Jazz Theory with Barry Harris, Part Three

Sit down with the legendary Barry Harris for a piano and theory lesson that will expand your harmonic vocabulary and give you deeper insight into the music!
Learn more at the Jazz Academy by visiting academy.jalc.org
Barry Harris - Piano
Eli Yamin - Piano
Eric Suquet - Director
Bill Thomas - Director of Photography
Aaron Chandler - Audio Engineer
Richard Emery - Production Assistant
Seton Hawkins - Producer
Recorded September 11, 2013

[@martinholland3140]

Thank you Mr Harris for all your words of wisdom. I am British, a mature jazz student. A horn player who tries to learn from the piano and keyboard. I have watched many of your videos and now, I clearly understand, how American jazz is truly the continuation of European classical music. And how lucky we are that it has developed through musicians such as yourself, to become so sophisticated and uplifting. You reveal that as great European composers figured out better ways of writing down music notation, the aural traditions began to recede. And the need for improvisational skills such as building on a simply written root or bass note, waned. In fact, the more they wrote down, the less they improvised The move towards note based performance culminated maybe, in Bach's 48 preludes and fugues written for his new,"Well Tempered" Keyboard and continued the notation trend relentlessly in "classical music" to the turn of the 20th century and even up to today. Notated music would have continued as the norm for the privileged and well off, but I guess that poverty and deprivation experienced by the founding fathers of Blues and Jazz halted that decline and breathed new life into sharing music with collective oral and aural expertise. It took a few geniuses like Louis Armstrong and later Charlie Parker, Dizzy and yourself, to progress from Church and the Fields, to the sophistication of Bebop. Much of my own 25 years jazz study has been attending all kinds of organised workshops. These workshops also attract high school music teachers who have realised that they are trapped by music notation. They are good readers and I like to stand next to them so I pick up the heads quickly using a combination of ear and eye. Once I have grasped the changes, my attempts at soloing are not too bad generally, but professionally qualified music teachers often struggle. Most commonly I (the music student) am asked by these teachers " But how do you know what to play?" Therein lies the truth of what you teach. Thank you again Martin Holland

[@xxjmxx13]

Beautiful comment

[@musicmankeyz]

Reminds me of my Piano tutor. This guy is miles ahead of me yet still I couldn't understand why he would ask me how do I know how and when to use certain chords...

[@uncleric3797]

Now this is school. I learned more here than in 4 years of piano that I took.

[@quincydrones928]

None of this would have made sense without 4 years of piano though

[@jim3541]

​@@quincydrones928 Not entirely true , I've never taken music lessons of any kind and can barely play piano. But this made a lot of sense to me.

[@afxmnstr]

@@jim3541 if you're implying that you dont play ANY music at all but a LITTLE Bit of piano, then congrats. But if you have a background in music this stuff will click with you.

[@jim3541]

@@afxmnstr Couldn't agree more , but I was really only trying to say that 4 years of piano lessons is not necessary for this to make sense.

[@thingsivelearnedfrombarryh2616]

Thank you for doing this Eli.

[@Pootzification]

When moving each chord tone of the Cdim7, you get the 4 dominant chords, B7, D7, F7,Ab7. 8:49 C is the b9, b7, 5 and 3 of those chords respectively. Therefore, you can play diminished licks on each of the chord tones of a dominant 7 chord. I think???

[@bradynharris5630]

well the end goal is that you’re creating an 8-note “diminished scale” that is the diminished chord and the 4 V7b9 chords it could be a part of, and you’d play licks out of that scale over the V7 chords. for example C diminished scale is Cdim (C Eb Gb A) and Dbdim (Db E G Bb) to outline the C7 and leave the leftover notes in the scale to further imply the “homaward” trajectory (Db Gb Eb A, all resolving to F as the C7 intends)

[@moneybuddymusic5179]

I should go to sleep but these are so captivating

[@brandonjamar]

“you gotta know that” that says everything right there.

[@rogercook8277]

I could listen to Mr. Barry Harris all day long . I love the way he brakes it down. Who ever posted this , Thank you.

