I personally like that half step from b to c. Sometimes, I want to emphasize some dissonance in major and minor chords. I like that cluster sound of Cecil Taylor.
I know you've made many videos on this, but I finally get the concept. I missed out on understanding to use the 6th on the 5th and have THAT one alternate with diminished (instead of root). Made my day, thanks!
You are amazing ! I've watched countless videos over the years that teach Barry's theory, but you are the ONLY one that breaks it down where i finally understand it. Thank you so much.
Wow. You explained that finally ! Never thought of using the Maj 6 built of the 5 to create movement. What beautiful chords you can create borrowing those diminished notes ! Thank you Shaun !
Such a great approach to formerly called “auxiliary” diminished .. such a great lesson .. simple yet complex sounding .. Keep up the good work .. Thank you ..
Ah, the stars are aligning! I've been working my way through Misty and Smile for quite a while now and I'm slowly starting to understand the 6th diminished scale, 6-on-5 etc, so this could not have come at a better time! Thank you Shan.
0:10 - I love the movements you did on the Ab Maj7 there. The two voices basically swapped places. The melody went Bb - Ab - G - F, and the left hand voice went G - F - Bb - Ab. First harmonized in 10th's then 6ths. Beautiful.
Great video Shan! Almost every time I watch one of your videos, I feel an urge to go to the keyboard and drill those skills! I guess that the sign of great teaching, making people want to practice.
As someone who loves the sound of a major 7, I was wondering how it would be compatible with the Harris method (6th focused), but the "playing the 6th chord on the V" is so elegant. It makes a lot of sense, and it is like a gateway to the 6th-diminished network. Really cool to learn that pretty much every chord can be interpreted as a 6th and then given access to the network.
Thanks for sharing your thoughts. Once you get into these movements, it is really inspiring to see how most voicings and moves come from Maj or min 6s and how much you can do with them.
Dont know how I never realized this before. Wonder how it sounds from the 5th on minor or maybe melodic minor. Will have to play around with the concept when I'm next around my workstation.
Indeed, play the G6 on C major when 9 or 7 is in the melody and play C6 on C major when 8 or 6 are in the melody. But any considerations for when 3 or 5 of C are in the melody since either case will work? Melodically 3 usually moves to 2 to 1 most often. Thus C6 probably is more applicable. And melodically, 5 usually moves to 4 to 3, thus again C6 is more applicable. Harry Likas was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book". Harry studied for 20 years with Barry Harris. Harry spends his time teaching online and playing solo piano gigs.
Thanks Shan, very clear explanation!😁😁. I was wondering if there was something for the left hand to move (like a walk) while having a static right hand, to fill time..? Thanks again🙏🙏
Wow, Very clear! Yeah! Great! In maj 7 chords I can go on with the root 6th diminished scale too, I think... I see that some voicings (in fourths for example) are forming on some degrees... Right?
Wow, EXCELLENT lesson. I know scales and intervals and chords and all inversions, I’m needing to know how to make them sound good. Boom, this lesson is a perfect start. And congrats on the 10K subs!👍🏼 Your piano library sounds so good for jazz, ok to ask what you use?
Hi, I also do UA-cam music education. What software do you use to get the keyboard lighting up please? I tried logic and Sibelius but you can’t see the black notes lighting up. Thanks!
Hi Shan, Do you ever come across a movement that you "don't like"? I'm starting to learn how to theoretically move over all chords, but when I make up my own, I often end up not really liking the sound. Perhaps I'm just too worried about the dissonance of the diminished notes, but often the resolve isn't satisfactory. Am I expecting too many good sounding possibilities from the scale? Thanks for all the movement lessons, they are really hard to come by even in 2022. Arthur
Hi Shan! Awesome videos! I have Barry’s workshop dvds and he speaks about the 7th and 7th flat 5 sixth diminished scales, but I’m not really sure how to use those like the maj and min sixth diminished scales. It would be awesome to see vids on that topic! 👍
Great video again, I have also been thinking that "Misty"-chord as D/Eb chord (perhaps because I am primarily a bass player), but this indeed gives a great perspective to the same thing. And it is indeed more useful when trying to improve my limited piano-skills, as my main problem is trying to create movement when playing. This major 6/diminished-method really is a gift that keeps on giving.
I'm not Shan; my name is Sean but if it's the chord that I think you're talking about, I play a Gm/Eb instead. That's just through a very long time of experimentation. If this doesn't help, ignore me!!
I am always wondering, if there are no differences between chords of the same quality on different Scale-degrees in this method. For example: *C^7* and *F^7* in the key of *C.* Over *C^7* the diminished contains an *f#,* but over *F^7* the scale contains *f.* So, if there is an *f* in the melody I can't use *C^7.* Would you always use *C6* in this case?
Here are my other Barry Harris movement videos
ua-cam.com/play/PL2GT-F7_oAbkEGy3Sm5jjoowPJLGs6Zzd.html
I've only been learning jazz piano for a year but it's enough to know that Barry Harris is the final boss
I have never had this kind of practical theory explained in such a concise manner, I'm thrilled to have stumbled onto this channel, thanks for sharing
Welcome aboard!
I personally like that half step from b to c. Sometimes, I want to emphasize some dissonance in major and minor chords. I like that cluster sound of Cecil Taylor.
That lick in the intro🎉🎉 damn😮
I know you've made many videos on this, but I finally get the concept. I missed out on understanding to use the 6th on the 5th and have THAT one alternate with diminished (instead of root). Made my day, thanks!
You are amazing !
