BARRY HARRIS for Dummies

[@musicetc2063]

You explained this really well and better than plenty of people I’ve seen try and get it across. Thanks for the great work!

[@tinajackel]

thank you!

[@AlanDurston]

One of your best lessons, Tina! Thank you!

[@tinajackel]

thank you!

[@scr5051]

Greetings froom colombia sourh america

[@barrysebastian9584]

I think you’re on to something… “demystifying” difficult concepts… AND applying them. As always, presented in your uniquely fun way! I think this will be a hit for you - well done, Tina🙌😁!

[@tinajackel]

thank you Barry!

[@rainerpusch1960]

Cool! Ich mag sehr, das du deine spontanen Denkpausen auch zeigst! Gerne sehe ich mehr von dir...

[@tinajackel]

freut mich! liebe grüße!

[@georgefenning4844]

For Barry Harris complexity … You are the first to use chord diagrams. Much Easier than looking at fingers that obscure the fingerboard. Also scale Notes on the screen visually are far superior to verbally saying put your third finger on the fourth string fifth fret … 😊 well done… more ? Yes please ❤

[@robot2042]

Hi, Tina. I think most of us who've looked into the BH stuff have got as far as 6-dim-6-dim and all that. The issue, if not the problem, is what to do with it. Personally, I play all kinds of jazz tunes, standards and more modern ones, but I have no idea how to use this concept. Not really, anyway. You can't just turn every V into a b9 and play a dim chord over it. Or indeed just play a 6 on every major. So I have to admit I gave up on it and carried on with the far more interesting complexity of the usual tonal and modal harmonies. I don't know what you think about that!

[@deezmusicnotes]

This is the first video that has made the most sense, and I've watched a bunch!

[@papapilar3]

This was so so helpful. I have been looking around for way to enter into the Barry Harris method, and I have found it to be incredibly confusing. This was practical and really well laid out. I for one would love a part two or three or four! Much much appreciation and thank you

[@djDivineJustice]

I was fortunate to have studied with Barry in NYC. Great vid!

[@aiuola2009]

Ich habe dich heute Nacht entdeckt, du bist super! Danke. Grüße aus Freiburg:♥

[@Jens67]

I assisted the workshops in the nineties in the Hague. An unforgetable experience. The guy behind him is a great dutch Latin Pianist who was the leader of the Cubop City Big Band... Jan Laurens Hartong !

[@tinajackel]

wow that must have been a great experience!

[@MrRoofriend]

Hey thanks and your sound is very pure

[@richardvaladez3288]

Thank you so much. That was a fantastic video.

[@amercieca]

I really enjoy your teaching style. Well done. And your guitar tone is divine!

[@aberhan]

Thank you, you certainly simplified the 6th diminished scale complex.

[@j.reveille6815]

Thank you for your work.

[@lmwald]

Live the experimental vibe. Very real and rewarding.

[@adamboard5159]

Would definitely like to see more Barry Harris stuff. You may already know it, but TTILF Barry Harris channel is great.

[@foksly]

Thank you so much! KZbin recommended me some other videos on this concept but there were hard to understand. You make it perfectly clear!!!

[@monzajunior7337]

Thanks for this lesson! Those harmonies are sounding very Johnny Smith at times.

[@jeffteza8644]

Great lesson Tina. I understood Barry's harmonizing the b6 scale stuff, but walking through your thinking how to apply it, starting with using the diminished 6th chords from the melody opened a 'door' for me. Thankyou.

[@tinajackel]

oh i am happy to hear that! keep on exploring

[@adamblock2577]

I love it thank you for sharing!

[@juanmoralesvideo]

Your explanation is so elegant and nice. Thanks!

[@tinajackel]

thank you!

[@felixsecretaria40]

Wow so beautiful chords

[@MarkWitneyGuitar]

Definitely more! This is a concept I’m also trying to wrap my head around. There are so many ways to look at music. Love your videos and newsletters, very helpful, thank you. 🙏

[@alexmckenzie8491]

Thank Tina, that was so well explained!

