What did you work with from Barry? 🙂 👉The 3 Bebop Licks You Need To Know ruclips.net/video/2iFZdLf7a1o/видео.html 😎 These Scale Exercises Are Immediately Great Jazz Licks 👈 ruclips.net/video/Nyr6sHy4VFA/видео.html
He said something interesting ( he said many things that were noteworthy) BE CAREFUL WHAT ANX WHERE YOU LEARN I HAVE FOUND ( Barry’s own words ) MANY COURSES ARD INCOMPLETE OF HAVE IT WRONG ….. i took it all with a grain of salt … he was kind a right …. It led me to study VOICE-LEADING, COUNTERPOINT, BACH …. Etc …. I found myself naturally lead to folks who know what they doing….. and have a good pedagogical approach .. 👍
i watch and practice stuff from things i learn from barry harris channel too. tilfbh, mikko hilden, and jens larsen channel are the only ones i watch for jazz education. and i know for a fact that I've improved a bit. Thank you so much for doing this.
Do you think that advancing guitairsts should follow jazz duets channel too? i think it's based on the Coltrane system . but for now i have my hands full with stuff from your channel and tilfbh channel.
The main thing I learned from Barry Harris (and from one of his disciples Howard Rees) is the importance of time especially with respect to getting the right feel for a jazz line. Practicing his rules over and over I built up the feel of an appropriate line and when I had that down (at least somewhat) I could drop the rules and compose my lines more freely. He was a very positive, encouraging person too and that's another good lesson.
It's very funny to imagine a younger Jens following around Barry like Deadheads follow the Grateful Dead. Barry Harris was a true national treasure (I'm American). Although I don't create music from the perspective of the Barry Harris method, his philosophies alone can transform anyone's playing. But those two lessons that Jens has shared today were hugely useful when I learned them from watching Barry on youtube a couple years ago. I spent 12 years or so learning guitar without focusing on songs and without focusing on connecting my exercises to MUSIC. Once I did those 2 "simple" things, my playing became everything I always wanted it to be. I"m by no means some prodigy guitar player, but that thing my playing was missing was the music and you don't create music by learning exercises in isolation. You also don't play music without learning songs! Simple lessons, but simple is usually the key. Thanks for this great reminder, Jens.
Actually I’ve been having a blast applying the diminished 6 stuff to the Grateful Dead’s “Deal”. It’s a pretty cool form that really lends itself to such stuff!
From looking at Barry Harris & Alan Kingston's book. I'm can't believe that for Guitar , 4 accent string are a drop 2. Bass note, skip a string to 3 adjacent strings is a drop 3. This is rarely pointed out! Such useful info.
You do a great service by introducing Barry Harris to us. I've only dipped my toe in the pool of his teaching, but that exact triplet arpegio + Harris chromatic run has found a home in my playing. Thank you for your guidance!
I saw a Barry Harris seminar at the Wisconsin Conservatory of Music in Milwaukee, WI, years ago. Apart from being glad to see a famous musician, I don't remember much besides BH talking about playing fast. Jens' explanations help me understand more about Barry Harris' ideas. Thank you!
Forgive me , for I have sinned.... I have been scouting around the net , trying all kinds of lessons , tips , practice and theory approaches etc etc,, and I ALWAYS end up back here. Your solid Jens , a great teacher. I really appreciate what you do. And after I win lotto tonight I'm flying to wherever you are to see a gig and annoy you with a million questions. Thanks again mate.
@@JensLarsen Yes, I'm talking about the same one in The Hague. I was friends with a couple of people that went there: Udo (p), Jarmo (tp) and Hein (g). As you said, this was ages ago, so I doubt they'll remember me.
Just what I needed, "clarification". Phrasing is the fuel that motivates me. I love those clean lines and tone, relaxed engagement that inspires conscious growth and movement. You're a spirit clearly destined for this. What a great time to be alive, having so much connection and opportunity. Thank you All my best
So after 45 years of playing flamenco then rock, blues, RnB, funk and folky finger picking I’ve always found jazz impossible to play. Yesterday after two years in retirement learning a lot of stuff about arpeggios, 251s, shell voicings, augmented chords etc from these videos and others I had the breakrgrough by doing exactly what Jens talks about here… applying it all to a SONG. The key for me was to try and play the vocal melody, chuck in shell chords wherever I can and then most importantly stop and try to do the exactly same notes in at least two other places on the guitar neck. I’m still unbelievably slow but it’s like a door just opened to the world of solo jazz guitar. Merry Christmas everyone…. Especially Jens ! No more directionless pentatonic based noodling for me…
Hi Jen’s …. Yes I had the incredibly wonderful experience of meeting Barry and taking a small lesson ( friggin huge actually ) all centered around his diminished 6th concept….. I was completely out of my league but this wonderful man Impressed me with the fire of curiosity that I pursued music theory …. If you wanna call it that ) to at least understand our MUSICAL universe of notes and explore how it all works…. Wonderful experience ….. he said sort of out loud ….. there’s really no such thing as ii, V , I ( ? ) not really …. It’s all V- I … with clever inversions and masterfully understood approaches to and from tonic… I can’t say enough about Barry…. I latched onto you ( Jen’s ) years ago because of a video where you demonstrated all chords from tonic and back again chromatically expressed as slash chords… and you just demonstrated it … straight up …. Without a lot of over complex guess work …. It’s why I check back and dial in with you Jens !!!!!!! You care about being good and so I believe you dedicate yourself to your craft…. Barry wasn’t terribly complicated .. a refreshing analysis.. I’m not surprised you would dig Barry !!!!! Love your channel keep it up
Great info. One thing I've learned from composing lines is that I would often have good vocabulary in my head that would never have come out through my fingers in improvisation. I needed to take the time to slow down and work out the fingering and various applications for the ideas before they really became a part of my improv vocabulary.
greetings Mr Larsen ...loved this lesson, opened up a way of looking at stuff fer me .... im learning how to play jazz with your knowledge sharing .............thank you
There you are! Thank you for posting this. I've watched his stuff for years, but I was always on the wrong coast, with too many responsibilities to follow my muse. It was a choice I made a very long time ago and I have no regrets, but as I said earlier -- they look like they're having so much fun. Thank you for sharing your experiences.
