This channel is by far the best and most informative place for improvisation. Nothing else even comes close, in my experience. Thanks for passing along Barry's goldmine of knowledge and for presenting it in a way that us fellow musicians and teachers can continue to keep this music alive!
Another great video. Quick Barry Harris question: Does he have any "rules" for ascending? I may be new to bebop, but I definitely hear some chromaticism going up as well. Is that just left to your ears and good taste?
Honestly , you are doing Gods work. Educating with how/what you have been educated with . I am truly grateful. This is so eye opening . There are so many books and yet , this is so special and wonderful
I have a suggestion. a summary of the subject so as to not need to find where it is in the video. So where it says show more at the top it would say for instance, 2 rules for 246 - no 1/2 steps or 2 1/2 steps between 2 and 1 and six and five. Then 2 rules for 1357 1 1/2 step between 5 and 6 or 3 1/2 steps between 1 and 2, 2 and 3 and 5 and 6. Or I could just make a comment like this.
This was nice. Thanks for sharing the knowledge. I definitely know what you mean about using ANY note, or at least starting from any note. Articulation becomes the issue. You stress the important notes and weaken the color notes as passing tones. I've been listening to a lot of Bird recently and I finally understand why he was such a big deal.
Bird changed my life. I played rock guitar until I heard Charlie Parker. My first Jazz teacher was a guitar player named Roni Ben Hur. He was the one who told me if I wanted to understand Bird, I needed to take Barry's classes. I'm forever indebted to him for that advice.
@@thingsivelearnedfrombarryh2616 me too (rock guitar) although I turned to jazz when I saw the movie The Talented Mr Ripley (1999) and discovered Chet Baker's version of "My Funny Valentine".
What do you think of Pat Martino's technique and "method"? I'm not a huge fan of his music (hard-bop, fusion, organ trios, etc) but I love his playing and fluidity. Actually his ballads are nice and soulful.
@@ecaepevolhturt I really don't know anything about it. I've been so engrossed in Barry's method, I've never looked elsewhere. After 25 years of studying with Barry i feel like I'm only scratching the surface.
Hi Chris, I love you videos - very straightforward and slam full of great info for serious study. I have run into a snag while practicing the major scale with half steps as you have instructed in the scenario of ascending from a given scale degree and then descending with the rule(s) of the starting note. How do I play the following: ascend tonic to the 6th then descend with three half steps? The same is true if I ascend from tonic up to the 7th. Descending with only one half step seems to work beautifully, but with either scenario (up to 6th or 7th) it doesn’t seem to work out. Can you offer any advice? Thank you.
Very nice as usual, thanks a lot. Perhaps you could demonstrate in a new video, situations starting from each non chord- tone, maybe using enclosures and other devices. This I would consider the art of recovery.
Hi! Great lessons. One question. I’m a little bit perplexed as to why we’d have a short page of “rules” for chromatic runs in order to be more chord tones on-the-beat oriented. Why not instead of using the time to practice these - to just get a better feel for playing chord tones on the beat? I’ve found a TON of usage mixing Harris’s teachings (dim6 scales) with the more modernized modal frame of reference, but the half step rules, while not totally arbitrary, seem to me a little waterlogged. Any thoughts?
Thanks Cameron. I'm glad you're enjoying these videos. For me, practicing just one song like Out of Nowhere, Indiana, All the Things You are, Blues etc..., really helped.
This helped me a lot with bebop runs--the point of the rules seems to be in every case to ensure you have an odd number of notes in your run down the scale so that you land on a guide tone on a downbeat. Am I wrong about this?
I cant seem to find the original video you are referencing for these rules. I can find the dominant and diminished 6th videos but no major half step rule video. Can you link it for me? Thank you.
Thanks for your videos. They're a goldmine. I did a masterclass with Barry in the early 90s when he came to Melbourne, Australia. It seems that from the 6th and 7th, you're only adding the half steps between the 6th & 5th in the lower octave and omitting it in the upper octave. Is there a reason that he does it like this? For the 7th it makes sense since omitting the half step in the upper octave means you land on a chord tone on the next beat. However, wouldn't it also achieve the same goal to treat the 6th as a chord tone and add the half step immediately so that you land on the 5th on the next beat and then continue the line?
Yes. You're correct Michael. I'm just showing how Barry taught us to practice them. I don't remember him giving a reason for this. I'm glad you're enjoying the videos. Please share with your musician friends.
