Barry Harris “Relative Minor to Minor with 6 in the bass” Move
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- Опубликовано: 4 июл 2024
- Barry Harris “Relative Minor to Minor with 6 in the bass” Move
BH describes this very common harmonic move a very particular way, which by applying to our thinking, we can use the 6 diminished scale in a myriad of ways, and just sound “right”.
Try on tons of tunes: “I Remember You” “I’m Old Fashioned” “You Go to My Head” “Con Alma” “Stella By Starlight” “I Love You” “Let’s Face the Music and Dance” “Laura” - drop a comment and share where you use it!
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/ isaacraz
Here are videos to assist with the concepts discussed in this video:
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Giant steps! When you go from Eb maj to A min, make it an Am7b5 and you can use it all over the tune. The second half is just a chain of them one after another
This is probably the most important concept you talk about in all of these videos. Everyone should watch this.
Thanks! Yes, it's a core concept of the genre for sure
as long as you follow the pattern maj - dim - min - dim - min w/6 in bass the possibilities are endless! i really like it with contrary motion. barry does it very melodically on how high the moon
You are so right. It’s almost comical how when I need to think of particular songs my brain says “nope” LOL
I always wondered what he was doing there, his take is by far my favorite
@@isaacraz i've been working on that tune a lot lately so it was fresh in my mind!!
This is the best video yet- this is the move I want to learn the most and remember Barry saying in a video once that you should know Stella in all the keys. This must be at least one reason why.
Like someone in love
great call . correct!
@@isaacraz Con Alma (Barry does that already doesn’t he).
I've seen your face on a Barry Harris video before haven't I. Thanks for the video!
Between 2012 and 2022 I’ve missed maybe a total of 4 to 5 classes! (Not counting when he was out of town and I didn’t come with him, which I did four times!) So probably, yes…
Really great stuff as always. Thank you for sharing!
Thank you for that awesome feedback!
Thank you Isaac. It is great to see the examples illustrated within the songs.
Thank you! Check out the comments there’s so many tunes I missed, LOL!
Brilliant video. Sounds great on 'I fall in love too easily'.
Great call! Can’t believe I didn’t think of that one “for love to Ever last…“
Works on the bridge of "Have Yourself a Merry little Christmas"
Great move. I like going down in the "long" voicings.
exactly! "friends of ours who are dear to us..."
Great job on knowing all the lyrics to all these tunes! The old timers knew them too and wouldn’t consider it proper to play a tune without knowing the lyrics.
You’re exactly right. It’s a song.
how high the moon!!!!
autumn leaves!
out of nowhere!
the song is you!
a nightinggale sang in berkley square!
the masquerade is over!
Omg of course!!!
I'm not seeing it in How High the Moon. Am I missing something?
@@LokeyeMC bar 9 the ebmaj going to am7b5
@@cmb_cworld oh my I've been playing an Fmajor7 there all these years, after the Ebmaj7, up to the G-7. Not even sure how I learned it that way. This way is much better! Thanks.
@@cmb_cworld I’m still trying to wrap my head around this bit. So on the Ebmaj7 you would do a Eb6 and walk it down the Eb 6th/dim into the Cm6 over the A (to make it the m7b5)? In the song there is a whole 2-5-1 between that though, how do you treat that a-7 to D7 to g-7 sequence before the Am7b5?
Before learning this even existed, I was using the echappe move you share in another video, with this same movement! Right from the Am to F#m7b5 in April in Paris. But to articulate it like this makes so much more sense. Thanks as always Isaac!
Thanks! Yes BH thinking is very useful for a deeper understanding of concepts which in and of themselves may not be totally new, but we gain new perspectives and applications.
Also, Happy Birthday, Barry!
Thank you. This is just great! I think this should work on "The shadow of your smile" too.
Good one! yes over "all the lovely things..."