Thanks Jens for sharing your insights and communicating them so clearly. Knowing what to teach and how to teach is just as important to know as what to study and how to practice. Your teaching is improving my playing. Barry Harris has earned all the accolades.
@@JensLarsen haha, I misunderstood it for some kind of bebop scale rule that works differently depending if you play it up or down, but this is also great! I totally watched your video before commenting, lol.
I think Barry Harris method is great. Although, I am a newbie in saxophone playing, and I am in my 60s. I watched, Jens' explanation in a couple video about scale, and chords progression. I tried it out and it enable me to understand what a phrase and line is as beginner and I would really like to use it my practice.
Dear Jens, thank you for this valuable video. Reminds me once more to use songs as a base to practice concepts. What Barry Harris writes on the board (1:00) completely changed my understanding of diminished chords. I even managed it to get it into my playing.
I talk about it in this video ruclips.net/video/6NnFgdgOnc0/видео.html Since it is just a way to write lines, you should have no trouble putting it to use 🙂
Thanks for these wonderful lessons Jens! I actually watched one of those masterclass videos of Barry Harris (the one when he talks about feeling the "and"). It's awesome that you got to see him and learn from him in person.
Awesome lesson as always, Jens! 🤘Really appreciate your reminder about connecting everything we learn to songs and your examples of how one can take these ideas to develop their own - Chase
@@JensLarsen Trying to spread the jazz guitar knowledge like you! I'm sure you're busy, but if you ever have any interest in doing a collab or even just meeting virtually I think that would be lots of fun.
@@ChaseMaddox Great! Maybe send me an email then we have another way of reaching each other, and stay in touch. I am in the middle of moving house, so I don't have a ton of time, but we should do something together in the future! You can reach me here: info@jenslarsen.nl
I went to his workshop and he played a bebop tune in segments so that we could actually learn it right then and there so you played the melody and everybody repeated it. But I wonder how long it would take me to actually learn what he had mastered. I also play guitar and it was an enjoyable experience no doubt, but I think that people who went through his course are really good players the people that I know but he didn’t explain much. he was like a little alpha of a man which I added to his
It's funny, I enjoy all of the videos, and have quite a few downloaded. Of course, along with the docs. But when I hear Jens talking, I have no clue what he is talking about! I have very, very, limited music theory. But I know HE has tons! LOL!
Great lesson. Jens, you've always focused on playing the songs & encorperating exercises into them. Learning solos from others is great, but you need to plug them into your own style. Great to have some building blocks & see how other players think.
I don't even know who this Barry guy is. I can name all the jazz musicians I know on my hands. You, Coltrane, Montgomery, Monk and I can't think of anyone else.
I'm an "advanced amateur" in the sense that I can play technically challenging stuff like Tommy Emmanuel or Joe Satriani, but my dream was to become fluent in jazz-like improvisation. Lately I'm making some interesting progress, thanks in good part to your videos Jens. Thank you! 🙂 Thinking to document my progress on a YT channel, that would be an interesting project... 🧐
Jens at the back of the class there with his Stevie Strat...why did you like the SRV Strat for jazz? ...and do you still know any of those guys from your class? 0:08
I know a lot of the students that studied at the Royal Conservatory at the same time as me, I don't really know that many people from the Barry crowd that came with him though.
Thanks for this beautiful video Jens! Inspiring and instructive! I discovered that the entire Barry Harris workshop that you attended in 1998 is on YT. So cool. I trust you’ve seen the BH-based YT channels: “Things I’ve Learned from Barry Harris” and “Labyrinth of Limitations”? Both are great at teaching and disseminating BH principles.
Hi Jens. In a video you did around 5 years ago, it seemed like you didn't think much of Barry Harris' teaching methods. But your more recent videos seem to praise him. Has anything changed in your assessment of his teachings? Thanks.
No, I think I am actually saying the same things as I was then? There are parts of what he teaches that I find super useful and parts that I don't really work for me.
@@JensLarsen Ive cited that old video many times when you said Barry Harris concept are kinda an " over simplification". It was the first time i heard someone criticize Barry Harris' method, which was exactly what i was looking for on YT. I was so blown away by his concepts that i needed a perspective on it from someone who learned differently.
@@neildasilva8050 Any system will have disadvantages and benefits, and even at times contradict itself, that doesn't mean that it is not useful to study with. You should just not think it is the only truth,
@@JensLarsen I agree every system has stuff you can take from it. As an amateur player, self taught, i never had a system before barry's. So I can honestly say its difficult for me to see any other way as im still discovering it. Anyways i like to approach things from both sides, sometimes it helps me to see the contradictions/ disadvantages. Thanks for replying
Hi, Working on Barry Harris chromatic rules. Now every chromatic note comes on upbeat and if we accent up beat in jazz, lots of chromatic notes will be on upbeat, Is that ok to accent nondiatonic notes and then most of the diatonic notes falling on downbeat will not be accented.