I've watched countless videos over the years that teach Barry's theory, but you are the ONLY one that breaks it down where i finally understand it. Thank you so much.
I'm so pleased that these lessons have helped you! Thanks for your kind comment
Love the Barry Harris lessons. Especially the various movements.
Wow. You explained that finally ! Never thought of using the Maj 6 built of the 5 to create movement. What beautiful chords you can create borrowing those diminished notes ! Thank you Shaun !
More light....appreciate it tho. Tha ks for sharing...again.
Such a great approach to formerly called “auxiliary” diminished .. such a great lesson .. simple yet complex sounding .. Keep up the good work .. Thank you ..
thanks again! It makes me look different at chords and harmony, not static vertical groups of notes but movements😎
That's awesome and thanks a lot :)
Thanks
Great videos!
Thank you!!!
Ah, the stars are aligning! I've been working my way through Misty and Smile for quite a while now and I'm slowly starting to understand the 6th diminished scale, 6-on-5 etc, so this could not have come at a better time! Thank you Shan.
I'm so pleased to hear this! Wishing you the best with your chord movements.
this voicing sounds great and is an interesting way to think about it
0:10 - I love the movements you did on the Ab Maj7 there. The two voices basically swapped places. The melody went Bb - Ab - G - F, and the left hand voice went G - F - Bb - Ab. First harmonized in 10th's then 6ths. Beautiful.
You know my playing better than me 😄
nice
Great video Shan! Almost every time I watch one of your videos, I feel an urge to go to the keyboard and drill those skills! I guess that the sign of great teaching, making people want to practice.
Wonderful lesson It all makes sense, now comes the tricky part for me. Gracias
Thanks! Nice to see the theory in action.
As someone who loves the sound of a major 7, I was wondering how it would be compatible with the Harris method (6th focused), but the "playing the 6th chord on the V" is so elegant. It makes a lot of sense, and it is like a gateway to the 6th-diminished network. Really cool to learn that pretty much every chord can be interpreted as a 6th and then given access to the network.
Thanks for sharing your thoughts. Once you get into these movements, it is really inspiring to see how most voicings and moves come from Maj or min 6s and how much you can do with them.
Major7 is really a maj6 with a diminished note
Dont know how I never realized this before. Wonder how it sounds from the 5th on minor or maybe melodic minor. Will have to play around with the concept when I'm next around my workstation.
Immediately when you said two pentas for major I saw where this was going. Very cool application for moving voicings.
So good shan! thank you!
Any time! May the moves be with you.
Great stuff to know! Well taught and explained!
Glad it was helpful!
Great lesson again Shan!👍👍👍
Indeed, play the G6 on C major when 9 or 7 is in the melody and play C6 on C major when 8 or 6 are in the melody.
But any considerations for when 3 or 5 of C are in the melody since either case will work?
Melodically 3 usually moves to 2 to 1 most often. Thus C6 probably is more applicable.
And melodically, 5 usually moves to 4 to 3, thus again C6 is more applicable.
Harry Likas was the Technical Editor of Mark Levine's "The Jazz Theory Book" and helped develop "The Jazz Piano Book". Harry studied for 20 years with Barry Harris. Harry spends his time teaching online and playing solo piano gigs.
Beautiful!
Thanks Shan, very clear explanation!😁😁. I was wondering if there was something for the left hand to move (like a walk) while having a static right hand, to fill time..? Thanks again🙏🙏
Wow, Very clear! Yeah! Great! In maj 7 chords I can go on with the root 6th diminished scale too, I think... I see that some voicings (in fourths for example) are forming on some degrees... Right?
Wow, EXCELLENT lesson. I know scales and intervals and chords and all inversions, I’m needing to know how to make them sound good. Boom, this lesson is a perfect start. And congrats on the 10K subs!👍🏼
Your piano library sounds so good for jazz, ok to ask what you use?
Thank you Sir!
You are welcome!
Hi, I also do UA-cam music education. What software do you use to get the keyboard lighting up please? I tried logic and Sibelius but you can’t see the black notes lighting up. Thanks!
Hi Shan,
Do you ever come across a movement that you "don't like"? I'm starting to learn how to theoretically move over all chords, but when I make up my own, I often end up not really liking the sound. Perhaps I'm just too worried about the dissonance of the diminished notes, but often the resolve isn't satisfactory. Am I expecting too many good sounding possibilities from the scale?
Thanks for all the movement lessons, they are really hard to come by even in 2022.
Arthur
Hi Shan! Awesome videos! I have Barry’s workshop dvds and he speaks about the 7th and 7th flat 5 sixth diminished scales, but I’m not really sure how to use those like the maj and min sixth diminished scales. It would be awesome to see vids on that topic! 👍
Great video again, I have also been thinking that "Misty"-chord as D/Eb chord (perhaps because I am primarily a bass player), but this indeed gives a great perspective to the same thing. And it is indeed more useful when trying to improve my limited piano-skills, as my main problem is trying to create movement when playing. This major 6/diminished-method really is a gift that keeps on giving.
I'm not Shan; my name is Sean but if it's the chord that I think you're talking about, I play a Gm/Eb instead. That's just through a very long time of experimentation. If this doesn't help, ignore me!!
I am always wondering, if there are no differences between chords of the same quality on different Scale-degrees in this method. For example: *C^7* and *F^7* in the key of *C.* Over *C^7* the diminished contains an *f#,* but over *F^7* the scale contains *f.* So, if there is an *f* in the melody I can't use *C^7.* Would you always use *C6* in this case?
i would need some tylonel after studying dis vid😂