My 10 chord Barry Harris Routine

[@robertgloverjr]

SUMMARY: The 10 chords covered in this lesson: NOTE: Explanations are in "the people's key", i.e. key of "C". 1) [01:09] "The 6th diminished scale" 2) [02:44] The 6th chord rule where you can put a 6th chord built on the 5th 3) [03:16] The straight up, vanilla C minor 6th chord. NOTE: The next two are minor 4) [03:38] You might call it the "relative major". Where you put an Eb6 on top of the C 5) [04:26] The minor 7 with a flat 5, or half dim chord. Actually an Eb minor with the 6th in bass NOTE: The last five are all dominant 7ths. 6) [05:48] C dominant diminished scale. 7) [06:24] C dominant with a flat 5. With the same diminished [06:52] NOTE: 8, 9, and 10 are all "sixth chord rules" 8) [06:56] Dominant 7 with a sus 4. 9) ]07:52] Dominant 7 with a 9. In Barry's world, this is the "important minor". 10)[08:40] What Barry calls "the tritone's minor". Barry's way of describing the altered dominant RECAP [09:50] Isaac Raz demonstrates the entire 10 chord practice from start to finish.

[@isaacraz]

Incredible!

[@TheRealSandleford]

nice

[@marinduque-theheartoftheph]

Thank you! 👌

[@johnhurd3257]

Thanks!

[@dalen1270]

The most underrated Barry Harris explanation video I've seen so far. Thank you

[@isaacraz]

Thank you! It’s definitely been revolutionary for me and I’m happy to share.

[@SIRUS80]

Yup. This is the one . Thank you!

[@drlluc]

this is because this guy is there every tuesday not like all these fake barry harris explainers who never attended a class.

[@MRMOTOFOTO]

Yes!!! Cleared up some things I wasn't totally sure of.

[@mARIMAs_RV]

Thank you for the lesson, your lesson really meant a lot for my piano journey, love from Indonesia 🇮🇩

[@hungryformusik]

I have discovered Barry Harris only two weeks ago and watched about twenty videos since then. This one was the most beneficial since then. Thanks a lot.

[@DanielZeeglerMusic]

Just repeating what the others have said- this is easy to follow, funny, honest and really concise! Thank you for this video .

[@CharlesAustin]

So great: the most compact and complete Barry Harris outline I’ve seen !! Thanks !!

[@cornerspeakcbc]

Had to go over the ten chord routine lines repeatedly for a fair bit of time, replaying the video in sections until I really understood & could play back each sequence on my instrument, which is the Bass. Actually I watched & listened to the video when I first came across it, then returned to it some weeks later. I have to say, you broke this down in such a way that it eventually made clear sense, theoretically as well as on my instrument. Big big thanks for taking the time to put the routine together & coming up with the ten chord approach, such a great way to practice these 6 diminished chord scale ideas. Really has impacted my playing & ability to understand some of the Barry Harris ideas more thoroughly. 👍🏾👍🏾👍🏾

[@isaacraz]

Yes it’s designed to be “lived with” thanks for that awesome feedback

[@urzathehappy72]

Woa id love to hear this on bass!

[@kwixotic]

Once I discovered the Sixth Diminished scale, it did more for my creativity in jazz playing than all the teachers I had combined! The kinds of tonalities you can conjure up is nothing short of miraculous! I do credit the The Jazz Harmony Book though for turning me on to it. But you explain it quite well.

[@GavinStClair-tr1qu]

Wow this exercise has exponentially opened my ears and improved my understanding of the keyboard over the last month or so. There is so much wisdom to uncover in here as you cycle through. Strongly recommend getting all of these down in every key and running the scales too

[@urzathehappy72]

You go gavin! Now make ur own song and post it on youtube ;)

[@quentina8596]

I have watched this video so many times, and I am still amazed by the possibilities this approach offers me ! Thank you so much for sharing what you learned from the master !

