I heard Tim Pierce say the other day , every time you find yourself doing something to much try doing the opposite. I find my self going the other way when ever I can this was a great tip.
As a Chicano American I was always confused as to why one was always considered the strong beat growing up. My west coast diet of ska and latin rock made me so confused about rhythm until I started to learn more about salsa claves and realized that we're all playing cultural telephone hahaha.
Only in crazed for race US society someone would call himself "chicano american". Im an argentinian with finnish grandparents, I will never in a million years call myself a finnish argentinian, and I can imagine the faces if I say such thing out loud.
Hhhhhhoooowwww many times argentinians told me, «im european too» when meeting them randomly travelling in argentina. Then telling that their grandparents were Italian, Irish and so on. Greetings from Norway. Finland and Argentina tho - the two best tangos…on a sidenote…
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. ☮️
This is really good. I am at that stage where I sound a like a student trying hard to hit the right notes on the downbeat. This quickly reduces the stiffness and makes my playing fresher. Now to get it in my playing ... Thanks Chris. Sharing like you do is very much appreciated.
It occurs to me that Barry people don't have to have the "avoid notes" or "chord tones on beats" approach because of the half-step rules, right - doesn't matter where or when the line starts, we practice the half-step rules so we know how to stick the landing.
This can also be done by ear and becomes subconscious. I often use the b13 and #4 which technically aren’t “Barry half step rule notes” although they work in context most of the time
I loved it, a little over my head, but we need more finger style rhythm playing. We can’t do Eddy VanHalen. We just want to play along, with interesting nuances. Do another video showing your right hand as well, and keep showing us things that we can do, but just didn’t know about. Us rhythm people need more teachers like you
man this is a revelation! I've been super stuck in my practice (and teaching) lately of looking at everything needing to "land correctly." Love these ideas. What record/solo did you hear that phrase from bud on?
Hey! Love your videos! They’ve really helped me speed up my development. Could you make a video on scales over Oblivion? Or maybe all gods chillun got rhythm? I’m unsure if I should think F7 or Cm over the Am7b5 on the first bar of Oblivion (minor7b5 on the #4). F7 feels more correct but I’m but I find it kind of hard to make great lines. Thanks!
on the beat is just safe. but ultimately its about the construction of the phrase. starting, ending, or coming to a place of rest in a phrase doesnt have to be on the beat and are all good places for the chord tones, as well.
Not all the time. Also Barry's Chromatic scale puts every scale tone on the beat. I think it's interesting to feel the and of the beat also though. It's one of my weaknesses. Trying to get it together.
YES! I was just talking about this! Where you place your notes in the measure COLORS the notes, just like the notes themselves color the harmony. Just like Barry doesn't preach that "avoid tone" nonsense because it limits your melodic palette, he doesn't teach that "strong beats only" crap with his method because it limits how you use rhythm to COLOR your melodic palette. Where you place the note in the measure creates tension and release of the pulse. We should get used to hearing notes colored with off-beat tension and "on beat" release, regardless if they are chord tones or not. As you concluded at the end of the video--that means we should be able to hear phrases from each part of the measure. That ALSO means being able to HEAR and differentiate the each part of the measure and all of it's subdivisions (that's what I am trying to internalize). Spatial awareness is just as important as tonal awareness, right? We need to be our own best drummer. Methinks this is all residual from erroneous bebop scales--chord scale theory trying to apply rhythm as an afterthought. I did speak pipe for You'll Hear It titled "Modal Playing: Where to Place the Notes?" Peter Martin answered by talking about Donna Lee--and said that always playing chord tones "on the beat" wasn't quite bebop. Interesting to watch that video back to back with yours--you are both echoing the same TRUTH ;)
I agree about chords/3rds/approaches/etc. But, from my interpretation, the main reason for the descending scale rules was to make sure the line ended on a chord tone on the beat. (and most inner line beats too) Thoughts?
I think that the whole "off beat" discussion is important to speak back to the "rules" and their inherent restriction. Didn't Barry Harris call the label of "rules" into question later in his teaching career? There's an episode of You'll Hear It that I mentioned in the comment thread above, where Peter Martin and Adam Maness actually discuss the erroneous rule of ALWAYS playing chord tones on the beat. Peter Martin makes a point with Donna Lee. Think of the beat like you think of tension and release on a chord. The release is the "on beat" and the tension is the "off beat." Just like our ears like to resolve harmonic/melodic dissonance, we like the same with the pulse. Starting a line with chord tones on the "off beat" creates an interesting tension that leaves the listener off balanced and surprised--then it's up to you to resolve the line. The way my teacher (Barry Harris's longtime guitarist--he introduced Chris Parks to Barry Harris) taught me the off beat sound was to look at where the next "on the beat" part of the measure was and continue the rules from there. For example, if you are playing a descending scalar line over Abmaj6 and you start your line with "C" on the "and" of the downbeat. The Bb would end up on the 2nd quarter note of the measure, and you would apply the rule for starting on the 9th (2). Dang it, this would be easier to explain with manuscript paper or an audio response--right?
