I was a little confused when you started doing the 1-2-4-3 pattern after about the 3:00 mark. You had just warned us to "remember the G#, don't mess that up" in A harmonic minor, but the pattern you're doing in this segment is using G, not G#. I think you forgot you were playing harmonic minor. Or am I missing something?
@@CHYPCAR play the chord, isolated and within the context of the progression, and play both of those notes and use ideas with them. You need to trust your ear to tell you which note is acceptable to play. That’s what Shan’s probably doing. For me, on a iim7b5 (the B chord) I would usually gravitate towards a b6 instead of a natural 6, but either may sound acceptable. Further, one may sound good in one phrase and wrong in another, part of it is rhythm but mostly just experiment and trust what sounds good to you. If nothing sounds off, no problem. I’m half saying this to remind myself because it’s very easy to get caught up in trying to find a fix all answer but a lot of the times you should aim to come to your own conclusions
@@alistaircornacchio5727 Appreciate your input and it ties in with the opt-repeated of one of the jazz greats “first you need to learn the rules before you break them”!
I haven't had a chance to go through the whole video again but if I played a G natural, it would be either a) because I was on the Amin chord by then or b) I just did it without realising as it can also work on the Bm7♭5 part. Sorry for any confusion!
Hi Shan, I completely relate to the issue you stated at the beginning of making-it-up-as-you-go-along vs. rudiments. One thing I'm curious about is the use of the A harmonic minor over the B-7b5/E7. What is the advantage of thinking of it that way as opposed to Barry's oft-quoted Monk line about "the minor with the sixth in the bass"? In other words, running a D-6 into E7. I believe I've even seen Barry talk about thinking of the min7b6 as a dominant. In this case, running G7 into E7. Thanks for your thoughts and again, fantastic video!
I think the “minor with 6th in bass” is simply what Monk called a half diminished or minor-7-b5. But when it comes to minor 2-5, yes you can play G7 into E7 as every m7b5 is built on the 3rd of some dominant. In this case Bm7b5 is built on 3rd of G. It’s just a matter of preference whether you want to think in terms of G7 into E7 or A harmonic minor from Bm7b5 to E7. I hope that answers your question.
There are obviously different ways to think about this. IMHO I use a C6 diminished scale over Bm7b5/E7. I would be more than happy to get more insights from Barry Harris on this!
@@francisrichard5282 Thank you for the reply! I'm going to try your suggestion. It's just interesting that there can be different ways to achieve the same result. I guess it's just a matter of what feels right.
I also like the G7 to the 3rd of E that I learned from Barry. There isn't just one way but this one tends to work well for my students. The min with the 6 in the bass is just another way to describe a min7b5 chord and isn't about improv. Hope this helps!
I never think harmonic minor, I dislike the harsh augmented 2nd in it. Instead, I use Barry Harris's "minor's five" scale on the ii V in minor (B-7b5 E7b9) and then A melodic minor add #5 on the tonic (per Barry Harris).
It is very, very useful and it makes me re-think my approach which is "overly ambitious". I'm one of those students to whom you refer to in another video as the ones who learn rootless shapes and tritone subs without knowing basics. I need to get back because it gets me nowhere. So thank you very much for this. I'm gonna study your lessons thoroughly now. I have two remarks though: 1. I think that this landing on chord tones is something similar to what Barry Harris tries to convey in his rules for descending lines (so called be-bop scales) right? 2. You learn approach to improv. in 3 steps here but wouldn't you agree that we're missing one important final step: connection to actual melody of the tune? Otherwise those improv. ideas are based solely on harmony and are kind of melody agnostic which I think are somewhat lacking in terms of real artistic craftsmanship.
I'm a piano player but I have some guitarists, sax players, bass etc. I teach from the piano, the way I do here but if people are experienced enough to play their instrument to an intermediate standard (and if piano keys don't look alien) then it can work.
Here's a related lesson about improvisation on dominant chords before minors
ua-cam.com/video/hJlvmm9YKW8/v-deo.html
Great lesson
simple stuff, but a life time of practice ;) thanks
Thx much Shan! This indeed makes a great difference in building my improvised lines 🎼
I never thought I'd learn this much about jazz theory. Your lessons are so helpful - many thanks!!
Great that you're learning so much!
Awesome!! Very useful. I guess the key is to find the right scale for the other chord progressions and use the same principle!
That's right! It's amazing how much you can learn from simple things like this.
Great stuff
interesting approach.
Thanks so much Shan. This video is very helpful and gives me some great movements to work on.