[@JazzAcademy]

Thanks! Spread the word and check out more of our videos!

[@aymanboujlida]

As much as you guys make more video with Mr Harris, the wolrd become a better place !!! Respect to the methode of the genius

[@CharlesK441]

I don't play piano but I've become hooked to this genius. Can anyone hear the difference with how the 2 of these sound even playing the same phrase Its night and day! Absolutely fantastic.

[@thingsivelearnedfrombarryh2616]

Charles K Maybe you'd enjoy my channel . I'm also hooked.

[@ronaldo.araujo]

I subscribed, I hope to enjoy this soon

[@jean-lucbersou758]

fORTUNATELY .......BARRY HARRIS was far above as the MAN who knows and shows ....and as a genius who is naturally exceptional .....and I notice his wonderful hands with long fingers ,wide palm and the detached thumb , an anatomic gift for playing piano and may I add a caracteristic that belongs often to black genius as WES MONTGOMERY . Those "giants" were born with perfect tools .!

[@His-Soldier]

@@jean-lucbersou758, easy tiger! Given that Harris aspires to being a classical player, I wouldn't get to fixated on the physical origins of the musical genius.

[@cheeseheadfiddle]

I wish I had seen this in 1981 when I was in high school trying to learn jazz. So amazing to see these structural ideas opened up with such ease.

[@FatsacksAllday]

This is the level of knowledge I'm striving for thanks for the upload

[@conqueringlion420]

Rest easy Legend, and hey thanks for teaching us Cat.

[@jvincent2870]

I could listen to this all day

[@SvintMvrcus]

9:15 🤯

[@TechMetalRules]

Barry is blowing my freaking mind!

[@jazzsecrets]

Everytime I listen to this I hear something new

[@benjiusofficial]

Oh man, between Rick Beato and Barry Harris, I might actually learn a thing

[@annonymeandfish]

Feeling blessed

[@holygroove2]

Last sequence of chords, that last cadence that they work on, sounds like Ellington! I shouldn't be surprised.

[@endah08]

I love this man

[@ruguoserliegise2716]

Yes Mr Harris, Chopin would have been glad to have you around 😢

[@danielibanga3408]

I'll suggest the folks disliking this tutorial made a mistake clicking the wrong button 'cause this is really good.

[@siphondhlovu1153]

Daniel Ibanga No it’s jealous ignorant folks.

[@benzinebremmer7350]

@@siphondhlovu1153 why they jealous though?

[@jermmt]

This is GREAT STUFF!!!

[@willemjansen1141]

9:30 after he explained that c dim7 can be resolved to for dominant chords he let's us know that an A triad on C7 is family. How does that relate to what he explained about Cdim7? I get that its an upper structure but it seems like he is trying to make me see something I don't see

[@misterdomciux]

Not any triad but one starting from dim7 notes. So C7 is family with Eb, Gb, A majors. So they can be stacked together and sound good.

[@BMarPiano]

I love this guy!

[@polkmusic]

This is so great.

[@bertramblik8826]

I started thinking and seeking about this stuff too about what other functions a minor7 can have in other keys, when I started learning jazz in my early 20s.

[@Hajjmusic_]

Wow that’s very insightful

[@bartlebob]

Fantastic stuff !

[@shermanjackson8519]

Such a legend!

[@jean-lucbersou758]

Today Pasquale GRASSO is the most complete and scientist talented jazz ( and classical ) guitar player . He was HARRIS ' student .

[@heidisavoie]

I'm blanking on the tune at 7:30 ...anyone to chime in?

[@TimothyVesely]

The song is I want to be happy. Bud has a lovely recording of that piece.

[@jbaby007]

Finally, I can understand most of the things being said in this part lol.

[@agodsey1]

Thank you Mr. Harris! What a teacher.

[@abelcisneros843]

yeah, this is the hippest stuff EVER, thanks.

