Don't Think C9 EP 81 TILF BARRY HARRIS

www.patreon.com/tilfbarryharr...
Available for Skype lessons
[e-mail]
G&L
Fender Princeton
Jazz Guitar

[@righturnclide]

i’ve just recently cracked this open. it is the most logical way to look at music. i wish i saw this 20 years ago

[@thingsivelearnedfrombarryh2616]

Barry's method is really unbelievable.

[@dorukbanhammer5697]

making music for 16 years, this was easily one of the best videos I've ever watched in my entire life, ever. really helpful stuff, thank you!

[@christiandoscher1016]

Sacred geometry

[@fuedal_undercurrent]

These ideas and concepts are liberating my mind and is elevating the joy of playing jazz music. Thanks for sharing this lesson.

[@KrishnaMckenzie]

Many many thanks

[@TheLabyrinthofLimitations]

excellent lesson, as always. I really think this way of putting it will help people to become more clear in their approach, which can help us to be more free. really cool

[@thingsivelearnedfrombarryh2616]

I'd be curious to see you do an Episode on your channel about this stuff .

[@RonnyDoplo]

Thanks so much for your videos. So sad to hear about Barry's passing, but his work lives on in people like you who keep bebop alive and accessible

[@stephan5539]

Thanks Chris...many great possibilities to explore with this concept!

[@dangatton7138]

Chris, I just saw your interview with Josh yesterday. Man it was great ! and now you remind me of Tommy Emmanuel in that your sincerity and just giving everyone a chance at learning, telling storys and having fun really made the interview work. Tommy is my Guitar master like Barry is to Jazz. and your right there to. ! just wanted to say thx ! I cant believe Barry had you sitting in the Recording room that is way past a Bucket list item ! .. stay well !

[@chrisbroberg7014]

Really helpful. Very grateful for your effort, your message is being heard. Thanks Chris!

[@thingsivelearnedfrombarryh2616]

Spread the word Chris.

[@unclenote]

Another door opened to freedom of expression ! Very cool!

[@MrJudo2go]

I just discovered your channel and I'm so glad. Thanks for your video post.

[@DavidSpinola_Official]

so good !

[@miguelmartins4703]

Your videos are gold! Thanks!

[@PeteMartinMandolin]

Very cool Chris, excellent as always!

[@brunolaire7826]

this approach opens up a lot but a lot of new perspectives and horizons !! again thank you chris for this huge sharing

[@thingsivelearnedfrombarryh2616]

Thanks Bruno. More to come.

[@WillForFree]

this is absolute gold thank you

[@thingsivelearnedfrombarryh2616]

Thanks Willie. Check out some of the other episodes.

[@PakoBarragan]

thank you!

[@geniodiez7432]

Bro , the things you’re sharing are totally helpful . Much appreciated! Thanks !

[@thingsivelearnedfrombarryh2616]

You're welcome Genio.

[@Weily_Alcequiez]

i like this approach! it makes sense and sounds even better

[@thingsivelearnedfrombarryh2616]

Me too.

[@johnnyhendon1256]

Oh man I just found your channel. I was in a funk musically and this has inspired me! Thank you sir

[@onimekyo7633]

Beautiful guitar...

[@BlueMelodyB]

Thank you keep the videos coming

[@colinhenson8054]

Thanks for that Chris, what a brilliant way of looking at things. I'm off to practice right now.

[@thingsivelearnedfrombarryh2616]

Barry is brilliant.

[@rzbach23]

Soooo good!!!

[@thingsivelearnedfrombarryh2616]

Yes Robert!

[@vitodonatone846]

Awesome👍👍👍👍👍

[@robertolou]

Great video. Thank you!

[@thingsivelearnedfrombarryh2616]

Thank you

[@theoooms7277]

fascinating approach; little hard to grasp because I looked at chords and harmony in a different way for years but little by little I get the feeling for it.

[@Marunius]

Wish I learnt about all this years ago, when I still had motivation to practice. Cool channel, subscribing :).

[@tradingwithwill7214]

Great stuff. I vote for more chordal stuff on comping and chord melody along with contrary motion from labyrinth channel maybe on various standards. Thanks.

[@bobryan8793]

You make me a better player...thank you sir....

[@thingsivelearnedfrombarryh2616]

I think Barry makes us all better. Thanks Bob.

[@Atlanticmoonsnail]

Nice video, Thanks. Substituting the minor a perfect 5th above is something I learned from Tim Pettingale's book, "Jazz Bebop Blues Guitar".

[@brad724p]

Great info as always.

[@thingsivelearnedfrombarryh2616]

Thanks Brad.

[@tommyburnhamsmusic]

Amazing stuff man. I’m gonna start proper roasting this stuff.

[@thingsivelearnedfrombarryh2616]

Thanks Thomas.

