Jazz Theory with Barry Harris, Part Four

[@erickgorrio4880]

Barry really have the tone in his fingers. Every time he touch the piano for just few seconds is amazing. It´s so warm.

[@JaggedEdgeBouldering]

yes!!

[@Johnsormani]

That is what I thought exactly. Such a gentle touch . RIP

[@CharlesK441]

I was just about to say the same then saw your comment.... totally agree 👍🏾

[@TheDoctor1492]

PLEASE Jazz Academy, more Barry Harris videos!!!

[@BMarPiano]

Love Barry Harris, love the pianist and their gentle interaction. This is gold.

[@barrowmeoct04]

Just realised that Barry Harris is teaching what he actually plays, not just bare theory without a context; where he does those chromatic descending minor 3rds on E Major, on a couple of his tunes I've transcribed, he definitely does this movement in his playing, it's nice to actually hear him break it down and explain it.

[@WilliamSlaght]

+barrowmeoct04 He teaches movement more than his own style. He believes this is how harmony naturally moves, and I stand right by him for the moment.

[@barrowmeoct04]

Thanks for the insight; I've never really thought about it like that before, the harmony having a very specific 'direction'. The movementn of harmony is something I've tried to grapple with, after realising i looked at music purely from a 'play this chord, then that chord, then that chord' logic ... so glad I stumbled across Barry, lots to learn and apply

[@Ianthe22]

@@WilliamSlaght No. He says it at the end very specifically. Each chord belongs to a scale. Most musicians see or hear chords, but they don't always see the scales. So once you know that, it will be a lot more fun to play. This is about improvisation, not so much creativity in melodi creation. Although in many of his other sessions he does however often talk about movement and "right played" progressions.

[@DRCification]

I love when Eli says “then i gotta say” before he hits the next chord just like how Barrys says it

[@nadasonic6]

1:40 anybody know what Bach piece that is?

[@pederlong1784]

This man is a national treasure

[@yoericktv9610]

That last segment was gold. This entire series is golden. Thanks Jazz and Mr. Barry.

[@zvonimirtosic6171]

At 3:40min, here is a possible answer to the question: why Schoenberg did not also put "raise the note"? Schoenberg was thinking about chords in terms of human voices. The root of chords are the layering of human voices, NOT the piano keyboard acrobatics. For Schoenberg it was not possible to think that a soprano can sing above her register nor tenor above his register (raise the range), and so on, without ill side-effects. But it is possible for any voice to play slightly *below* its usual range for a while (drop the note, or diminish). The piano is different though: it can do anything, raise or drop the note, but the human voice cannot. This is why classical music can be sung, but half the jazz pieces can't; it is killing the human voice.

[@jazzsecrets]

These lessons are priceless. You give me all the gold in the world in exchange, I would not take it.

[@professorquack]

I have no idea how to follow but it great hearing two people that deeply understand an art

[@KM-zm9tu]

looking forward to part five.

[@alexakalennon]

Thank you so much for sharing what Barry Harris said(played), and of course, what he had to say. Love that idea. As always inspiring

[@sevenminaya1390]

Give us more!!

[@MISTAMUSIK]

Barry is such a bright musical mind! I would love to have a one on one with him!

[@ketongu]

Love barrys respect for schoenberg. The book he's on about is called theory of harmony, and it's great

[@reubenpompei3896]

it's true though i have a friend thats says jazz is simple etc (she is a classical player with no jazz experiense) and she knows how to play the entertainer, i said well done but can you improvise on summertime or take the A train and nothing she literellly was lost doesn't know what to play to express herself as charlie parker says you don't play the sax, the saxs plays you :)

[@ihavetubes]

each person has there strength and weaknesses.

[@chethelesser]

Academic education is so caught up in teaching the material - all the pieces that those composers from Bach to Stravinsky wrote - but not the actual music. Mechanical memorization, not explanation.. I played Chopin in one of the classes, and was explained some distracted chord progressions in the other. Just explain me the Chopin changes for Christ sake! No wonder those people in the orchestra don't know anything about music and improvisation, they were just told to learn the pieces as if they were just an appendage of their instruments

[@carlosandres7006]

Charlie was so right. The life goal of a musician is not to stand in the way of the music

[@nowin2win]

If there is more , please upload them.. Thanks so ,much!!!

[@petersimms8290]

can anyone explain whats happening around 5mins into the video. I get the raised C on the diminished to give you Fm6 & then moving down to B7 & then EMaj but what are the movements Barry is showing him.

[@Christiansferguson]

It’s an f sharp minor 6 not an f minor 6. Basically a 2 5 1 where he moves some notes on the two chord.

[@Christiansferguson]

Then he takes it down through fifths. So he starts with f sharp to b7, then does e min6 to a7, then d min 6 to g 7 and so on through all the keys.

