Jazz Theory with Barry Harris, Part Two
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- Опубліковано 18 жов 2024
- Sit down with the legendary Barry Harris for a piano and theory lesson that will expand your harmonic vocabulary and give you deeper insight into the music!
Learn more at the Jazz Academy by visiting academy.jalc.org
Barry Harris - Piano
Eli Yamin - Piano
Eric Suquet - Director
Bill Thomas - Director of Photography
Aaron Chandler - Audio Engineer
Richard Emery - Production Assistant
Seton Hawkins - Producer
Recorded September 11, 2013
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1:43 The way he says “watch this” makes me so happy
As a classically-trained pianist, I just love what Barry said "Jazz is the continuation of classical theory!".
Musicians everywhere owe BarrY Harris a debt of gratitude and humility. His dedication, insights and intellect are a priceless gift..
1:43 When the teacher shows me something.
1:50 When i try to do what the teacher literally just showed me 10 seconds ago.
i love Professor Harris' philosophic view of music
You can listen to Barry Harris speak like you would listen to music. Reading and thinking as his words bubble along like a spring.
I have been playing guitar - in a variety of styles - for fifty years. Never have I had as many concepts come to light for me as I have listening to Professor Harris in the first two videos of this series. I am astounded.
Rest in peace, Mr. Harris
Thank you for the inspiration 🙏
I like how it ends with " Jazz is the continuation of classical theory"
That's deep - the "continuum" thing of Barry Harris.
I figure classical fanatics will be very reluctant to appreciate such statement - a truism though it may be.
@@wyndhleodumegwu253 I'm a classical musician who agrees with Barry Harris and while I practice Beethoven I practice dim 6th scales all the time.
That statement equates ---
*JAZZ being INFINITE*
But it’s not. It’s a clear break in the linage. Maybe up to the 1940s u could say that. But movie scores, u can say are a continuation of classical theory.
@@newagain9964 Movie scores? I can write down a movie score in just one hearing, movie scores are just a popular genre like Rock. Classical theory is discontinued since the death of tonality and the obsolete use of classical treatment on counterpoint, we are living in a late Romanticism period, and jazz is clearly an evolution of classical harmony.
This was beautiful... love the way the student is whooping with delight at the new insights on 'tea for two' ...
Thank you to the academy for sharing these lessons. Thank you Barry. I love the way you see music.
Tea for Two is a standard warm up tune that every old timer can play very well in the standard key of A flat.
Felix Scott I love Art Tatum's version of Tea for Two. In fact, it was one of the first tunes I heard in my teens. I haven't tried my hand it yet, though and I'm 30 now but it's a pleasant tune.
Eeeeewwwwwww 😀 I Love these videos. I watch them Every night before bed so I sleep with these lessons in my head 😀
OMG me toooo! the best lullaby there possibly could be!
that chord at 1:48 made me melt i love jazz sooo much!
How about you love music so much? :) You could use the chord in anything you want to!
Listening to Barry Harris' voice is ASMR
"Oooooooo"
Hahahahahahaha
I was looking for this
Several years ago when I was studying jazz piano with my first music teacher, I also, for some reason, started copying his "whooo" sound. Later he also teached me how to correctly do the "yeah".. most important jazz lessons of my life. Not even joking.
right?, why!
I thought there was a flamboyant ghost in my basement
Mr. Harris is an absolute joy to listen to
Come on man, this is a whole new world for me.
Beautiful.
in the preceding centuries Bach and well before him, any young musician learned at the same time, the improvisation, the composition and the playing music of other composers. From the 19th century only organists continued to learn to improvise, but often after having studied the instrument. for some years now, some classical music teachers have wanted to put back the study of improvisation from the start of learning the instrument.
I cant read music or play any instruments but I'm loving this immensely. This video has inspired me to learn to play the keyboard.
Watching this was uplifting.
Rest easy Legend, and hey thanks for teaching us Cat.