[@tinajackel]

thank you!

[@40bba]

I think I need to watch this a few more times😊 I’m new to theory but keen to improv so putting in the effort.

[@mongoharry]

It could take a lifetime to assimilate this great stuff! I will probably try to harmonize some standards using this concept and practice them like etudes.

[@timfairfield407]

well explained. I really got it when you applied it to Frere Jacques. thanks for showing what you were thinking and how to apply it. I could even hear the chords before you played them at that point. Thank you

[@tinajackel]

it’s a pleasure!

[@Oystercatcher2]

Thanks Tina! I'll need to watch this a few times and work on it, but it's a good place to start.

[@tinajackel]

have fun!

[@Fitzliputzli23]

"warte mal, warte mal, das stimmt nicht ..." haha, that's jazz. Thanks for keeping these improvised moments in the video. I'm subscribing.

[@kwekuhodgson1976]

Rarely clicked that swiftly on one of your videos, Tina 😂😅!!!

[@tinajackel]

are you a Barry Harriy fan ? best wishes from Berlin

[@kwekuhodgson1976]

I’ve been following several YT channels that cover his stuff for some time now. It took me some time to get used to the sound (sometimes a bit old-timey); I do see the potential though especially in R&B and Neosoul tunes once I am more fluent in fingering the chords! I guess that was a long winded way of saying he is growing on me! Like his piano work but not as much as Ahmad Jamal‘s!

[@raymondmeadows5363]

Great lesson thank you so much.

[@tinajackel]

your welcome!

[@FriendofBert]

Good explanation and demonstration. You do a great job,Tina.

[@tinajackel]

thank you!

[@rpsig250]

Great video. Thanks for doing it.

[@tinajackel]

My pleasure!

[@georgeonerato575]

That's brilliant. Thank you for sharing

[@jamesweatherly1204]

Thanks. Helped me greatly

[@BrianKlobyGuitar]

Awesome ☕🎸

[@verlaine4]

Thank you so much

[@brunolaire7826]

Thank you for the video...a lot of great lessons about the barry harris concept at the channels of TILF barry harris and Labrynth Of Limitations

[@ziegunerweiser]

similar to an idea I cam up with a long time ago - build a chord scale off of a 6/9 chord built in 4ths - I like your idea better, maybe a bit less tonally ambiguous but I'm a fusion guy so I'm attracted to chords built in 4ths, suspended chords, and avoiding the 3rd thanks tina I love your channel ha your last name reminds me - have you ever heard the song masked jackel by coroner ? I used to like metal when I was younger but outgrew it, fusion was always so much more interesting to me, especially holdsworth who I saw in 92 god i miss him

[@tinajackel]

thank you!

[@ziegunerweiser]

you have brought me closer to joe pass for that you deserve a trophy lol

[@johnhopper1979]

Good one Tina ..cheers from Australia 😊

[@tinajackel]

thank you for watching!

[@henrifrachet5831]

hello you're excellent teacher Madam thank's a lot ;

[@gospodine]

Thank you !

[@tinajackel]

You're welcome!

[@Achdings]

I learned about this concept wwhile practicing piano, didnt work on it though. And i kept thinking about learning this on guitar, this morning again. So thank you for the video, on point. Vital concept i take month to finally get into

[@tinajackel]

have fun!

[@valentineikediashi1091]

Damn, you can teach. You got a new follower here.

[@lorevault]

Nice channel 👍 thanks a lot for lessons 🙏

[@tinajackel]

happy to be of service

[@luizoliveiragtr]

Amazing content. Thank you

[@jakelee7639]

Very nice…and interestingly with c major scale adding the G# note means you can make what is an E min/min7 into an E dominant 7 arpeggio or chord, an A min maj7 arpeggio or chord, a C augmented chord a Dm7b5, an Fm6 (IV chord)

[@jamesweatherly1204]

What jazz tune would be a good exercise to begin learning reharmonization

[@joserodolfogomez63]

gracias!

