3 VERY IMPORTANT ARPEGGIOS EP 137 TILF Barry Harris

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[@Talisk3r]

Thank you! For later reference: 0:30: Definitions triads: 3 notes = root + 3rd + 5th Arpeggios: 3 notes and octave = triad + octave = root + 3rd + 5th + Octave Chords: 4 different notes = root + 3rd + 5th + 7th 1:00: Important arpeggios of D7 D major aprpeggios (D F# A D) A minor arpeggios (A C E A) C major arpeggios (C E G C) How to practice = 3 inversion + Descending AND ascending. 3:30 How to apply these arpegios You reach a note, for example E, which is the 3rd of of D7 -OR fifth of Am, the ii chord). Then Chris proceeded to play an anticipated Am7 (sorry BArry a C6/A) on the AND of the 4th beat to then flow in a beautiful phrase that using the important arppegios of D7. First Am (A C E A) the important arpegio on the 5th of D7. Second a C (C E G C) the important arpegio located the b7 of D7. For a 3rd important arpegio, start from F# (instead of E) so you can do the D apergio (D F# G D). Don't forget to resolve your line to G6 (or D6 think "sixth on the fifth" of G - D6/G). Here Chris end his line mainly to a A, a D or a G 5:45 Surrounding the D 6:30 Notice that all the note from D7 (D E F# G A B C) are there except the B, the 6th. 7:45 putting it all together pivot from the b7 add note below barry pharase from the 4 (but not exactly 5-4-3-2-1 presented earlier checkout episode 3). 9:52 Tritone Sub D7 => Ab7 Aperggios are then Ab, Eb minor, Gb (actually F# because we are in G major).

[@mikemckoy2933]

Helpful - thanks! About "Am7 (sorry Cmin6/A)", not sure Cmin6/A is correct.

[@Talisk3r]

@@mikemckoy2933 You're absolutely right! Thank you for that. I edited it.

[@km6206]

You wrote "You reach a note, for example E, which is the b7." But, E is the (natural) 9th of D7 (or the 6th scale degree in G major or the 5th of the ii chord).

[@Talisk3r]

@@km6206 Thank you. I tried to fix it.

[@stevepinnell453]

So happy I've found your channel Chris, thank you for sharing the love. The only issue is I've only just found it, this is already 5 months old as episode 137 and I'm still scooping up my brain after watching EP4 a couple of times, eek!

[@mollirodhaet7224]

I was in a catastrophic accident just before covid. I have lost much of my ability to play. I have often listened to you, here and in interviews. You have kept me sane in that way, and I always send friends notes with suggestions to pay attention to your feel and choices. Thank you, Chris. Ba-ba-doop ba dee ba dah! Much love!

[@Oscar_Dakota]

So sorry to hear this. Glad his videos mean so much to you. He has lots to share that’s for sure

[@thingsivelearnedfrombarryh2616]

Sorry about your accident. Happy to hear the channel brings you joy. I hope I can continue to do that .

[@nonretrogradable]

It’s remarkable to see you discover new lines in real time.

[@robertharris5280]

Astounding Chris. Once again you help us to unlock the mysteries of this craft, this time with three diatonic triads. Thank-you.

[@dananthony6258]

I think I’m guilty of always trying to sound out of the box I neglect the major notes I can make melodies with . I think I’m just being lazy and not listening. Like I’m taking the regular notes in the chord for granted.

[@charliefriedberg]

This is such an eye-opening video for me, Chris. Thank you! These arpeggios create instant bebop, and somehow Barry is the only one who talks about them.

[@jeffrey4466]

So glad to see 2 TILFBH vids only 2 weeks apart! I need to work on connecting these arpeggios like u showed!

[@AnthonyShaw-ty9pi]

Wow!!! This is a fantastic lesson bro. You're awesome!! Thx😀 Excellent video!! 👍🎩👌

[@malachia8590]

This is gold. Thanks 🙏

[@pickinstone]

I love the important chords and arpeggios. Barry Harris was an Einstein of improvised music--but let's not forget why. Barry Harris was able to find a unified theory of melody, harmony, and rhythm. I think that many people miss the rhythmic aspect--how all of Barry Harris's pedagogy is fused to the rhythm and pulse of bebop--when they study these concepts. The rhythm and pulse make all these concepts work. I am studying with a mutual friend who once lived in Joisey as well, TILFBF ;) He reminds me during every lesson that rhythm is supreme and the downbeat is my compass.

[@HoratioLindez]

Man, I love all your stuff- I’m gonna delve into every single one of your videos when ever i have a year and a half to spend..🎶🤣

[@dr.rolanddavis]

Thank you for your artistry and insights. You have inspired us with your tone, your playing, your lessons, and your passion. Thank you for the wonderful years of videos (I realize that it’s very time consuming and takes much energy). I wish you health and joy. And, many more rapturous musical moments in 2024 ! -Dr D

[@thingsivelearnedfrombarryh2616]

I appreciate that. Thank You.

[@localpm]

Fantastic lesson.Thank you so much for sharing Barry's wonderful work.

[@MrVesperatu]

Chris, this is super cool. It sounds like what you are saying is when you are playing a 5 chord (or a dominant) you can play the sub dominant over it. So in the key of C when you have a G7, you can play F maj and D minor triads over it. Would the B half diminished also work since it too can work like a sub dominant? I imagine it would. I also wonder if this trick works on secondary dominants too, like when E7, A7, D7, Db7 and Bb7 show up in the key of C? I imagine there it gets a little more complicated. For example if an E7 shows up in the key of C, i imagine i could treat it like its the key of A and play Bm and D over it, but i could also treat it like its functioning as a dominant in the key of C too, right, because its probably resolving into a tonic chord in the key of C. So i could also play Dm, F and Bhalf dim over that E7 chord too?