Just a quick question: Did Barry Harris ever talk about the use of the Harmonic Minor scale? For example over Minor 2 5 1s? Or did he always think in major? Thanks!
I only remember him talking about it as running down a dominant scale to the 3rd of the dominant that is played. But I don't really remember clearly to be honest. You should ask Chris from Things I Leaned From Barry Harris
I think TILF Barry Harris has a video about exactly your question. Typically what I have gathered from the information available, Harris considered the harmonic and melodic minor scales a subset of his minor 6th/diminished scale (C D Eb F G Ab A B) so if it came down to it he'd probably consider Ab and A to be in the scale, therefore from the G it'd look like "G A Ab B A Bb B D C" Since G, Ab, and A are all considered to be in the scale, the rule would be the rule we use when two notes in the scale don't have a half-step between them - "go to the next scale note, then come back". It's very dense sounding but it's kinda the only way a scale with a m3 between notes can work with these rules
Jens, did I hear correctly that you say that one of the players Harris taught was Wes? Can you elaborate pls? I thought I knew most of what there was to know r.e. Wes' abilities, "unschooled" nature, knowledge... but maybe I didn't! Thx very much.
I don't remember where I heard that, so probably in a masterclass. If I remember correctly then Barry didn't Wes' style since it is more Hardbop than Bebop
@@JensLarsen Gotcha. One Google lead to another, and I came across Harris' 6th diminished thing whereby - as Im sure you know - you can harmonize a scale using passing dim7ths on major, minor, dom chords (on more-or-less every other scale tone). Definitely a hallmark of Wes' chord melody thing, tho pianists and arrangers have done this forever. Wes had to have heard/copped this concept somewhere, and he did work a little with Harris, so maybe he got the approach from him, though Wes' brother Buddy had an amazing harmonic palette and Wes spent possibly thousands (?) of hours over the years playing/rehearsing Buddy's arrangements. Only quirky thing (for my taste) about Harris is that he really didn't seem tp have any use for Bill Evans, there's video of him seeming pretty exasperated at all the interest in Bill's thing! To each their own, Chick, Herbie, Keith, countless others might just disagree. Harris' rep as a teacher unassailable tho.
hey jens-ive been down a led zeppelin rabbit hole learning tunes i never learned when i should have when i was 16…does barry harris’ stuff work on zep tunes? 😊 working on a couple chord melodies on “Georgia On My Mind” too…but i really wanna just spend 6 months on BH.
Great video as always. Excellent advice and an interesting insight to what we might expect from a masterclass. On a separate note a pet hate of mine are these masterclasses that are merely long-form interviews, something which seems to come up a lot in pop and rock. Thank God for Jazz.
BRACEISM ,,(brace your self ))BEST JAZZ line 4 ME IN 2022, , ,,@4.46 u arnt included ,,," ""the CAT on the end is NOT included",,, ,BEST JAZZ LINE EVER ,,,question ,in 2022 who is ,,was ,,the cat on the end ,,barry is saying we should be looking at him now ..odds on..one love v great stimulating vid ...10th time ,,,, me owwww,, LIKE NAT KING COLE SAYING PLEASE DONT SING AT MY AUDITION ..PLS ,, ARE YOU THE CAT MR LARSON? YOU WERE ON THE SAME END HE POINTED AT?
What bothers me is how MY people are this world's GREATEST creators and innovators of modern music of just about every genre but NEVER get the credit that they deserve. White people study our music and basically sterilize it and become famous and prosperous. Little Richard... Our chief architect of ROCK n ROLL, but Jerry Lee Lewis stole his style and profited more than the originator. I'm glad Jens put a spotlight on Barry for his legendary contributions to jazz.
Yes, that is a sad. It should be about music, not about race, and it is mind-blowing that so many things are still (pretty much no matter where you live) about race.
@@JensLarsen It is sadder than you know when YOU'RE personally a victim yourself as opposed to witnessing it for over 40 years. Thank you for giving my people some light and paying homage to a living, severely underrated legend and those who have found prestige due to his tutelage.
@@dethbolt000 I would do it more often, but I am not up for the amount of hate mail and trolls I get if the video title says something with Barry Harris. It is surprising to me that the topic is so polarizing and that people don't feel I am allowed to talk about him.
Too much kitchen that s why i m boring with jazz after a while.You practice an entire life to play similarly with hundreds others..For me the point in music is the melody the theme not the"endless" soloing.The most boring however in most of the jazz is the similarity in the sentimental element of the various pieces.It s always the same For example if you put Radioheads songs every song has its own sentimental status if you hear jazz ballads it's the same feeling every time It s at least annoying for me.However there are some jazz pieces that have outstanding melodic lines mostly the old ones (take 5 etc) but they are the minority.You need ...to write a good melody VERY FEW can no matter how you practice..because practice is irrelevant with composing.