[@AnthonyShaw-ty9pi]

Awesome!! Very helpful👍👌 Thx😊 P.s. How about some examples of improvising over a major 2 5 1, using Barry's four dominants. For instance, 2 5 1 in C. Dmin7, G7, Cmaj7. When you arrive at the G7, you have the option of using G7, B flat 7, D flat 7, or E7, resolving to C major. And/or also using the diminished 6th. Think I said that right🤔😄

[@tinajackel]

very good idea! i will think about it!

[@georgeavilapinto.1760]

Que aula maravilhosa tina amei .parabens Brasil

[@gonzalo836]

I think I need a looper. Great video!

[@Rando_Djinnsen]

Thank you, very helpful

[@tinajackel]

your welcome!

[@jazzman1954]

I enjoyed the no nonsense presentation. I’m a lifelong jazz guitar player and over the years I’ve worked on stuff like this. It’s very hard to apply. I noticed that even a player of your calibre was struggling to harmonise the simple melodic ideas you chose. Compound that with the guitar being a nightmare regarding permutations of fingering you have to ask yourself how much of your life are you prepared to spend working through this stuff. Wes M used alternating diatonic chords with diminished chords, but he just used his ears. I’m not saying it was the same thing but it sounds similar to me. I have subscribed and look forward to the next session.

[@miltonfelix3839]

Hi..I Will tell you i learn à lot, is so important harmony...❤

[@egimzyegimzy3566]

I suggest looking into these guys' channels: TILF barry harris and Labrynth Of Limitations. This truly unlocked my jazz playing and understanding of movement. thinking he is saying its I - V - I - V etc is very limiting Barry taught us in a couple of his lesson videos: from the Chromatic Scale (all notes) there comes only 2 possibly Wholetone scales - When you combine every other note of both whole tone scales, you produce the 3 possible diminished chords, Labrynth Of Limitations goes more into depth of this - but you get all the other chords from the alteration (or combination) of diminished notes. 1 EASY EXAMPLE: Dominant 7 chords share 3 notes from 1 diminish and 1 note from a neighboring diminished, or another way most people like to simplify that is - Flat 1 note in a Dim7 chord. A#dim7 (C#dim7) = A# C# E G >becomes> A# C E G ... or ... C7 = C E G A#(Bb) (family of dominants, another rabbit hole) That C6 is actually 2 notes of Cdim7 (C, A ) and C#dim7 (E G) .... as far as I know CM7 is made from "borrowing" from the neighboring D Dim7 note (Bb). There are many applictions for excersizing this knowledge, a common one: you switch out a m7 chord for a M6 chord voicing while comping: Dm7 G7 C -> F6/C Bdimb6 C6 these are all just voicings based on the bass note, you need to know G7 and F6 chord scale voicings to play it. having the 4 voicings now gives you 4 different ways to resolve these chords anywhere on the fretboard provided you have the voicings down. Or simply Dm7 Ddim7 C6 as this is an example of the Ddim7 being a tritone sub, this is also why the tritone sub rule exists imo. Listening to your example you're playing a D in that CM chord? Anyway it would sound better to mix in the G6 Diminished chord scale as well - you would get CM7 by borrowing C from that neighboring C dim7 while thinking in G6 Dim scale (using the G6/D voicing) since you're playing over a vamp of Cmaj with a D in there. these are just small examples of what you can do. I am just a Barry Harris fan and I wanna make sure people use his ideas how he intended. Thanks for talking about his ideas!

[@tinajackel]

thank you for your comment- yes i am playing a Cmaj79 chord (on my looper) instead of a C6chord

[@David-kq5zl]

Thank you.

[@ryanmcgeary8406]

Great video thanks!

[@KerryFreemanMelbourne]

Thanks...Australia...

