Nice. I agree that it can be kinda hard to find reason to practice stuff in weird keys. I try to use different movement possibilities as motivation for practicing stuff in less common keys. That and playing with singers.
Thanks for the great another less Dr.Parks. I would like to ask few questions about Major 6th on the 5 I always knew the concept that it can be used as substitution for any maj 6th dim chord alternatively However i figured out there is a infinity chain of Major 6th on the 5 can be used For example 6th on the 5 of Eb 6 is Bb6 then 6th on the 5 of Bb6 is F6 so on so on Like F6 to C6 to G6 to..... infinitely circling around in terms of 5th of the scale of chords Does this mean we can use all the 12 chords system to any chords? I want to also get into open studio but is it really worth since I have already absorbed all the equations and method you posted on the open studio just by seeing the table of contents there. anyway thanks
I believe the 6th on the 5th is more about sound than anything else. On piano, major 7th chords are the only chords in a key that have a half step between notes once you start inverting them. For example, Cmaj7 is C-E-G-B, but inverted it's E-G-B-C, G-B-C-E and B-C-E-G, so you're always going to gave that B-C half step in the chord which is a clashing sound. So Barry used the 6th on the 5th as a major 7 chord voicing to shave those rough edges off of major 7 chords and instead of the basic chord inversions, he played a major 6 on the 5th degree of the scale, making it a more authentic and professional sound. So when you play Cmaj7 in a tune, you'd actually play G6/C, which is a C major shell (C and B) in the left hand and a G6 inversion in the right hand.
As someone that's relatively new to Barry's approach, one thing I can't quite get my head around yet is - does his changing everything to his 6thDiminished scale mean that there is no such thing as, for instance, a regular minor ii chord. In the context of There Will Never Be Another You does the chord F minor exist as the ii chord in the key of Eb major or does the ii chord become a diminished chord? How does one know when to use 'regular' scales like F Dorian over a ii chord and when to use Barry's 6th Diminished harmonization?
Not chris parks, but my two cents: The Fm can be played like a normal chord, but Fm7 is also Ab6. So the Ab6 chord and off chord of Ab (Bb,Db,E,and G dim, or Eb7b9) are beautiful to comp and solo on over Fm7. It will sound like Fm7 and C7b9. Most importantly it provides beautiful voice leading and harmonic motion even over one chord. Maybe helpful to think of Barry’s harmony zooming in on Major and minor harmonies and adding the passing dominant/tonic personality and resolution. Chris and Barry set up Barry’s style and whole point of it with the Coleman Hawkins quote- I don’t play chords, I play movement.
Amazing how much can be said with just 3rds
Greetings from Lisbon !! Thank you for your videos I´ve been learning a lot! Cheers
Excellent Master!
Thank you, Maestro!
:) what up sensei?! see u in class!
Nice. I agree that it can be kinda hard to find reason to practice stuff in weird keys. I try to use different movement possibilities as motivation for practicing stuff in less common keys.
That and playing with singers.
👏👏
so good Chris! Would gladly pay for a tab of your arrangement, haven't found one online as nice as how you play it.
www.openstudiojazz.com
❤
"everybody got a chance", a new song by chris parks 9:04.
Great content as always, first couple of bars is great using barry harris method but It gets confusing in the last parts of the song
Thanks for the great another less Dr.Parks. I would like to ask few questions about Major 6th on the 5
I always knew the concept that it can be used as substitution for any maj 6th dim chord alternatively
However i figured out there is a infinity chain of Major 6th on the 5 can be used
For example 6th on the 5 of Eb 6 is Bb6 then 6th on the 5 of Bb6 is F6 so on so on Like F6 to C6 to G6 to..... infinitely circling around in terms of 5th of the scale of chords
Does this mean we can use all the 12 chords system to any chords?
I want to also get into open studio but is it really worth since I have already absorbed all the equations and method you posted on the open studio just by seeing the table of contents there.
anyway thanks
I believe the 6th on the 5th is more about sound than anything else. On piano, major 7th chords are the only chords in a key that have a half step between notes once you start inverting them. For example, Cmaj7 is C-E-G-B, but inverted it's E-G-B-C, G-B-C-E and B-C-E-G, so you're always going to gave that B-C half step in the chord which is a clashing sound. So Barry used the 6th on the 5th as a major 7 chord voicing to shave those rough edges off of major 7 chords and instead of the basic chord inversions, he played a major 6 on the 5th degree of the scale, making it a more authentic and professional sound. So when you play Cmaj7 in a tune, you'd actually play G6/C, which is a C major shell (C and B) in the left hand and a G6 inversion in the right hand.
Eb6 to Bb6 : Alternate. "6th on the 5th"
As someone that's relatively new to Barry's approach, one thing I can't quite get my head around yet is - does his changing everything to his 6thDiminished scale mean that there is no such thing as, for instance, a regular minor ii chord. In the context of There Will Never Be Another You does the chord F minor exist as the ii chord in the key of Eb major or does the ii chord become a diminished chord? How does one know when to use 'regular' scales like F Dorian over a ii chord and when to use Barry's 6th Diminished harmonization?
Not chris parks, but my two cents: The Fm can be played like a normal chord, but Fm7 is also Ab6. So the Ab6 chord and off chord of Ab (Bb,Db,E,and G dim, or Eb7b9) are beautiful to comp and solo on over Fm7. It will sound like Fm7 and C7b9. Most importantly it provides beautiful voice leading and harmonic motion even over one chord.
Maybe helpful to think of Barry’s harmony zooming in on Major and minor harmonies and adding the passing dominant/tonic personality and resolution.
Chris and Barry set up Barry’s style and whole point of it with the Coleman Hawkins quote- I don’t play chords, I play movement.
My advice is to let the song guide you.