Been watching your videos for a while and I just wanna thank you for all the information you're sharing. It's really helped my playing and thought processes around improvising and comping a whole lot! Always excited to dig into a new video so all the best in continuing putting stuff out. Look forward to what you have to share next!
Love hearing the comparisons of different kinds of motion! We often talk about movement in a more abstract sense but keeping concrete analytical terms in the conversation helps keep the thinking clear and fully explored
Beautiful! that's what is great about harmony, you can build it however you choose to build it! I like to think of -7b5 chords as m6 chords as well :) then if you use an eight note scale with a b5 you get inversions of a dom7 and a m7b5 or m6 however you slice it.. nice playing :)
Thanks yet another time. I’ve practised the scales a lot and following along today, made them transition into music and inspiration. When one scale lands in the next, there’s this beautiful resolution that happens, that ties it together. This video was very clarifying and illustrative to me.
You have such a beautiful touch and tone. Thanks for sharing all this info. Hopefully as I think about it all I can eventually internalize the concepts. Harmony is beautiful but very challenging for me to grasp beyond the obvious applications. You help make it understandable. Thank you!
I've always liked superimposition in a lead sense but lately I've been working through that Barry Harris for guitar book and I love it. Sure, I knew a chunk of drop two inversions on the string sets and such but this adds movement and beauty to my stagnate chord progression abilities. I'm not even that far into it yet as, like you said, application is important so instead of jumping ahead, I'm just crawling through it all and trying to work it into tunes I like to play (strictly using the maj6th, min6th, diminished harmony). Dominants are proving a bit tricky even though the concept I understand (I think?). I like the minor 6th a half step up as well as the diminished a half step up (off the 3rd... same thing?)... I also like the minor 6th from the fifth. Off the fifth sounds the most inside, which is nice compared to the other two more colorful options I mentioned but I'm getting into trouble running into overlapping chord choices (minor6th off the fifth of a dom [fifth being on the 2nd string in this example] compared to minor6th/half dim with 6 in bass as a minor7 chord [again, but root on second string in this context) I think I'll do like you did in this video and run that chord progression, however spend each practice session focusing on "fancifying" one of the chords using the BH dim 6th scale.
This is a BIG breakthrough for me! It helped so much with modulating as well to other keys (smoothly)! Thank you so much for this info. Especially from Barry Harris class which I've always heard of an been intrigued in learning more about it. Great work! By the way I just saw this post and immediately subscibed after watching. I had to slow it to 1/2 speed an watch it about 8 times but I got it! Every note. Can't thank enough for this lesson.
Probably my favourite vid so far. The light bulb finally went off! This may be a dumb question but does the same logic apply to dominant chords, A7 equals C seventh diminished, hence play the 7th dim scale whenever I see a 7th chord? Same with 7th flat 5 dim etc?
@@Creabsley hey yes for sure, I mentioned Seventh diminished vs mentioning seventh diminished flat 5. I’m new to this method so my question me be kinda silky...
I am struggling to understand when conceptually an “aeolian” chord is considered a “Ionian” 6th and when it is a minor finished 6th. I guess when it is the center of a key and not a passing chord ??
I can see using the C 6th dim over the Am7 when the Am7 is the ii of the key. Why can't you also use G 6th dim or F 6th dim because Am7 is part of those keys also? Or put another way, let's say the Am7 is being used as the iii, i.e. in the key of F, and going to D7 to Gm7 to C7, what chord/scales would you use over that progression? If you've already addressed this in another vid, maybe someone could point me to it. Thanks.
I'm a beginner, so I hope Chris chimes in, but I think using the C6(Am7) diminished when an Am7 comes up let's you have the "on-off" chord thing. It's like for a moment you are tonicizing the Am7 and you get V-I over and over again as you go through the scale of chords. In this video Chris plays C6 diminished even when the chord progression is in the key of G, which has an F natural and no F#. Barry has said though that really there are 3 different Am7s, like you allude to, and when you play an Am7 you have to be mindful what key it comes from (ua-cam.com/video/3V2eNh8qWVo/v-deo.html). I'm not sure how to reconcile the two concepts beyond playing what sounds pretty...
