The BH “Echappe”: An extremely useful Barry Harris 2-5-1 move

[@SimonFransman]

Just wanted to say that getting a notification that youve uploaded a video always makes me happy because it means that I have a ton of new exciting things to practice! Keep up the amazing work Isaac!

[@isaacraz]

It's this kind of feedback that makes it all worthwhile. Thank you so much for that

[@danielhicksmusic]

My mind is blown 10x over every time I learn something from "Barry world"

[@abath07]

Dear Isacc, thank you for doing such a good job with these great tips. Escape tone embellishments; clean 3 note voicings; moving outer 10ths; try applying everywhere. This particular echappe: Step up, hop down, step down.

[@isaacraz]

Yup. One of so many applications

[@chuckwaddups3803]

I have been playing all my life and gradually learned to see the patterns and shapes of the hand positions from trial and error . Never learned to read very well but understood the importance of theory somehow. I love the way you explain this stuff from Barry's own theory. It saves a lot of time.

[@SIRUS80]

Thank you so much. You are doing something for a niche of people who have nowhere else to go to in order to get this info. This is just gold.

[@isaacraz]

Barry is the truth!

[@afairbien]

Fhm. Speechless I am . Thanks you for all you did un my life. Isaac thanks you.

[@isaacraz]

Thanks for that! It feels good to know these vids are having a positive impact! Blessings.

[@gourdeee5447]

The car honking at 2:55 was just trying to get in that chord!! lol

[@isaacraz]

They do that often here! Only one place to get that "genuine New York City street noise..."

[@Thepavleorlovic]

Very useful. Thank you

[@WakadooPlaypen]

Very nice, love those concepts.

[@yoramsaul]

Nice move The tune is called Luminescence!

[@isaacraz]

Yes!!

[@berniekagel659]

Love watching you working things out during your demos.

[@isaacraz]

Yes definitely a work in progress! Appreciate the feedback

[@frederic1000001]

Beautiful what you do on April in Paris, beautiful voice too. Is your Patreon still working ? I tried to subscribed but was not able to finalize the process with paypal (from France).

[@mamikyogyakarta2641]

Thank You. I love so much this tutorial video. Would you explain to me the relation between left hand and right hand. 🙏

[@quentina8596]

I'm so excited each time I get a notification from your channel ! I love seeing you trying new ideas, new sounds or movements, you give us awesome knowledge and the will to explore more and more with our own instruments ! I can't wait to spend hours noodling with more Barry's ideas

[@isaacraz]

Thanks Quentin! Yeah I’m not shy about trying and failing- I like doing it spontaneously. I’m so glad you identified with that!!

[@OM-md6ki]

Your channel is crazy! Love the super advanced harmony lessons

[@isaacraz]

Thanks for the awesome feedback! keep coming back

[@MrFedemoral]

i spent 3 hours for the first 8 minutes. I love you isaac!

[@isaacraz]

Yes it is quite engaging, isn’t it? Thank you so much!

[@CHEEFZ090]

I so appreciate your videos as always. This move really struck me! Currently putting it through all the tunes I know

[@bobblues1158]

Great!!

[@abath07]

For E6/B (G7) my brain thinks "C#- triad or C#-7 over G7 (upper structure #iv- triad theory for G7#11) and that's in the "family of four" too.

[@isaacraz]

Indeed. But I learned early on that the more I think in terms of the “nearest” 6chord the better in this type of thinking

[@Explivious]

thank you, immensely

[@HernanGnesutta]

Isaac!!!! Genius!!! Thanky you very much!!!!! Awesome data!!!!

[@themidger1]

Edit here to add an additional thought - you can also derive that voicing for the dominant by taking the tritone’s minor (so Abm6 for G7), playing it in 3rd inversion, and borrowing two diminished notes up for the top two voices so your hand is playing F-Ab-Db-E. Very cool dominant to use but I’ve never thought hard about voice leading with it the way this video shows. No one understands and explains this stuff like you do man, I think I’ve mentioned it before but you are “the Chosen One” to write a proper cohesive body of theory from all these ideas - especially with how your formal education on mainstream CST gives you the ability to contrast and speak to any overlap in the world of Barry and George Russell. I can imagine a theory book is a difficult endeavor to write but this is the kind of thing humanity needs to preserve for generations.

[@isaacraz]

Thanks! Yes I’m working on outlining just that. And it is daunting. I appreciate the vote of confidence! I’m so glad it’s hitting the mark

[@isaacraz]

The framework is wide open and many variations and connections suggest themselves. It’s endless!

