oz! lol
watching your vids starting here, just getting into Mr. Harris and I don't see myself getting out of this rabbit hole any time soon, so thanks for laying all of this foundation to help me understand better these concepts :)
Amazing lesson, so accessible. I've been watching Barry Harris clips online and lessons by other musians talking about his approach for quite a while but hadn't been able to find what seemed like a good entry point to learning his approach. Thank you so much for making that information available to musicians, its very much appreciated. Gary's Notebook by Lee Morgan is one of my favourite tracks, I couldn't beleive some like Barry was teaching his art so tirelessly, incredible. How lucky are we.
I have been a subscriber for awhile now and decided to really get into this. I'll of course start with this first post you did 4 years ago and work my way up! This will be a great supplement to some of the other improv courses I'm taking already! Thanks!
Thank you for sharing this information! Just stumbled across Barry’s method but most explanations were way over my head. I really like how you’re doing it from the ground up! Will be watching all the other videos too! Regards, Dan
I just stumbled upon your channel and absolutely love it! Thanks so much for sharing. Barry Harris is that truly rare bird-an amazing player who can also teach. And better yet, he really knows how to get to the heart of the matter and remove everything that isn't necessary. I happen to be a guitarist, so I truly appreciate that you're applying Barry's wisdom and insights to the guitar. It really helps me to see how you work out and think about all these concepts. And I love how practical they all are! It really is about getting to the music as soon as possible. Cheers!
Just want to say a big THANKS for sharing! this is by far the best video(s) on Barry Harris easy to understand and helpful on my Jazz guitar journey 👌✌️
Just re watched this (am doing that for all your videos, taking better notes). I was glad to hear that other folks explaining things helped you. I think most of us need help with this. Thanks again for helping us!
Hi Chris. I’m a professional rock/blues/country type player. Just discovered your great channel. Looking forward to many hours of practice with these concepts. I may even contact you for lessons. Thanks so much, this is SUPER useful,beautiful and fun.
Just wondering why you would play a Cmaj7 in bars 7 & 11. Aren't these measures usually written as C7? Love the channel/videos! Thanks.
3 года назад
I think it is because the major 7th is being used as a passing tone to either A (from A7, which is the reason it ends on C# on the way down) or Bb (from C7).
Thank you, Chris! I'm actually really excited about going through every one of these lessons! Thank you for all of the great content!! Subscribed. Liked. Excited!! 😎👍
So the 12 bar blues can vary a little in chord structure. Mostly it's all 1,4,5 but the exact pattern often changes. For example iX4, ivX2, iX1, vX1, iX2, vX2 vs something extremely similar but different iX4, ivX2, vX2, iX2, vX2. So my question is how do we know where to place the cM7 that ends on c# in either scenario?
These lessons are so great. But I am left wondering how the scales are chosen though? Is there a theory behind it? I get using dominant over ii-V, but where does the C scale ending on 3rd of A come from? Without this info, it’s hard to apply it to other song forms. Any thoughts welcome!
@@danielmazur940 So it’s an A7 b13 for that bar? I’d also love to see some examples with longer minor sections. I think the “m6 dim” scale might be used there?
Thank you, Chris, you are an excellent teacher, and this is a great service you provide for those who could not meet Barry in person! Just one question, you spoke of the importance of rhythm: did Barry do this exercise strictly in straight eights or also in swing rhythm?