@@JosephElsherbini I come from a chord/scale theory (CST) background - so no matter the tune, the first thing I do is play the "appropriate scale(s)" for the chord. The appropriate scale(s) for me are dependent on the chord's relation to the key of the moment. The Barry Harris' (BH) concept sort of smears this together from my perspective. I don't even know if the BH practitioners are thinking of the chords at any moment, hence my questions. For example: for a iii7 VI7 ii7 V7 turnaround I might play 8 or more different scales, depending on taste - but I'm always thinking of a scale or two for that chord at that moment. This is how I've been playing a long time. For the BH approach, I knew about using the IV 6th dim scale for the ii7, but I'm not sure about the iii7 (tonic 6th dim or V 6th dim?), the VI7 (min 6th on the fifth or min6th on its flat second?), etc.... ...but I seem to remember almost every BH and most of his adherents saying they ignore the m7 and just play the V7. I have a world of things I can do on dominant chords with CST, but don't understand how BH approaches these. Like was stated in the video, the BH approach opens many doors that wouldn't be so visible to someone with my approach, so I'm very intrigued.
If the Am7 plays the role of II in a 2-5 situation, G6 definitely fits well because brings out the 9 of the chord where as F6 sounds a little bit weird unless you deal it as minor#5. If the Am7 is the III chord, the F6th diminished is perfect...
@@panostzoumakis9055 Relative to the Am7 chord: using G 6th dim results in the dorian mode with an additional flatted fifth. using C 6th dim results in the aeolian mode with an additional major 7 using F 6th dim results in the phrygian mode with an additional major 3. So, as a ii chord, using the tonic, G, 6th dim scale should sound best, but the C 6th dim scale seems to work fine, although aeolian mode would not be my first pick for this.
Very nice examples, thank you! One thing I've been having trouble with - when do you treat an A minor as A minor 7 vs A minor 6? I have a hard time ever hearing A minor 6 as "resolved." Would you ever do A minor 6 diminished in a 1-6-2-5 in C?
You could look at Am6 as F# min 7 b5 (F# half dim). Not sure about how Barry would approach it, as I haven't studied enough of his material, but I would assume it would fall into a different category than the Am7. Some people even sub D9 for Am6 because all you are missing is the root. So compared to Am7 Am6 is much more tense and unresolved unless you are playing gypsy music which revels in that sound as the minor tonic, as it has a much darker and most would say more authentic minor sound. Edit: So I just looked into this and he has a minor version of the scale. You take the original diminished 6th scale and just give it a minor 3rd instead then you get alternating min6 chords and a diminished built on the 7th degree. This works over any min7b5 chords instead of min7 chords. So A-7b5 would turn into Cm6.
You probably would not use a minor 6 chord in a 36251.,a minor 6 chord in Bebop is usually used when it is a one minor chord. You use minor 7 chords as a 2 chord, as in a 2 5 1. Let me know if that doesn't make sense.
@@davidsheriff9274 Right. What I figured out was, going from ii - Am6 (ACEF#) to V - D7 (DF#AC) you basically have the same chord with the leading tone back to GMaj (GBD) so it defeats the purpose of having a ii chord or at least makes it feel like there is not much motion between the two. It gives away the leading tone early. You can always us a II7 instead of a ii7 in a 251 though since it will lead to the leading tone.
I think though that often Barry treats the ii-V as just a V (ua-cam.com/video/Up5DblcM_FI/v-deo.html), and he often uses the "6-on the 5", which for D7 is Am6. So you sometimes can just play Am6 the whole time over a ii-V to G.
Don’t get the chord stuff confused with the single note stuff. The bass movement is in 4ths because that’s the strongest movement, but that doesn’t mean you have to get involved in it.