[@thewordnerds]

Thank you so much for this, Isaac. I’ve only been able to come up to NYC from DC for Barry’s classes only once a month or less for a couple of years, so it has taken a long time for me to absorb Barry’s various rules. This video boils down a lot of his approach quite clearly. My next class would’ve been Tuesday after next, 3/24, but that’s off now for obvious reasons. I’m very concerned for you guys in New York. Please stay safe and healthy! Meanwhile, I’m going to put your routine into my daily practice and feel connected to the Tuesday workshops! -Dave

[@sheskimusic]

This is a really great video. Thank you for explaining Barry Harris’s concepts and such a clear way. New subscriber

[@themidger1]

This is fantastic, I finally get this exercise after watching the one on building the normal chords with 6ths. This was an eye opener. I understand Barry stuff on a whole new level now! “It’s all right there” as Barry says

[@themidger1]

Issac just to dig deeper on the use of these, the 6th/dim used in playing is the one dictated in your list? So on F maj 7 I would use the c6/D dim pair for borrowing from and moving to? And like Fm7b5 would use the Abm6/Bb did pair for that as well? A lot of sources leave this info vague (what 6dim to voice with over the tonic) and seem to imply always using the 6dim of the tonic. Which is way off! After playing with your described sets more and more I hear a lot more crunchy “how did I play that sound?” stuff going on in my playing

[@tzahim441]

This video is the good stuff!! (like all of your other videos). Thank you for sharing all this! That is really gold!

[@DrXtoph]

Holy smokes this is amazing! You are a genius teacher. I've never played jazz chords and sounds. I'm a classical musician who always wanted to learn how to make jazz sounds. Love it!!!

[@henkdevries2002]

I just finished this for the key of C, also doing it george shearing style doubling the melody an octave below with left hand, aswell as in drop two. This is a really nice exersice to do every day!

[@Web4Panama]

Thanks, that's cool. The BH min6 chords are also rootless 9th chords, so I have been sneaking the voicings I learnt from him into the blues via that opening.

[@urzathehappy72]

THANK YOU! i love this information! What a beautful sound and very straightforward excercise to make jazz!

[@erichoh8490]

Thank You so much. Concisely presented. Cleared up some questions I had.

[@psunie]

Thank you Isaac. I am working on developing this kind of exercises and I am trying to figure out the different modes. This is super cool. It clarifies things very much

[@Ankerre]

Greetings Isaac, Your offering is the work of a good teacher - carefully explaining and then demonstrating! Well done. Barry on the other hand I find a guy who begrudges those who don't understand, and who does not make it clear what it is that he has to offer. Frankly the barriers to understanding what he is on about are huge and confusing - just one man's opinion mind you! Thanks, I will take the time to get into this and others.

[@isaacraz]

Dear Tony I understand the point you bring up. I’ve found the attitude you describe is actually an advantage within the context of the live workshop. If you come regularly you find yourself at the very edge of your skill set just to be able to keep up! This is a mental state that really makes what is learned sink in and trains us to be very focused and resilient in real playing situations. I’ve learned over the time that I’ve been attending that this is an oral tradition that is taught kind of like an apprenticeship. As such BH does love and care deeply for his “padwans” even as he pushes us to go to - and past - our edge! Just keep coming and it will all make sense! Hope this was helpful perspective. Regards, Isaac.

[@IanAbelC]

Gracias Isaac, este es de los mejores videos que he visto acerca de las enseñanzas de Barry Harris.

[@isaacraz]

my pleasure!

[@CharlesHarrisonMusicTuition]

Isaac, thank you so much for this. The last 5 were what was missing from my understanding of Barry's approach- applying the 6th diminished in dominant contexts. Really appreciate you taking the time to make this tutorial, would be great to see some breakdowns over a jazz blues and rhythm changes if you could. Please do check out my theory videos on my channel! Cheers, Charles

[@isaacraz]

Thanks Charles I will do!

[@markbosch2495]

Kudos, your perspective is spot on!

[@isaacraz]

Thanks!

[@antonellomascarello4698]

Thank you very much. Very clear and a super helpful way to summarize all this concepts. Cheers from Italy 🇮🇹 😀

[@HonkyMonky]

Thanks for sharing. RIP Barry

[@jazzenthusiast4353]

quite sophisticated .thank you.