[@DonSyndrome]

4:20.... He's going from F#m6 to B7 to EM7... is that like a version of ii-V-I... he going chromatically from C# down to B on a Cdim7 ... and then down to EM7? After that, it's hard to follow.

[@RicardoMarlowFlamenco]

The Cdim is spelled wrong. It is D# dim inverted and borrowed from E minor. Simpler view is the B9->B7b9->B7.

[@Bati_]

This series is truly incredible! Can someone please share the all the classical music references in the video? Which classical pieces Harris is referring to? Thank you so much in advance!

[@dealieno]

5.31 "oooooooooooooooooooooh" (eureka) wow.

[@derekduleba]

What is the title of the Bach "rhythm changes" piece barry was playing?

[@Starritt_Piano]

I was wondering that too ... Derek Duleba

[@Ianthe22]

I am not sure. But it sounds like one of his variations or inventions. It's not an uncommon figure in Bachs music. Plus it shouldn't surprise people at all. Through time composers has always been inspired by or even at times taken the liberty to take some older material to work on. It's as old a tale as back to when cavemen hammered rythms on bones and stones. "I got rythm" was written by the Gershwin brothers originally. Musical composers do love to be inspired by many different genres.

[@lotharschuller3546]

The Bach piece is from his cantata BWV 56: "Ich will den Kreuzstab gerne tragen" for Basso solo. ‚Endlich wird mein Joch wieder von mir weichen müssen‘ (3rd movement). Enjoy this great cantata!

[@derekduleba]

@@lotharschuller3546 Thank you!!

[@Bati_]

@@lotharschuller3546 Thank you!

[@thingsivelearnedfrombarryh2616]

Awesome.

[@fernandorendon8618]

ths vid makes me feel love

[@josefk2132]

Gold dust 🙏🏻

[@chrish12345]

I may be wrong here but it seems a bit vague to say 'every minor sixth is a major seventh' (minor triad with an added major sixth and major chord with an added minor seventh) - from his explanation here he's actually showing that 3 of the notes stay the same whilst the lower note of the diminished seventh chord they are based on moves a semitone either side. eg the C Eb Gb A diminshed seventh can become C# Eb Gb A (F# minor 6th) and then B Eb Gb A (B major seventh).

[@94mac]

+chrish12345 Interesting, think you meant to say B7 instead of major 7 though

[@CrazyYeehah]

+chrish12345 You got it wrong - Barry says "every major sixth is a minor seventh" for instance : C6 (C E G A) --> Am7 (A C E G)

[@RicardoMarlowFlamenco]

Based on what he had just demonstrated with diminished 7 chords... I think he meant to say every major 6th is a DIMINISHED 7th... as in intervals. In that manner he exposed the Cdim7th chord (c Eb Gb Bbb) to function as a sub for F#m6->B7, via chromatic alterations (c#-c-b), thanks to enharmonic misspelling F#-Eb (diminished 7th) to F#-D# (major 6). So drop root= dominant B7 chord, but raising root=F#m6 chord. His point was Shoenberg revealed the dominant connection but failed to show the ii-V-I. Honestly 2-5-1 is jazz discipline concept. There are lots of other approaches to V than ii options, so not any special reason why Shoenberg had missed something.

[@JorgeRamirez-re3zf]

alguien que tenga estos magistrales en español!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

[@rupertlay7684]

Forgive the 11 haters for they know not what they know

[@bartlebob]

On a Steinway, no less.

[@luksaxtenor]

Thank You so much!!!!!

[@68caribou]

It's like watching magic tricks!!!! :D

[@petersimms8290]

I get it now.

[@Dylankerslake1]

please explain

[@philosophersstone6584]

please explain

[@einpelikan]

same structure as Peter Simms explained in his other comment. but the movement is going down in descending fiths (A, D, G, C,...) and on every second chord (D and C) he adds the parallel voice to the chromatic melody as he showed at 4:43

[@conqueringlion420]

Rest easy Legend, and hey thanks for teaching us cats

[@mattnewman6049]

Barry Harris and Pat Martino. Understand what theyre showing us.

[@derrik-bosse]

Scarlatti knew

[@leonKeyB]

hoooooooooooooowhhhhhhhhhh

[@ronsiegrist2034]

:)

[@klaodnell9338]

Great tutorial, some parts were hard to understand linguistically though. He didn't speak very clearly! Good nevertheless

[@MicWal0422]

+Klaod Nell I clearly understand what he's saying; maybe because i'm a southern who has lived in 4 states and comprehend various dialects. you're right, it's good stuff.

[@klaodnell9338]

Yeah I think its the southern accent. I'm Australian hahaha and the Australian accent is quite hard to understand too.