[@evanp531]

this is the coolest thing i've ever seen

[@veter6074]

_EXCELENTE_ AMO EL PIANO MAS QUE A LAS MUJERES _🎹🎹🎹🎹🎹🎹🎹🎹🎹🎹🎹_

[@ArtbyAtlas]

Love these lessons :D

[@GuitarWithJamie]

What is Barry trying to teach us from 4:45 until 6:00? He is trying to make a point about the fact that a Maj7 scale degree is in the I and IV chord, a Min7 scale degree is in a ii, iii, and vi chord. He then goes on to say D-7 is the ii of C, the iii of B-flat, and the vi of F. At that point he seems to be delivering the “punchline” of the lesson, but I am missing what he is saying. I am mining this for lessons, but would love a hint…because yknow, patience.

[@VNCV96]

He's basically saying that you could use both the scales of C and F (and more) over D7. Or also that from that D7 you can modulate to those keys or from those keys you can borrow chords...

[@pete3816]

He’s showing the relationships between ‘key signatures’ and how they share so many common attributes (in this instance, chords). Having intricate knowledge and understanding of these relationships provides increased freedom to modulate between these keys using numerous different paths of ‘relationship’. Ultimately allowing greater freedom when improvising.

[@aligator1003]

What is the song they talk about at 06:25 (also played as the intro of the video)?????

[@dr.brianjudedelimaphd743]

+Ali Gator "I want to be happy"

[@aligator1003]

+Brian de Lima thanks !! ;)

[@mackgrout]

Ali Gator haha I was just about to ask! Thanks!

[@FelixScottJr]

You are professional when you play legitimate.

[@chethelesser]

2:55: Can someone explain this Shoenberg part? "Now you learned all the eleven"? Don't get the point of this fragment

[@TomCasey]

Al Cher play a major scale. Then, add a third to that note and play up the scale again. Now try a perfect fifth. Always use the notes in the scale. Then, learn all the Non-diatonic versions: for instance, instead of playing a diatonic seventh, flatten it. So instead of playing Imaj7, IImin7, IIImin7... you play Imin7, IIdim7, IIIdim7, IVmin7. It’s teaching you how to “know” the intervals. If you practice these simple things, your abilities will evolve much more quickly. The only reason why people don’t tell you to do this is because they don’t know it themselves. But it is the secret to mastering any instrument. Learn simple things.

[@samuelm4528]

@@TomCasey woah, that's pretty cool

[@EliZevin]

I thought he was referring to the 11 other keys?

[@TomCasey]

@@EliZevin that too!

[@harleySOfficial]

He meant the other 11 keys.

[@purpleAiPEy]

I love the thumbnails for the video.. it's like a story. great videos thanks a lot, good luck with your channel! (get more Barry for more views! haha)

[@TheMadisonHang]

@6:00

[@stewheart]

is there an explanation for any of these exercises?

[@zqa12swx]

"the chord gotta be pretty, that's Family!" This is too hip.

[@madeintheyard]

Amazing stuff! Thanks you for posting such great information!

[@JazzAcademy]

Our pleasure! Stay tuned for more, and spread the word!

[@nowin2win]

Jazz at Lincoln Center's JAZZ ACADEMY Thanks for such valuable information.. I wish that jazz teachers understood jazz the way Barry does...They would have taught it in a way that makes more sense to students... Please continue uploading those videos.. Thanks so much

[@earlem9771]

It's interesting how this segment shows key staple chords in current gospel piano.

[@papaee5678]

How do you play intro

[@brandoncarter3985]

WOW

[@ZazenFlyin]

What's the songs at 6:27 ?

[@heidisavoie]

I want to be happy

[@foxybrown2]

Pat Martino talks about this. but he gets to deep and spiritual about it . Makes it sound mystical.

[@svalenzuelamusic]

Does anyone know the name of the Bud Powell tune they're playing?

[@ouriel]

+Sebastian Valenzuela Parisian Thoroughfare

[@alvarov.j]

what is he doing at 8:30? can someone explain?