[@humblemai2211]

You are great teacher training... Love you

[@Voyageurhorsdutemps]

Thank you ....wonderful...thanks a lot for your generosity 💚✨✨✨

[@worrellrobinson4332]

Keep up the good work, thank you!... Mr.W.Robinson

[@psunie]

Hi Isaac: always checking out your videos. I found that the Am6 Barry’s scale can be used over a Cmaj7 to ilustrate the IV chord. How does it sound to you?

[@a2zpiano]

Barry’s Harry is a genius .. I explain his lessons to all my jazz students ..

[@MrIsaacraz]

a2zpiano totally- he’s able to boil the whole language down to a handful of simple principles.

[@jasonkeaton5140]

Man this useful. Thank you

[@psunie]

Thanks Issac! It is a wonderful way to organize the material the way you present it. After I watched this video I wrote my own practice for guitar that includes each of the 10 chord scale on one key. I work one key per week and then I move the another key and follow the ten chord scales. I think the most confusing one is maybe the most colorful : 7b5 (“Monk’s most authentic sound”) in contrast with Whole Tone scale. I am still trying to figure out how to play nice runs with those. Please keep posting your videos. Are you thinking about streaming a Zoom class?

[@jazziejackie]

Wow what a workout!

[@shanecombs1993]

5:05 wouldn’t that be in the key of Db actually instead of C? Since Ebm6 is an inverted Cm7b5 and Cm7b5 is in the key of Db major or Bb minor

[@thierrylaprevote3169]

Great video packed with vital information!

[@isaacraz]

Thank you!

[@neil.graymusic]

This is so fantastic! Thank you so much! A couple questions: how do I go about forming an Augmented Dominant 7th? And, I love this minor6th on the 5th of the tritone for b9/b13 chords but what about a #9/b13 chord? Thanks!

[@taura101]

You hoped this video would be useful. Are you kidding? Seriously seriously, seriously, useful. Thank you so much.

[@iscout61kenney10]

barry harris is THE way to go!

[@cristianmanuk2207]

Great lesson! Thank you so much

[@uhoh007]

Oh yeah! Next...drop 2 :) Wait... I see you have a bunch more...fantastic. Thank you so much for this.

[@isaacraz]

Try 3-note, very useful, and good prep for all drop voicings

[@PeteMartinMandolin]

Great stuff Isaac, I'll add this to my practice!

[@isaacraz]

Thanks Pete! Have fun with it!

[@PeteMartinMandolin]

@@isaacraz Looking forward to more videos!

[@miTnosnhoJ]

Thanks for this! Very helpful.

[@pitullo70]

Great......This lesson opened my mind ! Thank you

[@isaacraz]

It's a good "one stop shop" to get it all together. Thanks for your comment...

[@pitullo70]

​@@isaacraz ....I'm waiting for a "Giant Steps according to Barry Harris" lesson :)

[@psunie]

Please correct me if I am wrong, If we use Bb Major 6 Diminished over C we got the 9Sus4 sound. So, I we use Bb Min 6 Dimished over C that would make it b9sus4 (would this be the 11th chord scale that is not included in this series?)

[@TheRealSandleford]

Thank you for this. Learning a few new things from your vids. I think I saw you on one of those class videos too....cool the 6th chord on the 7th of dominant is also a minor 7th on the 5th

[@isaacraz]

BH was the best

[@piano321]

I was able to follow along for all of them, apart from number 5. Where does the Eb min6 come from? In step 4 you talked about relative major from Cmin. So in step 5, are you still in that relative major, Eb, but turning it into a minor? Could someone explain the thought process if I am then to take it through 12 keys? What do I relate Ebmin6 to? Thanks.

[@scottfoster3643]

Fantasztikus! Thank you good sir 🙏

[@johnrothfield6126]

Great video.

[@janglestick]

thanks bro this is right up my pew !

[@MarimaruXD]

Thank you for this gem

[@williamorlandomaestrevilla4291]

Thanks, excellent explanation

[@isaacraz]

Thank you!

