Things I've Learned from Barry Harris Episode 23 All the Things You Are Guitar

/ tilfbarryharris
This is the Twenty Third in several episodes discussing the things i've learned from Barry Harris I started studying with Barry in 1993 and still learn from his teaching every day. I hope I can use this channel to help other musicians who are interested in Jazz but find it a little too cerebral. I think Barry's method, while being cerebral, is also direct and most important beautiful. Please Subscribe and feel free to comment below on how I can improve this channel I'm available for skype lessons if you prefer.

[@johnslaughter349]

Really great lesson. Thank you so much for doing these. It's really great to see Barry's ideas clearly explained in a guitar centric way.

[@thingsivelearnedfrombarryh2616]

Thanks John. Please share with your musician friends.

[@paulsenior7745]

I've never tried to learn A.T.T.Y.A. before but I do like the tune a lot. I mostly listen to Monk's version of it, but the way he plays is beyond me right now. What I really got out of your lesson is how you showed where that common little movement that Barry teaches (I'll call it I6-IV6-Idim7-I6) occurs in 2 spots; the 1st and 2nd bar and the 5th and 6th bars. I have seen Barry do this movement a lot when playing Blues and "I Got Rhythm" changes, but never noticed it in Standards. I'm not a guitarist, but I like how you simply explain what Drop 2, Drop 3, Drop 2 Drop 4 voicings on the instrument. My problem with comping is not so much the harmonies but the rhythms. I always refer back to the video where Barry is teaching a pianist how to comp on Tenor Madness. He tells the pianist "You know the chords sort of straight. You have to learn how to do this." Then, he demos a lot of wonderful stuff using that common little movement I mention above, plus several others and tells you what pianists you need to listen to and emulate. I really need to practice some of his rhythmic exercises with the metronome and try to understand better some of the stuff he says, like "The and of the 2 takes the and of the 4." This leads me to believe he has a system of rules in place for playing bebop rhythms as well as harmonies.

[@thingsivelearnedfrombarryh2616]

Thanks for the thoughts Paul. I'm not aware of any system of rules regarding bebop rhythms. When Barry talks about rhythm it is usually about what feels good. It's completely natural for him. I guess it is a result of hearing such wonderful music his whole life. (A lot of the times in person and on the bandstand.)

[@AntarblueGarneau]

I've been working on your stuff last 4 days! Right now Rhythm Changes A and bridge. Before that I was working on making etudes of lines I wanna learn on tunes and learning the etudes well enough to make a video and post on YT and FB where I have a small fan base. I find this a very good way to add new lines to my playing. Not that I've had trouble improvising before but when it comes to adding new lines devices and concepts I've forgotten more lines that I have learned in 40 years! I've done it on about 5 tunes and made 5 videos: "Old Folks," "You've Changed," "All of You" etc. I've been making a solo etude for "Four" and "Stella" when I collided with your videos! I've been looking for a system that is integral and where I can make lines in the moment according to musical principles rather that rattling of licks or variations of licks. I think it's more important to learn the concept than the lick Here it is! After 40 years! I absorbed Sheryl Bailey's stuff on the bebop scale and her family of 4 chords and I've worked from some of Barry's videos so this stuff is very comprehensible to me)) Working now on a solo etude for Oleo using Barry's concepts thru you. The difficulty I'm having is deciding what lines to use because I keep endlessly generating lines! Thx! That's where I wanna be ))

[@NikhilHoganShow]

Love this channel!

