This Barry Harris Scale Will Transform Your Lines (Part 2)
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- Опубліковано 19 січ 2023
- In this lesson I'm expanding on a pervious video I did about Barry Harris's major 6th diminished scale. I'm going to cover some new ways to use this scale by expanding chords into 7 different sound and then connecting those sounds together to make lines!
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Great video. The 6th diminished scale is usually discussed as a chordal approach rather than melodically. For melody the discussion is usually about half step rules, and getting the chord tones on the beat. Also discussed often is borrowing from related chords and scale outlines.
Awesome insight! Just discovered Barry’s method probably 6 months prior to his passing. Been a musician for almost 3 decades and was like: “Barry Where have you been all my life?.” Lol. I am fascinated by his “Play the sixth on the fifth” idea. Like when there is a Cmaj7 play a G6 and use the G major b6 scale and chords over it. Is there a video where you talk about that? I would love to hear that explained your way.. In the meantime please keep up your amazing work!!!
-MTrejo
Really helpful - thank you for pulling this together Nathan. You can hear the major 6th & diminished 7th approach in a lot of band music from 1920s and 30s, which gave it this particular sound.
Defiantly!
Fantastic, I'll check out your other videos. Thanks.
Nathan, do not forget: 100th birthday of great WMO is tomorrow !
Fantastic, as always, Nathan! I would love anything you can share on the Barry Harris method. Maybe even some comping lessons using his chord scale.
thank you mate for these ideas.it's good to learn from Barry Harris.so many things going on...
Barry was the ultimate teacher! Hope his concept helps you!
Great video thank you for all your teaching and great playing.
Thanks so much Larry, really appreciate your support!
Great video. Very clear. Please realize more videos on Berry Herris ideas. Thanks a lot
wonderful stuff. heading to check it out on my guitar
Hope you find some new lines and shapes!
Your video production improve alot！Thanks
Excelente como siempre. Muchas gracias maestro.
Thanks for your continued support Salvador!
Thanks a lot!!!!!
It's amazing and useful
Glad to hear that!
I appreciate what you’re doing here. However, it’s my understanding that 6th diminished scales, as well as Barry’s Dominant 7 and Dominant 7 b5 scales, are primarily used for chords “a scale of chords,” and not for melody lines.
You can take Barry's ideas and apply them in new ways! Barry even has done this himself with the major7 chord instead of major 6th
Great clip thanks. In A Train over the non diatonic D7#11 are you still thinking Cmaj tone centre and using the BH scale? I notice the addition of note F#. I'm confused by the use of note G over this chord. Do you consider 'avoid notes'? With my limited experience I always use the whole tone scale and augmented arpeggios over a dom7#11.(seems to sound ok!) Also confused over your use of note G# over the Em7. Am I over thinking this?!! Many thanks
Thanks for your question! So for the D7#11 in the etude (which is what I think you're referencing) I play off Aminmaj7 (or A melodic minor). This is not only apart of Barry's scale when you move it through a major 7 chord, but also is just a good sound to use over dominant II chords! As for the G# over the E-, well for one that's my bad. It should be Ab, the reason being is that, as I stated in the video, you can take diatonic chord progressions and replace them with other chords from Barry's scale. In this case, I am think D-7b5 over measures 5-7 of the etude and then I play a G13b9 sound at the end (Major diminished). Hope that helps and makes sense!
@@NathanBortonMusic Thanks. There's a huge amount of freedom! And it all sounds great.
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I followed Barry's classes for 3 decades, till the end, never heard anything close to these lines...
Congratulations, that’s an amazing honor! Wish I could have spoken to him even once. This lesson is taking his scale, and mixing it with the idea of taking a major 7th chord though his major diminished scale. I’ve heard him do this on a recording one of my teachers showed me in the past. And yes (not to be mean) these are not Barry’s lines, these are my lines I created using his ideas. Hope you can find some use out of this lesson! Thanks for watching
@@NathanBortonMusic I understand you have good intentions, but there’s much more to making lines that barry thought us first hand, that this can’t be named barry’s guide. If you dig his recording you’ll get it! I guess in the age of UA-cam everything goes viral, but if you want to be educationally correct call it what it is, your use of such scale-but by any means, spread this rather than modal stuff!
@@michelefiorindo Out of the deep respect I have for Barry, I changed the title of this video.
Here is PART 1!: ua-cam.com/video/_KLrdP7SCIw/v-deo.html
I think your understanding of the 6th/diminished scale is slightly wrong. Its a C6 chord (C E G A) and a d⁰ (D F Ab B). You have a d∅ in there, it should be a d⁰. Also Barry doesnt really use this scale for soloing it's just for comping. He has a TON of other, equally interesting, usedul, and SIMPLE rules for soloing.
Dan, I can see where your confused. You most likely didn’t watch part 1. In that video I cover how most people use this scale, which is what your talking about. I refer to this as ‘simplifying’ a sound. In that video I also talk about ‘expanding’ a sound, which is a different process that takes a MAJOR 7th chord and runs it through Barry’s scale which gets a 7 different chords. Please watch the first video, then this one. Lastly people use this scale for soloing a ton! Just listen to parker on a night in Tunisia for example, or dizzy’s “bebop.” I hope these videos help you and thanks for watching
🤘 P r o m o s m