you demonstrate the patterns saying that you start on the fifth, fourth etc of the scale but always start on the 5th for the first 3 patterns. I wonder what 5-4-3-2 actually means.
Idk if you've already spoken about this but what are the Barry-correct scale outlines for the first bars of All the things? Fm, do you run up F minor (to the 6th through the 5 and #5) or up Ab major? Same thing for the Bbm in bar 2, (Db major) but also couldn't Barry say to use Eb7 up and down through the two bars (2 and 3, Bbm7 and Eb7)? Or am I even asking the right question
That was awesome Isaac, thanks. Would love to see in the future some examples of applying Barry ideas for comping or soloing on a 60s "modern" tune, maybe a Charles Mingus (Goodbye PorkPie Hat), or Wayne Shorter, like (Fee-Fi-Fo-Fum, Speak No Evil, etc), or maybe a Coltrane tune (Central Park West would be cool, multiple key centers), etc.
This may be a dumb question from an old-timer who used the Coker book for jazz, which maps out taking a motif and varying it. This would be done in every mode/scale to fit different chord types, as is done here, bur also rhythmically, truncation, etc. Doing that, with the Lydian Dominant mode, you would have hit that Gm over C7 (or what some call the Jazz Minor on the 5th degree). So, is this a bit of cult of personality? I have no criticism of Harris or his methods, none. But are these licks any better because they came from him instead of, say, Gershwin or Bach - or other places I stole from? Anyway, thanks to Isaac. I enjoy your presentations.
Such awesome stuff! Appreciate it.
what a great teacher. priceless lessons.
Hi isaac, its been a while, already missing your uploads!
you demonstrate the patterns saying that you start on the fifth, fourth etc of the scale but always start on the 5th for the first 3 patterns. I wonder what 5-4-3-2 actually means.
Thanks 🙏 so so much, Isaac! You’re just awesome! 🙂
I like the Dbminor 6 on the C7, sounds cool! Nice to see some further ideas on applying these. Does anyone else dream about this kind of stuff?
A collab between Isaac Raz and Chris Parks would be very pretty
Hey Isaac, just curious what happened to all the vids you had been doing with Bob.
really cool idea bringing in the family here
Excited to try these!
Never thought about the Dom7 with the b5
Great stuff!
The more you look at it the more you see how ubiquitous it is
Good ideas Isaac, thanks!
please come back to us!
Idk if you've already spoken about this but what are the Barry-correct scale outlines for the first bars of All the things? Fm, do you run up F minor (to the 6th through the 5 and #5) or up Ab major? Same thing for the Bbm in bar 2, (Db major) but also couldn't Barry say to use Eb7 up and down through the two bars (2 and 3, Bbm7 and Eb7)? Or am I even asking the right question
That's a great idea. I think you just gave me the topic for my next video. Plus I'm looking forward to shouting out to "Omit Five"!
@@isaacraz can't wait to hear what you have to say!
That was awesome Isaac, thanks. Would love to see in the future some examples of applying Barry ideas for comping or soloing on a 60s "modern" tune, maybe a Charles Mingus (Goodbye PorkPie Hat), or Wayne Shorter, like (Fee-Fi-Fo-Fum, Speak No Evil, etc), or maybe a Coltrane tune (Central Park West would be cool, multiple key centers), etc.
Family really works over Coltrane stuff, switching to diminished scales on dominants while running from key to key
This may be a dumb question from an old-timer who used the Coker book for jazz, which maps out taking a motif and varying it. This would be done in every mode/scale to fit different chord types, as is done here, bur also rhythmically, truncation, etc. Doing that, with the Lydian Dominant mode, you would have hit that Gm over C7 (or what some call the Jazz Minor on the 5th degree).
So, is this a bit of cult of personality? I have no criticism of Harris or his methods, none. But are these licks any better because they came from him instead of, say, Gershwin or Bach - or other places I stole from?
Anyway, thanks to Isaac. I enjoy your presentations.
what is your question???
Thanks for expanding on 5432..!!
I extrapolate these two cases of embellishments across the entire scale, thus I have 8 7 6 b6 5 4 3 2 phrases. Harry Likas -Jazz pianist
Begins on fifth of the scale the fourth... all beginning om fifth😂😂😂