[@pitullo70]

That's something i was looking for...thanks

[@isaacraz]

thanks! I know, this came up often. Glad I could help

[@pitullo70]

@@isaacraz i 'd have two very important (for me) question to make, but they're a bit difficult to formulate. The first is : In your solos, (I am trying to analyze them) in the 2 last jams, you sometimes use a very long descending chromatic line, that is very cool. Is there a logic in it ? could you explane? The second question is about “Barry Harris Improvisation Rhythm” there’s a video on you tube I just mention it to let you understand the real topic of my question,. (kzbin.info/www/bejne/qKO8eJucm6ZqoJY ) It would be very interesting if you developed your personal extra explanation and would suggest some exercizes , it is a very amazing topic I think, it really made me change the prespective of my improvisation. Thank you for the patience

[@pitullo70]

I wrote so much because you always say: don't be shy to ask :) :) Sorry for my English

[@isaacraz]

@@pitullo70 Thanks so much for your wonderful feedback! I'm always looking for subject matter and this seems like a very worthwhile topic! let me see that video and think about it and I'd be glad to expand on it

[@PeteMartinMandolin]

Excellent Isaac, thanks!

[@isaacraz]

Thanks Pete!

[@BirdBop]

Isaac you're a saint

[@isaacraz]

Bless you Zenit! Thanks for that wonderful feedback

[@BirdBop]

@@isaacraz what you're doing is just pure love.

[@isaacraz]

Amen. Barry is the truth!

[@abath07]

I realized a fine point that Barry often hurries over regarding this dominant chord "family of four" theory. (Over G7 those four positions roughly being: G Bb C# E, see last paragraph). The "family of four" welcomes you to play any of various qualities of triads (major, minor, diminished) and major and minor 6th chords, and dominant 7ths and diminished 7ths across the "family of four" positions over a dominant chord. That's 7 qualities, am I leaving a quality out? Augmented triads, major 7th chords, and 4ths don't perfectly fit with this "family of four" over a dominant chord, but they can be rationalized as something else: going" outside" per the "equal division of the octave (EDO)" theory. AND of course there are the other 4 relative positions in the "family of four", for additional diminished over G7b9: Ab dim, Bdim, Ddim, Fdim. So it's as if there are two families of four for G7. Altogether yielding the so called diminished scale.

[@isaacraz]

That's exactly right try looking here kzbin.info/www/bejne/Y6OplIKNec2gnNE

[@curiouscurious6558]

triton 135h chord? on the 5

[@deneisraelealine8939]

👍🏻👍🏻👍🏻🙏🏼🙏🏼🙏🏼

[@beimardante2577]

I dont understand why E6 is diminished of G7.. And what prefer this...

[@isaacraz]

Thanks for asking: G7 has four“family“ roots - G, Bb, Db, and E. And each of those can have a dominant seventh, major six, minor six, minor seven, etc. Chord built on them. For more on this, check out the video on “diminished genealogy”

[@johnraemusic]

Isaac, please stop these videos. I only have so much time in the day and every time I watch one of your videos, day's go bye practicing them! Just wonderful stuff, than you....

[@yoyothasme123]

So the f6 is acting as the two of C in this? Does the E6 over G resolved to C6?

[@isaacraz]

Yes F6 equals Dm7 (Dm7 is F6 with the 6th in the bass.) G7 has an E6 “color” on it which comes from the diminished “family”

[@themidger1]

Isaac Raz that is a great way to describe using diminished family (as colors). I’ve recently started messing with the family more after seeing how you do it and there is a lot of far out sound and movement you can tap into with it! But it is a real mind melting beast to try with improv - musical calculus almost. Great for sitting down and composing with though. I need to rewatch those about a dozen more times but do the 6th chords used for coloring come from the family of the root or the family of the chord tones? You put the two together and you get the diminished scale (in this case G and Ab dim) which gives a huge possibility of notes to use over the G7. Essentially the whole chromatic scale. There are too many possibilities which ironically makes it a very difficult concept to tap into and use! Relative minor is probably the most tonally appropriate (like you doing the E6 with the G7)?

[@louisodell1698]

God I've got so much to shed!!

[@isaacraz]

You and me both buddy!

[@eydiguttason1961]

Complicated but

[@isaacraz]

Try the other videos I mentioned, they may shed light on the underlying concepts!

[@djDivineJustice]

Hey. I wanna call u

[@isaacraz]

Any time my brother

[@user-im6li2fk4j]

Dude i cant see your hands or understand your”explainations” its scattered