Clearly your post says more about you than about Jazz (or Radiohead for that matter). I think you can see that yourself as well. If you just decide that Jazz doesn't fit with you then you don't have to spend time trying to figure out what is wrong with it. If you think composing is not about practice then just ask Stevie Wonder or Paul McCartney, that is a VERY ignorant statement 😂
@@JensLarsen The truth is i like to be picky..😅 BUT i think you didn t get my point so i have to be more precise.. Technical capabilities of a musician are ALWAYS a positive thing although it doesn t mean necessary that they are the gate to the masterpiece..You referred Stewe Wonder ok but what about Bruce Springsteen or Young or U2 or Winehouse, Yorke and many many others ..Can you for example write a piece that has that many millions of views despite the fact your are playing better ??? You also didn t say something for the repetition of the sentimental status of MANY jazz songs..I don t think i m wrong here..This is an issue that other type of musics also have..Me as a person and as a musician in my life i have everyday various emotional changes that are a part of my self but definitely I'm not always angry from the morning until the evening like a metal composer..For me this is a stylistic enslavement..I hear many genres and will also continue to listen jazz because i "steal" what ever i find interesting and hoping that something from the old golden era will reappear..I suggest you hear the latest album of The Smile..it is outstanding Greetings
I think you were too tired, and slept over most of Barry's classes. Because you constantly refer to "chords progression", "chords progression". Barry Harris told that is a nonsense concept, and then he quoted Coleman Hawkins, who said before Barry Harris "I play the movements, not chords (progression)". Chords are just one element out of many that may constitute a jazz song. Moreover, the "chords" are not fixed, because the song can be reharmonised on the go with different chords that belong to different scales. Music movement is not "progression" of chords. Chord notation written on top of staves were put there for jazz pianists who could not read the music score (there were many who didn't read music), for them to have some clue by reading letters above staves what to play. And that's all about "chords progression" - nowhere else in the history of music musicians would put "chord notations" above the staves, only in jazz, out of bad habit. "Chords progression" is a nonsense concept anyway, which Barry Harris does not endorse at all. But thank you for referring to Barry Harris, others may learn from him a fair bit more.
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
What did you work with from Barry? 🙂
👉The 3 Bebop Licks You Need To Know
ruclips.net/video/2iFZdLf7a1o/видео.html
😎 These Scale Exercises Are Immediately Great Jazz Licks 👈
ruclips.net/video/Nyr6sHy4VFA/видео.html
He said something interesting ( he said many things that were noteworthy) BE CAREFUL WHAT ANX WHERE YOU LEARN I HAVE FOUND ( Barry’s own words ) MANY COURSES ARD INCOMPLETE OF HAVE IT WRONG ….. i took it all with a grain of salt … he was kind a right …. It led me to study VOICE-LEADING, COUNTERPOINT, BACH …. Etc …. I found myself naturally lead to folks who know what they doing….. and have a good pedagogical approach .. 👍
i watch and practice stuff from things i learn from barry harris channel too. tilfbh, mikko hilden, and jens larsen channel are the only ones i watch for jazz education. and i know for a fact that I've improved a bit. Thank you so much for doing this.
Do you think that advancing guitairsts should follow jazz duets channel too? i think it's based on the Coltrane system . but for now i have my hands full with stuff from your channel and tilfbh channel.
@@grgwashnton23 I don't know what works for you exactly, that is impossible to say without knowing you. But I really like Nick's videos 🙂
The main thing I learned from Barry Harris (and from one of his disciples Howard Rees) is the importance of time especially with respect to getting the right feel for a jazz line. Practicing his rules over and over I built up the feel of an appropriate line and when I had that down (at least somewhat) I could drop the rules and compose my lines more freely. He was a very positive, encouraging person too and that's another good lesson.
It's very funny to imagine a younger Jens following around Barry like Deadheads follow the Grateful Dead. Barry Harris was a true national treasure (I'm American). Although I don't create music from the perspective of the Barry Harris method, his philosophies alone can transform anyone's playing. But those two lessons that Jens has shared today were hugely useful when I learned them from watching Barry on youtube a couple years ago. I spent 12 years or so learning guitar without focusing on songs and without focusing on connecting my exercises to MUSIC. Once I did those 2 "simple" things, my playing became everything I always wanted it to be. I"m by no means some prodigy guitar player, but that thing my playing was missing was the music and you don't create music by learning exercises in isolation. You also don't play music without learning songs! Simple lessons, but simple is usually the key. Thanks for this great reminder, Jens.
Thank you Andre! I think that is indeed what is essential in learning to play any style of music!
yes but Jen's more of a Phish kinda guy
@@davedave8608 haha I could totally see that.
Actually I’ve been having a blast applying the diminished 6 stuff to the Grateful Dead’s “Deal”. It’s a pretty cool form that really lends itself to such stuff!
Barry was a genius, RIP 😢
From looking at Barry Harris & Alan Kingston's book. I'm can't believe that for Guitar , 4 accent string are a drop 2. Bass note, skip a string to 3 adjacent strings is a drop 3.
This is rarely pointed out!
Such useful info.
That is rarely pointed out because it is not a rule, you can play a lot of chords where that isn't true.
Barry was a game-changer for me on piano. That "torture" exercise really opened up music theory for me.
You do a great service by introducing Barry Harris to us. I've only dipped my toe in the pool of his teaching, but that exact triplet arpegio + Harris chromatic run has found a home in my playing. Thank you for your guidance!
Thank you, Ben :)
I saw a Barry Harris seminar at the Wisconsin Conservatory of Music in Milwaukee, WI, years ago. Apart from being glad to see a famous musician, I don't remember much besides BH talking about playing fast. Jens' explanations help me understand more about Barry Harris' ideas. Thank you!
Forgive me , for I have sinned....