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
Let this channel exist forever
Felt compelled to do this:
1 Scales on the Blues
2 Scales for I Got Rhythm
3 Five-4-3-2
4 Barry's Chromatic Scale and Other Things
5 Half step rules
6 Barry's 4 Scales of Chords
7 First 4 Bars of the Blues
8 Scales for Cherokee
9 Scales for Donna Lee
10 Playing with the Family of Dominants
11 Bridge of Cherokee and Tricky Spots
12 Minor sixth diminished for Jazz Guitar
13 Minor sixth diminished Jazz Guitar Drop3 Drop2,4
14 Scales for How High the Moon Jazz Guitar
15 G6 and C6 Diminished Scale of Chords
16 Comping for How High The Moon Jazz Guitar
17 Borrowing Notes for Jazz Guitar
18 Scales and Soloing for Night in Tunisia
19 Comping for Night in Tunisia
20 First 4 Bars of I Got Rhythm
21 Soloing with Diminished
22 Soloing on Dominant
23 All the Things You
24 Practicing Triplets
25 Major Scale Half Step Rules
26 Chords in Major Scale Idea
27 Chord Ideas in C major
28 Minor 6th Diminished Chord Ideas
29 Half step rules for Harmonic Minor
30 Comping Ideas with 6th Diminished
31 Charlie Parker Idea
32 Charlie Parker Idea #2
33 Charlie Parker Idea #3
34 Playing Movement Major to Relative Minor
35 Movement Practicing Major to Sixth Dominant
36 Practicing 1 Major to 4 Minor Creating Lines
37 Five 4 3 2 in Minor and more Line ideas
38 Creating lines on Minor II V
39 Practicing creating lines with E-6th Diminished
40 Creating lines on 3 minor ,b3 minor
Thank you. I will shortly create a public playlist of this gentleman's videos for easier access.
Rohan Casukhela please do 🙏🏾
Where is this list coming from?
@@paullancheros I just sat down, went through what was available and made the list about a year ago. There are many others now.
@Tyson Braden Nobody with a spine would want to invade their partners privacy. Also both of you are the same person.
I’m six years late. I’ve played guitar for years, since I was 13. I am now 43. Played in rock bands my whole life, so all modes etc. all Boxy stuff.
jazz has always been an adored form of music for me, and I always wanted to learn it, especially on guitar. Coltrane changed my life, when I was younger. It went from there.
I am starting now in 2024.
Thanks.
practice notes:
• Blues in C major
• Running a scale up: C7, tonic up to b7
• Up & down: Cmaj7, tonic up to 7 then back down to C# (3rd of A)
• G7 up & down: G to F and back down to G
• Play rhythmically correctly - very important
• Metronome on 2 & 4
• C7 up, F7 up, then C7 up & down. Then F7 up & down, Cmaj7 up & down. Then G7 up & down, Cmaj7 up, G7 up.
• In a ii-V, only think of V7 (G7 in this example).
• Other common keys: F, Bb
My chord melody is moving along way faster than my soloing knowledge. I'm very grateful that you have posted these lessons. Thank you!
|C7 |F7 |C7 |C7 |
|F7 |F7 |C6 |A7♭13 |
|G7 |G7 |C7 A7♭13 |G7 |
This is how I see the chord structure of what Chris is playing.
I love what's going on here with the A7b13 built off the Dmelodic minor.
And until now I used to alway play the ii-7 chord especially in bar 9. I love this boiled down version!!! thanks @thingsivelearnedfrombarryh2616
Just a few thoughts. I've read almost all comments here and I see that Cmaj7 scale in bar 7 is aroused controversy. I agree that maj7 interval (B in C blues) can be heard on countless solos yet I believe that saying that there's Cmaj7 chord in C blues is not correct. Improvisers can play whatever they want, superimposed changes and so on. And there it is: Em7 chord played in the bar 7 going to A7 on bar 8 as a superimposed II-V (or IIIm7-VI7) just before that regular IIm7-V7 (Dm7 G7). That's where your B natural note comes from (superimposed Em7 chord, not Cmaj7) and then C# note (3rd of A7). Voila. Mystery solved. And by the way: all of a sudden that F# diminished chord fits too - if you play Em7 in bar 7 (it's like Eb diminished going into Em7). It also works if you choose to play regular C7 instead of Am7 in bar 7 because that F# (Eb) diminished resolves as well to both triads built on 3rd and 5th of C7 (it's like going to Em7b5 and Gm6). Last but not least: EXCELLENT series. I love your videos Chris. (and I love BH). Thank you for doing it all.
Thanks for helping piece this together. It would have been nice if this explanation was part of the video.
Good point. Historically blues chords in jazz all being dominant is a more recent concept. Listen to Louis Armstrong or Benny Goodman. The "I" chord was very rarely a dominant chord. More often a triad or 6 chord. But I agree with your analysis. The B probably more likely represents a Eminor chord
I think in certain situations when you have a iii chord, the melodic arpeggio really wants to be a I chord. And I think I hear that here. If I play an Emin7 arpeggio with a chromatic note on bar 7 (D# E G B D) it just doesn't sound as correct as playing a Cmaj7 arpeggio with a chromatic note (B C E G B) in the same place.