@@thingsivelearnedfrombarryh2616 It's interesting as an insight into his way of conceiving of it. I wonder if it is consistent with the other original bebop musicians.
@@realmichaelteo It's the best method I've ever come across. I'm not sure how Bird and Bud and Dizzy thought about things but Barry's method seems to make the most sense.
@Things I've Learned From Barry Harris Thank you very much for all these videos !! Isn't there another rule? For 1/3/5/7 can you put half a step between 3-2; 7-6; 6-5? And for 2/4/6 put a half step between 7-6 and 6-5? All of these videos are a huge help to me! thank you !
You can also get a four DVD set with a book that lays out most of this information as well. jazzworkshops.com/the-barry-harris-workshop-video/ That's not to say that a Skype lesson with Chris wouldn't be an excellent way to go.
One question sir: if you use the same rule for 1,3,5,7 and 2,4,6 instead of 1356 and 247 doesn't that defeats the purpose of having the chord tones on the down beat? Ex: starting on the 7th descending line the 2nd beat will have #5 on the downbeat, what's the reason? Why does it work?
Hi! i have the same question. I guess that's why Chris does start with the half steps on the runs from 6 and 7 only at the "bottom", not in the first occasion where one could use them. This is explained in Isaac Raz's video on this topic. If you would use the 6-5 half step on the first occasion already when starting from 6, then the second half step 2-1 would land on the beat. Similar if you start from 7 and use the half step 6-5 on first occasion, this already falls on the beat. By waiting to the "bottom" of the line before the first half step is applied, this is avoided. But I would find using one or three half steps when starting on 6 also more natural, as well as no or two half steps when starting on 7. But so far I only found Bill Grahams video doing it like this, where's no need to "wait" before being able to apply rules.
Looks like you moved? Glad you're continuing... 👍 The acoustics in your new digs though has muffled the projection of your voice audio? (I'm sure you probably know this?)
The "rule" that allows the half step between six and five when starting from the seventh, doesn't sound right: you end up with a repeated note. |Ti te la le so fa mi re | do instead, is much better. Thanks.
This "rule" works however if you add an escape tone right after the seventh like this |ti do la le so fa mi re| do. I've seen other RUclips channels that apparently quote Mr. Harris when he says things like "add a half step to flat three and two" when what he really means is "add an escape tone between flat three and two." This last comment comes from reading about his melodic minor descending "rules."
@ 4:24 you state the rule from the 7th.. First try, B A G F, E E D Db, C B A Ab, G No shame but the next 2 tries are also unsuccessful as far as sticking to the rule. 2nd x "try it again" B A G F, E Eb D Db, C B A Ab, G sounds good but since it's still a 13 note line, one chromatic (G#) is omitted near the top. @ 4:36 "again" B A G F, E Eb D Db, C B A Ab, G . You might point out that you're being flexible with the Rule if that was your intent or; Suggestion, If you start on +2+3+4+, 1+2+3+4 you'll get all 14 i.e. B A Ab, G F E Eb, D Db C B, A Ab G. As you know with Maestro Barry the Maj7 isn't really a chord tone. It's a "dim. note". I hope this adds (not detracts) to your good work here and that I didn't make any listening or typing mistakes either. I've Been a fan and student his since 64 (Sidewinder), A' Bientot
Great ear Brother! I always like to shoot these videos in one take so there are often mistakes. In this instance, I think i play the same thing on the 2nd and 3rd time (2nd one is not clean though). I put 3 half steps between 3-2 2-1 6-5. Same rule every time. The Major 7 is a borrowed note when we're thinking Cmajor 6th diminished scale but when soloing the Major 7 gets the same rule as the 1 3 and 5. (1 half step or 3 half steps). Barry is the Master and all of us are blessed that his shares this information with us so freely. I appreciate your feedback.
Thanks for getting back.Yes indeed, same thing 2nd x & 3rd x. I like the line the way you created it, sounds great starting from the top of a Maj.7 voiced 5,1,3,7 and the rhythm it starts on 1 and ends on 3 so it works well with the exercise where you drop the first note then first&second etc. (you know that one). Then I took around the cycle of 4ths&5ths. After I commented I thought... Barry might have played it that way. Maestro Harris yes, we are the lucky ones. Ed Bickert RIP passed 2/28/19. Thanks again.