I have been scouting around the net , trying all kinds of lessons , tips , practice and theory approaches etc etc,, and I ALWAYS end up back here. Your solid Jens , a great teacher. I really appreciate what you do. And after I win lotto tonight I'm flying to wherever you are to see a gig and annoy you with a million questions. Thanks again mate.
Thank you Adam! 😁🙏👍
Met him years ago, and he was such a nice guy. This was, of course, when smoking was still allowed at the conservatory.
Yes, we were allowed to smoke at the conservatory back in '98 as well 🙂
He was indeed a very nice guy.
@@JensLarsen Yes, I'm talking about the same one in The Hague. I was friends with a couple of people that went there: Udo (p), Jarmo (tp) and Hein (g). As you said, this was ages ago, so I doubt they'll remember me.
I see Jarmo sitting in front of you and I'm way to your left agains the wall. 😄
Just what I needed, "clarification". Phrasing is the fuel that motivates me.
I love those clean lines and tone, relaxed engagement that inspires conscious growth and movement.
You're a spirit clearly destined for this. What a great time to be alive, having so much connection and opportunity.
Thank you
All my best
Ive watched these lectures so many times its so cool that you were actually there
Most of them were a few years before my time, I went there for 3 years
Thanks Barry and Jens! Happy guitaring!
Glad you like the video 🙂
So after 45 years of playing flamenco then rock, blues, RnB, funk and folky finger picking I’ve always found jazz impossible to play. Yesterday after two years in retirement learning a lot of stuff about arpeggios, 251s, shell voicings, augmented chords etc from these videos and others I had the breakrgrough by doing exactly what Jens talks about here… applying it all to a SONG. The key for me was to try and play the vocal melody, chuck in shell chords wherever I can and then most importantly stop and try to do the exactly same notes in at least two other places on the guitar neck. I’m still unbelievably slow but it’s like a door just opened to the world of solo jazz guitar. Merry Christmas everyone…. Especially Jens ! No more directionless pentatonic based noodling for me…
Need more videos like this. Rest In Peace Barry
Hi Jen’s …. Yes I had the incredibly wonderful experience of meeting Barry and taking a small lesson ( friggin huge actually ) all centered around his diminished 6th concept….. I was completely out of my league but this wonderful man Impressed me with the fire of curiosity that I pursued music theory …. If you wanna call it that ) to at least understand our MUSICAL universe of notes and explore how it all works…. Wonderful experience ….. he said sort of out loud ….. there’s really no such thing as ii, V , I ( ? ) not really …. It’s all V- I … with clever inversions and masterfully understood approaches to and from tonic… I can’t say enough about Barry…. I latched onto you ( Jen’s ) years ago because of a video where you demonstrated all chords from tonic and back again chromatically expressed as slash chords… and you just demonstrated it … straight up …. Without a lot of over complex guess work …. It’s why I check back and dial in with you Jens !!!!!!! You care about being good and so I believe you dedicate yourself to your craft…. Barry wasn’t terribly complicated .. a refreshing analysis.. I’m not surprised you would dig Barry !!!!! Love your channel keep it up
Thanks Bohne :)
Another high value lesson from this master jazz educator. Thank you Jens
Thank you 🙂
Great info. One thing I've learned from composing lines is that I would often have good vocabulary in my head that would never have come out through my fingers in improvisation. I needed to take the time to slow down and work out the fingering and various applications for the ideas before they really became a part of my improv vocabulary.
Yes, there is indeed a connection between composing and technique in that way :)
greetings Mr Larsen ...loved this lesson, opened up a way of looking at stuff fer me .... im learning how to play jazz with your knowledge sharing .............thank you
Wonderful! Go for it Steve!
I’m so excited to have found this. Thank you!
Glad you like it 🙂
There you are! Thank you for posting this. I've watched his stuff for years, but I was always on the wrong coast, with too many responsibilities to follow my muse. It was a choice I made a very long time ago and I have no regrets, but as I said earlier -- they look like they're having so much fun. Thank you for sharing your experiences.
You're very welcome
This is a brilliant lesson. There's so much to learn from it! Thanks Jens!
Glad it was helpful!
HUge ! Thanks for sharing beautiful experience !
Glad you enjoyed it!
Thanks Jens for sharing your insights and communicating them so clearly. Knowing what to teach and how to teach is just as important to know as what to study and how to practice. Your teaching is improving my playing. Barry Harris has earned all the accolades.
Glad that the videos are useful 🙂
Thanks - love that BH half step scale trick where you move back up the scale for notes without a half step between them.
Yes, that is actually opening up for so many beautiful lines once you start to take other notes as well :)
Sounds interesting, where can I learn about this?
@@neocolors Try 3:18 in this video?
@@JensLarsen haha, I misunderstood it for some kind of bebop scale rule that works differently depending if you play it up or down, but this is also great! I totally watched your video before commenting, lol.
@@neocolors Don't worry about it 😁
I think Barry Harris method is great. Although, I am a newbie in saxophone playing, and I am in my 60s. I watched, Jens' explanation in a couple video about scale, and chords progression. I tried it out and it enable me to understand what a phrase and line is as beginner and I would really like to use it my practice.
Great, Go for it 🙂
Thank you for sharing your experience with Barry Harris. This is my favorite Jens Larsen video.
The method is way more importante than material! Great lesson
Another fantastic video. Thanks.
Thank you 🙂
Taking from others advice and knowledge is key to growing and simply inspiring more. Always great to see another lesson here!
Absolutely! Thanks RC
@@JensLarsen Cheers!
