I listened to Cannonball's version of Autumn Leaves the other day and realized something was off and dull in my playing. I could clearly hear that E, but I didn't understand why it worked and made the song so much more hip sounding. It's the Gm6 that I had been playing as Gm7. Super encouraged that I I'm starting to hear, and so grateful for your explanation about establishing the minor tonality with the 6 chord and the melodic minor. What a huge difference this insight will make! Thanks so much!
I’ve been watching so many Barry harris videos lately that now I’m just constantly making up bebop lines in my head. I’ll walk to the kitchen just like “BE BA DA BO DE-DA!!”
Thanks so much. I learned so much from this and the best part is to practical application of the theory. But how do we know g minor is melodic minor not harmonic minor with Flat 6 (e flat instead of e natural in melodic minor)? A half dim chord before d7 also has e flat. Thanks!
Love your lessons! If we use Eb 6 for 4 chord it seems like we can use Eb 6 diminished scale to harmonize melody... But real book has the 4 chord as maj 7... Am I on right track to change 4 chord to maj 6? Plus Eb is the first note of melody
Hi Shawn, great explanation. I have been studying piano for nearly three years, focused in the fundamentals with the view of being solo jazz piano player both swing and straight. I can understand all what you say, but I use much simpler voices and less inversions. I wonder what is the right moment for taking the most of your course. 5 years of piano? Some rough criteria to do it? This Barry method sounds really inspiring but I no do not have enough fluency in what it seemed required.
I'm a guitarist so my man is Wes Montgomery; Barry was in Wes' band and your lessons help bring his signature m6 pieces (four on six, summertime etc etc etc) to life... really hip thanks !
what would happen if we not only would have to alternate between Bb6 and Cdim (for the barry harris 6thdim scale) but instead every movement would have to be a 251. like Bb6//C7//F7//Bb6 with melody F,G,A,Bb ... would be GBbDF..BbC#EG...CEbF#A...DFGBb ?? (this all beeing just a melody in Bb) .. in gospel/church they call these "dimished crawls"
I really enjoy and benefit from your content. But your style, your presentation suits me so well. Like hand in glove. Thank you. Best wishes... health, joy and wellbeing.
Thank you for uploading. I have been teaching myself guitar for a year now, and often get stumped by odd Real Book changes, eg Stella… And until now not really understood the function of the Barry Harris method.
If we follow the logic of the melodic minor scale, the 1 should be a minor minor seventh chord (with a major seventh) so why do we play a min6 instead ?
What is happening in minute 1:06 ? How do you get to this smooth transition between Bbmaj7 and Ebmaj7 consisting of Ab D F# Bb D ? Is this a chord movement within Bbmaj7 or how do you think of it ?
That chord I like to look at as a Tritone substitution. When on Bbmaj7 and going to Ebmaj7, a common technique is to make the Bbmaj7 a dominant chord right before get to Ebmaj7 to build tension (5 to 1 in Eb). So Bb7 (Bb, d, f, Ab). Within the Bb7 chord is the Ab and D tritone which you see in his left hand. This Ab and D tritone can be played over Bb7 and it’s tritone substitution E7 (E, Ab, E, D). Notice the E7 chord also contains the Ab and D tritone. So u can play either Bb7 or E7 when getting to Ebmaj7. In his left hand he plays Ab and D. A rootless voicing that could be either Bb7 or E7 because of the shared Ab and D tritone. In his right hand he played F# Bb and D. If it’s a Bb7 chord, the Bb and D are found within the Bb chord. The F# indicates a flat 13 added so that it leads to the G (the 3rd of the Ebmaj7 chord.) the chord would be Bb7b13. If looking at it from the tritone sub E7, the F# is the 9 and the Bb is the #5. You already have the 3 and the 7 (Ab and D) so the chord would be E7#5 leading to Ebmaj7. So playing a Bbmaj7 and then either Bb7b13 chord or E7#5 chord will resolve you at Ebmaj7!
It's not unusual to play it in Bb/Gm either e.g. Miles famous recording. I start new students off in C/Am because everyone can play it but I also give them transposable tracks and notation with the advice of comping the chords in at least 3 keys. As this video is basically about one chord, it really shouldn't matter which key as you should be able to transfer these skills.
This is a lesson for intermediate to advanced players, although some newer players will find it helpful. The explanations here are important and having taught 40,000 one to one lessons, I think I know what students need. I'm not just going to get people to copy me. There are many channels for that. Besides, this lessons is full of practical tips.
Sees barry harris: Clicks
You are a great teacher and you make Barry's spirit live on! I'm gaining so much from your lessons - Thank you
I listened to Cannonball's version of Autumn Leaves the other day and realized something was off and dull in my playing. I could clearly hear that E, but I didn't understand why it worked and made the song so much more hip sounding. It's the Gm6 that I had been playing as Gm7. Super encouraged that I I'm starting to hear, and so grateful for your explanation about establishing the minor tonality with the 6 chord and the melodic minor. What a huge difference this insight will make! Thanks so much!
That's fantastic Jennifer! So pleased to hear that you're having breakthroughs. Keep up the good work.
You are a great teacher i like you video also is good pianist but You never tell you full name.Thank You
I’ve been watching so many Barry harris videos lately that now I’m just constantly making up bebop lines in my head. I’ll walk to the kitchen just like “BE BA DA BO DE-DA!!”
I have never understood the G-6 vs G-7 on this song and I've been playing it for more time than I care to admit. Thank You!
That's the great thing about Jazz. We can always learn something new.
Absolutely amazing. Love the way you break things down for your audience. 😊 Keep up the wonderful work you are doing...