Hi, really informative series, thank you. Can I just check, when you add the half steps starting on the 6th and 7th, you only apply the rules from the 3rd down? I.e you don't start 6, b6, 5, 4, 3, 2, b2, 1 etc but 6, 5, 4, 3, 2, b2, 1, 7, 6 b6, 5. Does Barry ever say anything about this? thanks again -
Andrew Herbert I have the exact same questions. Isn’t the whole point of the half steps to ensure that you have chord notes on beat? When starting on the 6th for the doom in any rules, you have 6, 5, 4, 3, 2, 1, b7, 6, 5. So I guess in that case you don’t have chore notes until you hit the b7 it seems. Perhaps it’s more about the end of the phrase being on chord notes. I’m just throwing ideas out there.
@@mrkeyzzz I've been looking at that. I think it is about the note that the end of the phrase lands on. Movement is created when you land rhythmically into the next chord, or at least that's part of it?
This channel is by far the best and most informative place for improvisation. Nothing else even comes close, in my experience. Thanks for passing along Barry's goldmine of knowledge and for presenting it in a way that us fellow musicians and teachers can continue to keep this music alive!
“Any note at anytime, you should try to make something out of it.” …Thank you for this.
Another great video. Quick Barry Harris question: Does he have any "rules" for ascending? I may be new to bebop, but I definitely hear some chromaticism going up as well. Is that just left to your ears and good taste?
I'd love to understand this better...have you looked into Barry's "chromatic scale?"
Thanks for this! I think a number of us would appreciate some more on the minor scale.
Actually, Barry doesn't have rules for minor as far as i know. He does have his "chromatic scale" which I touched on in a previous episode.
I cannot under estimate how useful this is. Thank you so much.
These are so great! Love to see your approach on applying this to the guitar
Awesome video. Thanks
You're Welcome Dylan.
Thanks for these mate, great series, very helpful
Thanks Ste. Please share with your musician friends.
Honestly , you are doing Gods work. Educating with how/what you have been educated with . I am truly grateful. This is so eye opening . There are so many books and yet , this is so special and wonderful
I have a suggestion. a summary of the subject so as to not need to find where it is in the video. So where it says show more at the top it would say for instance, 2 rules for 246 - no 1/2 steps or 2 1/2 steps between 2 and 1 and six and five. Then 2 rules for 1357 1 1/2 step between 5 and 6 or 3 1/2 steps between 1 and 2, 2 and 3 and 5 and 6. Or I could just make a comment like this.
Amazing stuff, love this series.
Thank you. Please share with your musician friends.
This was nice. Thanks for sharing the knowledge. I definitely know what you mean about using ANY note, or at least starting from any note. Articulation becomes the issue. You stress the important notes and weaken the color notes as passing tones. I've been listening to a lot of Bird recently and I finally understand why he was such a big deal.
Bird changed my life. I played rock guitar until I heard Charlie Parker. My first Jazz teacher was a guitar player named Roni Ben Hur. He was the one who told me if I wanted to understand Bird, I needed to take Barry's classes. I'm forever indebted to him for that advice.
@@thingsivelearnedfrombarryh2616 me too (rock guitar) although I turned to jazz when I saw the movie The Talented Mr Ripley (1999) and discovered Chet Baker's version of "My Funny Valentine".
What do you think of Pat Martino's technique and "method"? I'm not a huge fan of his music (hard-bop, fusion, organ trios, etc) but I love his playing and fluidity. Actually his ballads are nice and soulful.
@@ecaepevolhturt I really don't know anything about it. I've been so engrossed in Barry's method, I've never looked elsewhere. After 25 years of studying with Barry i feel like I'm only scratching the surface.
Hi Chris,
I love you videos - very straightforward and slam full of great info for serious study. I have run into a snag while practicing the major scale with half steps as you have instructed in the scenario of ascending from a given scale degree and then descending with the rule(s) of the starting note. How do I play the following: ascend tonic to the 6th then descend with three half steps? The same is true if I ascend from tonic up to the 7th. Descending with only one half step seems to work beautifully, but with either scenario (up to 6th or 7th) it doesn’t seem to work out. Can you offer any advice?
Thank you.
You are back!
Yeah Man.
Great Lesson! thanks i'm working on it!
