TILF Barry Harris EP 42 Using Pivot to create lines on I Got Rhythm

[@samferguson9171]

Need to get a “that’s a pretty phrase” t-shirt 😂

[@chefsize]

Chris - you’re the man. Thank you so much for all of this. I feel like at some level I “know” these things, in that I can hear them, and have played them from transcribed solos; yet, still couldn’t fully codify them enough to grasp them or bring them into my own playing. Any type of bebop phrasing/language that has worked its way into my lines over the years, is purely by osmosis - running transcribed solos over & over again. I’ve tried to follow Barry a few times over the years, but as you state - he moves really quickly, especially if you’re only watching short clips & not sitting in the room with him. The way you break down & slow down these concepts is so perfect. These videos are an absolute treasure.

[@threetorches100]

Thanks again for laying this all out on guitar. Transposing is arduous and by the time I have finished, I've often lost the point I was trying to pick up on in the first place. -Much Gratitude

[@gertzpalma]

THANKS!

[@juanvarela1305]

THE BEST, NO? FROM ARGENTINA THANK YOU SO MUCH

[@jamesrobinson529]

What an eye opening tutorial! I come from a hard rock/ blues rock background and I've always felt like jazz was some mystically unachievable, 'you either got it or ya don't' genre. Now I see what I need to practice to add the sounds that I want to hear, to my playing style. Using pivoting & Barry Harris' half step rules, is really going to expand my vocabulary. Congratulations & Happy Anniversary, Chris!!!

[@thingsivelearnedfrombarryh2616]

Thank you James. I appreciate it. Barry's method is so special. Glad you're getting so much out of it.

[@Immortal_swine]

Thanks for so generously sharing the keys to the castle 🙏

[@BenNixBradley]

I’m still catching up. But I’m really happy to see new videos.

[@thingsivelearnedfrombarryh2616]

Thanks Ben. More to come

[@jonoden6941]

These videos are phenomenal, thank you for your hard work! Dr. Harris never ceases to amaze.

[@edgarrg94]

You are awesome my friend, thank you so much for sharing all of this material! I've seen all of your videos and I'm obsessed with them!! thank you

[@thingsivelearnedfrombarryh2616]

You're welcome Edgar. Barry's method is wonderful. Please share with your musician friends.

[@taylorfusion]

As I've dug into Barry Harris tutorials around KZbin, one thing common to all is how the approach perpetuates the prevailing harmony throughout the measure(s). The necessary half-steps required make the strong beat associations necessary. But what I haven't seen yet is that the greats often anticipated the next chord change within their lines. It's only by REMOVING these half steps that one can then IMPLY the next chord change (especially before the measure arrives). I've noticed this in my own study. That it was necessary, if I wanted to have that next chord change in my line (regardless of the technique currently being used i.e, Pivoting as in your video today), to OMIT the half steps and start playing the lines that outline that next harmony I want. That's what gets me out of the prevailing harmony so hammered in these tutorials. I would love to see you (I haven't seen all of your videos yet, maybe you have) do a video on this "anticipate the next chord BEFORE the chord arrives". This, to me would be the ultimate freedom of making music flow from one idea to the next.

[@thingsivelearnedfrombarryh2616]

Thanks for the input. I appreciate the thoughtful question. Actually, Barry does talk about anticipating the next change. So to use this video as an example, I'm starting each one of these phrases on the 17th bar. You could start a D7 phrase on the 16th bar while the chord is still Bb major. Same half steps, same pivots, same phrase. just starting it early. Bird, Bud Powell, Coleman Hawkins etc... would do this often.

[@taylorfusion]

@@thingsivelearnedfrombarryh2616 not following you re: 17th bar. That WOULD be a D7, right? So your line is already in the current harmony. I'd like to see a video where you anticipate the next chord. Yes, the masters do this absolutely as I've alluded to in my initial post and self study. But I have yet to see a video documenting this esp. utilizing the BH approach.

[@thingsivelearnedfrombarryh2616]

@@taylorfusion The D7 line can start on the 16th Bar which is Bbmajor

[@thingsivelearnedfrombarryh2616]

@@taylorfusion It's hard to show this in a video without a backing track but It's a good idea for a future video.

[@taylorfusion]

@@thingsivelearnedfrombarryh2616 would love to see a video from your channel showing this and other examples

[@dangreenwood]

I know what I’m learning tonight! Well taught! Thank you

[@JohnHorneGuitar]

Great information! Thanks for sharing!

[@thingsivelearnedfrombarryh2616]

Thanks John. More to come

[@cottinulysse8754]

thanks a lot to share all this knowledge

[@louisgriffin5984]

Great lesson Chris!

[@thingsivelearnedfrombarryh2616]

Thank you Louis

[@tugwinthrop7424]

Very very helpful!

[@wilsonvilleguitar]

Great video, Chris. Thanks so much!

[@tadasuyamato930]

Great! We can make 1000 phrases from your videos. Thanks Chris!

[@MRMOTOFOTO]

Cool stuff...never realized that about sax players

[@williamschepp3738]

Great as always!

[@Joobie]

Congrats on one year!

[@thingsivelearnedfrombarryh2616]

Thank you

[@PeteMartinMandolin]

Excellent!! I'm still waiting for the Confirmation video :-)

[@Katatopianos]

Congratulations on the anniversary!!!

[@thingsivelearnedfrombarryh2616]

Thank you

[@johnrothfield6126]

Cool pattern C E. G. Bb .

[@markslist1542]

What mode of fender Stratocaster is that? The specifics please.

[@guimagranato6869]

Thank you very much, such a nice approach. When you re improvising over a II V you do it just over the V?

[@gabrielvladimirdavis]

super lesson! When playing a descending chord can we pivot up an octave also? Or is that not jazzy ?

[@Samuelee97]

Yes you can... Instead of doing (Top root) (octave lower 3 5 7) you can you do the opposite: (Bass root) ( top m7 5 m3)

[@ThePmfan]

Trumpet players have it even worse than sax and also do this octave displacement all the time. Barry's method is super great. But I hate the way he mangles Giant Steps for essentially political/polemical reasons. Trane and hard boppers (including Wes (who Barry also tends to put down)) specifically wanted to voice those chords and play those subs exactly the way they did. This was a new sound and it certainly wasn't from ignorance of harmony/voice leading, as Barry clearly implies. Barry, when he complains about modern pianists, sax players (OMG the way he off handedly puts down Trane is dreadful) and Wes, comes off not unlike a modern day Artusi (attacking Monteverdi.) But for playing bop, no method compares to Barry's. (and YOUR videos are all uniformly superb).

[@JonFrumTheFirst]

Many players who were the real deal trashed other players who we love. You just have to accept that they have their reasons. No doubt some equally prominant person would totally disagree with Barry, and you could get a lot from them as well. I'm thinking about the guy who was asked about Ornette, and said that he should learn to play saxophone. And many classic players hated Bop. But they were all great in their own way.

[@morkus26]

Where has Barry spoken about Wes Montgomery? What did he say?