Adam Takes a Lesson... 

no clue what's happening but i love the sounds and their enthusiasm

I got shit for saying this elsewhere, but here it goes. I've found half step rules MORE useful in creating bebop lines than enclosures. Everyone talks about the importance of enclosures... but here's the thing. These half step rules allow you to create lines with true inertia--forward motion. Half step rules are not just "passing tones." Rather, half-step rules are a method that Barry Harris came up with to align the melodic aspect of jazz with the rhythmic--with the pulse of bebop. Half step rules teach your ears how notes sound on different beats of the measure--how the pulse colors the note. Enclosures are important and a great entry to that study, but when I play enclosures--I have the inclination to think of every enclosed note as a target. That's a problem. See, if you think of notes as targets, then you are inclined to stop your line after you hit that target. I know I'm not the only one to have that problem. Half-step rules allow you to play THROUGH targets and perpetually create. Barry Harris spent half of his life creating a unified theory of harmony, melody, and rhythm--an Einstein of improvised music. He spent the other half playing with all the greats that find their names into our music collections. Listen to Barry Harris. Drops mic. There, I said it.

I love the humility shown here. We're always learning even if as a teacher

The Barry Harris guy??? LETS GO

Oh this is so wonderful. Chris, I love that you've sound such a great home with Open Studio. The way you teach this stuff is world class, brother. Just fantastic

Barry was the greatest, I loved his classes in NYC in the mid 80s

As Colleen would say, Evens have 0 or 2 half-steps (0 and 2 are "even numbers"), and Odds have 1 or 3 half-steps (1 and 3 are "odd numbers").

Chris is an amazing teacher, and Adam is a very quick learner!

Love it. More with this instructor please! Love his channel!

Love Chris' enthusiasm and dedication to the Barry Harris way

This is incredible. Holy smokes.

LOVE THIS! A great concept simply explained. Time to go shed... 🎷

Man, chris has helped my playing sooo much. glad to see him in the studio!

So happy to see Chris! What a fantastic lesson!

So much love for these guys and BH.

I’m so glad to see Chris here talking about Barry’s rules and analysis of harmony. I miss Barry so much, but this is pretty close to that Tuesday night workshop that Barry led for years. Thank you!

so good! the joy of music these two have is inspiring! thanks for sharing.

Great stuff as always!

This is amazing !!! Fantastic

laughing with joy watching this...magical :) thanks

caught some musical magic right there. great lesson and great vibe

Never seen this explained so well

Man as a pianist, I have learned so much from Chris!

Awesome, man.

Joy!

Adam! machine! right on

Super cool lines!

I'm legit practicing this right now this is so cool

More!!!

I spent a lot of time learning these rules, but after learning Barry’s chromatic scales I rarely use these. I find the chromatic scales much more useful and intuitive. They generate great enclosures and melodic ascending and descending lines, and the octatonic dim6 scales cover the whole ‘landing on a chord tone’ issue just fine.

Great stuff. Should be taught in any first or maybe second year jazz program. Instant bop!

Wow, that was a great video

Gold

Never is too much from barry, pls more!

Great concept, the way I see it the Ab, b6 tone derives from the cycle of thirds, C E Ab C or B (if leaning towards natural intervals) and you could similarly use chords based on the cycle of thirds as well, Amaj7 Abmaj7 Cmaj7 instead of thinking in terms of the cycle of fifths exclusively.

💯🙏🏻Barry 💚💚💚

3:53 bananas

So helpful! This drill really cleans things up!

Can You please do this over a minor 2-5-1?

Bass player here - so a bass player question follows…at around the 4:25 mark Chris says pivot a chord - does that mean play an arpeggio that lands on the note below (or above) where you are. In this ex, Adam finishes the scale on the Eb (flat 7) then plays an ascending Gmin arp from below to end on a D (the scale tone BELOW the Eb). Am I in the right ball park with the word pivot?

Barry as in Harris?

I'm lost. Why is the 1st note F notated as a G instead of F? Am I missing something? Or is this just a note typo?

Another thing that he will probably mention in the course is that you can put any note instead of the chromatism. On a guitar (and I imagine on other instrument) i can be useful in some position to grab another note.

I'm trying to understand what just happened? I don't quite follow

Long live Barry

This is well covered in David Bakers book , Jazz Improvisation : A comprehensive method for all musicians

My brain hurts now.

i'll send this to all video who hate jazz

Adam, Chris, thanks for the pdf Barry Harris half steps download. Problem is the download has color and multiple pictures embedded with the pdf. All I need is the content offered, the required ink to print the pdf would force me to reorder cartridge ink @ $108.00 dollars. Please in the future no color, no pictures needed just the measure notations.

Typically you improvise something, take a piece you like and try to apply some rules to it... Is that good? Sometimes yes, sometimes no.

What the holy hell was that?

So many rules !!! I don't like rules that much. When I improvise, I try to have no time between the following steps : 1/ I hear a note (inspiration) 2/ I know its name (relative to the previous note I was playing, I don't have absolute ear but rather relative ear which imho is less constraints) 3/ I know how to play it. How do you find the time to think about rules and apply them when you're improvising ? You just can't. To me you have to focus on the 3 steps I mentionned, and carefully think about what rules you'll try to remember (cause of course sometimes it's important to know the clinics). But then after, you have to forgot them and ... play !

Sus’s move me :-)

A lesson in how to make things more confusing by remembering rules for each chord

I don't really understand but I guess it's a formula for soloing

It's John Coltrane. Old stuff. No theory needed there, just play it... There was a book called John Coltrane Patterns. Every phrase in all 12 keys - that is fun to practice and good for development.