Brother chords - Barry Harris

[@robbes7rh]

I agree. Revelatory the way you can use the diminished configuration built on the flat 9 to access the polychords that add wonderful character to the dominant 7.

[@mikeluisipiano]

Genious! the most clear concepts! God Bless You Master!

[@gspotjazz]

They're all chords from the diminished scale. If you know the scale well, the possibilities are endless. In addition to the four dominant-sevenths and four diminished-sevenths (on G, Bb, Db, and E) , we have four minor sevenths, four half-diminisheds, four dominant-sevenths with flatted-fifths.

[@baceghost]

I have seen a number of Barry Harris explanation videos and this is one of the best. Nice job showing this in a simple to understand fashion! Thanks!

[@JazzSkills]

Glad it was helpful! I wish you good jazz.

[@mackgrout]

Excellent video, thanks for sharing the knowledge and the love. Play with your brothers and sisters!

[@teaforone77]

Eye opening! Thank you very much for the great lesson!

[@Drogers8675]

As a guitar player I say thank you!

[@everlastingsaturnalia]

On guitar you can create a simple shape for the dim7 chord and move it 3 frets up to access the symmetrical inversions of it. What's cool is there are only three of them since 12 divided by 4 is 3. So you only really have 3 unique ones to memorize and then you can conveniently associate all 12 dominant chords with their respective diminished 7th family.

[@Sandemose]

Love this. Helped me so much.

[@paulr494]

People have different approaches, people have different preferences, that’s all cool. But what is here is a clear explanation of a particular BH approach. For me it shows me where you can take this, I’m at a level where getting familiar with inversions and more basic relationships is what I need to focus on, but this lets me see the direction of travel. Other people maybe on other journeys, I wish you the best finding your paths to your better playing. I happen to have found mine.

[@JazzSkills]

Keep up the good work, Paul!

[@mrquick6775]

What I did was mix Barry system with my own. I created a movable system that is similar. Indeed. The G-Bb-Db-E kind of forms a hut: 🛖 and that’s how I keep it organized in my mind. And they form a diminished chord and they can all be used as subs for each other. And this is cyclical throughout ALL keys.. The other thing is that if you look backwards you’ll see that they are also form: MAJOR- MINOR parallel harmony. So: Emaj: Db min Db maj: Bb min Bb Maj: Gmin Gmaj: Emin You arrive right back at EMaj And the process starts all over again! This is by no means all of it but I’m just explain how I understand the brother system and combine it with my own. I say that because people have to understand things in their own way that makes most sense to them so that you’re not constantly memorizing things but more or less relating things to information that you ALREADY have memorized! Peace and blessings’

[@sandorphoenix]

Thank you for your time and efforts.

[@keyscook]

Brother Barry, I'm delighted to have come across your channel tonight (so much more to learn and explore!) Your examples you have shared with the note motion + inversions brings visualizing chords to the next level for me. Thank you very much & Cheers from Seattle! 🍻 This is much the same way that I would teach *_guitarist_* band-mates extended chords that were unfamiliar to them - calling out in my charts "poly-chords", which greatly simplified their understanding.

[@eggmarket]

One of the better lesson videos I've seen regarding anything Barry Harris related. Subbed

[@mrquick6775]

Indeed. The G-Bb-Db-E kind of forms a hut: 🛖 and that’s how I keep it organized in my mind. And they form a diminished chord and they can all be used as subs for each other. The other thing is that if you look backwards you’ll see that they are also form: MAJOR- MINOR parallel harmony. So: Emaj: Db min Db maj: Bb min Bb Maj: Gmin Gmaj: Emin You arrive right back at Emaj And the process starts all over again!

[@morphicmusic]

Thank you for this wonderful instructional video.

[@bobstonjr]

just subscribed as a classical pianist trying to improve my musicality through jazz!

[@efrenhei4902]

Than you! Greetings from Argentina!

[@henriklujala4183]

Amazing video!

[@JazzSkills]

Thanks!

[@sujiut]

Thanks.

[@joeydunn1646]

Great video! Question about the production, what virtual keyboard app is that on screen? I assume you’re playing a midi keyboard and this app visualizes on your screen. We’ve been using vmpk to display on zoom while teaching piano lessons, this looks so nice! Would love to use it. Thx

[@producerdonpaul5979]

Amazing ❤🎉

[@Stewartaj2010]

I love the Barry Harris system. The movements have taken my playing to a level that sounds very authentic without me even being that good of a pianist lol. Almost feels like cheating.