I was taught that there are three minor 7ths in a major scale. Barry says the same thing. The Dorian, Aeolian, and Phrygian. The C major sixth diminished scale will give you an A minor Aeolian (b6) which is not the 2 chord. How do you get an A minor 7th Dorian (natural 6)? I was taught to be very careful to choose the correct minor seventh chord in a 2-5 progression. Please help. This is really hanging me up and preventing me from understanding how to use the Barry Harris system in my playing. Thanks very much for your channel I really love it.
i have a question about how Barry goes about improvising on chords such a m11 major13 chords. for example on a Aminor7 he thinks of c6dim but on a chord like Aminor13 would the c6dim idea still work, btw huge fan of the channel.
Well I would think that using the 6th diminished system, for a min11, he would see it as borrowing notes, so the 9th and 11th would probably bring opportunity for movement to the chords they lead to, for the maj13, you generally take out the diatonic 11th or replace it with a sharp 11th to avoid the b9 and tritone on the root as this would cause tension on a release chord, and then the 9th and 11th as in the min11 could open opportunity for movement since the 9th and 11th are part of a diminished chord which lead to the 6th chord. So for example, on an Amin11, the B(9th) can lead to A or C, while D(11th) can lead to C or E.
I understand that this is Episode 86, so there's a lot of background assumed, but .... as a free standing lesson, this one got far too busy far too quick. In education, the first rule is that you have to learn to walk before you learn to run. These lessons are always full of good stuff, but students come from all levels of prior knowledge and ability to play. You have to think about viewers who might not recognize where the half diminished chord is in the standard used as an example. Just saying 'this chord, at this place in the tune' would help a lot of people.
My friend, your first line said everything. You do understand this is Episode 86. Then you understand it’s not a free standing first lesson. It is numbered, meaning it is the 86th lesson in succession. Please check out 1-85, and furthermore understand that the whole world does not cater to whatever level of understanding you happen to be at! Find a local college, walk into class midway through the semester, criticize the teachers curriculum in accordance with your lack of understanding, and see how that goes! In education, the first rule is that YOU have to learn to walk before YOU learn to run. Meaning that YOU should not enter a class that is RUNNING, and expect it to slow down to a WALK, as if you were the center of the universe 😀 For some of us, this pacing is just right, and once you have truly practiced the content in the previous lessons in a disciplined manner, you may find it’s just right for you too. Best of luck on your musical journey!
Love your explanation of the differences between chord fingerings @4:08 !
dude, just getting caught up here. Thanks for the shout out, brother. Beautiful as always
Man this opened up a whole new world!
happy for u man...i understood nothing :-D
And there are 80+ more videos in this series and they' re all great!
Wow. Great one!
amazing ~~
So beautiful. I never realized how much we can get from that scale. TY so much
I’m learning to work on one video at a time because this is a lot of great information that you need to marinate in! Thank you 🙏🏿💕✨
Been watching your videos for a while and I just wanna thank you for all the information you're sharing. It's really helped my playing and thought processes around improvising and comping a whole lot! Always excited to dig into a new video so all the best in continuing putting stuff out. Look forward to what you have to share next!
Thanks so much, great job in your channel !!
Love hearing the comparisons of different kinds of motion! We often talk about movement in a more abstract sense but keeping concrete analytical terms in the conversation helps keep the thinking clear and fully explored
i love that guitar
Thank you for generously spending the gospel.
Beautiful! that's what is great about harmony, you can build it however you choose to build it! I like to think of -7b5 chords as m6 chords as well :) then if you use an eight note scale with a b5 you get inversions of a dom7 and a m7b5 or m6 however you slice it.. nice playing :)
Thanks yet another time. I’ve practised the scales a lot and following along today, made them transition into music and inspiration. When one scale lands in the next, there’s this beautiful resolution that happens, that ties it together. This video was very clarifying and illustrative to me.
This is pretty amazing stuff - harmonized scaled and getting instant chord melody. Mind blown!
You have such a beautiful touch and tone. Thanks for sharing all this info. Hopefully as I think about it all I can eventually internalize the concepts. Harmony is beautiful but very challenging for me to grasp beyond the obvious applications. You help make it understandable. Thank you!
