Відео

Sounds great, Chris!

Oh man I can't believe I've been playing the Dominant 7th scale wrong for at least 3 years. I always just played the Dominant 7th scale with an added flat 7th and just added another diminished chord whenever I got to the 6th, all because I saw it written like that in a book. The way that it sounds here is way prettier.

Gotta put the 11s on the jazz box here not playing it with lighter strings

Thank you for the knowledge Chris. My 25 year old son introduced my to Barry Harris. My Son took a couple of lessons in Brooklyn, with a Lady that taught Barry Harris method. I play electric bass and want to apply these principle to the bass, I don't want to do the regular Pentatonic runs. I have decided to by into Barry. Thank you for giving these lessons for free. My Son is a hip hop producer, he said that he found Barry on youtube. His method thru you teaches originality. How to find your own sound.

Men, you save me! You save knowledge!!

You are a brilliant teacher and a magnificent guitarist. Thank you.

Can anybody point out the video that say what a b3 diminished is ? Is it just flattening the 3rd on of the diminished to make it a dominant chord or just playing the minor 6 diminished scale over the Phrygian mode kind of ?

You are a blessing of knowledge from Barry. Crazy that this information is there now for the earth, and on UA-cam...forever. Maybe there will be a resurgence of beautiful harmony

Is the 6 on the 5th a dominant with the 13th or a major 6 chord?

Wow Chris. We can all get so much out of transcribing all of your little turns in this video alone. These are concepts that 10 years ago would be next to impossible to pick up at this depth unless you attended Barry's clinics and worked all of this out yourself on the fretboard... Which you amazingly did. Thank you for sharing this material freely to the public. It's invaluable. The bar has been raised.

The biggest limitation I’ve come up against in integrating BH into my playing is that while it makes the strong and common V<->I movement easy, I’ve seen little about the equally crucial I<->IV or I<->II movements. Have you discussd those movements elsewhere?

Whats wrong with our guitar ¿? Never noticed that before now . Why is the freets like that? Anyway thanks for all the great lessons, you are a really great teacher. Thanks 🫵👏

Great lesson as always! A pleasure to watch 😊

Great Lesson. Thanks Chris!

You're doing us all a huge favor here. Thanks!

Just Beautiful... and opens up a universe of possibilities

Again, thank you very much Chris to share all this informations !!!

And the rest is dynamite as well, agreed. Thank you so much Chris, Peter

Already in the first sentence you kick us back to the very basics. Top Chris

Beautiful, Chris. Thank you!

Wow, this is dynamite. Cheers Chris. Tim

Such a great take! Always come back to this vid. Excited to play this tune again and see what I work out with everything I've practiced since I played it last. The movements in this tune are so much more familiar to me these days, but the best part is I'll continue to dig into them forever :)

Barry Harris's harmonic movement seems similar to George Van Eps in terms of harmony being MOVEMENT--multiple melodies that sometimes line up, rhythmically, in unison. I know that Barry's harmony and single line improvisational ideas are often taught separately. That said, I get the itching suspicion that BH's harmonic and melodic conceptions were a lot more connected than we give credit. After all, I think that Barry Harris was trying to discover a unified way of teaching harmony, melody, and rhythm--where all pillars are cohesive and embedded upon each other. A unified theory... Einstein was trying to do that as well :) I still say that Barry Harris had a lot more rhythm to teach us all. Barry Harris's pedagogy is an iceberg, and we are still only skimming the top. The deeper we go, the more connected all the material will become--that's my hunch ;)

Is there somewhere I can find a pdf of all the drop 2, drop 3 and drop 2-4 voicings? I know my drop 2 chords in minor 6 diminished but want to extend my vocabulary. ❤

Borrowing Concept has infinity way to create beautiful harmony in some harmonic context, which is at the same time really hard to master....

Yesterday I was playing all the things you are and I busted out a inverted dormant bE7 Dom was like holy Shirley I’m doing it. It actually works. Usually I’m just jamming around on changes with no purpose. Lol

Thanks loads, you're such a generous mate sharing this treasure with us!

I’ve learned my guitar neck more in the last 2 years than in the entire 38 years I’ve been playing just by watching Barry Harris videos but mostly Chris’s video’s. Thank you for sharing this with all of us. 🙏

pay attention, everyone. No one else is going to teach you this. also, can i "borrow" that beautiful box?

“Barry’s Beautiful Borrowing” - this clip wins on alliteration alone, never mind content. Thanks yet again, Chris. 🎸🔥🎶🔥🙏🏿💯🦁☀️

This is soooo good.

I can’t believe almost 2 years later I just realized I skipped my drop 3’s. 😢 lol. I just ran through them but didn’t get to the dom7 b5 drop 3s. Cant say i don’t know what i should be practicing.

Thank you you are great. I'm watching your videos many times. A wonderful example of the last movement is "save some for later" track from Barry Harris' For the Moment. One of the best album in History of Music

Fantastic episode as always

I'm so lifting that notecinbetween the whole tone lick. Lol. Great video dude.

Very cool and helpful!

The swinging in those phrases is tight🔥🔥🔥🔥

CAVEAT! Chris starts this video by cross referencing to Isaac Raz’s short/long tutorial, and I spun my wheels trying to square the 2 approaches. I suddenly realized that they are not demonstrating the same concept. Chris is demonstrating a 6thDim structure where the 6th chord starts by borrowing the outside notes from its diminished partner, and the diminished by borrowing from the 6th chord. Isaac’s video is showing a purely diatonic 7-chord series where each diatonic middle 3rd is simply borrowing diatonic notes from the major scale. Thats pretty as well, but it produces a traditional diatonic progression as opposed to Barry’s long/shorts which produce the expected V->I movment.

or as anthropology? Bb G7 Cm F7 works with that scale formula fine too? Oh well the ear will tell

I wonder what recording this phrase is from...

Nice tone! There’s a lot for me to unpack here in this video. I’m new to the whole jazz thing and this Barry Harris fella. Thanks for this sweet package of condensed knowledge and experience. Music is the beautiful language. ☮️

What key is your scale in?

beautiful! love it chris

Wow, he does it again! Another lesson that’s a lifetime of practice!

Nice axe!

Jesus Christ

Great stuff! Appreciate you sharing this. I'm still not sure how to figure out when you stop on the 3rd of a different chord. Otherwise it's all seeming straight forward. I'll keep watching and learning.

super important message here - we cant be everything, just ourselves!

Brilliant...

Really nice line. I am always impressed by your ability to clearly covey whatever your teaching. As a teacher myself it is really cool observing your teaching style!