What Barry Harris means by "Movement"
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- Опубліковано 15 чер 2024
- Links
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Connecting Scales:
• Connecting Keys For Im...
The Diminished Series:
• Diminished Stuff
Barry videos used:
• Jazz Theory with Barry...
• Practicing the Blues w...
Time Stamps
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00:00 - Intro
1:14 - Example Solo
1:45 - Introductory thoughts
3:26 - Dominant bebop scale as a quadrad pair
4:18 ‐ "I play movements, not chords"
5:13 - Tea For Two
5:32 - A simple definition of Movement
6:06 ‐ Back to Tea For Two
6:50 - Plumb
8:37 ‐ Pierce
9:04 - Perch
9:35 - not JUST chord substitutions
11:16 - Barry's master class
12:45 - I don't believe in 2's
13:12 - Plum Example
13:40 - Pierce & Plumb
14:50 - what about Perch?
15:09 - Example 1
16:01 - all 3 paths
16:31 - Example 2
17:30 - Example 3
17:56 - bonus
18:42 - possibilities
19:08 - what notes have to move?
18:53 - Barry's Plumb example
20:48 - Revisiting the Solo
22:27 - The Analysis
can't keep up with the lesson when the instructor is so handsome
😅 I'll try extra hard not to show myself on screen so much next time
You are an old white man no?
There may be a SIMPLER explanation for what you're getting at. I believe what Barry means by "movement" is just dominant to tonic. Diminished to tonic movement is a dominant to tonic movement. That's what Barry means by "there is no such thing as two" (traditional"2's" are called "minor7" voicings BUT every minor 7 is an inverted major 6.....so it technically CAN'T REALLY BE A TWO CHORD). But more importantly, there is a minor 6-chord on the 5th degree of the dominant scale. That minor 6-chord IS A FIVE CHORD - or a "dominant". Remember, when you move C# in C# diminished down a half step you get a C7, right? Well, when you move that same C# up a half step you get Gmin6 - a fifth. Barry's teachings are PRACTICAL applications of classical theory. The classical theory calls this stuff dominant substitutions, secondary dominants, leading tone substitutions and secondary leading tones. As you alluded to, these substitutions can occur MELODICALLY. Not just harmonically. In other words, you can target (or "tonicize") ANY arpeggio with "dominant" or secondary dominant arpeggios; and in this case, leading tone OR secondary leading tone (diminished) arpeggios - and that concept is VERY EXCITING once you realize the universe of possibilities it opens up.
It's totally possible that when Barry said movement, he meant dominant to tonic. But I dont believe that's true.
But maybe more importantly, what I'm getting at in this video is DEFINITELY not dominant to tonic resolution. It's much more than that. I try to make that point several times in the video.
Hey one thing to add to this, regarding the full dim having a note flattened to make a Dominant7 chord or raised to create a minor6, THIS HAPPENS WITH THE DIMINISHED SCALE TOO!
The minor 6th dim scale is only one note different from the full Diminshed scale by exactly this movement too. Same with the dominant scale. These are all just one note different from the full diminihsed scale.
@@Kosmo999 fascinating
When Barry says theres no ii, he's not talking about the fact that minor 7 cords are just major 6 chords. He's saying that when you play over a ii-V, you can just lump them together and consider the whole ii-V as just a V. When he thought about what scales to use over a ii-V-I, he would group the ii-V together and just consider it a V leading to a I.
So typically if you were playing a ii-V-I in C, you might just think melodically in terms of the C major scale for the whole thing, but if you just play a tonic C major lick over a ii-V the chord tones won't line up. So instead you might think in terms of D dorian, then G mixolydian, then C major, so that you can use licks and movements that line up with the chord tones of each chord.
Barry on the other hand would just think in terms of G mixolydian for the whole ii-V, and then C major for the I. The reason he did this is because even if you play G7 chord tones over a D minor (ii) chord, it sounds fine and just flows more naturally into the G7 (V).
So basically instead of targeting D minor chord tones over the ii, then G7 chord tones over the V, then C major chord tones on the I, he would simplify it to targeting G7 chord tones over the whole ii-V and then targeting C maj chord tones on the I. That is my understanding of his "no such thing as a ii" idea. He got this idea no doubt by studying what Charlie Parker and Bud Powell did.
@@Ambidextroid technically the dominant-diminished scale (what you call mixolidian) contains a diminished for the two. If you're in the C-scale, there is a Dminor 6 at the fifth of Gdominant-diminished which is the 5th of C. So, it's all functional dominant - tonic harmony.
Great video man glad to see you doing your thing:)
Great lesson, thanks.
Appreciate your approach to this material.
Thanks! I really appreciate that. And hope to make more videos like this
Perfect. Not easy to find players who know how to do this.
Great lesson!
Thanks so much! I'm glad you liked it.
Loving your 3Ps fyi I’m going to embrace this route
The paths are some of my favorite ways to think about diminished chords. Through how they move. 🙌🏽
thanks a lot
No problem, glad to help!
Fellow lefty guitarist, or is the camera just doing that because it’s inverted? Great lesson and insights bro. 🙏🏼🙏🏼🙏🏼
It's definitely the camera, I play right handed. Glad you liked the lesson, man 🙏🏽
I’ve been studying the 8 note scales off and on over the years. Even though this video is discussing “Barry stuff”(which is great!), I’m glad to hear someone glimpse the world outside of the diminishes. Have you found the 10 chords? I’m looking forward to watching your other videos. My music theory has turned into runes and 3D structures in eight note space.
DUUUUDE YESS. thanks for commenting. There's soooo many videos about 8 note scales that I wanna do.
By 10 chords do you mean the 10 chord forms? Like digital patterns within 8 note scales. Of which there are 10.
@@TheTonomancer Yeah you should…there’s a way of thinking that, in my opinion, gets excluded. And there’s a TON of stuff I’ve never heard anyone go over. (I thought of doing some myself)
I’m not sure if we’re talking about the same thing or not. I’d love to compare notes. I’m talking about the 10 chords that make all 8 note scales. Barry used half of them.
Are you talking about this?
x.x.x.x.
(xxxx|....)
x...|xxx.
(X..x(x)x..X)
.xxx|...x
xx(.x|x.)..
xx.(x.)x..
x.x.|.x.x
xx..xx..
..(x.x.)xx
@@brynrbrtsare you meaning the 10 four note chords that don’t contain semitones?
Maj6
Min6
Dom7
Dom7b5
Maj add9
Min add11
Dom7#5
Dom9 (no fifth)
Diminished
Maj6sus2
?
I think Tonomancy is refering to the fact with any 8 note scale, theres 70 four note chords, that fit neatly into unique 10 chord scales. Every 8 note scale has 10 chord scales attached
@@brynrbrts some of your comment makes me think we maybe aren't taking any the same thing. But your tab things at the end make me think we might be.
1k views!!!