Fantastic lesson!!! Wow!!!
Thank you sir 🙏🎻
Glad you like it!
Dear Jens, thank you for this valuable video. Reminds me once more to use songs as a base to practice concepts. What Barry Harris writes on the board (1:00) completely changed my understanding of diminished chords. I even managed it to get it into my playing.
Glad you like the video :)
Bravo Jens I admire your advice, thank you very much.
Glad it was helpful!
OH MY GOD. The concept you covered at 4:18 or so just flipped a switch for me. Thank you for opening a musical door!!
That is really great to hear :)
Wooh been waiting all night just for jens 🙏❤️
Then I certainly hope it was worth the wait :)
@@JensLarsen you’ve changed the game for me as a horn player
I am a new subscriber at Open Studio Pro and they are teaching Barry Harris' methods. It's very exciting to see these things demystified.
That's great! It sounds like an amazing platform!
Brilliant lesson thank you Jens 👌
Glad you like it 🙂
Thanks Jens. Video request: apply Barry Harry chromatic scale to a tune. Cheers!
I talk about it in this video ruclips.net/video/6NnFgdgOnc0/видео.html
Since it is just a way to write lines, you should have no trouble putting it to use 🙂
@@JensLarsen thanks!
great lesson!
Great video !!! I needed to hear this
Glad it was helpful 🙂
Great lesson Jens! Thank you
Glad you liked it!
I'm at the very beginning of working on the Barry Harris half step rule that you presented recently in your Patreon live stream.
Don't worry you can do a LOT with that!
Love it all❤ great everything
Thank you! 🙂
Absolute gold! Wonderful explanation.
I did not realize you were in some of those barry harris videos, Jens! I have all of them ! :)
HI Jens you explained very good thanks
Glad you think so 🙂
Really great production and great way to transfer musical intelligence! Glad I dropped by ❤
Much appreciated!
Amazing lesson and insights. Thank you for sharing this, Jens!
Glad you like it 🙂
Love the Barry content!!
Thank you!
Thanks!
Glad you like it 🙂
Thanks for these wonderful lessons Jens! I actually watched one of those masterclass videos of Barry Harris (the one when he talks about feeling the "and"). It's awesome that you got to see him and learn from him in person.
Glad you like the videos :)
So helpful. Thank u
You're welcome 😊
Awesome lesson as always, Jens! 🤘Really appreciate your reminder about connecting everything we learn to songs and your examples of how one can take these ideas to develop their own - Chase
Thanks Chase! You are really killing it on your channel right now! That is great to see! 🙂
@@JensLarsen Trying to spread the jazz guitar knowledge like you! I'm sure you're busy, but if you ever have any interest in doing a collab or even just meeting virtually I think that would be lots of fun.
@@ChaseMaddox Great! Maybe send me an email then we have another way of reaching each other, and stay in touch. I am in the middle of moving house, so I don't have a ton of time, but we should do something together in the future!
You can reach me here: info@jenslarsen.nl
Fantastic!
Glad you like it, Adam!
I went to his workshop
and he played a bebop tune in segments so that we could actually learn it right then and there so you played the melody and everybody repeated it. But I wonder how long it would take me to actually learn what he had mastered. I also play guitar and it was an enjoyable experience no doubt, but I think that people who went through his course are really good players the people that I know but he didn’t explain much. he was like a little alpha of a man which I added to his
I love your work so much!! Thanks 🙏
It's funny, I enjoy all of the videos, and have quite a few downloaded. Of course, along with the docs. But when I hear Jens talking, I have no clue what he is talking about! I have very, very, limited music theory. But I know HE has tons! LOL!
Another great, simple, but full of useful info lesson 🙏🏼
Glad you liked it!
I sub consciously knew this but my jazz snob friends wanted to keep things complicated
Great lesson. Jens, you've always focused on playing the songs & encorperating exercises into them.
Learning solos from others is great, but you need to plug them into your own style. Great to have some building blocks & see how other players think.
Thanks Mark! :)
I don't even know who this Barry guy is. I can name all the jazz musicians I know on my hands.
You, Coltrane, Montgomery, Monk and I can't think of anyone else.
You can always google him 😎😁
Rip genius
I'm an "advanced amateur" in the sense that I can play technically challenging stuff like Tommy Emmanuel or Joe Satriani, but my dream was to become fluent in jazz-like improvisation. Lately I'm making some interesting progress, thanks in good part to your videos Jens. Thank you! 🙂
Thinking to document my progress on a YT channel, that would be an interesting project... 🧐
Those half steps does remind me to my Guru Jerry bergonzi Bebop Scales for Jazz(10 tone Bebop scale???? LOL!!!###)
He was also a teacher for Charles McPherson.
Jens at the back of the class there with his Stevie Strat...why did you like the SRV Strat for jazz?
...and do you still know any of those guys from your class? 0:08
I know a lot of the students that studied at the Royal Conservatory at the same time as me, I don't really know that many people from the Barry crowd that came with him though.
@@JensLarsen sorry you just replied as i edited extras, did you get the SRV strat for jazz in the early days?
@@bradford_shaun_murray No, I bought it for playing SRV and Hendrix stuff 🙂 I just could not afford a Jazz guitar as a student
@@JensLarsen oh nice...and thanks for the tips from this video...much appreciated (helps to bring some jazz colour to my rock playing).