[@michaelnewham6958]

Madam, that was delightful. Well over 30 years playing a guitar and you just illuminated the heck out of me. Thankyou. Lovely accent ❤ liked and subbed 🥚🐣🕊️

[@tinajackel]

welcome to the club! 😍

[@takeawaybenji]

Hi, Tina! For a simple tune with an existing harmony, couldn't you switch between different maj6/diminished scales to outline this harmony? E.g. for a tune in C, the C chord is C6/dim, Dm = D6/dim, Em = G6/dim, F = F6/dim, G7=Bdim6/dim, Am = C6/dim, Bdim = Dm6/dim ?

[@tinajackel]

basically you can harmonize any melody note with any possible chord - the question is if it sounds good- in your example you are using a lot of chords from different keys ( also possible but a different concept)

[@takeawaybenji]

@tinajackel I recently saw an interesting video about another two chord concept. It merges triad pairs, hexatonics, and some concepts from Harris. kzbin.info/www/bejne/h4u8q6qYebRoasksi=robtGN9FX1BNF4Fl

[@marcelopitanga454]

Brillhant! Simple and efective!

[@tinajackel]

thank you!

[@magonista66]

Very helpful! Please keep it up! :)

[@tinajackel]

thank you!!

[@sixmillionaccountssilenced6721]

It's like magic.

[@slickwillie3376]

Sounds like fun trying to figure that out. I dunno, but you might try writing the chord notes out and looking for half step, whole step, and major and minor third movements between notes of various different chords, and try to categorize the chords into dominant, sub dominant, and tonic... Gee, it would be nice if that worked out. Say, maybe you could "discover" a whole new chord function...

[@tinajackel]

have fun exploring!

[@slickwillie3376]

Awesome!

[@tinajackel]

thank you!

[@ddjazz]

Great stuff , how could we apply this to a IIm V7 I in C ? Is there another scale to use for the V7 using barrys method?

[@tinajackel]

very good question! i am planning on a new Barry Harris video in the future! many subscribers asked me how to apply the stuff- so i ll make a video about that

[@ddjazz]

@@tinajackel Looking forward to it , thank you

[@mountainair]

Good stuff!

[@tinajackel]

thank you!

[@ivrz]

Beautifully explained thank you. Yes some more please. I tried to follow barry before but couldnt quite understand. Youve made it all so obvious. 1356, 246b7,3568,46b72, etc. Am I right that all the chords containing the 6b are the diminished chords?

[@tinajackel]

thank you! the 6 is a part of the C6 chord and part of the diminished chord Bo7 :)

[@ivrz]

@@tinajackel no I think that will be B D F Ab, please correctme if im wrong. Unless we use Bm7 5b, but rhat wouldn't be in the acale

[@egimzyegimzy3566]

When thinking diatonic yes, but with the harmonic respelling of C6 and Am7, its similar to what happens with Bm7b5 and Dm6. Therefor in the key of C If you are doing Dm7, you replace that with F6, in a comment earlier I mentioned G6 as another option over C, which happens to be Em7. Fmaj can obviously use F6 and C6 just like how you use C6 and G6 over C. G7 we can use G7dim scale and just 1 of many options - Dm6 as that is the tritone of G and m6 can be built on the tritone of dom7. obviously Am7 = C6, And Bm7b5 we have a respelling of Dm6 - so you can see how it links up diatonically. There is far more, this is just a small example, as I have not yet exhausted options.

[@ivrz]

@@egimzyegimzy3566 Thank you for the extensive reply. Lost me completely im afraid

[@egimzyegimzy3566]

@@ivrz easier to show with a guitar in hand. Its all muscle memory for me at this point. I'm giving chord scale options over diatonic chords. Just more ways to connect the dots

[@catman2u2]

I ply mostly 3 chord minor pentatonic blues but the guy is a masterful genius To think when i lived on university place years ago I could hear him plsy a some hole in the wall joint

[@poerava]

I love the chi chord

[@danski723]

merci 🙏

[@christermini2216]

This was great

[@dannycarreraoficial]

Great video! And o love your strap! Where can I buy it?

[@tinajackel]

i don’t know i bought it many years ago😇

[@dannycarreraoficial]

@@tinajackel ohh great! But what brand is it? I really like it 🙏🏻

[@adamantoszewski3498]

I love the title of your video and thank you for the knowledge 🙏😂

[@tinajackel]

your welcome!!

