Very cool. Really liked how the be-bop language just revealed itself from within, when you constructed that cool 2-5 line from language bits with internal logic of construction.
@@isaacraz I think you are well positioned to do it, and better than most. You also trim down all the unnecessary fat from the information, which is most helpful. Really looking forward to more of your videos.
I think of 2-5-1 as Dm7 = G7sus4 resolving to G7. (Just C moves down a 1/2 step to B.) Then G7 as Cmaj7sus4, resolving to Cmaj7. (Just the F moves down a 1/2 step to E.) Leaving Cmaj7 with the B unresolved. I always found that a bit peculiar, or unresolved, but tried to listen to this as a way to not make the 2-5-1 to final. But i understand B.Harris would prefer Cmaj6 instead - så then the B (that has a diminished touch to it, because of that) is actually resolved into A. And then makes lines that ends on the note C more pleasant, since you dont have that clash between semitones (B and C) when you end a phrase. I dont know if this is of any use to anyone, but anyways.
Hi, I have a question. When comping, should we follow the resting active resting protocol? If we can borrow from diminished, theoretically, couldn’t we end up with a dim voicing if we replace all resting tones?
Hi Isaac, first of all: great online lessons. I m teaching myself at both Amsterdam and Rotterdam conservatories. Some of my colleagues had lessons of Barry, I did n't. One thing I really don t understand that Barry did not make a difference between the 2nd and the 5th degree, but only between 5th and 1st. As an arranger I make a big difference in upperstructure, target-notes and chromatics between 2nd and 5th degree. As a matter of fact, I try to avoid a long sound of the 5th degree with all the tension. Can you explain me why there is no diffrence between II-V. And another thing I did not understand was the following: the blue note in the blues (let's say it's the b5) comes from a diminished scale. And which one? So in C7: C-D-Eb etc or C-Db-Eb-E etc? thanks for your time or answer. Regards Ilja Reijngoud
Ilja thank you so much for your thoughtful questions! You bring up some important topics. Franz Elsen was his main collaborator at The Hague and there are many wonderful videos out there from that time on his website. We academic types will do well to remember that BH is grounded in an oral tradition which through sheer determination and intellect he has codified in his own unique way, unhampered by traditional methods. As such, the main thinking here is that 2 is a suspension of 5. BH puts the “relative 2” idea on its head and says that - for example: Dm7 is the “important minor” of G7. Therefore Dm7 IS G7. Love to chat sometime if you care to.
@@isaacraz Great isaac, thank you for your kind answer. i will def dive into it, as a teacher in Holland you have to know some basic principles of BH, even though I did not have lessons of him. It was The hague indeed, I was a student in Hilversum (now Amsterdam): less bebop soloist approach, more orchestral craftsmanship - for horn players at least. Yeah online chat would be great. I ll come back to that. Regards Ilja iljareijngoud@gmail.com
When playing fast bebop it's helpful to have in mind that you can always just play the 1 throughout a 2-5-1. Nevertheless, without altereds on dominants it's going to suck if one keeps doing that. Dominants are the chance to sound really "jazzy". Put another way, this genre is all about tension->resolution, which requires changing the scales. When you transposed your line to the tritone that was effectively what you were doing, and it sounded a helluva lot better.
Good point about exploiting the tension>repose of western music in fast tempos (bebop). If you're playing 'My Funny Valentine' the alt dom's hang out there in space longer than if you're playing 'Giant Steps'. And conversely, plain Jane ii-V-I's in fast tempos sort of blend together and each chord tends to sound like an extension of the tonic chord. It's the same seven notes, banging away at us at 230 bpm, no matter what scale/chord we're on. So when we 'put the pedal to the metal', we might need to add those altered extensions so the listener can tell we've changed chords.
Thanks for your honesty and bravery. This is excellent and so real, mistakes and all. Really inspiring. Thank you, Isaac.
Nice video , not only helps with the method but also shows how to create wile practicing . Thanks 👍
Good stuff. Thanks for the lesson.
RIP Barry Harris.
This is so cool. BH Method is so organic and logical, the most natural way to approach music. Thank you Isaac! :)
Exactly correct. BH has the advantage of not being handcuffed by traditional music school methods. To all of our benefit.
Very cool. Really liked how the be-bop language just revealed itself from within, when you constructed that cool 2-5 line from language bits with internal logic of construction.
Exactly- that’s the whole name of the game. I’m planning on more along these lines. Basically deconstructing BH’s improv workshop.
@@isaacraz I think you are well positioned to do it, and better than most. You also trim down all the unnecessary fat from the information, which is most helpful. Really looking forward to more of your videos.
What an excellent lesson. Thanks!
Thanks a lot Isaac!
Your videos are really helpful!
This great and so simple.And really easy to be creative with. You are very easy to understand, Outstanding!
Thank you so much for sharing these insights on Barry’s teachings.