@@pickinstone this Is how I understand it too. Cheers my friend. And I agree, comments section makes this a hard place for discussion. But I follow you.
@@JoshWalshMusic I'm on a hiatus from lessons--and playing guitar, for that matter because of hand issues. If I can continue with lessons with my teacher, I'll ask him more about these off-beat syncopated lines. I think that there's a wealth of rhythmic study in Mike Longo's material--a great compliment to Barry Harris's pedagogy. Through Mike Longo's "Rhythmic Nature of Jazz", I have come to understand the three dimensional West African foundation of bebop--and ALL jazz. The polyrhythmic grid--worth checking out his DVD's. Then there's Charlie Banacos. I got into his ear training pedagogy through Bruce Arnold. I find those three--Barry, Mike, and Charlie--to be the great trifecta of jazz pedagogy.
@@JoshWalshMusic They are now sold as electronic downloads through Purple Player. I have the last three of the four DVDs electronically--since my first physical copy crapped out.
Great tips, brother, but if u could share the information with the help of a metronome or e-drums we could feel, get and reproduce it easily :) pls do it
@switchingworlds8751 I try to practice all of it. The more options you have on the fly, the closer to being free you are. I'm still trying to get this stuff together. It's going to take a lifetime if not more. 🤣
@@arjenland4374 I submit to you sir; if you cannot feel then you should not be playing music. This is not mathematics we are talking about. 1 + 1 does not always equal 2. You have to be able to sense these things with your ability.
I heard Tim Pierce say the other day , every time you find yourself doing something to much try doing the opposite. I find my self going the other way when ever I can this was a great tip.
As a Chicano American I was always confused as to why one was always considered the strong beat growing up. My west coast diet of ska and latin rock made me so confused about rhythm until I started to learn more about salsa claves and realized that we're all playing cultural telephone hahaha.
Only in crazed for race US society someone would call himself "chicano american". Im an argentinian with finnish grandparents, I will never in a million years call myself a finnish argentinian, and I can imagine the faces if I say such thing out loud.
Hhhhhhoooowwww many times argentinians told me, «im european too» when meeting them randomly travelling in argentina. Then telling that their grandparents were Italian, Irish and so on. Greetings from Norway. Finland and Argentina tho - the two best tangos…on a sidenote…
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. ☮️
This is really good. I am at that stage where I sound a like a student trying hard to hit the right notes on the downbeat. This quickly reduces the stiffness and makes my playing fresher. Now to get it in my playing ... Thanks Chris. Sharing like you do is very much appreciated.
Fantastic teaching!!
Awesome tips!!
Thanks
👍🎩👍
An example of descending thirds starting on the upbeat is Jitterbug Waltz.
I love it when he says "wrong"
"The other side of the coin" - love this. What a great lesson in forward motion
Love your single note solos so bebopy... thats a word! Love you man Chris!
It occurs to me that Barry people don't have to have the "avoid notes" or "chord tones on beats" approach because of the half-step rules, right - doesn't matter where or when the line starts, we practice the half-step rules so we know how to stick the landing.
This can also be done by ear and becomes subconscious. I often use the b13 and #4 which technically aren’t “Barry half step rule notes” although they work in context most of the time
Closer to heaven! I love it! Great lesson! Thanks!
I loved it, a little over my head, but we need more finger style rhythm playing. We can’t do Eddy VanHalen. We just want to play along, with interesting nuances. Do another video showing your right hand as well, and keep showing us things that we can do, but just didn’t know about. Us rhythm people need more teachers like you
Man I am grooving on this session This guy is a cat. I notice when I do this my Lines are really flowing. Barry says never tire of the major scale.
Thank you
Have you ever tried to play the scale in 4th 5th 6th it really open the scale and open to new possibilities, have a try!
man this is a revelation! I've been super stuck in my practice (and teaching) lately of looking at everything needing to "land correctly." Love these ideas. What record/solo did you hear that phrase from bud on?
Hey! Love your videos! They’ve really helped me speed up my development. Could you make a video on scales over Oblivion? Or maybe all gods chillun got rhythm? I’m unsure if I should think F7 or Cm over the Am7b5 on the first bar of Oblivion (minor7b5 on the #4). F7 feels more correct but I’m but I find it kind of hard to make great lines.
Thanks!
I wish I could take lessons from this guy
on the beat is just safe. but ultimately its about the construction of the phrase. starting, ending, or coming to a place of rest in a phrase doesnt have to be on the beat and are all good places for the chord tones, as well.
Interesting video. Makes me wonder now what makes half step rules work as it's usually thought of as a way to keep chord tones on the beat.
I guess it's about consistency. Keeping chord tones consistently on or off the beat gives it rhythmic wholeness
Not all the time. Also Barry's Chromatic scale puts every scale tone on the beat. I think it's interesting to feel the and of the beat also though. It's one of my weaknesses. Trying to get it together.
YES! I was just talking about this! Where you place your notes in the measure COLORS the notes, just like the notes themselves color the harmony. Just like Barry doesn't preach that "avoid tone" nonsense because it limits your melodic palette, he doesn't teach that "strong beats only" crap with his method because it limits how you use rhythm to COLOR your melodic palette.