The original key of Stella is G ;)
But as always, great content and stuff to practice. I always take this stuff first to the guitar and then to the button accordion. The latter is nice because you can move the bass note in the left hand and do wiiide voicings in the right hand alone
Yes you are correct… BH makes a big point of that don’t he....
“I remember you” doesn’t modulate to III in the lead-up to the ending that you demonstrate (it does so in the bridge: “…a distant bell”). But this figure works so well there. Is that because the song moves from Ab (“All… ”) to Bb7 (“then I shall”), which works with Fm6?
The little bit you played at 4:36 could be used on "Make someone happy"
that's a good one!
Hi Isaac, when I heard your sequence with an extra borrowed note at 3:10, I thought you were going to launch into 'Be My Love' and not 'Stella'. I have always loved Barry's versión of Be My Love' and, no doubt, the device fits in several places in this lovely song. Great lesson. Thanks very much.
I mean the part, 'for no one else can end this yearning.'
Yes! that's a perfect example of this , as I'm sure many others. Songbook songs are very formulaic so a systemic approach can apply across the board! thanks for the observation!
Going to work on "Here's that rainy day again" and "Darn that Dream" i think
Absolutely those are great
A couple places in My Romance!
Yes exactly! “No hideaway”
Hi Isaac. Thanks for the brilliant tutorial. Do you teach how to play all these songs with the movements somewhere? Do you have a site or private tutorial lessons? Cheers
Thanks Claudio! Yes I do to both questions, you can message me directly on Patreon to set up a time, and there are other tutorials and written transcripts of key lessons there as well for different patron tiers. if you'd like to email me directly it's isaac@wholemusicllc.com
@@isaacraz thanks. I have sent you an email.
I’m glad you mention the contrapuntal aspect, I’ve been looking into “bebop and counterpoint” a lot lately because of my lazy left hand. Being self taught, I developed all kinds of awful playing habits and this kind of stuff is perfect to use to break out of my habit of just playing 10ths in the left hand all day. Barry in his prime had such an athletic left hand and so much of his sound came from this kind of counterpoint. Edit to add: is that a Nord Lead synth in the background?
The more linear you play the better it sounds and that was my big revelation from coming to Barry’s class. I always thought those that used linear movement sounded “real” and those that played “blocky” chords were lacking in authenticity to my ears
@isaac did you do a video on beautiful 2-5 voicings like you did at 6m45s in this video? I know it’s a small building block but I’ve been taught such boring and stagnant (rootless) voicings and that II-V is beautiful.
Josh thank you so much for that! I would be very happy to. That is a great idea I will check it out more closely and bring that up in an upcoming topic
Yay! It’s the little things but sure is beautiful!
Also not to burden you but folks who come out of the classical world and academia bs (like me) might appreciate a “word” on jazz piano intros! I’m amazed at how the old piano cats could dit around for days as their vocalist bantered with the audience and still keep it interesting!
@@isaacraz still curious about those rich voicings at that minute point? Too many of us are stuck with one note in our right hand, and too many in our left...
@@JoshBed7 Give him some time, he’s got loads of recommendations already and these are free so I’m sure being patient will end well.
and m7 is Maj6 with a 6th in the base ?
Yes you can absolutely think of it like that. A minor seven is really C6
Is Be my love an example?
Could not be a more perfect example! I can’t believe I didn’t think of that as well! I love all the comments I’m getting so many ideas!
So beautiful. What do you mean when you say "go to the 3" ?
When the song modulates to a key that’s a major third above the key of the song: for example, “I’m old-fashioned” And “I love you” modulate from F major to A major, or similar situations.
Love is a many splendored thing, Tea for two, How about you, Desafinado, Giant Steps, Nascimento
I love that change
Like Someone in Love! The Abmaj7 to the Cmaj7th =) Also, I've Never Been In Love Before (the Dmaj7th).
@@LokeyeMC that doesn't go to the I/III though. It's in Eb, so that would be G major
@@guidemeChrist Good point.