Ahhh such a beautiful lesson, this is the real stuff⚱️ thanks so much for sharing
Fantastic as usual, thank for all this usefully stuff;)
Very nice always lookin forward to these video’s
Great examples.
Mind blowwwww
this is brilliant. thank you
This is really great stuff. Thank for the nice presentation.
G&L 👍🎸
Love this channel! thanks for making and explaining the wisdom and knowledge of a true master to us humble mortals. Keep it up man!
Really clear and really useful. Thank you.
This is great stuff !!!
Beautiful. And congrats on all of your success. 👍
Barry Harris method has made my bass playing easier to walk and it sounds more melodic.
Yea
Are there any videos about Barry Harris for bass that you’d recommend?
@@David-kp3gk on this channel, the half step rules.
I've always liked superimposition in a lead sense but lately I've been working through that Barry Harris for guitar book and I love it. Sure, I knew a chunk of drop two inversions on the string sets and such but this adds movement and beauty to my stagnate chord progression abilities. I'm not even that far into it yet as, like you said, application is important so instead of jumping ahead, I'm just crawling through it all and trying to work it into tunes I like to play (strictly using the maj6th, min6th, diminished harmony). Dominants are proving a bit tricky even though the concept I understand (I think?). I like the minor 6th a half step up as well as the diminished a half step up (off the 3rd... same thing?)... I also like the minor 6th from the fifth. Off the fifth sounds the most inside, which is nice compared to the other two more colorful options I mentioned but I'm getting into trouble running into overlapping chord choices (minor6th off the fifth of a dom [fifth being on the 2nd string in this example] compared to minor6th/half dim with 6 in bass as a minor7 chord [again, but root on second string in this context) I think I'll do like you did in this video and run that chord progression, however spend each practice session focusing on "fancifying" one of the chords using the BH dim 6th scale.
This is a BIG breakthrough for me! It helped so much with modulating as well to other keys (smoothly)! Thank you so much for this info. Especially from Barry Harris class which I've always heard of an been intrigued in learning more about it. Great work! By the way I just saw this post and immediately subscibed after watching. I had to slow it to 1/2 speed an watch it about 8 times but I got it! Every note. Can't thank enough for this lesson.
P.S. - I will be catching up with the rest of your episodes too.
Amazing lesson as usual. Thank you!
Beautiful! Man, the 3 notes!!!
amazing!
Great stuff, thank you!
3:54 wait so can you do all this stuff on Fmaj7 and Cmaj7 too?
Nice ideias...
If we are in Am dorian, the note f, would be a problem.
How could i use despite of this fact?
Probably my favourite vid so far. The light bulb finally went off! This may be a dumb question but does the same logic apply to dominant chords, A7 equals C seventh diminished, hence play the 7th dim scale whenever I see a 7th chord? Same with 7th flat 5 dim etc?
Guess it’s best to just see what notes are in each chord (7th) chord and match to appropriate BH diminished scale chord.
There are 2 BH dominant scales. Straight dominant and dominant b5
@@Creabsley hey yes for sure, I mentioned Seventh diminished vs mentioning seventh diminished flat 5. I’m new to this method so my question me be kinda silky...
Bro WOW
Hey Chris. Love your channel and the insights from Barry for us guitarist. QUESTION: What was Barry's thoughts if any on Triad Paris?
He has a video where he takes triad pairs over G7. Gmaj and Abmaj triads to create a scale
@@justincoy2927 Do you have a link?
@@SirDLee UA-cam keeps removing the link. its ep 78
Hey Chris, great work here on your channel. Can you explain the minor 9 for me? Just as a minor 7 is a maj 6, how do you arrive at a minor 9?
Hi, What G&L is this?
Do you know if Art Tatum thought like this too?
I am struggling to understand when conceptually an “aeolian” chord is considered a “Ionian” 6th and when it is a minor finished 6th. I guess when it is the center of a key and not a passing chord ??
It depends, these are more like options than rules.