[@benjaryan]

Barry H is explaining that when you lower one note in a Dim7 chord by a half-step you find one of the 4 dominants that belong to that diminished chord. His example is C Eb F# A, if you lower C you find B D# F# and A, also known as B7. Then if you move it back and lower a different tone a half-step, like Eb, you find E7. He further explains that those 4 Dominant chords are family. (Sorry for anything written enharmonically)

[@benjaryan]

From that point of view it can also be seen that a Dim7 chord can also be seen as a Dom7(b9) when one of those lowered tones are in the bass. Although in some situations you wouldn't want to voice it like that (stacked thirds can sound iffy)

[@luke-fh9gf]

Bro Idk

[@bill3837]

chords inside chords

[@plesnitrener3299]

8:16 laugh :-)

[@zvonimirtosic6171]

What we see in this video, does NOT apply to the jazz as a field; very few jazz musicians satisfy Barry's standards. Barry speaks from an ideal point of view. So Classical is not alone in having problems; today's jazz has them plenty. If the jazz is continuation of the Classical music, why most jazz players today can't fathom to compose, play or improvise something akin to Liszt, Brahms, Bach or Chopin? There is no chance they can do it. They can't even pretend to say they know how to compose in Classical styles. Most jazz soloists took only a small fraction of theory what they (barely) understood from the Classical, and applied only in certain types of scales, certain "progressions", and they don't know nor bother with many other aspects of Classical music, like: variegated tempi, changing tempi, more varied change of dynamics, the counterpoint, more scales, new scales, orchestration, they now almost completely dumped vocalists from jazz bands, etc. By saying that he does not know a single jazz musician who composed for the orchestra, I'm glad that Barry Harris recognises a bigger problem. Western jazz players, who are unaware of all this, in many ways constrain their music as if it's boxed within a certain stereotype. As a result, 90% of modern jazz sounds the same, and sounds horrible. Jazzers think they "improvise", but only circle within own "chords" and patterns which they don't even fully understand, but merely memorise though practice. Rock and pop musicians do the same. It's a kind of self-delusion.

[@koyaanisrider6943]

Harris is cool and competent but I don't know if he's very encouraging. My impression is that he has a quite rigid concept that he wants every student to adapt.

[@YourOwnAdventure]

This might be a low level question but does anyone know the chord exercise they are demonstrating at 3:45 with the walking bass up the scale with chords over the top?

[@dr.brianjudedelimaphd743]

+_ Nerdify : its the introduction to Powell's "Parisian Thoroughfare" IMaj7 IIm7 I/III IVMaj7… then back down

[@YourOwnAdventure]

@Lucas McMaster Thank you 5 years later 😅

[@TheDoctor1492]

That's Family

[@joechewter1322]

Rugrats

[@bill3837]

harmony is harmony to e classical harmony is the same as jazz harmony

[@pete3816]

Alternatively, there’s no such thing as harmony. It’s just man made constructs to best describe what we are hearing, playing and writing. Essentially there is nothing but frequencies hitting our eardrum and our brains interpreting it as sound. But in western music with western tunings, we’ve had to invent a way of describing and communicating our music ideas. As tunings and instruments evolved, nobody could’ve anticipated the mathematical relationships and thus harmony between the frequency resonances being played. It’s important to remember that music came first, and then the descriptive language of harmony had to play catch-up.

[@brucewaynee1452]

guy makes me wanna stop guitar and get back into piano

[@ethanmulvihill7177]

Sorry Barry but the raised fourth on a major seventh is commonplace now, and it sounds really good to most I'd say.

[@pete3816]

And you are the representative and appointed spokesperson for ‘most’? 😂 Remember it ALL subjective taste. Additionally, as much as we think the past 200 years of western music is the be all and end all, it really isn’t. It’s just what we in western society are exposed to most, currently. In 500 years from now, who knows where music will be at. Who’s to say that temperamental tuning and whole/half-tone functional harmony will still be the ‘Norm’? I hope it isn’t! Imagine music remaining so static as to not evolve and cast aside its binary shackles. I love the current push towards microtonal.

[@ethanmulvihill7177]

@@pete3816 Oh... okay... I'm just speaking from my experience as a Jazz musician (considering there isn't a modern Jazz musician I know of that would balk at a raised fourth. I agree with the rest of the comment.