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Shan, working on getting my finances right, then I'm buying a quarterly ticket into your jazz course. Can't wait, man. Gotta settle for the free videos for now, but I got a goal 😅

Thank you! I recently discovered your channel, you make everything so clear and easy to understand. Thank you for spending time to help us!!

Great video

I love this channel 😊

What a great video. I never use the m7b5 for a 2 chord. I need to start playing with that. I’m a guitar player but this really help me see things easier. Thank you for spending your time on us. 🙏✝️😎🎸

The most important substitution for II-Vs is: Just the V! (See Barry Harris.)

This is great teaching. The skills, knowledge and understanding given so freely and clearly are breathtaking, thanks Shan.

Thanks Shan. For me a peak at what’s ahead. But thanks to Shan I’m at a place this makes complete sense and explains exactly what I used to find confusing when looking at lead sheets or transcription. Once you are solid on the form and harmonic analysis you can see variations as exactly that. It is changing the spices, not the dish. Might sneak a simpler one in😊

If you are playing with a bass player or guitarist will putting in some of these subs clash too much or is it ok?

Ótimo 🙏🏻👏🏻👏🏻👏🏻

💥👍💯

Nice

Thanks to JazzSkilks, i have picked up my guitar and enjoy leaning these Barry Harris movements.

I’m a guitar player but this helps me see thing from a different angle. I love watching the blues note while you explain this.

Love this. Helped me so much.

Does the course include screenshots with the keys shown in colour for different chord progressions ? as my sight reading is not very good tbh… great lesson

FANTASTIC lesson, as always 😊

Great😊

you must learn the tunes to learn the language. But you also must learn about the different types of chords and scales.

Thanks

"know your ingredients more than your tunes".... Humm - sounds like COOKING! Brilliant

This approach has transformed my playing. Know a key well before you start tunes in that key, with relatively little work, you suddenly know all the tunes you already play in that key, which in turn means you know those songs better, and new tunes in that key come faster. Shan’s approach does exactly what it says, builds jazz skills to develop fluency which then leads to freedom in playing. It’s not a quick fix, it’s not a trick or hack, it’s dedicated work but it pays off.

Know your ingredients more than you know tunes

gotta hand it to you, I do agree with your sense of logic many times just intuitively. I was playing some tunes by advice from someone, and I do have some understanding on jazz harmony. But probably studying a bit more and getting a little bit more systemetical about it, seems right. But I also think there is a balance here

@JazzSkills what notation/audio software are you using at 11:15 to sync the real audio backing tracks with the cursor/playhead in the notation ?

Love this channel bro!!

Great job ❤

Love this - I once read or heard that jazz is one song - now I get it! Thank you. :)

Im so grateful för this. From the bottom of my heart, thank you! Barry would be proud!

👍

I really wish I knew about Barry sooner. I am even from Detroit, the same place as him. By the time I discovered him it was already about 2020. Do you know about Barry’s song called “My dream came true”? It’s kinda like a bossa, I heard “Isaac Raz” teaching the song when talking about Barrys 6th chord rules. It’s such a smooth song

This is fantastic. Thank you from the bottom of my heart.

what a great explanation thank you

Than you! Greetings from Argentina!

wonderful videos

I'm looking for the leadsheet you used this this tutorial. thanks

Hey Shan! Huge fan and member of jazz skills developing fluency course. I was curious, do you do private lessons in addition to the program?

Shan, over the years that I have been playing, I have come to the conclusion that if one can ad-lib (scat), has a good sense of rhythm and understands their intervals well then they are good to go.... This may seem like a simplistic approach, but since I was a child I have always hummed the bass lines along to songs I liked. This has proven immensely useful in how I “hear” improvisation. I think that too many teachers these days are more concerned with the concept of how to hear music than with how to *_feel_* it... I feel that this may be a reason why - many times - modern jazz sounds so “mechanical”...

I’ve been watching so many Barry harris videos lately that now I’m just constantly making up bebop lines in my head. I’ll walk to the kitchen just like “BE BA DA BO DE-DA!!”

Thanks.

Left brain nightmare, to me. Personally I play the changes for a singer (me and others) in many ways - and I don’t play these these changes to this song, btw. I ignore them all when soloing. In soloing I play what I sing in my head. The changes work for me, I don’t work for them. If I can’t sing it, I don’t play it. This stuff is a dead end to me. I’ve spent the last 50 years shutting my left brain down. SING IT. Singing what you play is a path to playing what you sing. All the rest is the journey. To me, personally, this kind of analytical path is interesting, but fraught with danger. Inspired playing is sung in your right brain, not calculated in your left brain - in my humble opinion.

Great ideas

I have questions, when people like cory henry, chick corea, jesus molina, bill evans etc seat at the piano and start improvising, have they memorized what they are improvising, or it comes naturally? and to reach that level should I memorize my licks, patterns and scales etc. and improvise over different chords?

Thank you Shan . As always… really helpful and inspiring

It’s one of your ideas Shan that I’ve found most helpful. Take simple ideas and then find ways to work on them. It really works that improv muscle, getting the ear and hands working together so you do get freedom to compose in real time.

I like your teaching and explanation very much.However when you say it doesn’t matter what it sounds like, it stops me in my tracks. If you don’t attend to what it sounds like, it’s not music. I can’t believe you really mean that.Do you?

I write my charts using numbers both for chords and melody, maybe to a fault as I can call out the numbers way quicker than the actual chord "letters". This has been incredibly useful for me to understand the relationship between the chords and its progression, and the reason why the chord is there. Also very useful when you have to transpose. To me, memorising numeric pattern like 1 6- 4 5 is much easier than memorising F# Ebm B C#.

Totally agree that "chord scales" is really barking up the wrong tree.

love your logical approach

Thanks. This was very helpful. I have a trio gig at the end of the month with the task of learning (relearning) 25 standards. Fortunately, I know the tunes fairly well, but have not learned to create my own intros. Much appreciated.