As I already said, your channel is a hidden gem on youtube. I compare it to a lot of other "Barry Harris"-explanations. Yours is by far the most understandable and useful one - so practical and at the same time explaining where things come from. Thank you!!!
Your explanation is clearer than from other piano teachers on youtube, about the harry barris rules. i writing your explanation from a to z because my elglish language is not so good thanks from the netherlands.
Thanks, your lesson reminds me of the exercises in the Jamey Aebersold Vol 3 Supplement and the series by David Baker, The Bebop Era, some of the hottest stuff you could get when learning to play jazz in the early 80's.
So helpful! I wonder, do you ever teach the Boysie Lowery jazz stuff? That's all about time too, if I remember right, but I sorta bounced off that material...
This is a top notch lesson. I appreciate that you teach at a pace that I am able to follow! Could you please please tell me how to spell your first name if you see this? Thanks!
If you mean the scale rules for Major, I already have that here: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ClgNqZY1OZA.html If you mean Maj6 movements, I have those too: ru-vid.com/group/PL2GT-F7_oAbmNf3Szot-P-NJIEtYWZeum
Great !! But you can practice this concept in only one chord and have infinite possibility’s. How or when do you decide to move on ? If one wants to play this on fast bebop tunes it’s necessary to get it so well under the fingers that you don’t even need to think about it right?
It seems that this works if your in the rhythmic straight jacket of only using eight notes and the melodic straight jacket of insisting on chord tones on the downbeat. Interesting concept but kind of paints you in a corner like the twelve tone theory of making yourself use all twelve tones. Nice for setting parameters for a composition but should that be all there is? I like your videos but have always wondered about the restrictions of the Harris method. It reminds me of George Russell's Lydian Chromatic method in that it is an interesting concept but is it a bit limiting if it is adhered to all the time in every musical context? As a way to focus your awareness I am all for it.
@@JazzSkills So right! First we have to understand and make use of the "rules" - later we might break them. To me the point is: Barry Harris is an excellent method to approach important Jazz-Concepts. After being through a lot of the Berkley-stuff (the mainstream of jazz-exercises and -theory) I stumbled over Barry's ideas and approaches. Now it seems to me that what academia did to jazz was mainly to build up a rather intriguing barreer and making jazz a far too intellectual and elite "game". One extremely interresting thing to observe is that when jazz left the "Barry Harris" way (like Miles Davis, Coltrane and others!) was exactly the point when jazz lost a lot of listeners that somehow seemed to feel that musicality has been sacrificed for mere artistic virtuosity and intellectual analysis.