“Jazz is the continuation of classical theory.” 😮
"I don't suggest that you write for orchestra looking at the piano keyboard". THANK YOU for saying this elder Harris. Thank you in spades sir.
He is wrong about that. Piano is a special instrument on which u can emitate orchestra. Classical pianist can do that because they trained so much to produce sound that is similar to orhestra instruments. I like jazz but jazz pianists are not capable of doing what classical pianists can do. Jazz pianists just "press" keys and classical pianists devote their life for "golden sound"-sound that requires brilliancy of touch and not just plain pressing the keys like this dude in the video.
+real deal You get it. I couldn't agree more. Too bad that good touch and sound mean that the hands are connected to a trained pair of ears in that regard, and you kinda have to have that to appreciate the details (and that's why the debate is pointless). Great technique equals demanding ears, unachievable by noodling.
@@wolfpsx6210 For example listen to Gilels. The man can produce sound that is so rich it is incredible.
@@asdfasdf-gm5uk Yeah because he's playing pieces that have been recited thousands of times before him. I don't even like jazz that much except for studying the theory, but there's no way you can tell me guys like Bill Evans and Bud Powell are just "pressing keys" and I'd even go so far as to say that most jazz pianists are more technically proficient than classical pianists but I won't because that'd be a gross overgeneralization like what you guys just did.
@@asdfasdf-gm5uk I'm not certain you two understand... A modern classical pianist will practice one piece a hundred times over, emulating the intent of the original composer. That "golden sound" is the only creative input they have. For a jazz musician, you must live and breathe music. You will never play the same tune in the same way twice. You are expected to improvise - to breathe beautiful and original movements into existence in an instant. This was once true of classical musicians as well, but no longer. My point is not to disrespect classical. I love Bach as much as the next pianist. However, I'd say that you can be a classical pianist without being a musician. The same is in no way true in the world of jazz.
That's an eye opener! And a good inspiration. Gotta practise this today! And he's totally right: all those big institutions never asked the real Jazz players how to do it. Ask a musician and then: practise. And feel.
This is precious!!
Amazing teacher and musician.
This is so gratifying to watch and listen to.
Thanks for that! I always felt like something was wrong with all these "modes".
I wanna learn this
YES!!!!! "jazz is the contiuation of classical theory". I've been thinking this for years, and my college professors preferred to hold on to "20th Century" classical (academic music) instead of hopping over to Ellington, Basie, etc.
Music theory is One.
Love it! Knowledge is power!
Always good
You are the best teacher
I oooooooooooooo'd too.
I cant keep watching this, my rookie butt need to go study the Circle of Fifths right now. This dude is inspiring.
Hello Barry Harris, here is Raquel from Mozambique.
Am pianist and am learning jazz. so I should like to learn more about that, because I do no nothing and I should like have lessons and watching here, and play with my band.
The last exercise is found in Trent Kynasstons saxophone studies book.
There was no way to record improv in Bach's day... It still happened.
Recitals came along and musicians became occupied with them.
Who said it didn't?
He meant their compositions squashed out improvisation because people learned only to play other's music.
this is true from the 19th century. but, in the preceding centuries Bach and well before him, any young musician learned at the same time, the improvisation, the composition and the playing music of other composers. From the 19th century only organists continued to learn to improvise, but often after having studied the instrument. for some years now, some classical music teachers have wanted to put back the study of improvisation from the start of learning the instrument.
@@ethanmulvihill7177 this is true from the 19th century. but, in the preceding centuries Bach and well before him, any young musician learned at the same time, the improvisation, the composition and the playing music of other composers. From the 19th century only organists continued to learn to improvise, but often after having studied the instrument. for some years now, some classical music teachers have wanted to put back the study of improvisation from the start of learning the instrument.
Love it.
i learned alot here, thanks so much !
It’s an absolute scandal that the simple Western music theory Barry is talking about (12 tones, divided by 2 into whole tone and into 3 for diminished) isn’t taught widespread as the common idea. It is absolutely essential and is about as true as 2+2
It really should be taught more. There are some amazing guitar channels that focus on it; it really suits the instrument.