So melodically speaking, the C major 7 actually makes more sense to me. I notice the same thing in songs that have a iii - biii dim - ii progression like in bar 4 of Tea for Two, when (for example in the key of C) it goes from E minor to Eb diminished, to me I really want to hear Cmaj7/E to Eb diminished.
@@Ambidextroid If there is any doubt, it is enough to go back to the roots, which is the blues based on 3 dominant chords. Jazz blues is no exception. Everything else is just muddying the waters. The same applies to the discussion of whether the chord in the first bar is a dominant 7. Analysis of many recordings and themes proves that there should be a sixth chord (i.e. C6 instead of C7) because the melodies do not contain a minor seventh, but rather a major sixth until the moment when the change to F7 is to occur in the fourth bar. It is enough to review a few well-known standards to confirm this. Thus you could say "actually makes more sense to me" again. We can discuss similar topics for a long time, but when we lose sight of the horizon, it is enough to return to the compass which is the original, root progression based on C7 F7 and G7. The rest is an outgrowth.
And by the way, as for what makes more sense to me. I found one solution that works better for me than all the rest. Where there is A7 just before Dm7 (VI7 > IIm7), I just think C7b9 without the root. It's quite easy to see, whenever you play the dominant, you can play a diminished arpeggio from the third, fifth and seventh + from b2 (b9). And the diminished arpeggio Dbdim7 resolves beautifully on Dm7. Somehow it sounds better to my ear this way than using other methods there (Phrygian dominant and so on). Just a tip. Maybe it will be useful to someone.
You don’t know this yet but you will make 125 more episodes. You legend.
just revisiting the first 3 vids after coming back to them several times a year--and it's finally clicking. Thank u again for making these incredible vids that reward anyone who puts the time into really absorbing the information by practicing the stuff! I never wanted to be a be-bop clone but i also wanna speak the language so i can converse. You can't find your voice if you ain't even in the conversation.
I've been studying Barry for about three months, where the hell has this been !?!?!
Thank you very much!
Daniel Barry I'm glad you're enjoying these videos Daniel. Please share with your musician friends. More to come.
@@thingsivelearnedfrombarryh2616 will do, your a big relief for guitar players....
I realize this is 5 years ago but I’m starting to follow this. I like the teaching method.
going through these from the beginning. Glad I'm finding this now
This channel is one of the best out there in RUclips, truly amazing stuff. Chris you are amazing!
I've known about it and have subscribed already for a while, but I have recently decided to take a more 'academic' approach and go through the lessons a bit more methodically. Barry's concepts are so fascinating!
I am just a beginner learning to play jazz guitar, I checked a lot of channels and finnaly make a decision to go through your Barry Harris episodes because I think is the only one that present a well organized, structured and progresive learning, I am 54 and join your channel little late but I have illusion to learn a lot of this awesome music master from you, thank you so much for sharing music wisdom, very appreciated!
Thank you thank you thank you for the love and generosity you put on your work. Blessings master
I have learned a little bit about Barry Harris' teachings from other sources, and I like what I have learned so far enough to want to find an authoritative source that I can study progressively. So I like the format of your channel. Hopefully, I will go through many episodes!
I only just came across your amazing channel! Starting at ep. 1 and going through them all! This is such a gift, thank you for recording these! Be safe!
Thank you for the kind words. It's the least I can do as a student of Barry, who has been so generous to all of us for sharing his brilliance.
can't believe i'm finding this now. wish i saw this earlier. thanks friend.
Figured I'd start @ the first episode. And in the first 3 min you blew my mind. The last time I heard someone say to feel/tap the 1 and 3 was in 1991. It was Oscar Peterson giving a seminar at Humber College for the jazz students. He had a bunch of the "better" players come up and asked them to play both ways. Counting on 2 and 4 and then count on the 1 and 3. The difference was astounding. Never forgot that lesson. Thanks for the memories.