[@TheRealSandleford]

Is there anything on chromatics with these diminished scales? half step rules or some soloing happen using them? Ive seen the exercises with these diminished scales, but is it more for guiding the solos? I found Barry saying to try doing obliques and found starting with a minor third it sounds really cool! Found where he spoke saying they threw the sharp five note away from the major scale and its a true major scale with it added!

[@tactlacker]

Holy shit dude

[@jambajoby32]

We’re you able to read & write before studying with Barry

[@BenignCentaur]

Beautiful stuff. One question: Doesn't the F natural in the C7 scale (which is what you'd use to play over a C9 chord) clash with the F# from the Gm6 dim scale you're using to comp?

[@garyleemusic]

New drinking game: drink every time he says “really pretty” 😉 great stuff thanks for the vids

[@garyleemusic]

@Creatotron hahahahaha

[@guidemeChrist]

It's fun to think of a regular dominant 7th chord as a diminished 7th chord with below-borrowed note in the bass. A G7#9 is then a Bdim7 with a below-borrowed in the bass and an above-borrowed in the soprano.

[@guidemeChrist]

Part of why I advocate the diminished-diminished as the 5th scale of chords. On G7b9 take any of the diminished notes, borrow it step above, go back, then wrap it into the maj 6th chord like a chromatic enclosure as they call it

[@g1ld]

What scale would you play on G7b9? For me the gypsie is easy to play but sounds too spanish. Alternatively I can play a bit the altered dominant scale. Personally I cannot quite use the diminished scale. Another strange chord is this with the added 6th G13b9 that I find tricky

[@JosephElsherbini]

​@@g1ld I think with the G13b9 you can use the octotonic scale, or diminished diminished as omit five called it. For G7b9 you can use the same scale, or also the G#m6 scale which has a b13 instead. Here's a spreadsheet with some ideas: docs.google.com/spreadsheets/d/e/2PACX-1vTef8YlJZ6Rgj2ddsAzMkxIiGa0UYvIMG899DHyOkZBN9zeLuZ-4ySScts5fGvUEosNI9awKdLD8szt/pubhtml?gid=232922082&single=true

[@guidemeChrist]

@@g1ld Bb7 down to the third of G

[@g1ld]

@@JosephElsherbini thank you for sharing your spreadsheet

[@danielebazzani]

Chris, let me say thank you for sharing all of this, it's a lifetime of knowledge. As a teacher (I just came across Barry and his method) I am a little overwhelmed and cannot really find a clue, is there a way to make this more rational? Like how did Barry think of harmonizing the scale, starting from the 6major chord instead of the Major 7th as everyone does? Did I understand well? Sorry for bothering!

[@crono303]

Barry's got his particular way of describing it, but the short version would be that there are two basic scales for chords (there are 2 other more advanced ones, but don't worry about those yet), maj6 and min6. If you take a C major scale and add an extra note between 5 & 6, you get an eight-note scale. Then, if you take the traditional way of making chords by skipping notes to build chords, you get C6 - Ddim7 - C6... or Cmin6 - Ddim7 - Cmin6... Using the Maj6 and Min6 chord lets you play most chord types, you just need a different bass note. C6 chord scale = C6, Amin7, FMaj7 Cmin6 chord scale = Cmin6, Ahalfdim7, F9 (dominant chord) And that basically covers you for most chord types! Start by getting used to the 4 inversions of each 6 chord, then try moving up and down the scale by alternating 6chord - diminished, applying as much as you can to songs you're learning.

[@danielebazzani]

@@crono303 thank you, I already figured that out in a while, I'm happy I got it right! :-)

[@crono303]

@@danielebazzani Glad to help! Best of luck with your practicing.

[@ymelfilm]

02:40 I think Rick Beato introduced a similar one linking it to Joe Pass

[@bubblevest1544]

So I guess you could look at the 9 chords as m6 chords and m7b5 as well ?

[@teresitababyj]

Have a nice day new fren watching your video im lestning here you teach me ser i know how to play guitar but its not so good im watching from philippenes

[@jesmarcamiloloaizalagos9946]

Thanks man for all of these videos, Barry teachings are so valuable and deep. I would like to ask you something: in a IVmaj7 chord, what do Barry think about it when sololing? cause I know he doesn't use modes but When you get to the Cmaj7 in Autumn leaves in Em, what are we supposed to play as Barry peaple.

[@JosephElsherbini]

He has a video here on autumn leaves - kzbin.info/www/bejne/oGTdlYqNoauFjs0 he uses the C6 diminished (well he's playing in G minor so Eb6), and you can borrow the B from the diminished chord to get the maj7 interval.

[@jesmarcamiloloaizalagos9946]

@@JosephElsherbini that is a harmonic concept tho, I meant the soloing aspect of playing. I know on the I, iii, and vi, you use the major scale; on the V, ii, and Vii you play the dominant scale, it all works perfect for me, but that forth degree is different I guess.