I'm available for skype lessons. Email me at chrisparksjazz22@gmail.com
Very nice as usual, thanks a lot. Perhaps you could demonstrate in a new video, situations starting from each non chord- tone, maybe using enclosures and other devices. This I would consider the art of recovery.
Wouldn't it be better to think major 6 chord? That is, 1 3 5 6 as chord tones. And go 6 > b6 > 5 when starting on the 6.
Hi! Great lessons. One question. I’m a little bit perplexed as to why we’d have a short page of “rules” for chromatic runs in order to be more chord tones on-the-beat oriented.
Why not instead of using the time to practice these - to just get a better feel for playing chord tones on the beat?
I’ve found a TON of usage mixing Harris’s teachings (dim6 scales) with the more modernized modal frame of reference, but the half step rules, while not totally arbitrary, seem to me a little waterlogged. Any thoughts?
Your videos are truly helpful and have changed my playing in just a few weeks. Do you have any tips on how to stop getting lost while soloing?
Thanks Cameron. I'm glad you're enjoying these videos.
For me, practicing just one song like Out of Nowhere, Indiana, All the Things You are, Blues etc..., really helped.
This helped me a lot with bebop runs--the point of the rules seems to be in every case to ensure you have an odd number of notes in your run down the scale so that you land on a guide tone on a downbeat. Am I wrong about this?
I cant seem to find the original video you are referencing for these rules. I can find the dominant and diminished 6th videos but no major half step rule video. Can you link it for me? Thank you.
Hi! Thanks for your work first.
I was expecting straight a half step between the sixth and the five….why you started with a whole step ?
I am a pianist and find your powers of explication cogent and concise.
Hey, I just wanted to ask what Barry says about playing ascending :) Cheers
Yo lo he preacticado y se logra rl mismo efecto, las notas de acorde caen en tiempos fuertes y con eso ya de deletrea el acorde
Great content, thanks! What do you think, can those rules be used for creating walking bass lines in 4ths?
Thanks for your videos. They're a goldmine. I did a masterclass with Barry in the early 90s when he came to Melbourne, Australia.
It seems that from the 6th and 7th, you're only adding the half steps between the 6th & 5th in the lower octave and omitting it in the upper octave. Is there a reason that he does it like this? For the 7th it makes sense since omitting the half step in the upper octave means you land on a chord tone on the next beat. However, wouldn't it also achieve the same goal to treat the 6th as a chord tone and add the half step immediately so that you land on the 5th on the next beat and then continue the line?
Yes. You're correct Michael. I'm just showing how Barry taught us to practice them. I don't remember him giving a reason for this.
I'm glad you're enjoying the videos. Please share with your musician friends.
@@thingsivelearnedfrombarryh2616 It's interesting as an insight into his way of conceiving of it. I wonder if it is consistent with the other original bebop musicians.
@@realmichaelteo It's the best method I've ever come across. I'm not sure how Bird and Bud and Dizzy thought about things but Barry's method seems to make the most sense.
If you start from the 7th, but include the "6 to 5" half step in the higher octave than you end up rhythmically incorrect
Hi! The reason is explained in Isaac Raz's video on this topic!
@Things I've Learned From Barry Harris
Thank you very much for all these videos !! Isn't there another rule? For 1/3/5/7 can you put half a step between 3-2; 7-6; 6-5? And for 2/4/6 put a half step between 7-6 and 6-5? All of these videos are a huge help to me! thank you !
Hi! yes there is indeed a video on that by pianist Isaac Raz who explains this second option for the rules with two or three half steps.
How do I get a copy of Barry Harris major scale rules
I don't have it written out but maybe a skype lesson would be helpful.
You can also get a four DVD set with a book that lays out most of this information as well. jazzworkshops.com/the-barry-harris-workshop-video/
That's not to say that a Skype lesson with Chris wouldn't be an excellent way to go.
One question sir: if you use the same rule for 1,3,5,7 and 2,4,6 instead of 1356 and 247 doesn't that defeats the purpose of having the chord tones on the down beat? Ex: starting on the 7th descending line the 2nd beat will have #5 on the downbeat, what's the reason? Why does it work?
Hi! i have the same question.
I guess that's why Chris does start with the half steps on the runs from 6 and 7 only at the "bottom", not in the first occasion where one could use them. This is explained in Isaac Raz's video on this topic.