Where you place the note in the measure creates tension and release of the pulse. We should get used to hearing notes colored with off-beat tension and "on beat" release, regardless if they are chord tones or not. As you concluded at the end of the video--that means we should be able to hear phrases from each part of the measure. That ALSO means being able to HEAR and differentiate the each part of the measure and all of it's subdivisions (that's what I am trying to internalize). Spatial awareness is just as important as tonal awareness, right? We need to be our own best drummer.
Methinks this is all residual from erroneous bebop scales--chord scale theory trying to apply rhythm as an afterthought. I did speak pipe for You'll Hear It titled "Modal Playing: Where to Place the Notes?" Peter Martin answered by talking about Donna Lee--and said that always playing chord tones "on the beat" wasn't quite bebop. Interesting to watch that video back to back with yours--you are both echoing the same TRUTH ;)
I agree about chords/3rds/approaches/etc. But, from my interpretation, the main reason for the descending scale rules was to make sure the line ended on a chord tone on the beat. (and most inner line beats too) Thoughts?
I think that the whole "off beat" discussion is important to speak back to the "rules" and their inherent restriction. Didn't Barry Harris call the label of "rules" into question later in his teaching career? There's an episode of You'll Hear It that I mentioned in the comment thread above, where Peter Martin and Adam Maness actually discuss the erroneous rule of ALWAYS playing chord tones on the beat. Peter Martin makes a point with Donna Lee.
Think of the beat like you think of tension and release on a chord. The release is the "on beat" and the tension is the "off beat." Just like our ears like to resolve harmonic/melodic dissonance, we like the same with the pulse. Starting a line with chord tones on the "off beat" creates an interesting tension that leaves the listener off balanced and surprised--then it's up to you to resolve the line.
The way my teacher (Barry Harris's longtime guitarist--he introduced Chris Parks to Barry Harris) taught me the off beat sound was to look at where the next "on the beat" part of the measure was and continue the rules from there. For example, if you are playing a descending scalar line over Abmaj6 and you start your line with "C" on the "and" of the downbeat. The Bb would end up on the 2nd quarter note of the measure, and you would apply the rule for starting on the 9th (2).
Dang it, this would be easier to explain with manuscript paper or an audio response--right?
@@pickinstone this Is how I understand it too. Cheers my friend. And I agree, comments section makes this a hard place for discussion. But I follow you.
@@JoshWalshMusic I'm on a hiatus from lessons--and playing guitar, for that matter because of hand issues. If I can continue with lessons with my teacher, I'll ask him more about these off-beat syncopated lines.
I think that there's a wealth of rhythmic study in Mike Longo's material--a great compliment to Barry Harris's pedagogy. Through Mike Longo's "Rhythmic Nature of Jazz", I have come to understand the three dimensional West African foundation of bebop--and ALL jazz. The polyrhythmic grid--worth checking out his DVD's.
Then there's Charlie Banacos. I got into his ear training pedagogy through Bruce Arnold. I find those three--Barry, Mike, and Charlie--to be the great trifecta of jazz pedagogy.
@@pickinstone I’m familiar with Mike Longo’s approach at a high level. But I haven’t seen these DVDs. Will look and see what I can find.
@@JoshWalshMusic They are now sold as electronic downloads through Purple Player. I have the last three of the four DVDs electronically--since my first physical copy crapped out.
What if I want to play chord tones on the beat?
Awesome! Instant swing!
Listen to Miles Davis to find out if you can do it.
New sub
I always ‘breath’ on the beat, inhale, then phrase.
Good singers do that too.
Great tips, brother, but if u could share the information with the help of a metronome or e-drums we could feel, get and reproduce it easily :) pls do it
It's a thing called swing...
Agreed
So what’s the point of half step rules then? I thought they were created for the purpose of landing chord tones on the beats
Not all of them. If you start on the 6th and use no half steps or 2 half steps, the 6th, the 4th, and the 2nd are all on the beat.
@@thingsivelearnedfrombarryh2616 got you. So they’re optional?
@switchingworlds8751 I try to practice all of it. The more options you have on the fly, the closer to being free you are. I'm still trying to get this stuff together. It's going to take a lifetime if not more. 🤣
@@thingsivelearnedfrombarryh2616 right, i didnt mean the half steps aren't important to learn, but landing on the chord tones is optional
Hal Galper …
Yes Sir!
You should at least have a metronome ticking, otherwise its very vague where the upbeat is
Yea a metronome or a simple backing track would be amazing addition to that lesson to really sink it in
It’s implied, but should be able to feel it…
Should be able? Feeling is made of an intangible substance
@@arjenland4374 I submit to you sir; if you cannot feel then you should not be playing music. This is not mathematics we are talking about. 1 + 1 does not always equal 2. You have to be able to sense these things with your ability.
"Those are great!"
Sir, you are great.
Chord tones played off the beat create a more musical sound, while chord tones played on the beat sound more like a practice exercise.
Why use b flat in a tutorial? Keep it simple. Always use b sharp for a major scale and b double flat for minor.
muso clickbait!!