@@bubsadoozy link?:)
@@GuitarWithJamie The two that come to mind are: 'Labyrinth of Limitations' and 'Things I Learned From Barry Harris'.
@@bubsadoozy Sweet thanks a lot!
2:03 the wkfjar djfn frustration. amazing.
The deedobdobbeledille
amei o senhor e fera parabéns ensina super bem e.pena que eu não falo inglês mais vou.pegando devagar as materias Deus abencoe
Ge-ni-us lol I broke the word down how he breaks music down. My heart ❤️
At 5:20 he mentions a book by Schönberg, does anyone know which book?
Tea For Two -Doris Day (classic)
This is wisdom!
DIVINE INSPIRATION!
Thank you!
You can just see The years of practice from how he can instantly pick out notes that sound good going from one to the other 😳. How he do this ????
Bach and Beethoven were some of the greatest improvisers of their time, improvising cadenzas for their concertos, or impressive variations on any given tune. Mozart even played a whole sonata out of his head, si when exactly did « improvisation stop in Europe » ?
Early 20th century
Spencian Neutralist rubbish
@@KlavierKannNichtMehr Whatever floats your boat.....
@@KlavierKannNichtMehr Definitely ended in between WW1 and WW2. The Europe was ravaged by many revolutions since the mid-19th century, then two world wars, and many people migrated overseas, including many musicians and teachers, to seek better life elsewhere. The culture life, which thrived before all that, was nearly impossible to be re-established. After the WW2, the Europe was divided between two blocs, the Communists came on stage too, and the Cold War reverted the culture further back. The USA ground was spared world wars, and some music genres established some continuation of the European tradition. But in recent decades it faded away too, when the commercial pop and derivatives took over the entire western bloc culture (which included the US).
They were great but people didn’t learn how to improvise instead they just learnt what Bach and others played so it stopped classical musicians from learning how to improvise
Very interesting.
Gold!
🤩
Imagine being so old, that you say DNA just started LOL
What is the song they're playing at 1:50?
+TheSupaflydre It's called Tea for Two
It also sounds like tangerine
@@Pizaz0 tangerine by who?
HE HAS A MIND YOU CAN NEVER FATHOM!
Nice
Winton rights for the orchestra
"chopin an' them... they goofed on us"
Master
Wow 💌📫
Oooooooo
listening to Harris, it's like hearing the piano itself talking...
Who does he mention at 5:23?? "Now XXX says something..."
Schonberg!! Never mind i got it later :D
Lmao "computer madness"
What is this?
rip
👏🏽👏🏽👏🏽👏🏽😍😍😍😍
“You could make a whole song usin that”
“You sure could….(this guy is crazy!)” 😳🤭😬
great video, but sometimes its very hard to understand the words he is saying.
When Beethoven was asked to play piano for people, he would improvise. For an hour. Much of his compositions consist of improvisations that he transcribed.
Musicology?????
:)
Kinda pretentious to say that Bach didn't improvise. On the contrary, Bach *was* the father of improvisation. Can't blame Barry though cuz he's grew up that sort of a culture that didn't really develop an ability to appreciate subtleties outside their borders.
The oooooo is a bit annoying
Your username is JoyofLife?
Like ik what jazz is but like wtf is jazz
I like Harris a lot, but I don't agree on the downplay of classical music and theory. Classical music is about composers who have polished their works to an extent that can never be achieved by improvising, no matter who you are. Bach's and Mozart's music is perfect in all ways, and I've yet to find similar structural depth from jazz like I find in composers like Chopin and Rachmaninoff for example, and I'm 100% sure I never will.
That being said, there is absolutely necessary and unique stuff in jazz. If I could decide, classical and jazz would be the only music genres, we don't need the rest. Just don't compare them, they are totally different things. I can say as a classical musician that there are some things in music theory in general that I see many (even great) jazz musicians simply misunderstand.