[@thingsivelearnedfrombarryh2616]

Thanks Nikhil

[@jerryjoejackaroe]

Great Lesson Thanks

[@eddiekent1997]

Praactiiice Thnk you

[@TamirGal]

Hey Chris, Thanks for another amazing lesson. Would love to hear your approach to the tag on the last A, where the tune goes to Dbm , then the chromatic descending of minor chords. Thanks, Tamie

[@timojurvelin]

Hey man, cool channel! Any thoughts about the diminished 7 with maj7 on top Barry mentions in the Stella clip? Borrowing concept reminded me of that sound especially on minor chords and came I up with this little movement: C#dim7 (maj7) Fm7 F#dim7(maj7) Bbm7 9x8988 , x81089x , 14x13,14,13,13 , x13,15,13,14,x or x48x88 -> Fm7 etc.. using pinky barre, more comfortable and sounds quite similar omitting one note. I hope these funny little diagrams come across correct. :D

[@thingsivelearnedfrombarryh2616]

Nice Timo. Keep it up. That's what it's about.

[@PeteMartinMandolin]

Another great video Chris! Maybe sometime you can make a video that sums up all Barrys ideas of what chord sub for others. So we can find all these in one place? Do you do the same substitutions when thinking of single note solo lines as well, say play Em6dim scale ideas against Eb7?

[@chestyguitarron]

How do you get a dorian minor instead of an aeolian? The DbM6/dim scale creates a Bbm7 with a flatted 6th. How would I establish a dorian sound for a couple bars using Barry's ideas? Love this series, thank you very much!

[@chestyguitarron]

I think I might have figured it out. To create a Bbm7 dorian sound play the AbM6/dim scale?

[@thingsivelearnedfrombarryh2616]

I'm not sure how to answer this because Barry never talks about modes. He doesn't see music or sounds in terms of modes. Glad you're enjoying the videos. Please share with your musician friends.

[@LanceThomasRecordProducer]

I love this tune, and you have just opened a load of new possibilities for me. Thanks. Just a quick thought on the way you shoot the videos. I am appreciating the close up of the neck , but I miss the contact as I can't see your eyes. I know this sounds a little odd, but I feel I get it more when your looking right into the camera! Any chance of putting a smaller second shot in the lower right hand corner? I started to look into the Barry method a while a go, and it started to really improve my playing. You have taken this to a new level for me so thanks again for that. This way of thinking get's me closer to my goal of sounding more like Barney Kessel. Yours Lance

[@thingsivelearnedfrombarryh2616]

Glad you're enjoying these Lance. Barry's method is Beautiful and limitless.

[@romainbertrand253]

Hi Chris, great lesson again. I think some songs with chord melody will be very nice. I'm sure it will give ideas to a lot of people about this way of thinking melody against chords. Thanks. For guitarists, Barry's concepts give really total freedom.

[@yortchiang7570]

Is there a book on chords diminished flat 6 and inversions that are tabbed for the guitar community...this would accelerate learning in standard for sure....

[@taylorfusion]

Thanks, I might mention that the “how” of why we are using E - 6 diminished for an E flat 7 alt sound is that the tritone sub of the related (Bb-6 diminished) chord is an option when we go for just such an alt sound. Either approach would have worked, in this case (given the melody).

[@romdanish]

First of all, thanks a lot for this video that I've been digging more than a few times now. A Question: at @11:00, you play a Dm7b5 (or F7), but I don't see where this chord fits at this moment of the tune. Could you please help me out?

[@thingsivelearnedfrombarryh2616]

The sixth bar of the song is 2beats of Dmin7b5 and 2beats of G7.

[@TamirGal]

Hi Chris, How would you do scale outline on first couple of bars of 'All the things you are'? Specifically on Fm -> Bbm... thanks

[@thingsivelearnedfrombarryh2616]

I have to think about it. I've never been at a class where Barry has done it. I'll get back to you on this one.

[@taylorfusion]

Tamir Gal use the A flat 6 diminished scale from every chord tone of the F -7 and just insert a chromatic passing tone (if necessary) to land on any chord tone of the Bb - 7chord. Use your ear to land on a strong beat.

[@alistaircornacchio5727]

@@thingsivelearnedfrombarryh2616 I've really been struggling with scale outlines on green dolphin street, especially the parts with half diminished chords. Do you know how to navigate those changes with the outline?