If you would use the 6-5 half step on the first occasion already when starting from 6, then the second half step 2-1 would land on the beat.
Similar if you start from 7 and use the half step 6-5 on first occasion, this already falls on the beat. By waiting to the "bottom" of the line before the first half step is applied, this is avoided.
But I would find using one or three half steps when starting on 6 also more natural, as well as no or two half steps when starting on 7. But so far I only found Bill Grahams video doing it like this, where's no need to "wait" before being able to apply rules.
Chris, do you know if this is the same idea as Barry's major 6 diminished scale?
Looks like you moved? Glad you're continuing... 👍
The acoustics in your new digs though has muffled the projection of your voice audio? (I'm sure you probably know this?)
Same place just different side of the room. I think the camera was further away. I'll fix that in up coming videos.
The "rule" that allows the half step between six and five when starting from the seventh, doesn't sound right: you end up with a repeated note. |Ti te la le so fa mi re | do instead, is much better. Thanks.
This "rule" works however if you add an escape tone right after the seventh like this |ti do la le so fa mi re| do. I've seen other RUclips channels that apparently quote Mr. Harris when he says things like "add a half step to flat three and two" when what he really means is "add an escape tone between flat three and two." This last comment comes from reading about his melodic minor descending "rules."
@ 4:24 you state the rule from the 7th.. First try, B A G F, E E D Db, C B A Ab, G No shame but the next 2 tries are also unsuccessful as far as sticking to the rule. 2nd x "try it again" B A G F, E Eb D Db, C B A Ab, G sounds good but since it's
still a 13 note line, one chromatic (G#) is omitted near the top. @ 4:36 "again" B A G F, E Eb D Db, C B A Ab, G .
You might point out that you're being flexible with the Rule if that was your intent or;
Suggestion, If you start on +2+3+4+, 1+2+3+4 you'll get all 14 i.e. B A Ab, G F E Eb, D Db C B, A Ab G. As you know with Maestro Barry the Maj7 isn't really a chord tone. It's a "dim. note". I hope this adds (not detracts) to your good work here and that I didn't make any listening or typing mistakes either. I've Been a fan and student his since 64 (Sidewinder), A' Bientot
Great ear Brother! I always like to shoot these videos in one take so there are often mistakes.
In this instance, I think i play the same thing on the 2nd and 3rd time (2nd one is not clean though). I put 3 half steps between 3-2 2-1 6-5. Same rule every time.
The Major 7 is a borrowed note when we're thinking Cmajor 6th diminished scale but when soloing the Major 7 gets the same rule as the 1 3 and 5. (1 half step or 3 half steps).
Barry is the Master and all of us are blessed that his shares this information with us so freely.
I appreciate your feedback.
Thanks for getting back.Yes indeed, same thing 2nd x & 3rd x. I like the line the way you created it, sounds great starting from the top of a Maj.7 voiced 5,1,3,7 and the rhythm it starts on 1 and ends on 3 so it works well with the exercise where you drop the first note then first&second etc. (you know that one).
Then I took around the cycle of 4ths&5ths. After I commented I thought... Barry might have played it that way. Maestro Harris yes, we are the lucky ones.
Ed Bickert RIP passed 2/28/19. Thanks again.
Chris, is the major scale the same as the major diminished scale?
Major diminished scale? Anyways, major scale is clearly different from dim scales. Period
@@brothercaleb I think Rohan C meant the major 6th diminished scale, one of Harris' four main scales in his method.
Hi, really informative series, thank you. Can I just check, when you add the half steps starting on the 6th and 7th, you only apply the rules from the 3rd down? I.e you don't start 6, b6, 5, 4, 3, 2, b2, 1 etc but 6, 5, 4, 3, 2, b2, 1, 7, 6 b6, 5. Does Barry ever say anything about this? thanks again -
Andrew Herbert I have the exact same questions. Isn’t the whole point of the half steps to ensure that you have chord notes on beat? When starting on the 6th for the doom in any rules, you have 6, 5, 4, 3, 2, 1, b7, 6, 5. So I guess in that case you don’t have chore notes until you hit the b7 it seems. Perhaps it’s more about the end of the phrase being on chord notes. I’m just throwing ideas out there.
@@mrkeyzzz I've been looking at that. I think it is about the note that the end of the phrase lands on. Movement is created when you land rhythmically into the next chord, or at least that's part of it?