Great video Isaac, keep it up!
Appreciate it!
Very interesting concepts. Will try, thanks!
Nice one... nice to see someone so much better than me also get challenged in their own video. Stay real, Isaac.
Man, I think you write some "Barry Harris Concepts" books. Awesome and thanks for sharing!
Thanks! working on it...
Yes please!
Thanks for this Isaac. Inspiring. Sends me to the piano.
"We play to the 7th", Barry Harris. Good tweaks in this video: Reversing the 7th and 6th. Reverse the 1 and 2. Also, 543127
Yup, and there are many more.Here’s a goodie I forgot about: 54352. I’ll probably do another video on these.
Lovely sounds coming out! Would love to dig into it.
"this one is soo nice I'm gonna steal this from myself" That's so halarious I almost peed in my pants.
I think of 2-5-1 as Dm7 = G7sus4 resolving to G7. (Just C moves down a 1/2 step to B.) Then G7 as Cmaj7sus4, resolving to Cmaj7. (Just the F moves down a 1/2 step to E.) Leaving Cmaj7 with the B unresolved. I always found that a bit peculiar, or unresolved, but tried to listen to this as a way to not make the 2-5-1 to final. But i understand B.Harris would prefer Cmaj6 instead - så then the B (that has a diminished touch to it, because of that) is actually resolved into A. And then makes lines that ends on the note C more pleasant, since you dont have that clash between semitones (B and C) when you end a phrase. I dont know if this is of any use to anyone, but anyways.
Very cool Isaac!!
Thanks Pete!!
great content sir
Thanks!
lovely stuff, Isaac!!
Thanks Peter!
Hi, I have a question. When comping, should we follow the resting active resting protocol? If we can borrow from diminished, theoretically, couldn’t we end up with a dim voicing if we replace all resting tones?
Hi Isaac, great lesson. Could you do a video about some ideas on "So what" using Barry concepts? Thank you, have a good day.
Great suggestion! I'll think about how to incorporate that
@@isaacraz thanks
Hi Isaac, first of all: great online lessons. I m teaching myself at both Amsterdam and Rotterdam conservatories. Some of my colleagues had lessons of Barry, I did n't. One thing I really don t understand that Barry did not make a difference between the 2nd and the 5th degree, but only between 5th and 1st. As an arranger I make a big difference in upperstructure, target-notes and chromatics between 2nd and 5th degree. As a matter of fact, I try to avoid a long sound of the 5th degree with all the tension. Can you explain me why there is no diffrence between II-V.
And another thing I did not understand was the following: the blue note in the blues (let's say it's the b5) comes from a diminished scale. And which one? So in C7: C-D-Eb etc or C-Db-Eb-E etc?
thanks for your time or answer. Regards Ilja Reijngoud
Ilja thank you so much for your thoughtful questions! You bring up some important topics. Franz Elsen was his main collaborator at The Hague and there are many wonderful videos out there from that time on his website. We academic types will do well to remember that BH is grounded in an oral tradition which through sheer determination and intellect he has codified in his own unique way, unhampered by traditional methods. As such, the main thinking here is that 2 is a suspension of 5. BH puts the “relative 2” idea on its head and says that - for example: Dm7 is the “important minor” of G7. Therefore Dm7 IS G7. Love to chat sometime if you care to.
@@isaacraz Great isaac, thank you for your kind answer. i will def dive into it, as a teacher in Holland you have to know some basic principles of BH, even though I did not have lessons of him. It was The hague indeed, I was a student in Hilversum (now Amsterdam): less bebop soloist approach, more orchestral craftsmanship - for horn players at least. Yeah online chat would be great. I ll come back to that.
Regards Ilja
iljareijngoud@gmail.com
Subbed!!
Brain meltdown, too funny !
So many Eskimos! 😉
Deus abençoe 🇧🇷🇧🇷🇧🇷
When playing fast bebop it's helpful to have in mind that you can always just play the 1 throughout a 2-5-1. Nevertheless, without altereds on dominants it's going to suck if one keeps doing that. Dominants are the chance to sound really "jazzy". Put another way, this genre is all about tension->resolution, which requires changing the scales. When you transposed your line to the tritone that was effectively what you were doing, and it sounded a helluva lot better.
Good point about exploiting the tension>repose of western music in fast tempos (bebop). If you're playing 'My Funny Valentine' the alt dom's hang out there in space longer than if you're playing 'Giant Steps'. And conversely, plain Jane ii-V-I's in fast tempos sort of blend together and each chord tends to sound like an extension of the tonic chord. It's the same seven notes, banging away at us at 230 bpm, no matter what scale/chord we're on.
So when we 'put the pedal to the metal', we might need to add those altered extensions so the listener can tell we've changed chords.
tasty F# over G7
right? BH's system lets you get away with a lot.
Ahhh. Back in the days when folks dressed up like Eskimos..🙂