[@obonku]

If you use the Db dim6 scale for the Bbm7 and the DbM7, don't you end up playing a Gb, which is not in the key of Ab major. This seems to be a similar issue to playing a "wrong" natural 9 on the iii7 chord (where a b9 would the correct note for they key), which Barry really takes issue with in the following video: kzbin.info/www/bejne/aYeVloGebdaKjNE So what do you do to account for that? Just remember to play G natural?

[@thingsivelearnedfrombarryh2616]

Good question Andrew. I think, in the video you linked, he is referring to how not every Cminor is the same. That's important. The Cminor in Ab is different from the Cminor in Bb which is different from the Cminor in Eb. He emphasizes a lot how not everything in the music can be boiled down to a 2 5. It's about playing movement. Another reason he brings that up is he doesn't like the sound of that Minor 9 on the 3 chord. Thanks for the input Andrew. I hope you're finding these videos helpful.

[@garyleemusic]

Yeah, I have to agree on this one. From all I've listened to from Barry, playing Gb against the Bbm7 chord wouldn't fly since in the context of the tune the Bbm7 to Eb7 would take the Eb Dom 7 scale generally speaking. BUT hinting at Db Major over the Dm7b5 to G7 would be a nice sub on the way to C∆

[@jc-wx3sm]

hey can you do blues and or rhythm comping lesson?

[@thingsivelearnedfrombarryh2616]

Sure Joe. I'll cover one or both of them soon. Thanks for the suggestion.

[@mlabash]

Again, thanks so much for this incredibly helpful series. One question about Barry's thinking on the relationship between m7 and maj6 chords: Isn't the diminished scale above and below the m7 the same as that of the maj6? Why, then does he insist on viewing the relationship to the diminished scale from the maj6? Thanks!

[@thingsivelearnedfrombarryh2616]

I think if you want to look at it from the m7 instead of the Maj6 that's also fine. We'd all get to the same points anyway just with different names. Glad you're enjoying these. Please share with your musician friends.

[@maximilianoflynn5388]

Hi! I have a question!! Can you talk about the Bdim in the last section?? I'm thinking it could be the diminished that appears In Eb7, but don't know if i'm right seeing in that way.

[@joshuamarks1129]

Hi Chris, I know you didn't fully specify this when you mentioned resolving Em6 to Eb6 (subs for Eb7 to Ab6) but I noticed the beautiful voice leading of the Eb6 diminished scale over the Ab major chord: Essentially alternating the sound of Abmaj9 and Abdim7 (kind of a Lydian flavor). Is that type of voice leading something Barry discussed in classes?

[@thingsivelearnedfrombarryh2616]

The 2 scale of chords that Barry would play over the AbMajor would be Ab6diminished and Eb6 diminished. The latter includes a D natural. He never refers to anything in modes. He doesn't believe in them.

[@joshuamarks1129]

👍👍Things I've Learned From Barry Harris I wonder if he ever had contact with George Russell, author "Lydian Chromatic Concept of Tonal Organizaion" "He doesn't believe in modes" is another way of saying he never found any important uses for the Greek terminology, but clearly his own system of scales is so completely developed/codified that he can play an infinite number of phrases starting on any note of a scale(s) and beginning at any part of the measure. He's magnificent, and we are very fortunate that he's such a devoted educator! And thank you so much for passing on his lessons in these videos!

[@alistaircornacchio5727]

I'm confused, you say Barry would think about the Bbm7 (2nd measure) as just Db, but in other videos he is not thinking of the Bbm7 because it's part of a ii V so he just thinks V. Can you try to clarify how these two perspectives that seem separate to me can work together?

[@johnrothfield6126]

14:50 !!

[@tadasuyamato930]

Beautiful!Your video makes mediocre player like me to advance.Again you better put your playing around 12:00 beginning of the video that will make more people Watch you for sure!

[@thingsivelearnedfrombarryh2616]

I'm available for skype lessons. Email me at [e-mail]

[@alfredscoggins3206]

WHERE'S THE PERFORMANCE?