Practice Barry Harris Major rules for improvisation with me
Вставка
- Опубліковано 30 чер 2024
- This lesson delves into the simple yet effective rules of Barry Harris' jazz improvisation techniques for Major scales. I demonstrate these concepts through practical examples, applying them to a common chord progression with various simple but effective variations.
▬ Contents of this video ▬▬▬▬▬▬▬▬▬▬
00:00:00 - Intro
00:01:47 - Building phrases
00:05:16 - Cutting and adding
00:09:05 - Triplets
Related lessons here:
• Jazz improvisation
👉*Jazz skills membership & a full free lesson* My site for members with hundreds of categorized tutorials, webinars, learning tools and individual support. Suitable for all levels.www.JazzSkills.com
Excellent as always. These points and ideas are to help develop ear and feel, not the end result. It’s not about learning licks or playing the same thing every time it’s about getting freedom, it like training drills preparing you for a game. Even in these simple restricted practice examples, you can hear the bebop and possibilities. Shan, you always find ways to lets us put one foot forward and then take a step at a time.
Thank you Paul. It's really good to know that you're getting the point of these lessons.
Big fan of your straightforward no-nonsense approach. Been checking out your videos for awhile, I think it's time to join JazzSkills.
We're ready for you 🙂. Once you join, let me know if you need any help.
Great refresher. Jam packed with essential improv ideas.
Great lesson. So much to think about. Thank you!
Terrific information! Thank you for sharing.
Great lesson, thanks 😀
Hi, Dear! Love Your Videos 😍. Can You tell us, is it true that exists about 400 scales & how we should recognize them. By the way Happy New 2024 Year & Marry Christmas! :) Thank You
Maybe. But you will only need no more than 5 and less to play.
It’s true. There are at least 400 known scales and scientists are discovering more every day.
I suggest paying special attention to #131-172. Once you can hear the differences, move on to the 200s.
I’m around #312 right now and hoping to finish the 300s this year. I don’t know anyone who actually has heard up to #400, it’s quite possible those scales have never been heard - their current existence is purely theoretical.
I'm getting closer to joining JazzSkills, one question I have is do all the smart lessons and such work on phones? And are there easily printable materials? I don't have a computer near my piano.
The smart tunes and videos work on phones. You can print the tunes and other materials if you need to. However, it's more about learning with the smart tunes and videos.
One question, we descend from an odd note which are the chord tones and we add an extra note to finish on the same note on beat one, why when we are coming from the seventh we end up in the next bar? Then adding the extra note is not even necessary right? I am confused...
You only talk about that "extra note" when playing *down* a scale. Is there an equivalent when playing upwards? I realise that if you start on C and go up then it's longer before you hit a non-chord note on the beat, but you still get there just as you do if you play down from G. If you play up from G you start hitting non-chord notes on the beat pretty quickly. I haven't seen you go into that anywhere.
I love this channel but my guy you can’t say “I’ll link a video clarifying this super specific thing below” and the only link is a 60 video playlist lol
Sorry about that
I never tried the Barry Harris rules, but it seems to me that memorizing where and when you have to put an extra nondiatonic note to end at the right spot must be hard and take a long time. A good melodic phrase uses notes of different lengths, syncopations etc, which makes it more easy to keep the right notes on the beat intuitively. Playing quavers all the time becomes mechanical. I prefer using passing tones to decorate the melody, not to keep track of time.
Technically any note can be the extra. You don’t need to memorise WHERE the extra note should be… it’s about “feel”. Besides there are other factors which affect whether you have the extra note… eg if you used a triplet, or start a phrase on a beat other than beat one or on the “and” of 2 , 3 or 4. Remember RHYTHM is the main driver of good melodies, not so much about the scale(s). RHYTHM comes first. And of course you have to play in time