[@JazzSkills]

What's a bit of cheating amongst friends? :)

[@whatilearnttoday5295]

That's because it's the only authentic thing going.

[@paulrhodesquinn]

@@whatilearnttoday5295?

[@TranquiloTrev]

Wonderfull lesson. Now I will go and see if it works for me.

[@JazzSkills]

I hope you enjoy playing them.

[@arthurthegreat216]

Good info, thank you! I don't really play piano, I play the guitar. I went to explore this concept on guitar, and I realize that I already do this kind of stuff, but I think about it differently, in a very guitaristic way, I suppose. It's much easier for me to see all those brother chords as extensions to the main dominant chord. Even when guitarists play inversions on the higher strings, they often refer to these chords as "rootless". For example, if I were to play a G13b9 without a bass note at all (with F as the lowest note), I would refer to it in most situation as rootless G13b9, not as F/G13b9, and definitely not as something like an inverted E7b9 with a G in the bass (in case I do play G over it). I guess this is because the guitar is a very visual instrument for many; many of us somewhat rely on visual memory of all the chord shapes (probably not a great approach to an instrument). But it is very valuable to think about the same thing from different points of view. For one, the brother chords approach makes you see the relationship between different chords which you would potentially not associate with one another otherwise.

[@safrprojects]

I think the reason why the Bb doesn't sound as good is because that line B→Bb seems to want to go to A, but it doesn't, whereas at least with D→Db it does go to a C somewhere in that last chord

[@schattepoezel8541]

Bb toC is very nice with for example an fm6 before it, a little minor context heading to that c major

[@kathyspencer5909]

Very Cool

[@m.vonhollen6673]

It’s like taking “tritone sub” into “half of a tritone sub” possibilities. For C7, G7’s tritone sub is Db7; and half of a tritone is a Minor 3rd which yields E7 and Bb7. So half-step (Db7), Major 3rd (E7) Perfect 5th (G7) flat 7 (Bb7).

[@coreyschuck7579]

This was awesome!

[@didriviere]

Thx a lot Sean !!!

[@brothercaleb]

Shan

[@mandohat]

This was helpful to me. Can I just think up in minor thirds from the dominant 7th instead of always having to build from diminished?

[@m.vonhollen6673]

Yes, … so for G7 to C, think G/Bb/Db/E.- For say B7 to E (for another example), think B/D/F/G# (or Ab). Or think 5/b7/b9/3.

[@ugajin7348]

Brilliant...

[@rockstarjazzcat]

Good stuff!

[@JazzSkills]

Thanks!

[@BrendaBoykin-qz5dj]

Thank you,Shan🌹⭐✨⭐🌹

[@rogercook8277]

I just ran across this video and now I am in heaven. Barry Harris was the MASTER OF THE BLACK IN WHITE KEYS. May he R I.P. 7/3/24

[@bradforddawson3632]

Nice! Sweet ...I can play my 5 chord with three other dominant brothers above

[@JazzSkills]

You certainly can! 😀

[@GigaBrowser]

Positive comment! I play much more guitar than keys but this is still great:)

[@gramophoneloopers]

Nice lesson, As Always. Actally It is the root of Half-Whole scale!?

[@johmike1399]

Interesting

[@mariapalacios2195]

Thanks a lot.¡¡¡¡¡¡

[@20BigPaulyPaul12]

Dope

[@SoigneTaDroite]

Thank you! :)

[@gregonline6506]

Hmm. I should give that stuff a try. 😎

[@PatCaseyBass]

@7:04 “We’ve already got one” 😂 was that an intentional Monty Python quote?

[@mjbrehman]

Inner voice movements

[@MarlonRodriguezREALTOR]

Wow! ty

[@mer1red]

There are different (theoretical) ways to view or explain more complex harmonies. I like to keep simple: for me this is all G7. That also keeps me aware of where the fundamental harmony in the piece goes to. There is just one voicing in the video that I would never use personally because it violates the rules for good voice leading.

[@stevebrown5597]

Wow now every dominant chord looks like a candidate-I’ll be in the shed if you want me!

[@Photologistic]

Reminds me of Stevie wonders secret life of plants.

[@rosiemakesjunk]

yay

[@scottfoster3643]

❤

[@mrsteveinsandiego]

1, 4, n 5 chords are basics for most songs.

[@markdevaul7538]

wee

[@airplane690]

chords are from classical music

[@bigl6322]

Not very helpful to say “this, or this, or this but have no chord identifiers, just the piano images. Not all of us play piano or can recognise your fingerings.

[@WeedWeedWeedWeedWeed]

Thanks dude, really helps me understand the music :)

[@JazzSkills]

Glad to hear that!

