Barry Harris Workshop Video
Authentic be-bop approach. Barry Harris is the real thing.Some of the pearls of wisdom:Practice playing scales up from the root 'to the 7th', NOT to the 8th.Practice playing scales 'down from the 7th' not from the 8th.Use '5 4 3 2' phrases 'to get out of trouble'.We don't think about the ii chord scale, 'we think the V7 scale'.Practice the half step 'rules'.The three important arpeggio triads.Interrupt your chromatic scale with some 3rd leaps (chord tones) along the way.KC IslandRe: Best online Jazz Training workshops ever!06/08/19 03:01 PM 06/08/19 03:01 PMJoined: May 2004Posts: 6,442. Authentic be-bop approach.
Barry Harris is the real thing.Some of the pearls of wisdom:Practice playing scales up from the root 'to the 7th', NOT to the 8th.Practice playing scales 'down from the 7th' not from the 8th.Use '5 4 3 2' phrases 'to get out of trouble'.We don't think about the ii chord scale, 'we think the V7 scale'.Practice the half step 'rules'.The three important arpeggio triads.Interrupt your chromatic scale with some 3rd leaps (chord tones) along the way.Love love love this Icon. 'Authentic be bop', is on the money. Not to hijack this Barry Harris thread, but I also wanted to mention an online jazz training site recommended by Doug McKenzie whom some of you may know from YouTube as Jazz2511.Mr. McKenzie himself is a very experienced Jazz Pianist and professor based out of Australia.
I learned about him via a recommendation from 7NoteMode on his Web site. Doug McKenzie had listed the following gentleman's online training on his site: Gjermund Sivertsen. The folks at the pianoworld forum have said some nice things about his training, although there are quite a few free video's available on YouTube from him as well. In full disclosure, I have not signed up for any of this training myself. But the YouTube video's are very interesting.It's also worth mentioning that Mr. McKenzie also offers a DVD with all of his online video's (basically his solo and trio interpretations of jazz standards with his own analysis of what he's playing).
This DVD is very inexpensive and would keep a person occupied for a very long time! They come with adobe pdf and midi files of the performances. AnthonyMRe: Best online Jazz Training workshops ever!06/11/19 05:12 PM 06/11/19 05:12 PMJoined: Jul 2013Posts: 189.
Barry Harris Workshop Video Game
I can vouch for the Doug mckenzie course. I bought his dvd about 7 years ago and I'm still sifting through it. It cost maybe $20 and contained an enormous amount of material, transcription pdfs, videos, midi files, bass and drum audio files to practice to.
He also offers an options to pay a nominal few every few years and hell send you on any newer files he's uploaded since you last purchased. It's a great resource if you put in the hours.Re: Best online Jazz Training workshops ever!06/11/19 06:09 PM 06/11/19 06:09 PMJoined: Sep 2011Posts: 7,598.Barry teaches what he calls the '5 4 3 2' phrases.Here's a nice example of practicing the '4' and the '3' phrases on the bridge of Cherokee. In this case starting on beat 2 and descending from the 5th.Of course you would first need to learn what the '5 4 3 2' phrases are from a previous workshop video.The man is a goldmine in a mostly clueless world.As far as the fine pianist McKenzie. I do not mind at all, the bringing of his name into the conversation. But this causes me to compare the two pianist teachers.McKenzie, a creative spirit no doubt, is a watered down Bill Evans. That is an unfair comparison, because Bill Evans is a deeper pianist than just about anyone, in a certain respect.
His European connection ( Chopin, Ravel ) is unparalleled, in my opinion.But if one of the top jazz pianists ( Bill Evans ) could be said to have a 'weakness' it would be on the African American side of the reckoning. Rhythm and Blues.Don't over react, I adore worship Bill Evans, and view him as a better pianist, with more knowledge even than Barry Harris. But Barry Harris has more be bop, and blues in his nature.And McKenzie is not in the same conversation, in spite of his excellence. We are talking the Greatest in the history of jazz piano. Think hierarchally.What Barry has to offer, NO ONE in jazz academia has, period. Just throwing out one thing to remember about Barry Harris method.
As I learned from hanging with some name players Barry Harris is great and is the foundation that needs to be learned, BUT have to remember Barry doesn't like Jazz from about the mid-fifties onward. So Barry is a foundation but a lot has happened since the mid-50's so there is more to learn past Barry.That would explain why he prefers to name certain scales 'G7' and 'C7' instead of 'G Mixolydian' and 'C Mixolydian'. He seems focused on bebop era jazz and not so much into the modal jazz that came later.In any case, I'm trying out his stuff and seeing where it takes me. Just throwing out one thing to remember about Barry Harris method.