[@MrMewsique]

Your tone is beautiful!

[@АйратСитдиков-н3я]

Thank you.I have see before that information with Chris White, but your s is more interesting)

[@tinajackel]

thanks a lot!

[@stevewhite3753]

Thanks I enjoyed this.

[@gerichtpresteren]

You Know the book by alan Kingstone. The Barry Harris M ethod for Guitar?

[@tinajackel]

no i didn´t! thank you for the tip! i just downloaded it from scribd :)

[@webstik]

amazing!

[@tinajackel]

thank you!

[@reginaldparker3248]

Hi! Tina, you say Barry Harris, I'm thinking improvisation. V I, I love your concept ear training all in one.❤

[@tinajackel]

thank you!

[@garrybrown8029]

I was thinking about The Girl from Ipanema………..I do that a lot! More Bazza Hairstyles please. ❤️🙏😊

[@burrencrawler]

Do you have any videos of you playing with other people? Would be nice to see how this cool stuff can be applied to real live situations...

[@tinajackel]

yes there are videos of me playing with other people check out the playlist „music“ on my channel 😀

[@k.scotsparks9247]

Thanks.

[@danielgonzaga666]

Modern Jazz Quartet[Django]

[@bozakarlin9034]

Одлична тема, добар видео, хвала.

[@tinajackel]

thank you!

[@crow-dont-know]

Great!

[@marraneandocontiokachi]

Magnificent

[@adrianfraser]

❤❤❤❤❤❤❤❤❤❤👌👌👌👌👌👌👌👌👌 you are a very good teacher, I like your relax Style

[@tinajackel]

thank you Adrian!

[@chilldude30]

As a dummy, i appreciated this muchly

[@richmondtetzlaff2474]

I have that exact same guitar! Yours is in better shape, like new

[@tinajackel]

yes it’s pretty new i bought it 2 years ago and i really like it!

[@richmondtetzlaff2474]

It’s a beauty! I bought mine around 1982

[@stevieboi61]

👌

[@Mfinally]

❤​❤​

[@josephballerini3730]

So say you're playing I'm in the Mood for Love in C and your playing CMaj7, Dm7, G7, CMaj7, Em, Cdim, Dmin7, G7, CMaj7 in the verse and you know the melody well and you know how to do flat 5 substitutions and secondary dominant chords, and change alterations, etc. And lets say you wanted to use Barry's thinking here, how would that come into play? Let's say you wanted to play a solo and you're quoting the melody. I'm wondering why you would harmonize with all C6/Am7 and diminished chords, which I understand are equivalent to five one resolutions, compared to some sort of chord melody idea using the original chords? Or is the thinking that this is an improvisational tool and it helps you quickly improvise chord solo ideas? Would love to see you employ this in a standard to hear it in application and then maybe hear how you would approach it otherwise. I have to say I find it incredible that Barry Harris came up with this. So interesting as it it seems like a unique way to look at music. But I wonder if the music is as satisfying harmonizing like this? I may be ignorant as I'm not formally educated in music. Hope my questions make sense.

[@josephballerini3730]

Ok, I did a little more research. Apparently you can put a lot of different bass notes under the diminished chords and it opens up a lot of possibilities in terms of building chords.

[@Hi-xs7wm]

Tha youtube piano ad at the start and the guy are horrible

[@tinajackel]

sorry

[@Hi-xs7wm]

@@tinajackel that ad at the start is not your fault.Thank you for the lesson !

[@ThomasGilmore-fi6gb]

What's so amazing? Seems like harmonizing 4 trumpets in drop 2 with the melody descending diatonicly with b9 alterations in the dominant chord using smooth voice leading. Barry didn't discover any of this.

[@tinajackel]

true

[@mannoplanet]

I'd like to see how it applies. This is a good explanation. but...

[@egimzyegimzy3566]

check my comment for the channels to check out and for written examples. of course playing with it involves less thought than what is implied when written.