Could you say a little bit more about that 1&3 counting?
@@chrisinglik4115 it wasn't anything new. Oscar just explained that to get that swinging eighth note feel most musicians are taught to tap or feel the 2 and 4. He went on to explain ( this was 30 years ago, so forgive my memory), back in the day the "real" jazzers always tapped on 1 and 3. You can experiment yourself and see which one works better for you. I think his point was just because everyone says its suppose to be one way doesn't mean it works for everyone.
@@ska2dt Thank you. It's interesting for me because all my life I was told to tap on 2 and 4. Then I heard Hal Galper who' said that both 1234 and 24 lead to very stiff phrasing and we all should tap. feel and listen to music in half-time which makes our brains more relaxed and our phrases more fluid - thus 1 & 3.
@@chrisinglik4115 For playing, yes, thinking 1 & 3, easier on the brain - the drummer will hit the 2&4. For listening, I still tap on 2 & 4! :-)
Thank you Peter! There's an interesting Hal Galper's clip "Rhythm and Syncopation". Check it out guys: ruclips.net/video/3jdU-azCaZU/видео.html
I just found this Channel, watched a random vidéo, love your way if approaching music. So i'm here on video 1
I’m glad I found this channel. Thank you very much!!
OMG this is so helpful. I just discovered Barry a few days ago and love his perspective. I just needed it fed to me a little slower and you are the answer i needed. Thank you.
Ditto from me as well
Glad i've found your channel, been trying to absorb some of Barry's teachings the last few months and it's great to see it well explained and demonstrated on guitar. Will be checking out your other videos. Thank You.
Great. Please share with your musician friends.
Chris - thank you so much for this series. Ive been playing rock and blues guitar for most of my life and at the age of 58 I have just started out on a journey to learn to play jazz in a structured way. I only found your channel recently and its already a revelation for me. I am only just getting to grips with these concepts, but already I am getting some nice chromatic flavours into my playing - which I've wanted to be able to do for years. I hope to be able to steadily progress through your lessons over the next few years. I know you are interpreting Barry's ideas for us mere mortals, but you should be rightly proud of your amazing contribution to the guitar playing community. Nice work !
Thank you for the kind words Pete. This is the least I can do for being so blessed to be around Barry for so long.
Sooooooo Glad I Found This......Thank you !!!!
This is way deeper than it seems. I love it. Thanks again
Awesome video, man. Since I found all these Barry Harris videos I feel like I am really beginning to understand jazz and now I found you, giving more in-depth explanations. Thank you so much.
Thank you Eduardo. Barry's method is wonderful. Keep working at it. Check out my other videos, they might be helpful.
@@thingsivelearnedfrombarryh2616 Hey, I very definitely will. Just with this one I feel like I learned a lot. Thanks again, keep doing this.
I feel it will be a long and enjoyable journey for me. Thank you.
wow, I can't believe I just found this channel!
this is just amazing!
thank you so much!
Great thanks! I went to a few of Barry's Classes and gigs when I was at school in New Jersey 2012 to 2015. I have a copy of his Book, but having this in guitar format is great!
Thanks Duncan. Please share with your musician friends.
You are a very generous human being. You have laid out the approach without reservation, shining a light on the path so I can follow. Your humble, direct approach says clearly you want people to get the material. I have on my list of projects a task to write out the exercises in notation software and share them with you. I don't know that I'll get there. Work etc. intrudes. The impulse to be generous with my time and energy is inspired by your work.
Thank you for the kind words Tom. I think Barry is the generous one. He's been giving this information away since he was a teenager.
I hope you enjoy the other episodes. Barry's method is truly wonderful. I plan on doing these videos for as long as I have something to share.
@@thingsivelearnedfrombarryh2616 I've been through numerous episodes numerous times. It's my practice routine now. I need to write it down to organize my workouts. I have yet to get much in my playing ... I'll have to have patience. But thank you.
so pumped i stumbled into this. thank you.
I just found your channel today. Thank you so much for being here, and for sharing this information! ❤️ 😀🎹🎵
you are a very gracious man. Thanks
Hello, Chris, the Jazz-Library dude sent me here, awesome content, thank you!