[@KristopherCraig]

Fantastic really great line development and very well explained.

[@dananthony6258]

This was so awesome. I need to use the tri tone minor more.

[@pedroboschibrasil]

This is really fire brother! 🙏🏻

[@ballseagle6807]

That was fun and cool👍

[@jeremyversusjazz]

was just working on these yesterday. 👍🙌

[@cardboardmusic]

Chris, didn't I see you do another video on this where you talked about minor seventh chords, and also major chords (too)?

[@GrayfinRois]

You talked about the B note not being played when playing the important triads of D7. You did play it. In your riff at 6:11, you enclosed the D note and ascended the D major triad. You then ascended, the C major, triad and played B note as the major 7th of C- before ending the phrase on E, the major sixth of C.

[@chrisjorda7595]

I did enjoy that, yes.

[@rainfieldmusic]

Good stuff 😊

[@h0tsex0r]

Yesterday i realized that if you subtract the dom7 arp from the diminished scale you get the tritone’s minor 6 arp D diminished scale minus D7 = Abm6

[@JosephElsherbini]

‼And if you subtract a major 6 chord you get it's tritone (C6 from G diminished gives you F#6). if you subtract a dom7b5 chord you get you get the other dom7b5 chord made of those two diminished.

[@isaacbeen2087]

That’s not the tritone’s minor! the tritone’s minor of D7 is Ebm6-which is the important minor of the tritone, Ab7. Hope that helps! this is very important!

[@h0tsex0r]

@@isaacbeen2087 ah thank you for correction!

[@isaacbeen2087]

@@h0tsex0r No worries, I had to really think about that one for second…

[@Berlefant]

Vacuum

[@keenanasbridge6911]

Love this videos! Do you ever think arpeggios off of any of the other notes? For example thinking Em arpeggio off the D7? Or Bm Arp, etc? Love this concept, thanks for sharing!

[@TheDave292]

Here now is one of my favorite pet peeves; the definition of an arpeggio which is: the notes in sequence with the first note repeated. Most of my current fellow guitarists will consider ANY sequence of single notes to be an ‘arpeggio’. Chris graciously glances over this definition by referring to it as, “what Barry calls an arpeggio” and I really wish there was video of Dr. Harris claiming this to be a unique improvisational tool just as the chord-up or pivot. There is another Chis Parks vid on oblique movement within a minor chord (I can not recall the video number). Let’s say E minor or x7998x. When you ARPEGGIATE this oblique movement you get: E minor, Eminor maj7, E minor7, E minor6. When you ARPEGGIO this movement you get: E minor, G augmented, G, and finally G♭5. There’s a big difference. I use X7998x X8988x X10121212x X1011121212 in Autumn Leaves… perhaps too much.

[@danielmazur940]

Hey Chris, for the A section of It could happen to you, Barry’s scales would be Eb Major Up, Eb 7 down to the 3rd of C, F min6 dim up, F7 down to the 3rd of D, correct?

[@davidtardio9804]

Great information, but didn't Bird do a lot of 3-9 arpeggios? I'm asking because I'm wondering what Barry said about those (a separate video, perhaps?)

[@isaacbeen2087]

Are you thinking of a chord up from the third (3-5-7-9)? I’m using the term “chord” in the way that Barry uses it.

[@davidtardio9804]

@@isaacbeen2087 yes that is what I meant

[@isaacbeen2087]

@@davidtardio9804 Ah! I’m sure Chris has a video on chords somewhere…take notice that in lines, Barry does not refer to a 3-5-7-9 as an arpeggio, he refers to it as a chord. He would say “go up a chord from the third,” meaning, playing an Em7 arpeggio over a C chord. One thing Barry suggests is pivoting, which you can look up if you haven’t already, and also adding a half-step below, which you can also look up if you aren’t already familiar. Chris has lots of videos on these subjects. Another thing that Barry talks about in the context of lines, usually in relation to a dim7 chord, is filling in one of the thirds with half-steps and then continuing the rest of the chord as normal. It’s a beautiful sound.

[@missione-evangelo]

Can we apply this concept to all the chords families, or it works only on dominant seventh chords???

[@davesgbiz9063]

What are the important arpeggios for the other 3 chord types? 7b5, Maj6 & Min6

[@tinaazzara8595]

Is it not 4 important triads, the 1-5-7-b5? Just checking to make sure I’m getting right.

[@enricosenno7767]

Isnt there a book where One can find all berry Harris 's teachings?

[@jerryballard371]

serious question Chris… When you are in the midst of actually improvising, are you ever actually thinking note names/scale steps, or is your mind actually overlaying geometric shapes on top of each other, eg not “C”, but that left facing point of the D7 shape, from which you can play a major shape?

[@thingsivelearnedfrombarryh2616]

I'm not thinking about any of that actually. I think about all these things beforehand when I'm practicing so that hopefully when playing in real time, some of this pretty stuff comes out.

[@tinaazzara8595]

This is why Chris can give examples from the top of his head. It wouldn’t be improvising if he calculated a solo during the actual solo. He knows all of it like the back of his hand. Kudos to Chris.

[@nonretrogradable]

Why not the F# dim arpeggio?

[@TheRealSandleford]

Do we get important arpeggios from minors?

[@GrayfinRois]

You are a monster educator. Your lessons are absolutely incredible, but you always add notes to your riffs when you play real time and don’t name the added tones.

[@nicholasquiller1135]

To his credit, he’s proceeding as if we have already done our homework on half-step rules