Wow great lesson, Thank You so much! You really nailed explaining the unexplainable, I will save yet another for my play/practice list though this one once again moves to the top. I ran into a little gem of a video of you being interviewed by a piano player/teacher, fascinating stories of how close you were to the Master. You are superb humble teacher, hats off.
The possibilities really do feel endless with Barry Harris's pedagogy. Excellent work reintroducing Barry Harris to so many of us (including myself) and making sense of it all in bite sized pieces, TILFBH. I think that the trifecta of bebop study is Barry Harris, Jimmy Raney (polymeter and phrasing), and Mike Longo (Dizzy G's rhythmic pile). It'd be wild to see someone try and combine all three into one "unified theory" ala Einstein or something. I still say that Barry had a lot more to say about rhythm as well, but it's more subtle and harder to piece together. That 6 over 4 poly rhythm that he talks about with Ballads is really interesting...
The best kind! I just acknowledged the beauty of the headstock accent on the top, on my friends acoustic(my favorite guitar EVER) yesterday. Recognized it immediately here.
Taken from one who has witnessed teaching from Barry himself, and countless others, I so appreciate Chris because of the way he directs you into the process of making the language personal. As you can see here, he even shows how this is a work in experimentation until you can say what you need to say on your instrument with your own voice. Thanks Chris! Barry Harris' voice is still so powerful and Chris has become one of many amazing teachers of this wealth of knowledge...key point just when you want to forge ahead with something new, Chris always brings you back to the importance of starting "here"...
Incredibile, the only methed that use exercise and put It right in the Improvisation. And i swear to God , today i was wondering how to put this thirds in a musical way in to a solo. Another great way to use It( i saw Bird use It in that way frequently) Is downward at the and of a phrase: maybe ( in F7) starting on the down beat whit an halfestep like A, chord down in triplet from Bb and than thirds downward from A until Eb wich appens to end on the up beat. So swinging. Thank you mr Barry and of course thank you mr parks to spread this gems of wisdom which whithout that i would never.be able to create solos that swing that hard.
Thanks for sharing your “putting this concept through its paces” and then letting us in to your process for what to keep and what to pass on. Shows real honesty with yourself and then open it up to us. Man you’re really getting better all the time, and your channel started out great! And, you’re getting a marvellous sound out of your Collings 👍
Great stuff as always, thank you
Wow great lesson, Thank You so much! You really nailed explaining the unexplainable, I will save yet another for my play/practice list though this one once again moves to the top. I ran into a little gem of a video of you being interviewed by a piano player/teacher, fascinating stories of how close you were to the Master. You are superb humble teacher, hats off.
What a wonderful lesson. Thanks always.
The possibilities really do feel endless with Barry Harris's pedagogy. Excellent work reintroducing Barry Harris to so many of us (including myself) and making sense of it all in bite sized pieces, TILFBH. I think that the trifecta of bebop study is Barry Harris, Jimmy Raney (polymeter and phrasing), and Mike Longo (Dizzy G's rhythmic pile). It'd be wild to see someone try and combine all three into one "unified theory" ala Einstein or something. I still say that Barry had a lot more to say about rhythm as well, but it's more subtle and harder to piece together. That 6 over 4 poly rhythm that he talks about with Ballads is really interesting...
Nice guitar, Chris!
Me: I think I've exhausted every possibility for practicing thirds.
Barry Harris: Hold my beer.
I don’t know how many video’s I’m into now but this guys quickly becoming my favorite person ever. I love this guy.
Chris - some of these examples would be great to hear over a backing track from say iReal Pro, or even just a metronome, or a loop from a looper … ?
Does anybody know what kind of guitar that is ?
It's a Collings I35
The best kind! I just acknowledged the beauty of the headstock accent on the top, on my friends acoustic(my favorite guitar EVER) yesterday. Recognized it immediately here.
@@thingsivelearnedfrombarryh2616 very cool. I love the inlay’s. Thanks for these video’s , they inspire me .
Taken from one who has witnessed teaching from Barry himself, and countless others, I so appreciate Chris because of the way he directs you into the process of making the language personal. As you can see here, he even shows how this is a work in experimentation until you can say what you need to say on your instrument with your own voice. Thanks Chris! Barry Harris' voice is still so powerful and Chris has become one of many amazing teachers of this wealth of knowledge...key point just when you want to forge ahead with something new, Chris always brings you back to the importance of starting "here"...
Amazing
Brilliant
Does anybody know if Chris gives personal lessons ?
Yes I do. You can email me. chrisparksjazz22@gmail.com
Horribly dumb question: am I practicing the 7 note Ab scale to 7 note F7 scale, or am I practicing the 8 note Ab6° scale to F7°?
Creating your own vocabulary = “Growing your own moustache”, copyright Mattias “IA” Eklundh 👍👍👍
Lots of great ideas Chris! I wish a good saxophone player would demonstrate these concepts as well just to hear these ideas on a wind instrument.
Food for thought and fingers, let alone the connection it must be created. Oh, my, so much to do, so little grasped. Regards, Chris!
Incredibile, the only methed that use exercise and put It right in the Improvisation.
And i swear to God , today i was wondering how to put this thirds in a musical way in to a solo.
Another great way to use It( i saw
Bird use It in that way frequently) Is downward at the and of a phrase: maybe ( in F7) starting on the down beat whit an halfestep like A, chord down in triplet from Bb and than thirds downward from A until Eb wich appens to end on the up beat.
So swinging.
Thank you mr Barry and of course thank you mr parks to spread this gems of wisdom which whithout that i would never.be able to create solos that swing that hard.
"If I have seen further [than others], it is by standing on the shoulders of giants." Isaac Newton, 1675
"that's a nice one" ... Love it
Thanks for sharing !!
Excellent lesson Chris!
Thanks for sharing your “putting this concept through its paces” and then letting us in to your process for what to keep and what to pass on. Shows real honesty with yourself and then open it up to us. Man you’re really getting better all the time, and your channel started out great! And, you’re getting a marvellous sound out of your Collings 👍
Absolutely brilliant, man!
Thanks for another great lesson.
Brilliant