I like using those diminished chords to phrase minor chord melodies. You would think it works on -6/-7b5 but it doesn't.
Also love his concept of not actually playing chords, but movement.
How would this apply to open voicings?
Should i not play the a minor 6 dim scale over am7.. different scale notes to c6 dim, but, are both interchangeable, over an am7 chord?
I can see using the C 6th dim over the Am7 when the Am7 is the ii of the key. Why can't you also use G 6th dim or F 6th dim because Am7 is part of those keys also? Or put another way, let's say the Am7 is being used as the iii, i.e. in the key of F, and going to D7 to Gm7 to C7, what chord/scales would you use over that progression? If you've already addressed this in another vid, maybe someone could point me to it. Thanks.
I'm a beginner, so I hope Chris chimes in, but I think using the C6(Am7) diminished when an Am7 comes up let's you have the "on-off" chord thing. It's like for a moment you are tonicizing the Am7 and you get V-I over and over again as you go through the scale of chords. In this video Chris plays C6 diminished even when the chord progression is in the key of G, which has an F natural and no F#. Barry has said though that really there are 3 different Am7s, like you allude to, and when you play an Am7 you have to be mindful what key it comes from (ua-cam.com/video/3V2eNh8qWVo/v-deo.html). I'm not sure how to reconcile the two concepts beyond playing what sounds pretty...
@@JosephElsherbini I come from a chord/scale theory (CST) background - so no matter the tune, the first thing I do is play the "appropriate scale(s)" for the chord. The appropriate scale(s) for me are dependent on the chord's relation to the key of the moment. The Barry Harris' (BH) concept sort of smears this together from my perspective. I don't even know if the BH practitioners are thinking of the chords at any moment, hence my questions.
For example: for a iii7 VI7 ii7 V7 turnaround I might play 8 or more different scales, depending on taste - but I'm always thinking of a scale or two for that chord at that moment. This is how I've been playing a long time.
For the BH approach, I knew about using the IV 6th dim scale for the ii7, but I'm not sure about the iii7 (tonic 6th dim or V 6th dim?), the VI7 (min 6th on the fifth or min6th on its flat second?), etc....
...but I seem to remember almost every BH and most of his adherents saying they ignore the m7 and just play the V7. I have a world of things I can do on dominant chords with CST, but don't understand how BH approaches these.
Like was stated in the video, the BH approach opens many doors that wouldn't be so visible to someone with my approach, so I'm very intrigued.
If the Am7 plays the role of II in a 2-5 situation, G6 definitely fits well because brings out the 9 of the chord where as F6 sounds a little bit weird unless you deal it as minor#5. If the Am7 is the III chord, the F6th diminished is perfect...
@@panostzoumakis9055 Relative to the Am7 chord:
using G 6th dim results in the dorian mode with an additional flatted fifth.
using C 6th dim results in the aeolian mode with an additional major 7
using F 6th dim results in the phrygian mode with an additional major 3.
So, as a ii chord, using the tonic, G, 6th dim scale should sound best, but the C 6th dim scale seems to work fine, although aeolian mode would not be my first pick for this.
Chord stuff and single note stuff is different.
Keep that in mind.
Very nice examples, thank you! One thing I've been having trouble with - when do you treat an A minor as A minor 7 vs A minor 6? I have a hard time ever hearing A minor 6 as "resolved." Would you ever do A minor 6 diminished in a 1-6-2-5 in C?
You could look at Am6 as F# min 7 b5 (F# half dim). Not sure about how Barry would approach it, as I haven't studied enough of his material, but I would assume it would fall into a different category than the Am7. Some people even sub D9 for Am6 because all you are missing is the root. So compared to Am7 Am6 is much more tense and unresolved unless you are playing gypsy music which revels in that sound as the minor tonic, as it has a much darker and most would say more authentic minor sound.
Edit: So I just looked into this and he has a minor version of the scale. You take the original diminished 6th scale and just give it a minor 3rd instead then you get alternating min6 chords and a diminished built on the 7th degree. This works over any min7b5 chords instead of min7 chords. So A-7b5 would turn into Cm6.