[@brendaboykin3281]

Thanx, Maestro 🌹🌹🌹😎

[@cucchicru4423]

Clean & clear!

[@Karsten_Kramer]

Wow! That's great!

[@brettprice527]

Hi, Isaac, Are you just alternating diminished 7ths between these?

[@pantamgo]

Love you 😘

[@pantamgo]

Here is a grouping to remember all 10: 4 maj6: C, G, Eb, Bb 4 min6: C, G, Eb, Db 2 Dom7: C7, C7b5

[@isaacraz]

I like it!

[@joshuamarks1129]

Great ear and mind training! My question is If Gm6/C = C9 and Bb6/C =C9sus, Then shall we use Bbm6/C to create a scale for C7sus(b9)?

[@isaacraz]

Absolutely that’s one of the “super secret” other rules. He also uses an Em6/C “flat two” check out “Lolita” and bridge to “My Heart Stood Still”

[@joshuamarks1129]

Isaac Raz Thanks so much! This has really helped me understand where these scales are coming from. The original whole Half diminished Scale is alternating between 2 Diminished 7th chords a whole step apart (like Co7 and Do7) and Barry devised a teaching system that connects any Diminished 7th chord to basically any other chord quality imaginable! It's a dauntingly thorough system.

[@azomyte]

Great videos, subbed. Have you done anything on the bridge of rhythm changes?

[@isaacraz]

Thanks! That’s a great idea! I touched on “Rhythm” but not the bridge- BH has some great stuff on that. I’ll make a video on that for sure

[@rlohayza]

Thank you

[@dan27music]

Great. Thank you.

[@Voyageurhorsdutemps]

Amazing ✨✨✨

[@TheConsideredMan]

It would be really useful to get a pdf of these videos anyone...

[@stuartthorne4872]

I’m late to this party, but it has been a revelation! Thank you so much! 🙏🏿🦁☀️

[@isaacraz]

I was late to the BH party too! Started in 2012. But as one classmate told me when I lamented about not coming sooner: “you came exactly when you were supposed to come”

[@stevealbertjohnston]

Love this guy:)

[@isaacraz]

Love you guys more!!

[@colleenvanderhoek3784]

Does it mean anything that the notes left (out of C6 dim) are the b2, the #4 and the b3?

[@OdinComposer]

Nice explanation! Haven't see the sus dominant variant yet. You only go up though? How about some open voicings? 🤔

[@isaacraz]

Check out the video on 6-chord rules. Basically you put a 6-chord on the b7 scale degree of your 7-chord and there’s your sus. (e.g. Bb6/C) there are 8 such rules.

[@FromTheHipp]

i'm just learning a lot of Barry's ideas. Do the concepts stay the same outside of C? i assume you move up the diminished 6 scales in each key and they nomenclature and concepts all stay the same

[@isaacraz]

Yup. The routine is designed for a “key du jour” practice approach if you do a key a day in two weeks you got to all of them and you took two days off…

[@jamesjosephluke2436]

Hi Isaac, Can you get a transcription of these 10 if you sign up for membership?

[@isaacraz]

Yes! I must admit I haven’t written one out yet but I’m getting better at the notation software which I admit I am way too distracted to wrestle with for larger projects, but I should, and will post one soon and I will make it available for members

[@barbertongold]

Thanks v much, v well explained and imn gonna give that a go. One key a month haha

[@thewordnerds]

Isaac, can you give a good example of a situation when you would use the dom 7 flat 5 voicing? That one eludes me somehow. As I’m practicing these each day, all the others fall into place for me, but that one not so much. -Dave

[@isaacraz]

Yes! great Idea. I'll try to get to that asap

[@ellontheluse]

Don't forget m6 on b7 for 7sus4b9, dim7(octatonic), and dim7(octatonic) up half step for 7b9 so 13 total

[@kwixotic]

Barry Harris himself states that you need to learn the scale in all 12 keys as you see if you check out his videos teaching students in Holland.

[@ivancavell5524]

Thankyou

[@synthdude7664]

Can someone explain how the minors Tritone in his example ( root note C, tritone being F#, but the minor of the tritone is C#) I don’t quite understand how the minor of F# is C#, as I see this as a p5 or p4. 😅

[@Podoco_music]

anyone have a pdf of all this information???