The best instructional video course ever!!!Does not matter what instrument you play.I am a bassist. You have filled in so many spaces.I love the fact that it is not teaching you licks but how to invent your own.Please Please Please do a detailed video on rhythm changes.(Like the one you did on the 1st 4 bars of the blues showing all the permutations).
Thank you Greg. Glad you're enjoying these. The Rhythm changes video is coming for sure.
Please share with your musician friends.
very interesting concept of CM7 coming down to the third of A. super cool
It is great! Barry's scale exercise really helps you hear the chord changes clearly and in rhythm.
But why down to the third of A, what is the rule there? I presume it is because of a ii-V on the 8th bar but I still don’t get it
I'm wondering the same thing 😢@@malzola347
That was awesome. I'm a sax player that loves Barry's videos but didn't know where to start. Your video was like "Follow the Yellow Brick Road" and Barry is Oz! lol
Got this channel recommended by my brother, thank you for this, it’s a goldmine!
So pleased to have found your channel. Your efforts are very much appreciated.
Glad your enjoying it Denizen. More to come.
Big thanks for doing this. I've been looking for a long time for someone to explain his ideas, and you do so very clearly.
You're welcome. Please share with your musician friends.
this is a gem.thank u for doing this man..
You're welcome. I hope you enjoy the other episodes. Please share with your musician friends.
will do..its awesome man,thanks
Thanks for sharing this knowledge.
watching your vids starting here, just getting into Mr. Harris and I don't see myself getting out of this rabbit hole any time soon, so thanks for laying all of this foundation to help me understand better these concepts :)
Amazing lesson, so accessible. I've been watching Barry Harris clips online and lessons by other musians talking about his approach for quite a while but hadn't been able to find what seemed like a good entry point to learning his approach. Thank you so much for making that information available to musicians, its very much appreciated. Gary's Notebook by Lee Morgan is one of my favourite tracks, I couldn't beleive some like Barry was teaching his art so tirelessly, incredible. How lucky are we.
What a treasure of a channel! Instant sub!
Thank you Paul. Please share with your musician friends.
I may be a little late but I'm so glad I found this place this is going to make me a better improviser 100%, thank you for sharing
Thanks for this, I'm gonna see all of your vids!
God bless you sir! 🙏🎻
incredible interiorization of those B's and the C#, thank you so much for that ear training
New subscriber. Starting at the beginning. This could take awhile, but I’m sure it will be worth it!
Very good lessons são show de bola Adoro ❤🎉
I have been a subscriber for awhile now and decided to really get into this. I'll of course start with this first post you did 4 years ago and work my way up! This will be a great supplement to some of the other improv courses I'm taking already! Thanks!
Thank you for sharing this information! Just stumbled across Barry’s method but most explanations were way over my head. I really like how you’re doing it from the ground up! Will be watching all the other videos too! Regards,
Dan
Thanks Dan. Please share with your musician friends.
...
I'm blown away.
Barry makes things so simple for us to understand. He's truly a Master.
Went to a few of Barry’s classes over the summer. Totally overwhelmed so this really help. Thank you!
thanks my friend... I play Chapman Stick, and this was a great work out for the melody side of the Stick, and I can comp C7 on the bass side!
Thanks for putting this out there Chris! I greatly appreciate your time and effort.
I just stumbled upon your channel and absolutely love it! Thanks so much for sharing. Barry Harris is that truly rare bird-an amazing player who can also teach. And better yet, he really knows how to get to the heart of the matter and remove everything that isn't necessary. I happen to be a guitarist, so I truly appreciate that you're applying Barry's wisdom and insights to the guitar. It really helps me to see how you work out and think about all these concepts. And I love how practical they all are! It really is about getting to the music as soon as possible. Cheers!
Greatful for such people
Thanks for sharing these lessons and your clear explanation. I hope you be able to continue as you plan
You're welcome. I will. Please share with your musician friends.
@@thingsivelearnedfrombarryh2616 I will definitely share with my subscribers. Thanks again, regards
This is really great. Thanks for taking the time to do it.
Thank you Atalay! I'm enjoying it.
Good job, man. You have a good teaching approach.
