These are great!! Love the idea of it being a vast field of choices - it's truly infinite. But Chris, when are you going to open with just a few minutes of playing. I'm sure we would all love to hear you - even just fiddling around. Your playing is really wonderful!!
Thank you for these great videos. I’ve been learning Barry Harris’ concepts for the past few months and the one thing that I’m a bit confused by, is the usage of Barry’s diminished 6th scale concept vs his chromatic scale concept. Thanks again for the great content.
Hi, I'm new to Barry's method and, I was wondering how to analyze chords on lead sheets with his theory/method in mind. Have you made a video on this subject that I can refer to? Thanks for all the videos, they're wonderful!! I've learned alot!
Hi Chris! Thanks for the video! I hope it's OK to ask a question (not related to the video above): Do you have a video about deceptive cadence (for instance, D-7 to G7 to A-). I heard Barry on some video saying that we should really know this, but I couldn't find any elaborations on it. Would love to hear you talk about it! Thanks again!
funny someone yells what the hell during the scale at the beginning. Interesting adding a 6th in relative minor and raising the 7th is the same as flatting the 5th in the major diminished scale.
I think you named an interval wrong for Cm6 harmonized in 3rds: it’s not the P5 that is a M2; it’s the P6 that is a M2. P5 is a M3, b6 is a min3, M6 is M2. I.e, to harmonize the A, which is the 6th degree of the scale, you use the G below. The distance between an A and a G is a M2. The G is harmonized by a M3 below (Eb) not a M2.
I recognize the sound of these harmonic movements in many jazz pieces. Now I see where they come from.
This is not music theory, this is lessons on how to paint with sound! That’s Beautiful
Hand up, who wants a T-shirt that says "That's beautiful!" ✋:)
We have evolved from pretty to beautiful
Evolution :) What's next?
But you dont want to catch it when you slow it down to learn the licks. Its a drunks sentence.
hehenehhee
Hell no!
beautiful! love it chris
These are great!! Love the idea of it being a vast field of choices - it's truly infinite. But Chris, when are you going to open with just a few minutes of playing. I'm sure we would all love to hear you - even just fiddling around. Your playing is really wonderful!!
Seconded. I find hearing him implement the concepts in his improv really inspiring and puts everything into perspective.
Chris Parks Parker. Anyway, maybe not but totally sounds awesome to my ear.
bless u Chris - this is the cutting edge for me theory wise
Thanks for all of these lessons, Chris!
Beautiful stuff hefe.
Thank you for these great videos. I’ve been learning Barry Harris’ concepts for the past few months and the one thing that I’m a bit confused by, is the usage of Barry’s diminished 6th scale concept vs his chromatic scale concept. Thanks again for the great content.
as usual, great video Chris ! thank you
Hey Chris, I'd love to hear your take on another tune after all this time teaching with OS. Your past recordings are great!
I love u chris
Subscribed
That was great 👍
Hi, I'm new to Barry's method and, I was wondering how to analyze chords on lead sheets with his theory/method in mind. Have you made a video on this subject that I can refer to?
Thanks for all the videos, they're wonderful!! I've learned alot!
Did you talk in any of the videos about using those scales of chords in tunes? Especially the dominant and b5 dominants
Hi Chris! Thanks for the video!
I hope it's OK to ask a question (not related to the video above):
Do you have a video about deceptive cadence (for instance, D-7 to G7 to A-).
I heard Barry on some video saying that we should really know this, but I couldn't find any elaborations on it.
Would love to hear you talk about it!
Thanks again!
funny someone yells what the hell during the scale at the beginning. Interesting adding a 6th in relative minor and raising the 7th is the same as flatting the 5th in the major diminished scale.
I think you named an interval wrong for Cm6 harmonized in 3rds: it’s not the P5 that is a M2; it’s the P6 that is a M2. P5 is a M3, b6 is a min3, M6 is M2. I.e, to harmonize the A, which is the 6th degree of the scale, you use the G below. The distance between an A and a G is a M2. The G is harmonized by a M3 below (Eb) not a M2.
Informative video! I am curious what year is your I35 and what pickups are in it? Nice playing and tone BTW. Thanks!