This will definitely be a great one as always
You just god-da love those cool drop 2's with the alternating Gmin6/ A diminished. And damn!
you make sooo easy.
Thanks Shan! 🏁
I love those sounds too 🙂. Thank you!
Thanks so much. I learned so much from this and the best part is to practical application of the theory. But how do we know g minor is melodic minor not harmonic minor with Flat 6 (e flat instead of e natural in melodic minor)? A half dim chord before d7 also has e flat. Thanks!
Love your lessons! If we use Eb 6 for 4 chord it seems like we can use Eb 6 diminished scale to harmonize melody... But real book has the 4 chord as maj 7... Am I on right track to change 4 chord to maj 6? Plus Eb is the first note of melody
Yes. Using a maj6 chord would be recommended
You can voice maj 7th chords using a 6 chord on the 5th also. E.g G6 over C, also know as Cmaj9
Hi Shawn, great explanation. I have been studying piano for nearly three years, focused in the fundamentals with the view of being solo jazz piano player both swing and straight. I can understand all what you say, but I use much simpler voices and less inversions. I wonder what is the right moment for taking the most of your course. 5 years of piano? Some rough criteria to do it? This Barry method sounds really inspiring but I no do not have enough fluency in what it seemed required.
I have everything you need at your level on jazz skills. You don't need to be more than you already are.
So that's how Eddie Higgins squeezed the Volga Boatmen into his version!
I'm a guitarist so my man is Wes Montgomery; Barry was in Wes' band and your lessons help bring his signature m6 pieces (four on six, summertime etc etc etc) to life... really hip thanks !
This is a beautiful explanation of how to use Barry and Tonic dominance I shall be back.
thank you man, you have the gift to say in words what i know it is right but i don't know why, great lessons, a simple topic with a real deep meaning
My pleasure! I wish you good jazz :)
very helpful at this moment in my jazz learning!
Awesome Lee! Keep playing :)
Great stuff as always, Shan!
Thanks so much and I wish you good jazz.
You didn't circle the right notes at 6.05 for the pick up
I certainly did
Very clearly explained. A treasure trove of possibilities!
THANK YOU SHAUN
You're so welcome.
what would happen if we not only would have to alternate between Bb6 and Cdim (for the barry harris 6thdim scale) but instead every movement would have to be a 251. like Bb6//C7//F7//Bb6 with melody F,G,A,Bb ... would be GBbDF..BbC#EG...CEbF#A...DFGBb ?? (this all beeing just a melody in Bb) .. in gospel/church they call these "dimished crawls"
I really enjoy and benefit from your content. But your style, your presentation suits me so well. Like hand in glove. Thank you. Best wishes... health, joy and wellbeing.
Wonderful.
✌ 🎹
You explained that better than Barry himself.
Thank you for uploading.
I have been teaching myself guitar for a year now, and often get stumped by odd Real Book changes, eg Stella…
And until now not really understood the function of the Barry Harris method.
Deciphering fake book changes is so eye-opening. I wish you well on this journey.
If we follow the logic of the melodic minor scale, the 1 should be a minor minor seventh chord (with a major seventh) so why do we play a min6 instead ?
Sounds good and it's also in the scale.
Great video mate, thanks for posting
What is happening in minute 1:06 ? How do you get to this smooth transition between Bbmaj7 and Ebmaj7 consisting of Ab D F# Bb D ? Is this a chord movement within Bbmaj7 or how do you think of it ?
That chord I like to look at as a Tritone substitution. When on Bbmaj7 and going to Ebmaj7, a common technique is to make the Bbmaj7 a dominant chord right before get to Ebmaj7 to build tension (5 to 1 in Eb). So Bb7 (Bb, d, f, Ab). Within the Bb7 chord is the Ab and D tritone which you see in his left hand. This Ab and D tritone can be played over Bb7 and it’s tritone substitution E7 (E, Ab, E, D). Notice the E7 chord also contains the Ab and D tritone. So u can play either Bb7 or E7 when getting to Ebmaj7.
In his left hand he plays Ab and D. A rootless voicing that could be either Bb7 or E7 because of the shared Ab and D tritone. In his right hand he played F# Bb and D. If it’s a Bb7 chord, the Bb and D are found within the Bb chord. The F# indicates a flat 13 added so that it leads to the G (the 3rd of the Ebmaj7 chord.) the chord would be Bb7b13. If looking at it from the tritone sub E7, the F# is the 9 and the Bb is the #5. You already have the 3 and the 7 (Ab and D) so the chord would be E7#5 leading to Ebmaj7.
So playing a Bbmaj7 and then either Bb7b13 chord or E7#5 chord will resolve you at Ebmaj7!
Another fine lesson, it's so great to be a student now a day's.
Thank you and I hope your playing is going well.
💖 p̲r̲o̲m̲o̲s̲m̲
why do u do it in Bb when your copies r in C & real book is in G?
It's not unusual to play it in Bb/Gm either e.g. Miles famous recording. I start new students off in C/Am because everyone can play it but I also give them transposable tracks and notation with the advice of comping the chords in at least 3 keys. As this video is basically about one chord, it really shouldn't matter which key as you should be able to transfer these skills.
good
Merci bon cour
thanks !
I love your lessons!
Thank you so much!
Shan ,why are u no explaining the intro ,for us as amateur we need more practical than theorical
This is a lesson for intermediate to advanced players, although some newer players will find it helpful. The explanations here are important and having taught 40,000 one to one lessons, I think I know what students need. I'm not just going to get people to copy me. There are many channels for that. Besides, this lessons is full of practical tips.