Barry Harris Approaches to "April in Paris"

[@JohnWilson-gb2jr]

After loving the album for years , I only relatively recently realised that the pianist on Thad Jones’ 1956 recording (from “magnificent Thad Jones “ blue note ) is Barry ! One of my absolute favourite jazz recordings ever

[@walkerwhitehouse5413]

I had no idea! I had listened to this album a ton and always adored the piano playing but I never looked it up till today. Thanks kindly

[@chrisharrison809]

Man.... I seriously appreciate you.

[@jtonemediaholdings108]

Awesome! Never will see dominants same way again

[@neilgggg1]

Thanks to Isaac & Barry for the great info. I'm finally getting to the point where i can more easily read thru real book etc. so it's good to see old classic standards approached/broken down like this.

[@themidger1]

Love the deep dives, the perfect “Barry 202” videos for application once you understand the fundamental concepts. I recently watched one of the videos of Barry in Rome where he shows using triads from the family of D7, “I might use F. I might use D. I might use B. I might use Ab, I might use all of them” then strings some movement together through all those major triads. Really times up nicely with the amount of this video dedicated to applying the diminished family! Makes it nice and clear. And imagine how limited the people who just think “half step whole step” “sym dim scale” are 🤯

[@isaacraz]

Great. yes it's the 202 course!

[@StrahinjaBoljevic]

Great video! I struggle more with application than understanding the concept, it is pretty straightforward. Thank you thank you thank you!

[@malfisher4326]

Great lesson, on Dukelsky's masterpiece, Isaac. Thanks very much. How about one on Autumn in New York? Thanks again.

[@LokeyeMC]

That would be a treasure! Ever since I saw Round Midnight, with Dex in the alley lamenting how he couldn't remember the words, now it's all I can think of when I play Autumn in New York and it really transports me! I actually used the BH method to compose a 4-part harmony version of Autumn in New York for my housemates to try to sing with me. I got all the parts in the right ranges but I didn't realize how hard it is for people to memorize non-melody parts, especially if they're not really into singing, lol. Ok so maybe it was a bit of a reach for actualizing a project. But it was great experience to compose/arrange it!

[@frederic1000001]

It's so beautiful...!

[@ripsirwin1]

Here's an idea: for the lead up to "Chestnuts in blossom" on the third bar, start on A and play the C6 diminished scale, one hand going up and the other going down. You will reach the melody note F at the same time you reach the root of the D-7b5

[@JIMMYPANTELLERIA]

I keep referring back to this video, it's very helpful !

[@isaacraz]

So glad it’s useful!

[@ripsirwin1]

Great video! I got some good ideas on how to move around on those long b7 chords on "chestnuts in blossom"

[@brothercaleb]

Excellent

[@tomshooter6766]

Genuinely incredible video

[@isaacraz]

Thanks for that awesome feedback!

[@philbaker7577]

Thank you for the amazing video! Should the "Echape" have a G# as the second note from the top instead of a G? Both are pretty.

[@CharlesAustin]

Great..I’ll be back !!

[@isaacraz]

Thanks Charles!

[@kenkanwisher2103]

Like these applications of his ideas to a song.then links to other videos.Is there a movement that Barry uses on a minor 2 5 1 when the melody note is on the 11 of the 2 chord and the same note resolves to the root when you resolve to the 5 chord. It happens a lot in standards and wonder if he has a way to approach that movement?

[@isaacraz]

That’s an excellent suggestion I will bear in mind for upcoming videos that is a very common move and there are some very good implications on how to apply six diminished and borrowing etc.

[@MC-mi4ck]

Thanks for this excellent lesson Issac. I am confused about bar 17 (the bridge). The real book says F#minb5 to Fdim, and I have heard others say it is 2 bars of Dmin7 to G7. I know the real book is bogus. Can you shed some light on what basic chords you are thinking about for bars 17 and 18 in regards to Barry's method? Thanks!

[@raefblack7906]

Do you have a scale outline to this tune?

[@isaacraz]

Great idea. Will make a vid on that.

[@thomassciaroni6942]

just keep a steady tempo and walk those great basslines and support the dancers with rhythmic comps and you can encore a couple of times. I'm using Db6 B6 C6 Dm7(b5) F#7(13) G7(13) C6 BMA7 C Csus F6 E6 F6 C6 B6 C6 Am7 Bb7 B7 E7(b9) A7(b9) D7(b9) G7(b9) F#m7(b5) F° C/E Eb6 Dm7 G7 G7(#5) CMA7 C7 F#m7(b5) Bm7(b5) E7(#5) Am7 F# F. E A D G Db (B) C Em7(b5) Ab7 A7 etc

[@johnrothfield6126]

How about a Bach chorale harmonization compared/contrasted to a Barry approach? Some of us learned harmony by studying Bach's chorale harmonizations.