You are so welcome Jeanetta! Really pleased it helped you. Shan
I was a little confused when you started doing the 1-2-4-3 pattern after about the 3:00 mark. You had just warned us to "remember the G#, don't mess that up" in A harmonic minor, but the pattern you're doing in this segment is using G, not G#. I think you forgot you were playing harmonic minor. Or am I missing something?
Yes, that had me a little confused as well. Maybe Shan could clarify for us?
@@CHYPCAR play the chord, isolated and within the context of the progression, and play both of those notes and use ideas with them. You need to trust your ear to tell you which note is acceptable to play. That’s what Shan’s probably doing. For me, on a iim7b5 (the B chord) I would usually gravitate towards a b6 instead of a natural 6, but either may sound acceptable. Further, one may sound good in one phrase and wrong in another, part of it is rhythm but mostly just experiment and trust what sounds good to you. If nothing sounds off, no problem. I’m half saying this to remind myself because it’s very easy to get caught up in trying to find a fix all answer but a lot of the times you should aim to come to your own conclusions
In my very inexperienced opinion
@@alistaircornacchio5727 Appreciate your input and it ties in with the opt-repeated of one of the jazz greats “first you need to learn the rules before you break them”!
I haven't had a chance to go through the whole video again but if I played a G natural, it would be either a) because I was on the Amin chord by then or b) I just did it without realising as it can also work on the Bm7♭5 part. Sorry for any confusion!
I just found your channel in my queue. Excellent content! I subscribed!
Welcome aboard! I wish you well with your playing.
Hello, Clerverly simple and efficient. Merci.
Glad it helped!
nice one
Thanks for the visit
Hi Shan, I completely relate to the issue you stated at the beginning of making-it-up-as-you-go-along vs. rudiments. One thing I'm curious about is the use of the A harmonic minor over the B-7b5/E7. What is the advantage of thinking of it that way as opposed to Barry's oft-quoted Monk line about "the minor with the sixth in the bass"? In other words, running a D-6 into E7. I believe I've even seen Barry talk about thinking of the min7b6 as a dominant. In this case, running G7 into E7. Thanks for your thoughts and again, fantastic video!
I think the “minor with 6th in bass” is simply what Monk called a half diminished or minor-7-b5. But when it comes to minor 2-5, yes you can play G7 into E7 as every m7b5 is built on the 3rd of some dominant. In this case Bm7b5 is built on 3rd of G. It’s just a matter of preference whether you want to think in terms of G7 into E7 or A harmonic minor from Bm7b5 to E7.
I hope that answers your question.
There are obviously different ways to think about this. IMHO I use a C6 diminished scale over Bm7b5/E7. I would be more than happy to get more insights from Barry Harris on this!
@@brothercaleb Thank you so much for taking the time to reply! It was very helpful.
@@francisrichard5282 Thank you for the reply! I'm going to try your suggestion. It's just interesting that there can be different ways to achieve the same result. I guess it's just a matter of what feels right.
I also like the G7 to the 3rd of E that I learned from Barry. There isn't just one way but this one tends to work well for my students. The min with the 6 in the bass is just another way to describe a min7b5 chord and isn't about improv. Hope this helps!
I never think harmonic minor, I dislike the harsh augmented 2nd in it. Instead, I use Barry Harris's "minor's five" scale on the ii V in minor (B-7b5 E7b9) and then A melodic minor add #5 on the tonic (per Barry Harris).
It is very, very useful and it makes me re-think my approach which is "overly ambitious". I'm one of those students to whom you refer to in another video as the ones who learn rootless shapes and tritone subs without knowing basics. I need to get back because it gets me nowhere. So thank you very much for this. I'm gonna study your lessons thoroughly now.
I have two remarks though:
1. I think that this landing on chord tones is something similar to what Barry Harris tries to convey in his rules for descending lines (so called be-bop scales) right?
2. You learn approach to improv. in 3 steps here but wouldn't you agree that we're missing one important final step: connection to actual melody of the tune? Otherwise those improv. ideas are based solely on harmony and are kind of melody agnostic which I think are somewhat lacking in terms of real artistic craftsmanship.
Thank you. Yes to #1 and absolutely not to #2. When Improvising, I'm trying to get as far away from the tune as possible.
✌ 🎹
You have played the scale with the G#....at 3;54 you play G natural...why
Hi Shan, do you teach the Barry Harris method for all instruments?
I'm a piano player but I have some guitarists, sax players, bass etc. I teach from the piano, the way I do here but if people are experienced enough to play their instrument to an intermediate standard (and if piano keys don't look alien) then it can work.
@@JazzSkills Thanks Shan for your reply I'll check out your website.🎺