Barry Harris's Best Kept Secret To Playing Over Dominant Chords...
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- Опубліковано 2 чер 2024
- The best kept secret for playing over dominant chords is Barry Harris's "Family of Dominants" method. In this video, I will cover how we can use his method to utilize lines we already know to create new sounds and possibilities... You don't want to miss this!
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Thank you for your support!
Thank you for all the hard work that goes into these videos to help us who can't easily get to a good teacher. Really appreciate all you do - its helped me a lot Matey. Best regards from Cornwall, UK.
Thanks Rick, appreciate that! Glad the videos are helping! If your so inclined I just launched my patreon (no worries if you can’t) :) have a great day
Great instruction, thank you Nathan.
Pure theory so Good
So informative!! Amazing!!
Thank you!!
Solid stuff, Nathan! 👍👍
Thanks so very much Jens! I very much appreciate your support of this channel. Hope your having a great day :)
Praise for this video and I'm listening to the new CD now and loving it! Keep it coming.
Wow mike, thanks so much! If you like Gregg hills music make sure to check out other artists that have performed his work. (Michael Dease, Randy Napoleon, Rodney Whitaker. You might also like my pervious CD “Each Step.” Thanks for your support!
Great lesson! Thanks
Thanks David! Hope it helped you out!
Fantastic, Thanks!
Thanks for watching! :)
Interesting and Practical submission ...Many thanks ....my warmest regards Nigeria
Great lesson with some wonderful ideas Nathan .
appreciate that! Hope that you can find some more beneficial videos on the channel!
I am loving the Barry Harris content. Thanks+
Thanks James! There’s so many good Barry Harris concepts!
Thanks for all your great work.
Thanks! Hope the lessons are helping!
Always simply explained and well illustrated. Thanks, this is brilliant(love the minor ideas D-7 Bb-7 A-7)
Glad you liked it! I love that sound too! For some reason that's easier for me to think about as well
Yes great alternative to the classic way of thinking 2-5-1, as Am7 is C6 equivalent.
Now need to change the D-7, maybe with a F6, so we could have a new kind of "2-5-1" cadence as F6/Bb-7/A-7 😛
Great video, I already was aware of dominant familiarity, was also aware of the sound of it when i liste to solo. But having a real practical approach and some the examples encourages me to work on this topic (that i was finding overwhelming so far). Thank you Nathan🌻
P.S. : those different triads over dominant chords sound a bit like some Jimmy Raney line to me (a bit of diminished ). Really love it :)
Thanks Christian! Really appreciate you watching and even happier that it helped you out! and yeah for sure about Jimmy, great call
Ultra phat lesson… very clear and well explained.. thanks from uk 🇬🇧
You're very welcome! Thanks for watching!
Amazing!
Thanks so much!
Brilliant !!
Thanks for watching!!
Great lesson thx 😎
Thank you for watching :)
Love the pimped up production values and the content
Thanks frank! Just wanted to get the videos looking as good as I can make them along with good content! Appreciate your support
Thanks Nathan:)
No problem! Appreciate you watching!
Great lesson! Now I have to practice…
Apply those Wes lines with this concept!
Nice video
Thanks so much! and thanks for watching
Signed up on Patreon!
Thank you for all your support fouroutoffour! Very much appreciated it!!
Recently saw your channel and am digging the content!
You also get a great sound on video. Do you go direct out from your Blu into an interface?
Thanks so much! Appreciate that. As far as my sound goes I goes through some outboard gear then into my interface, and after that I mix it down in logic. I have listened in the video description alot of the gear that I use!
I wonder if anyone else has had this experience: I discovered this knowledge on my own many years ago - way before I ever heard of Barry Harris. I was just writing tunes by ear before knowing any theory and messing with dim7 chords and figured it out. I’ve made many other discoveries like this, and in years since, see them pop up occasionally on YT etc. It’s a weird experience. Can anyone else relate to this?