Thank you Jeffrey. Barry's stuff is wonderful.
Thank you for sharing this knowledge with us..
Thank you bro, I just discovered your channel. So grateful.
Hi Chris!! Thanks a lot for your great explanations !!!👍
Thanks
Thank you so much! Love this.
Thanks for sharing this knowledge. Its really helpful I appreciate you
wow finally found the episode 1 to start with! 😅
Interesting. Would be great to add a visual of the score to the video.
Brilliant! Thanks
It is sooo good to see you here Chris, thank you! Very much looking forward to future episodes and hopefully also some of your beautiful playing.
Stephan Kramer Thanks Stephan. I hope you enjoy these. I'm having a ball making them.
Just want to say a big THANKS for sharing! this is by far the best video(s) on Barry Harris easy to understand and helpful on my Jazz guitar journey 👌✌️
Thank you very much…!
Thank you very much for this!!!
You're welcome. Please share with your musician friends.
Thank You for sharing
vincent spaulding You're welcome. Please check out the other episodes and share.
thank you, this was very helpful. i'm looking forward to learning more about Barry's methods and your approach to this beautiful art form.
Just re watched this (am doing that for all your videos, taking better notes). I was glad to hear that other folks explaining things helped you. I think most of us need help with this. Thanks again for helping us!
Thanks for a new chapter in my guitar playing.
More please!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Glad you're enjoying the channel Troy. I have 43 more episodes up that you might like. Please share with your musician friends.
Hi Chris. I’m a professional rock/blues/country type player. Just discovered your great channel. Looking forward to many hours of practice with these concepts. I may even contact you for lessons. Thanks so much, this is SUPER useful,beautiful and fun.
Thank you very much... nice teaching...
Thanks so much 🙏🙏🙏
really interesting...thanks very much
Best channel btw.
Just wondering why you would play a Cmaj7 in bars 7 & 11. Aren't these measures usually written as C7? Love the channel/videos! Thanks.
I think it is because the major 7th is being used as a passing tone to either A (from A7, which is the reason it ends on C# on the way down) or Bb (from C7).
Thank you so much! Sublime
Glad you enjoyed it Sonny. More to come.
great info. thanks!
Thank you, Chris! I'm actually really excited about going through every one of these lessons! Thank you for all of the great content!! Subscribed. Liked. Excited!! 😎👍
Holy shit this is f'n amazing
Could you name the chord changes this applies to? I am assuming it is not your standard twelve bar changes, like Mississippi blues. Thanks.
IC7lF7IC7IC7I
IF7lF7lC7IA7I
IDm7IG7IC7A7IDm7G7I
Cheers bud, very helpful 👍🏻
So the 12 bar blues can vary a little in chord structure. Mostly it's all 1,4,5 but the exact pattern often changes. For example iX4, ivX2, iX1, vX1, iX2, vX2 vs something extremely similar but different iX4, ivX2, vX2, iX2, vX2.
So my question is how do we know where to place the cM7 that ends on c# in either scenario?
Same question here, it's a bit frustrating
Its from A7 or you could think em7 a7
Before dm g7
C7 - f7 - c7 - c7
F7 - f7- c7- (em)a7
Dm(you can play g7 here - g7 - c7 - g7
This is great man thank you!🙏
These lessons are so great. But I am left wondering how the scales are chosen though? Is there a theory behind it? I get using dominant over ii-V, but where does the C scale ending on 3rd of A come from? Without this info, it’s hard to apply it to other song forms. Any thoughts welcome!
A blues goes to the 6 chord before the 2 5. In this case it’s A7, So it hits that major 3rd of the A7 before the 2 5.
@@danielmazur940 So it’s an A7 b13 for that bar? I’d also love to see some examples with longer minor sections. I think the “m6 dim” scale might be used there?
Thank you, Chris, you are an excellent teacher, and this is a great service you provide for those who could not meet Barry in person! Just one question, you spoke of the importance of rhythm: did Barry do this exercise strictly in straight eights or also in swing rhythm?
Brilliant. Thank you!
Love it, thank you
I love this and love Barry but never understood why we use the Cmaj7 scale instead of just another C7 scale.