You probably would not use a minor 6 chord in a 36251.,a minor 6 chord in Bebop is usually used when it is a one minor chord. You use minor 7 chords as a 2 chord, as in a 2 5 1. Let me know if that doesn't make sense.
@@davidsheriff9274 Right. What I figured out was, going from ii - Am6 (ACEF#) to V - D7 (DF#AC) you basically have the same chord with the leading tone back to GMaj (GBD) so it defeats the purpose of having a ii chord or at least makes it feel like there is not much motion between the two. It gives away the leading tone early. You can always us a II7 instead of a ii7 in a 251 though since it will lead to the leading tone.
I think though that often Barry treats the ii-V as just a V (ua-cam.com/video/Up5DblcM_FI/v-deo.html), and he often uses the "6-on the 5", which for D7 is Am6. So you sometimes can just play Am6 the whole time over a ii-V to G.
Don’t get the chord stuff confused with the single note stuff. The bass movement is in 4ths because that’s the strongest movement, but that doesn’t mean you have to get involved in it.
I wish I could understand any of this.
This is episode 82. Start at #1. Paul Davids or Rick Beato could be the way to go for a review of basic theory.
I am not a musician, yet the pedagogy of Barry Harris is UNIVERSAL.......and made me much better in my cloud computing career
"The point of the lesson is...C6dim scale is greater than Am7." Repeat.
I was taught that there are three minor 7ths in a major scale. Barry says the same thing. The Dorian, Aeolian, and Phrygian. The C major sixth diminished scale will give you an A minor Aeolian (b6) which is not the 2 chord. How do you get an A minor 7th Dorian (natural 6)? I was taught to be very careful to choose the correct minor seventh chord in a 2-5 progression. Please help. This is really hanging me up and preventing me from understanding how to use the Barry Harris system in my playing. Thanks very much for your channel I really love it.
i have a question about how Barry goes about improvising on chords such a m11 major13 chords. for example on a Aminor7 he thinks of c6dim but on a chord like Aminor13 would the c6dim idea still work, btw huge fan of the channel.
Well I would think that using the 6th diminished system, for a min11, he would see it as borrowing notes, so the 9th and 11th would probably bring opportunity for movement to the chords they lead to, for the maj13, you generally take out the diatonic 11th or replace it with a sharp 11th to avoid the b9 and tritone on the root as this would cause tension on a release chord, and then the 9th and 11th as in the min11 could open opportunity for movement since the 9th and 11th are part of a diminished chord which lead to the 6th chord.
So for example, on an Amin11, the B(9th) can lead to A or C, while D(11th) can lead to C or E.
That's just my 2 cents, hope it helps.
@@Jesse_Scoccimarra thank you for the response
n1!
I understand that this is Episode 86, so there's a lot of background assumed, but .... as a free standing lesson, this one got far too busy far too quick. In education, the first rule is that you have to learn to walk before you learn to run.
These lessons are always full of good stuff, but students come from all levels of prior knowledge and ability to play. You have to think about viewers who might not recognize where the half diminished chord is in the standard used as an example. Just saying 'this chord, at this place in the tune' would help a lot of people.
My friend, your first line said everything. You do understand this is Episode 86. Then you understand it’s not a free standing first lesson. It is numbered, meaning it is the 86th lesson in succession. Please check out 1-85, and furthermore understand that the whole world does not cater to whatever level of understanding you happen to be at! Find a local college, walk into class midway through the semester, criticize the teachers curriculum in accordance with your lack of understanding, and see how that goes!
In education, the first rule is that YOU have to learn to walk before YOU learn to run. Meaning that YOU should not enter a class that is RUNNING, and expect it to slow down to a WALK, as if you were the center of the universe 😀
For some of us, this pacing is just right, and once you have truly practiced the content in the previous lessons in a disciplined manner, you may find it’s just right for you too. Best of luck on your musical journey!
berries logic
C6° > -7