[@yusefandersen]

3 things I love about this video are: 1. "the people's key" (C)... So fun-ey 2. Yor grunts and screams when you get stuck... "thank God that's over" 3. The super usefulnicity👀 of this great video! Many thanks to you.

[@humblemai2211]

Please make more tutorial about jazz piano...thanks

[@isaacraz]

Will do! Sorry I’ve been absent will return to posting soon

[@ripsirwin1]

Where would you use a C7 diminished scale and a C-7 diminished scale?

[@isaacraz]

Great question. here's where you "think" differently about things in BH world: there is no "C-7" BH teaches us to think of it as an Eb6.

[@gloriabrinkworth939]

i paid for patreon but cannot get into members account??

[@isaacraz]

Hmm I’m not sure - I will Check but could you try reaching out to Patreon as well? (That’s what I’ll do cause I’m just learning Patreon myself)

[@victoza9232]

1:00 "the people's key" 😄

[@dflat13]

How is the minor of F#, c# minor? I thought it would be d# minor.

[@isaacraz]

It’s F#7: BH has a concept called the “important minor” which is found on the 5th degree of a dominant seventh (Mixolydian). In this case it’s the important minor of the tritone sub of C7: or the “tritone’s minor” which the rest of the world calls the “altered dominant”

[@wings3776]

Guitarist here! Great video man, thanks for the knowledge. Please keep the info coming and thanks again! My brain hurts

[@frederic1000001]

So the dominant scale of chords includes the major seven ?

[@isaacraz]

YES the major seven is a "diminished" note as is the flat six.

[@frederic1000001]

@@isaacraz No 6 (A) in the dominant diminished scale ?

[@markbra]

I got a sore neck from your video,thanks

[@isaacraz]

Lol sorry about that. Mine is a little twisted too.

[@russellmofsky]

Killer!

[@markbra]

So the 9th one is for a #11 sound ?

[@isaacraz]

Yup! Fits perfectly

[@johnb2476]

this is harmony

[@chrisharrison809]

Thinking about you after his passing

[@MrArtist1971]

C, the people's key. Love it. Great job!

[@enochpeter]

The People's Key: I can't wait to use that!

[@riffraftmusic8669]

Barry's concepts have revolutionized my musical thinking. They are so natural, that I just found myself using them. In the 2nd-to-last figure in this (classical) arrangement, I added it without even realizing it! kzbin.info/www/bejne/iXrClqFsjM6eZsk Thanks for making this video--it all helps!

[@jadeowenhamblyn4405]

I feel like i'm hearing a lot of insight into Erroll Garner here.

[@isaacraz]

totally. this thinking is from the source!

[@piggyfly00]

I’m just starting to learn this.. but i don’t understand the harmonic rhythm for this concept. For a 2 5 1, how do you place the chords? If you place a chord for every beat in a measure: 6th chord then diminished then 6th chord then diminished then switch to different 6th? The diminished before the new 6th chord wouldn’t work, right? So do you just play 3 chords in one bar before you switch move to the V chord?

[@isaacraz]

Yes. The 6th chord falls on the strong beat and the diminished “movement” falls on the weak beat

[@kwixotic]

Did you learn this directly from Barry Harris?

[@isaacraz]

I actually put that together myself from everything I learned from Barry directly, in this case combining the six diminished idea with the 6 chord rules for a one stop work out In your key of the day!

[@anthonywoodhouse9484]

Wwwooooowwwwww

[@bill3837]

wtf thats seems more complicated .

[@urzathehappy72]

This is the most important piano video with the worst angle i have ever seen. You need to rerecord this and add a vidual midi keyboard with the app chordie or such to show the notes your playing

[@L5man]

Wig? Really?

[@zdogg8]

You break the whole mood and concentration with you sticking your face in the camera just to say a few words, when people are trying to think about keyboard layout, there you are with a quarter face trying to make eye contact, FOR WHAT>>>>????

[@lonelysound1]