[@crono303]

@@jesmarcamiloloaizalagos9946 I'm not Barry Harris, so I can't answer for him, but seeing him talking about the "3 minors" seems like it would translate. For example, Dmin7 can exist in C major, Bb major or F major, so he likes to think of the home key for improvising with those chords. I imagine a IVmaj7 would use the same scale as the home key, which is G major in your Autumn Leaves example. So, for that progression from Gmaj7 to Cmaj7, you can use Gmaj7 language for both those measures.

[@jesmarcamiloloaizalagos9946]

@@crono303 thanks man, It makes a lot of sense.

[@gregjohnson6329]

what's the guitar?

[@jabf123]

So It could work the same for Cmaj9. Thinking not in Cmaj9 but in G6?

[@thingsivelearnedfrombarryh2616]

Yes.

[@user-er3zw8ti9c]

Hey man,your video is great!May I ask how you visualize the fretboard?

[@bremlquan]

May i ask how you visualize the fretboard?

[@JosephElsherbini]

Very cool. How do you think Barry sees a maj7#11 chord? Is it a "6 on the 6"? For example for Fmaj7#11, Dm6 with an F in the bass has D F A B.

[@JohnSuttonMusic]

Barry would use the same framework Chris demonstrates in this vid but in major: Cmaj7#11 is Gmaj6 borrowing the F# from the diminished

[@JosephElsherbini]

@@JohnSuttonMusic That's a cool way to look at it, it has the 9 in it too. I guess the "6 on the 6" way would be an Amin6 A C E F#, with the B in the diminished to borrow. But I don't like that the scale includes a natural F.

[@BrianOates]

The term I learned was sixth on the fifth. So C major chord sounds are substituted with G6 sounds including borrowing from its diminished. A typical two five one in C: F6/dim, Abm6/dim for altered sounds or Dm6/dim for more stable dominant sounds, then G6/dim for the one.

[@Ortemon]

Do Barry use blues note and blues scale in his playing? What does he think about it?

[@thingsivelearnedfrombarryh2616]

Yes. He calls them funky phrases. He uses them sparingly.

[@dangatton7138]

Ahh I believe Episode 1 can answer that !

[@zu0832]

Correction C9 blues to G minor blues?

[@eternalrainbow-cj3iu]

In my opinion Barry is the Disputed Master of Jazz Contapunct and he is able to do things on the piano that is so musical that is recogniable Hm

[@eternalrainbow-cj3iu]

UNDISPUTEDSORRY

[@thingsivelearnedfrombarryh2616]

Yes he is.

[@teresitababyj]

About chords im not perpeck but i know some chords but not full thanks

[@TheBh999999]

How can I start at episode 1

[@thingsivelearnedfrombarryh2616]

Start at any episode. It's not in order.

[@Datanditto]

Do you do lessons online?

[@thingsivelearnedfrombarryh2616]

Yes [e-mail] You can email me

[@chewoo69]

Wes sound :) at the top of the iceberg...

[@thingsivelearnedfrombarryh2616]

Yes, very similar. I don't think Wes knew the scales of chord though the way Barry approaches it.

[@chewoo69]

@@thingsivelearnedfrombarryh2616 True

[@andybutton1515]

I want to be a Barry Person

[@thingsivelearnedfrombarryh2616]

If you believe in this stuff, you are a Barry person.

[@andybutton1515]

@@thingsivelearnedfrombarryh2616 You should do T Shirts.... I'm not even kiddin

[@guidemeChrist]

@@andybutton1515 "that's pretty, too" on a t-shirt would be lit

[@guidemeChrist]

Haha coming back to this notification my mind went: I want to be a Barry (person) But I won't be a Barry (person) 'till I make you a Barry (person) too

[@zu0832]

Did you convert D7 blues to a G minor blues?

[@MrThepopopopo]

I wouldn't because the minor 6 off the 5th is just one of the options for dominant chords. You can play the tritone, tritones minor, diminished family etc.

[@AntarblueGarneau]

C9 = Gm6 ok ...but what about the "C" note in the bass? Isn't that the 11 of Gm6? Is it Gm6 11? Or Gm6 sus?

[@MrThepopopopo]

Gmin6(add11)

[@TheRealSandleford]

Ok don't think of c9... what about C dominant diminished I guess I could try it...

[@thingsivelearnedfrombarryh2616]

Also beautiful. So is F#7 diminished.

[@TheRealSandleford]

@@thingsivelearnedfrombarryh2616 Patreon link is bad..

[@thingsivelearnedfrombarryh2616]

@@TheRealSandleford Thank You. I think it's fixed.

[@critical9999]

But there's virtue of playing same chords more than It needs to be played especially in Blues