Mr. Harris is, one could say a musical purist. He is not comparing one art form to the other. The musical elements that apply to jazz have a direct correspondance to Classical Music. He is simply demonstrating a continuum of laws and music theory and how they apply to Jazz. No one can argue about the extent that Classical composers went in perfecting the artform and advancing theory and structure. Lets try not to mix apples and oranges here.
+RedwolfPsx
I beg to differ.
Bach, Mozart, Beethoven, Chopin, Debussy, Wagner, etc. They all improvised. Improvisation is an important part in discovering music. The art of improvisation is equal to the art of composition, but without refinement. To understand the music inside and out. There is evidence showing that Mozart even improvised live during his concertos. Beethoven was obviously a great improviser, and Chopin as well. Most of Liszt's recitals were based off of improvisations. How does one compose or learn how to compose? By improvising, learning the vocabulary of others before, implementing this as well as your unique touch, and so forth. One can not improvise without composition as well as one can not compose without improvisation. They come hand in hand.
I prefer to see the term improvisation as composition, yet on the spot. Take for example the extraordinary improviser, Richard Grayson, who can improvise fugues of any theme you tell him to, and as well any style or composer and he does so impressively. He studied the vocabulary, the rules, and the concepts of the different eras, composers and such, and he became able to improvise in this fashion.
I am convinced that one can find few mistakes in Mozart's compositions though. I feel that Mozart at some times in his life when he was writing various pieces at once obviously made some slip-ups, and surprisingly I found a video of Horowitz stating that he alters a passage in the concerto because he feels that Mozart made a mistake either writing it down, or composition-wise. Mozart even did consecutive fifths with the passage of a Gr+6 to the V of which is humorously deemed alright only since Mozart did them and therefore we got "Mozart fifths." He went against the rules of counterpoint of which lead to realizing music expression a bit further. In a sense freeing up more possibilities for composers to come, but I disagree with the term "freeing" the music, but instead discovered or realized from the fundamentals of what makes music beautiful.
Anyway this was my lengthy opinion on the matter of improvisation and composition. The better of a strict improviser you are (meaning to understand harmony, harmony movements, counterpoint, and etc. of theory), the better of a composer you will be. Of which proves to be the case for past excellent composers.
Anyone can do improvisations, such as throwing rocks on a piano can be considered improvisation, but when it came to composing, that's a whole other league. That's why I personally believe that the art of improvisation is truly learning how to compose and to reach your limits, but nowadays the art of improvisation is taught wrongly and with limits in most Jazz schools. Allowing the students to stop searching deeper within and understanding harmony and music, but to accept it as a cluster of notes to be expressed instead of an order of notes perfectly connected to each other. These students fail to realize a lot. Though I can continue ranting I'll stop here.
+RedwolfPsx However, one has to understand that Barry sees his Jazz as "real Jazz" and the rest isn't truthful to the term, but an insult. The more I study it, I find connections of which music theorists in the past have already found and talked about, but Barry fortunately has a different, yet sweet perspective on these matters delivering different and just as beautiful and logical solutions in the movements. So when he states that Jazz is the continuation of Classical theory, he is talking about his own theories as well as the contributions of Frans Elsen. Studying of Powell, Monk and such. Though Monk liked to sound ugly, but rhythmically pleasing of which is why Monk's playing works as well as the harmony movements he mostly came up with worked. Barry's not talking about what the majority of people are learning about Jazz, but his theories of which I have faith will be recognized for its importance in the future, and I'll attempt to get his theories more recognition.
+LinkBulletBill
I've seen that video of Horowitz correcting a small section of Mozart's concerto too. I remember him working it out on a piano during a recording session (I believe it was for a small string part); and, frankly, I remember thinking, "that actually sounds better than the original."
+Ricardo Camara
I do concur.
“See how it makes sense”
As I proceed to not get it
What's the song at 1:33 ?
Tea for two