Little Labyrinth 42: Counterpoint in a Baroque Style with Barry Harris's Scales of Chords (Part 1)

This is the first of a little series of videos looking at counterpoint in a Baroque style using Barry Harris's scales of chords.

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[thingsivelearnedfrombarryh]

Just awesome. That last practice example you gave really got me. I've never done just 2 notes melodically then descending the bass note the whole way. Wow. Thanks for laying this on us man. Really appreciated.

[jojobeanz]

What a beautiful episode. I’m not actively studying this stuff yet but this is the channel I listen to on long walks or drives when I want to relax. Thank you!

[emmettedwards]

Instant sub, fantastic content and crystal clear instructions!

[MC-mick]

This is so innovative. Incredibly useful.

[odinstemple]

yes! This I have been working on my piano, good video man!
How Barry’s conceptual universe can explain all other things is just so wonderful and elegant.

[wasabidrful]

This is incredibly helpful! Thank you!

[raphaelhartenberg]

Hah! You figured it out. I literally can't sleep over this.
I just have to get fluent with it.

I intend to merge my Voice with this and make it go all choral so that the melody may be generated out of the things I would sing.
Add the other voices around that.
Get fluent with playing in canon and eventually improvise fuges.

I also want to be able to add odd timesignatures and polyrythms to the Voices. The ultimate endgame.
True, Pictoral, Imrpovised, Evocative, Structured, Poetic.
Also mix all styles with it that I like.
Improvise lyrics... on and on ... for ever...

I also intend to write down my own Symbols for movements and colors and so develop a new language using old runes and perhaps colors and of course numbers.

I wish to write a book about it and teach it, make it real simple for everyone. Combine this with the liberation of the true singing voice, which will fuel all this theory and technique with unbound oceans of musicality and Inspiration.

My biggest dream.

[rockstarjazzcat]

Interesting. Coincidentally I’ve been looking at the construction of Holdsworth’s Metal Fatigue solo where he begins by descending ever shrinking intervals. We play this material, and may as well get the most out of it. Good stuff. Thanks, D

[isaacbeen]

would love to see more of this stuff … suspensions and appoggiaturas and such are just like borrowings I guess; different ways of presenting a borrowing (with or without preparation, by leap, direction of resolution, etc.) … thoughts?

[jameserenberger]

How do you determine whether to use minor 6th Diminished or 7th Diminished over a dominant chord? I am sure you have gone over this before, but i would appreciate some advice.