As I learned from hanging with some name players Barry Harris is great and is the foundation that needs to be learned, BUT have to remember Barry doesn't like Jazz from about the mid-fifties onward. So Barry is a foundation but a lot has happened since the mid-50's so there is more to learn past Barry.That would explain why he prefers to name certain scales 'G7' and 'C7' instead of 'G Mixolydian' and 'C Mixolydian'. He seems focused on bebop era jazz and not so much into the modal jazz that came later.In any case, I'm trying out his stuff and seeing where it takes me.But why complicate a simple G7 with 1000+ year old Greek modes that in reality have little to do with be bop?Why do teachers do this. Generation after generation?As far as going beyond mid 1950's. Crawl, walk, jog, run, sprint.
Are youa already a jogger? Can you play be bop like Barry?This rushing forward, is suspicious to me. The more you move away from restrictions of the past, the more you open loop holes for jive playing. Who can criticize a Cecil Taylor.
How would you know? I say master 1950's first.For instanceBill EvansBarry HarrisJoe SampleWynton KellyOscar PetersonAhmad JamalRed GarlandCedar WaltonWork on these for a while.
Just throwing out one thing to remember about Barry Harris method. As I learned from hanging with some name players Barry Harris is great and is the foundation that needs to be learned, BUT have to remember Barry doesn't like Jazz from about the mid-fifties onward.
So Barry is a foundation but a lot has happened since the mid-50's so there is more to learn past Barry.That would explain why he prefers to name certain scales 'G7' and 'C7' instead of 'G Mixolydian' and 'C Mixolydian'. He seems focused on bebop era jazz and not so much into the modal jazz that came later.In any case, I'm trying out his stuff and seeing where it takes me.But why complicate a simple G7 with 1000+ year old Greek modes that in reality have little to do with be bop?Why do teachers do this.
Generation after generation?As far as going beyond mid 1950's. Crawl, walk, jog, run, sprint. Are youa already a jogger? Can you play be bop like Barry?No, that's why I'm looking into his teachings.I wouldn't dream of telling Barry or anybody else sharing his method to switch to using Greek names - in case that wasn't made clear in my previous posts.
One of the licks that Parker uses in both these solos is what I call the ‘seven down to the third’ scale. This name comes from the scale approach that Barry Harris teaches to the minor ii-V progression. As shown below, the minor ii-V progression has the same ascending-fourth/descending fifth root motion as the major ii-V progressions discussed in the last post, but the ii chord is a minor 7 flat five (rather than simply a minor seventh) and the V chord, in simplest version of the progression, is a dominant seven flat nine chord (rather than simply a dominant). Barry’s approach to the minor ii-V, like many of his other teaching concepts, is based on the ‘seventh scale’ (a.k.a. The mixolydian scale).
Rather than assigning two different scales to the two chords of the minor ii-V, as many improvisation methods do, Barry uses a ‘seven up and down’ pattern with a seventh scale starting a major third below the root of the ii chord (or a minor third above the root of the V chord).This scale choice has multiple benefits: for one, it is a pitch collection which is consonant with the m7b5 chord but avoids accenting its root. Also, when the ‘seven down’ half of the scale is ended on the note a half step above the scale’s root, it outlines a fully diminished chord that functions as a rootless voicing of the V chord.The author is pianist Tom Cleary.As for me, I'm still working on executing Barry's blues scale exercise with good time, heh. Barry is a pure gold mine, and the nicest human ever.You have to get an in person lesson or master class while this man is still with us!I just heard that students either pay a $40/year membership or $10 per class to attend Barry's class.That is an insane deal to study this stuff with the man himself.I wonder if anyone here has done the class. Peeps who live in NYC are lucky.I'm nowhere near the level of you guys, so I'm contentedly plugging away at just playing his basic blues changes and rhythm changes exercise in time. I'm using Barry Harris Method for several months now. What a relief. No more modes, hooray!!!Here are two great teachers of Barry's method (for piano) on YT:Conner builds Barry's world from the ground up.
Better by far than watching shots from Barry's masterclass, which are good, but random in level and focus. If I could keep only one video tutorial series this would be it.Bill also has sheet music, free and very cheap (both), to back up his sessions.And here are a ton of Barry Harris transcriptions from the YT vids and other teachers.