Very cool. Almost seems like it'd be useful to add an F shape to CAGED to make the less pronounceable CAGEFD. The F would be with your pinky on the root note on the D string just like D is 2nd finger D string. Which I guess is just the 2nd octave of the E shape.
Where did you learn about Barry's "ABC's"? I have been looking all over for a resource or explanation, but it's hard to find. It sounds like a fundamental part of Barry's method. I would appreciate some direction.
Chris Parks's channel "things I learned from Barry Harris" is the best source! start from episode 1 and work your way up. I've learned (and continue to learn) so much from that guy. drop a comment telling him to call it a shell chord when you go there:))
@@TheLabyrinthofLimitations Will do! I think I understand that ABC's isn't referring to a series of licks or movements like the 5-4-3-2 stuff. It's more like the basic exercises he does to his classes. Thanks for the comment!
My question about the whole V’s m6 idea, and the statement that you ‘only think V.’ If I’m in a ii,V,I in C, and I’m thinking dm6 over the G7, that dm6 really doesn’t sound good over the dm7. What am I missing here?
This tripped me up for a long time too - I think some of what Barry says is really about single note playing more than harmonies And for single notes he would teach the dominant (mixolydian) scale. So really it means playing G major b7 over the dm7 and the G7, and using your ABCs and half-step rules and important arpeggios and all that. But for comping you'd still play the Dm7 going to Dm6 if you wanted that minor 6 on the 5 thing
good thoughts here. With scale of chords, it's about movement. When you consider all the ways we can move through the Fmaj6 diminished into the dminor6 diminished, while also considering the ubiquitous borrowing, you end up with a powerful approach that is unique to Barry's teaching (at least that's how it seems to me). There's more to it than that, but that's a quick answer as to why it's much more than the rootless movement from dm to G7 as normally taught. . . There are two different frames of mind that interweave into a composite whole: scales of chords and single note playing, respectively. One reason for this is that we are dealing with different time scales, so to speak --we can play single note lines faster than polyphonic lines. Another reason is the greater relative strength of harmonic expression when playing polyphonic movement: single note lines can exploit the "passing tone" quality of things much more than polyphonic lines. So, with single note lines over a ii-V, think the dominant 7th scale as the fundamental concept. After (or above) the fundamental level, we explore the tritone, "family", fast arpeggiations/figurations taken from the relevant scales of chords etc etc. I talk a lot about intermingling the paradigms, which is enabled by their distinctiveness. I definitely recommend taking time and patience to start from the beginning, keep the paradigms clear and separated. Practice, practice, practice, then intermingle and explore as confidence builds
You as always are deeply insightful, thank you for your dedication
Thank you:)
Beautiful man
I love how you and Chris are in sync. 👍
Good ideas Tom. Very helpful.
Very cool. Almost seems like it'd be useful to add an F shape to CAGED to make the less pronounceable CAGEFD. The F would be with your pinky on the root note on the D string just like D is 2nd finger D string. Which I guess is just the 2nd octave of the E shape.
Great video thanks 👍👌🎶🎸
Where did you learn about Barry's "ABC's"? I have been looking all over for a resource or explanation, but it's hard to find. It sounds like a fundamental part of Barry's method. I would appreciate some direction.
Chris Parks's channel "things I learned from Barry Harris" is the best source! start from episode 1 and work your way up. I've learned (and continue to learn) so much from that guy. drop a comment telling him to call it a shell chord when you go there:))
@@TheLabyrinthofLimitations Will do! I think I understand that ABC's isn't referring to a series of licks or movements like the 5-4-3-2 stuff. It's more like the basic exercises he does to his classes. Thanks for the comment!
Man I would love to have a conversation one day
My question about the whole V’s m6 idea, and the statement that you ‘only think V.’
If I’m in a ii,V,I in C, and I’m thinking dm6 over the G7, that dm6 really doesn’t sound good over the dm7.
What am I missing here?
This tripped me up for a long time too - I think some of what Barry says is really about single note playing more than harmonies And for single notes he would teach the dominant (mixolydian) scale. So really it means playing G major b7 over the dm7 and the G7, and using your ABCs and half-step rules and important arpeggios and all that. But for comping you'd still play the Dm7 going to Dm6 if you wanted that minor 6 on the 5 thing
@@diminishedguitar748 I agree. Fact is that a dm7->dm6 is the standard rootless dm->G7 ii/V we’s all been taught since we started.
good thoughts here. With scale of chords, it's about movement. When you consider all the ways we can move through the Fmaj6 diminished into the dminor6 diminished, while also considering the ubiquitous borrowing, you end up with a powerful approach that is unique to Barry's teaching (at least that's how it seems to me). There's more to it than that, but that's a quick answer as to why it's much more than the rootless movement from dm to G7 as normally taught. . .
There are two different frames of mind that interweave into a composite whole: scales of chords and single note playing, respectively. One reason for this is that we are dealing with different time scales, so to speak --we can play single note lines faster than polyphonic lines. Another reason is the greater relative strength of harmonic expression when playing polyphonic movement: single note lines can exploit the "passing tone" quality of things much more than polyphonic lines. So, with single note lines over a ii-V, think the dominant 7th scale as the fundamental concept. After (or above) the fundamental level, we explore the tritone, "family", fast arpeggiations/figurations taken from the relevant scales of chords etc etc.
I talk a lot about intermingling the paradigms, which is enabled by their distinctiveness. I definitely recommend taking time and patience to start from the beginning, keep the paradigms clear and separated. Practice, practice, practice, then intermingle and explore as confidence builds
@@diminishedguitar748 I keep reading about Barry’s ABCs but I can’t find ANY information on them? Can you help me out?
What strings do you use?
Thanks
For the basses is use #daddario pro-Arte extra hard tension. On the trebles I tend to use #savarez alliance blue