Hello and thank you for your contribution. I got a little lost when you start substituting minor seventh chords for dominant seventh chords. To say that you can use a D flat seventh is far from using a D-flat minor seventh. A D-flat minor seventh implies a G flat dominant. How do you justify a G flat dominant over a G?
Hello and thanks for your question. Yes, that sound is a bit 'out,' but the idea is to have different opinions to use just one ii-V idea. The trick is of course resolving your line. Theoretically speaking, these sounds are connected from the ii chord of the ii-V (via minor third axis/relationship). As I did in the video, I also added the V of the ii chords. A lot of these dominant 7 chords are pretty outside sounding. However, thinking about them as just tension, which then resolves is key. The pair you are speaking of is a good one. You could think about it like C#-7 to F#7 to B-7 for the resolution which would work as B-7 is a sub for Cmaj7 (lydian). Or you could use the ii-V cell as a passing idea to connect to something else. An example of this is the last couple measure of the etude at the end of the video, that sixtieth note line has two ii-V cells in and resolves nicely to G7. For your specific example your could do this, Db-7 Gb7 connected to Bb-7 then resolving to A-7. I was playing this as I write this comment and it worked out! Remember, the trick is resolving. Look to players like Benson who play crazy stuff but are able to resolve it well. As always you your ears and find what works for you. thanks!
Hey where did you get these info? Did Harris write a method? Cheers
Hi! I don't know if Barry wrote a book really, but a lot of his teachings are out in the world. For example, I knew about this concept from my studies with Tia Fuller (she was the first to tell me about it), Randy Napoleon, and Steve Kolvacheck. Also, there are videos of Barry teaching directly on UA-cam that are very educational. Often times he took what jazz musicians were already doing and made it very easy to understand and other times he made his own concepts that changed jazz music.
What are your thoughts on just bypassing all those “how to” Barry Harris bebop videos and just transcribe Ike the masters did?
Yep! That's the best option. How I learned about this was transcribing and mentorship. I think I always try to put out quality content for people, but they won't truly understand a concept unless they hear it first, thus transcribing is always a good choice.
I have a problem about how to improvise when comes to chord changes. Please, Help me out sir
Hello! For that I would recommend transcribing a jazz solo (grant green cool blues) and taking those lines and use them over the same progressions. I’ll do a video on this soon! In the meantime, check out my other videos that could possibly help you with this!
Intro to improv: The BEST Method For Beginning Jazz Players!
ua-cam.com/video/Gt71rPeiThQ/v-deo.html
Create easy jazz lines: Jazz Lines... Made EASY! A Guide On How To Build Lines
ua-cam.com/video/V1AC8CO2HJk/v-deo.html
Use enclosures: How To Use Enclosures!
ua-cam.com/video/UlhLMczrZDg/v-deo.html
How to use jazz vocab: How To Put JAZZ VOCAB Into YOUR Playing!
ua-cam.com/video/wRaFKwRVWmA/v-deo.html
So good.. Thank you so much.
Love the Sound of the Bb-7 over G7. Do you also consider the family of Dominant work as m7 chords ascending in m3's. IE: the Dominant and m7 chords are interchangeable in the dominant family. This does add a fun set of Dominant chords starting on each note of a diminished scale when using both combined, but I more enjoy the sound of each family to its own, either the dominants with their ii or the new m7 treated as as ii with it's accompanying V.
I was only asking because of the ii V I example you switched to the Bbm7 instead of just a Bb7.
Yes! They both work. The first half of the video I covered the dominant versions then on the last second part I covered the minor version. Sometimes you will get notes that don’t quite “work” but you can always find easy ways to resolve them. Hope this video helped you come up with some more ideas!
Shooooow
Not sure what this means but I’ll take it as a compliment haha! Thanks!
This is Pat Martino's thing too, it's almost exactly the same.
Yes! I was reading a bit of his guitar fundamentals book and it's so similar. Goes to show that everything is connected!
56bpm?
Are you referring to the Etude tempo? If so I think that’s at 100pm.
great video ¡¡¡ Thanks
Appreciate you watching!