Thanks for this beautiful video Jens! Inspiring and instructive! I discovered that the entire Barry Harris workshop that you attended in 1998 is on YT. So cool. I trust you’ve seen the BH-based YT channels: “Things I’ve Learned from Barry Harris” and “Labyrinth of Limitations”? Both are great at teaching and disseminating BH principles.
Thanks Joshua! I know Chris Park's channel but the other one was new to me :)
TILF Barry Harris is really good. Chris' lines are quite pretty and breaks down how he creates them from Barry Harris' ideas.
BARRY HARRIS WAS THE GREATEST TEACHER
I always thought he was a pretty poor teacher. Unless perhaps the student was hugely talented - which I’m not.
Hi Jens. In a video you did around 5 years ago, it seemed like you didn't think much of Barry Harris' teaching methods.
But your more recent videos seem to praise him. Has anything changed in your assessment of his teachings? Thanks.
No, I think I am actually saying the same things as I was then? There are parts of what he teaches that I find super useful and parts that I don't really work for me.
@@JensLarsen Ive cited that old video many times when you said Barry Harris concept are kinda an " over simplification". It was the first time i heard someone criticize Barry Harris' method, which was exactly what i was looking for on YT. I was so blown away by his concepts that i needed a perspective on it from someone who learned differently.
@@neildasilva8050 Any system will have disadvantages and benefits, and even at times contradict itself, that doesn't mean that it is not useful to study with. You should just not think it is the only truth,
@@JensLarsen I agree every system has stuff you can take from it. As an amateur player, self taught, i never had a system before barry's. So I can honestly say its difficult for me to see any other way as im still discovering it. Anyways i like to approach things from both sides, sometimes it helps me to see the contradictions/ disadvantages. Thanks for replying
Do you offer one on one classes in the vein of what your talking about here?
No, I don't have time to teach one-on-one, sorry 🙂 The best I can offer is my course.
0'11" is that Zvonomir Tot?
Love Jens Larsen's videos. Does he have a video on dim6 comping on each chord in a ii-V-I ?
Thank you! I don't have a video on that 🙂
Hi, Working on Barry Harris chromatic rules. Now every chromatic note comes on upbeat and if we accent up beat in jazz, lots of chromatic notes will be on upbeat, Is that ok to accent nondiatonic
notes and then most of the diatonic notes falling on downbeat will not be accented.
I didn't know Barry taught Wes Montgomery and Coltrane. Wow that's crazy.
Well, I don't think it was for a longer period of time with either. I also don't think he liked their playing 😁
Hi Jens Does Barry have any books I could purchase.
I don't think so, but I don't know.
Just a quick question: Did Barry Harris ever talk about the use of the Harmonic Minor scale? For example over Minor 2 5 1s? Or did he always think in major? Thanks!
I only remember him talking about it as running down a dominant scale to the 3rd of the dominant that is played. But I don't really remember clearly to be honest. You should ask Chris from Things I Leaned From Barry Harris
@@JensLarsen Thanks for your answer!
Hi Jens i wonder How cao i apply Barry chromatic passing not in Harmonic minor, in particular between the flat 6 and the major 7?
Well there is plenty of room isn't there, but probably the b7 will sound the best.
👍
I think TILF Barry Harris has a video about exactly your question. Typically what I have gathered from the information available, Harris considered the harmonic and melodic minor scales a subset of his minor 6th/diminished scale (C D Eb F G Ab A B) so if it came down to it he'd probably consider Ab and A to be in the scale, therefore from the G it'd look like "G A Ab B A Bb B D C"
Since G, Ab, and A are all considered to be in the scale, the rule would be the rule we use when two notes in the scale don't have a half-step between them - "go to the next scale note, then come back". It's very dense sounding but it's kinda the only way a scale with a m3 between notes can work with these rules
Jens, did I hear correctly that you say that one of the players Harris taught was Wes? Can you elaborate pls? I thought I knew most of what there was to know r.e. Wes' abilities, "unschooled" nature, knowledge... but maybe I didn't! Thx very much.
I don't remember where I heard that, so probably in a masterclass. If I remember correctly then Barry didn't Wes' style since it is more Hardbop than Bebop
@@JensLarsen Gotcha. One Google lead to another, and I came across Harris' 6th diminished thing whereby - as Im sure you know - you can harmonize a scale using passing dim7ths on major, minor, dom chords (on more-or-less every other scale tone). Definitely a hallmark of Wes' chord melody thing, tho pianists and arrangers have done this forever. Wes had to have heard/copped this concept somewhere, and he did work a little with Harris, so maybe he got the approach from him, though Wes' brother Buddy had an amazing harmonic palette and Wes spent possibly thousands (?) of hours over the years playing/rehearsing Buddy's arrangements. Only quirky thing (for my taste) about Harris is that he really didn't seem tp have any use for Bill Evans, there's video of him seeming pretty exasperated at all the interest in Bill's thing! To each their own, Chick, Herbie, Keith, countless others might just disagree. Harris' rep as a teacher unassailable tho.
Link to sheet music
It is in the video description. Just fill in the form and you will be taken to it :)
@@JensLarsen Thank you!
Synes du at man behøver "skala udelukkende" øvelser eller kan man godt nøjes med at lave øvelser der passer på sangene for at lære nyt musik?
Det er svært at sige, men kan du ikke bare prøve og se hvad der sker?
hey jens-ive been down a led zeppelin rabbit hole learning tunes i never learned when i should have when i was 16…does barry harris’ stuff work on zep tunes? 😊
working on a couple chord melodies on “Georgia On My Mind” too…but i really wanna just spend 6 months on BH.