[@MrHilight2012]

G7b9#11

[@dr.rolanddavis]

@JazzSkills Mr Verma, Thank you for all the work that you do that we do *not see! The total-your videos, explications, editing, playing, and insights- are sincerely appreciated. Thank you for your artistry and inspiration. -Dr D

[@JazzSkills]

Wow, thank you so much for your kind words!

[@johnbsouth1]

As a life long rock / blues guitar player who wanted to learn a few songs on keys has suddenly found himself in love with all things piano and now “jazz” chords, I thank you! 😊

[@seanonel]

Thanks Shan. I already one about the diminished to dominant trick, but your expansion on this and how to create movement from it is invaluable. I will certainly be focusing on these concepts in the following weeks to get them into my brain and hands! Much appreciated! ❤

[@JazzSkills]

That's awesome! I wish you well with it.

[@LarryMonteforte]

I've had an interesting journey with these. I kind of "felt" these movements by ear years ago before I really studied jazz. I'm just now learning the theory of why it works, and about Barry Harris. Really cool stuff.

[@Bennymoth]

love when quality videos like this pop up for me, always get to learn more deeply about concepts I wanna reinforce. cheers m8!

[@Ouvii]

Barry Harris had some of the weirdest but most practical insights. I'm particularly a fan of Barry Harris halfsteps. This kind of stuff really helps translate the mathematic way I see music into something that actually makes an interesting song. Thanks for the introduction and exploration of this concept!

[@Charles-ox5zq]

Great lesson ! I love these short, easy to digest ones as well as the more in depth ones. Thank you for the inspiration. 😊

[@JazzSkills]

Thank you so much! I wish you good jazz.

[@felixdada2044]

Thank you very much for the revelation, this is unbelievable

[@DeanMadonia]

Impressively effective way to teach. I learned a lot from this video - thank you

[@TDC10000]

Great technique, thank you!

[@Eranrit]

Thank you for the amazng content you put on this chanel! Would you also consider a brother chord if you raise a note from the Dim7 chord? or maybe 2 notes? and also, can you use this brother chords system over I6 chord instead of aV7 chord? Thanks!

[@Delafeld]

Loved it! Started learning Barry Harris style. Wish I could have experienced his music during my time at university! His approach to harmony is amazing; and you teach it perfectly!

[@yverickdast1765]

Thank you so much !!!

[@sheddyguitar]

Great videos. Thank you very much

[@lawrencetaylor4101]

Trick or Treat! A video that is not for ding dongs. Merci.

[@GreggOliverBass]

i don't know why i didn't see this before

[@stephenb4164]

excellent

[@isoEH]

Thank you!

[@keyzlawd7653]

I'm having issues knowing chords relationship

[@pawlowski6132]

Please delete this. It makes no sense.​@@wolfganghuber8103

[@pawlowski6132]

Study hard.

[@paulgibby6932]

Thanks. I'm a guitarist, but this worked for me too. (Subscribed and looking fwd)

[@TotalDec]

"Home," always refers to main chord, or note depending on context.

[@guitarmaster7822]

Nice lesson. Would like to add that this behavior can be seen in Jack Douthett’s 4-cube Trio diagram. (If you are not familiar you can find an explanation in Richard Cohns book Audacious Euphony)

[@Reapwhatsown]

Nice explanation sir. Subscribed.

[@eekamak]

I just joined jazz skills and within one day (3% of the content) I have learned soooooooo much new stuff that I have not found on the interwebs before. My wife just told me to stop for a while so now I'm writing this comment :D

[@JazzSkills]

Welcome aboard! It's going to be an amazing journey.

[@John-lv6uj]

I have learned from you. Thank you

[@davidharrison6208]

Glad I found you. Thanks for the lesson

[@ShaadJamari]

I can use this for church

[@rogerpercival5486]

You are so funny ,if someone wants to call a cord a g7 with a 5 and a flat 9 I haven’t got a problem with that or with YOU.. that was so funny

[@JazzSkills]

Just preempting how thing can get here 😂

[@wallardb]

Thank you Sir

[@slapmyfunkybass]

It’s just another way of looking at it, but I’ve always seen it as alterations on the 7th harmony and nothing more. The 7th is extremely flexible in that you can play any note with it and it will sound okay, just not the maj7. I did actually see the db as a c# instead and #11, but whatever works for you.

[@Andrey.Balandin]

To me this is kind of the point of this lesson that this way of looking it at it is much more intuitive and easy to remember and apply than thinking about the extensions