Is that your preferred route, via Puttgarden and Lolland rather than Jylland and Fyn?
Great video as always. Excellent advice and an interesting insight to what we might expect from a masterclass.
On a separate note a pet hate of mine are these masterclasses that are merely long-form interviews, something which seems to come up a lot in pop and rock. Thank God for Jazz.
No, I prefer Jylland Fyn for sure! That is way faster 🙂
Glad you like the video :)
The best thing to apply for studying jazz is to take your SRV-strat with you 😂
With Barry, it's his way or the highway. Personally, I'll stick with the highway.
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BRACEISM ,,(brace your self ))BEST JAZZ line 4 ME IN 2022, , ,,@4.46 u arnt included ,,," ""the CAT on the end is NOT included",,, ,BEST JAZZ LINE EVER ,,,question ,in 2022 who is ,,was ,,the cat on the end ,,barry is saying we should be looking at him now ..odds on..one love v great stimulating vid ...10th time ,,,, me owwww,, LIKE NAT KING COLE SAYING PLEASE DONT SING AT MY AUDITION ..PLS ,, ARE YOU THE CAT MR LARSON? YOU WERE ON THE SAME END HE POINTED AT?
What bothers me is how MY people are this world's GREATEST creators and innovators of modern music of just about every genre but NEVER get the credit that they deserve. White people study our music and basically sterilize it and become famous and prosperous. Little Richard... Our chief architect of ROCK n ROLL, but Jerry Lee Lewis stole his style and profited more than the originator. I'm glad Jens put a spotlight on Barry for his legendary contributions to jazz.
Yes, that is a sad. It should be about music, not about race, and it is mind-blowing that so many things are still (pretty much no matter where you live) about race.
@@JensLarsen It is sadder than you know when YOU'RE personally a victim yourself as opposed to witnessing it for over 40 years. Thank you for giving my people some light and paying homage to a living, severely underrated legend and those who have found prestige due to his tutelage.
@@dethbolt000 I would do it more often, but I am not up for the amount of hate mail and trolls I get if the video title says something with Barry Harris. It is surprising to me that the topic is so polarizing and that people don't feel I am allowed to talk about him.
@@JensLarsen I get you, Jens... But, I thank you for anything you can do and have done thus far. Be well.
You mean “huhbbbuh” or do you mean “weahbiibibiibadooba”
Too much kitchen that s why i m boring with jazz after a while.You practice an entire life to play similarly with hundreds others..For me the point in music is the melody the theme not the"endless" soloing.The most boring however in most of the jazz is the similarity in the sentimental element of the various pieces.It s always the same For example if you put Radioheads songs every song has its own sentimental status if you hear jazz ballads it's the same feeling every time It s at least annoying for me.However there are some jazz pieces that have outstanding melodic lines mostly the old ones (take 5 etc) but they are the minority.You need ...to write a good melody VERY FEW can no matter how you practice..because practice is irrelevant with composing.
Clearly your post says more about you than about Jazz (or Radiohead for that matter). I think you can see that yourself as well.
If you just decide that Jazz doesn't fit with you then you don't have to spend time trying to figure out what is wrong with it. If you think composing is not about practice then just ask Stevie Wonder or Paul McCartney, that is a VERY ignorant statement 😂
@@JensLarsen The truth is i like to be picky..😅 BUT i think you didn t get my point so i have to be more precise.. Technical capabilities of a musician are ALWAYS a positive thing although it doesn t mean necessary that they are the gate to the masterpiece..You referred Stewe Wonder ok but what about Bruce Springsteen or Young or U2 or Winehouse, Yorke and many many others ..Can you for example write a piece that has that many millions of views despite the fact your are playing better ??? You also didn t say something for the repetition of the sentimental status of MANY jazz songs..I don t think i m wrong here..This is an issue that other type of musics also have..Me as a person and as a musician in my life i have everyday various emotional changes that are a part of my self but definitely I'm not always angry from the morning until the evening like a metal composer..For me this is a stylistic enslavement..I hear many genres and will also continue to listen jazz because i "steal" what ever i find interesting and hoping that something from the old golden era will reappear..I suggest you hear the latest album of The Smile..it is outstanding Greetings
@@anatol1204 I think I got your point just fine, but it sort of looks like you are too self absorbed to get mine 😁
Dont worry about it!
I think you were too tired, and slept over most of Barry's classes. Because you constantly refer to "chords progression", "chords progression". Barry Harris told that is a nonsense concept, and then he quoted Coleman Hawkins, who said before Barry Harris "I play the movements, not chords (progression)". Chords are just one element out of many that may constitute a jazz song. Moreover, the "chords" are not fixed, because the song can be reharmonised on the go with different chords that belong to different scales. Music movement is not "progression" of chords. Chord notation written on top of staves were put there for jazz pianists who could not read the music score (there were many who didn't read music), for them to have some clue by reading letters above staves what to play. And that's all about "chords progression" - nowhere else in the history of music musicians would put "chord notations" above the staves, only in jazz, out of bad habit. "Chords progression" is a nonsense concept anyway, which Barry Harris does not endorse at all. But thank you for referring to Barry Harris, others may learn from him a fair bit more.
You talk to much I think !
Just watch somebody else?
Thanks!
You're very welcome! Glad you like the videos!
Excellent!
Glad you liked it!
So great. Thank you.
Amazing!
Thank you! :)
@@JensLarsen my pleasure Maestro!