How To Comp On "All Of Me" With 6th Diminished - Getting Started With Barry Harris' 6th Dim Ep 4
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- Опубліковано 27 чер 2024
- / billgrahammusic
In this episode, we look at some ways that we can apply Barry Harris' 6th Diminished system to the Great American Songbook jazz standard "All Of Me" in the key of C. This is an amazing system that teaches you how to stop playing static chord voicings, and start playing dynamic, 3 dimensional harmonic movements instead. Make sure to watch episode 1 (or at least make sure you understand about the major 6th diminished and minor 6th diminished scales of chords, and how you apply them to each chord quality,) otherwise this video probably won't make much sense. • Getting Started With B... (Broad strokes, on major chords, play major 6th diminished on the root or the major 6th diminished on the 5th. On minor 7th chords, play the major 6th diminished on the relative major, or the major 6th diminished on the 5th of the relative major. On minor 6th chords, play the minor 6th on the root. On dominant 7th chords, play the minor 6th diminished on the 5th, or the minor 6th diminished on the b2nd, or the major or minor 6th diminished scale of whatever key the dominant chord is V of, starting on it's diminished. On minor 7 flat 5 chords, play the minor 6th diminished on the 3rd. On tonic diminished chords, play the diminished scale.)
Barry's system is deep, and it rewards experimentation and exploration, so don't just play these examples I show you. The possibilities are endless. Make it your continuing mission to seek out new chord forms and new harmonizations.
If you're interested in lessons, I'm available over Skype, or if you're in the Atlanta area, we could arrange for private lessons in person.
My book "Chord Tone Improvisation - A Practical Method For Jazz Improvisation: Volume 1 - Approaching Major And Minor Triads" is available for purchase at amzn.to/2UNu9YE
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Table Of Contents
Introduction 0:00
Basic Chord Changes and Analysis 0:16
Which 6th Diminished Scales to Use On Each Chord 3:38
C6 3:49
E7 8:04
A7 9:13
Dm6 10:11
E7 Again 11:10
Am6 12:34
D7 14:14
G7 15:56
Or Dm7 to G7 17:20
A Section Again 21:02
F6 to Fm6 21:23
or F6 to F#dim7 21:59
A7 again to Dm7 again to G7 again to C6 again 24:25
Turnaround Possibilites 25:07
Don't Forget To Leave Space and Think About Rhythm 27:23
One Chorus Of Comping 29:17
Wrap Up 30:29
*I am not personally affiliated with Barry Harris. This is just my own personal interpretation based on my current understanding of Barry’s ideas.
So practical and musical, thank you. I can really start spinning ideas around cells and motives as the song moves through itself
This is the holy grail of standard jazz piano chords. Very well explained!
This is just the stuff I've been looking for! There's so many videos on the basics of the Barry Harris approach but not nearly enough videos on the practical application of it. I would love to see a video where you apply it (either comping or solo piano) on a ballad, say Embraceable You or It Could Happen to You. Keep up the good work!
Simon Fransman Thanks Simon. I’ll definitely do a video applying it to Embraceable You.
@@billgrahammusic you are the man for breaking this stuff down btw. Idk if you still practice but thank you very much!
Love this video on Barry Harris movements. Never knew I could do so much sonically with diminished chords. Thank you Bill.
Please never delete these videos Bill. It's going to take me a lifetime to master
Bill, you are the keeper of Barry's flame!
Thanks!
do a video on turnarounds :)
These are the only videos that adequately and clearly explain how to use these cadences. All the other guys just show you the stock example of going up and down the scale with one major and one minor variation, which is pretty much useless.
Gotta start somewhere. but you are right! I play guitar, these are great compositional tools for pop. a la Stevie Wonder
Yup. Yeah thx, I know how to alternate between 2 chords lol.
Sounds great. Thanks for showing how to use it musically. Most tutorials just have them playing the chords like a theory exercise. One thing I do is alternate between chord, dim, inversion, dim no matter what chord it is! It still works, it just doesn't always fit the 6 dim scale.
Bro this shit is insane, already so much value in the first 10 min ❤️🤝🏾
Thanks!
I play Pedal Steel Guitar tuned C6th (unlike what most kniw it for sounding out if Nashville)… and just subscribed to a Piano Player’s chanel (this one). The execises Barry Harris showed were “take home assignements” shown to musicians who mostly could hold a Jazz tune pretty good, so they would develop on it.
To most however, who aren’t at thel level many of his students are, these remain “just” pretty sounding practice routines unless the are shown how to apply (modulate) them to minor or the M6th on the V.
So THANKS to you Billy Graham for shedding light on how to APPLY it!
That‘s really helpful bringing sixth diminished to life! Excellent!
Thanks Paul!
Thank you Billy!
Great lesson!
Thank you so much Bill. The hardest thing for me currently is ‘thinking’ this way: see a chord, interpret it into two-chord (6th/dim scales) Barry language, and be musical about it! Onward.
Thanks Bill . Every viewing I learn more.The possibilities are endless.Practical application of BH concepts really help.
Maybe the reason why the G diminished chord works over the C6 chord is because - like the tonic diminished chord played on the C - this diminished chord could be seen as the 'tonic' diminished while playing the 6th on the 5th (G). Thats how I've been thinking about it in order for it to have context and not just be a 'random' chord that sounds good. You're videos are totally amazing! I wish you'd do more - you're by far the best teacher on youtube explaining Barry Harris.
Amazing video. Thank you for all your help! I feel so much more confident in exploring this system and improving
Another generous video, Bill! Thanks so much for all of your educational contributions on this platform. Patient and thorough as always.
This video is fantastic. Brilliant ideas and superbly taught. Thanks so much for your work!
I could listen to you all day long. Thank you.
You are the Bob Ross is Bebop - you’re voice is very relaxing
Thanks Brian! I love Bob Ross, so I take that as high praise indeed!
@@billgrahammusic I like Bob Ross as well 👍
@@dr.brianjudedelimaphd743 yeees.... Bob Ross of the piano!!!
This is GREAT and easy explanation. Thank you Long Live Bill
15:25 there’s a video where BH refers to that interval as a diminished 3rd.
Very tasteful demonstration of chorus of comping at the end. Thank you for your channel
Thank you for this amazing video. You are a superb teacher and musician. Grazie mille.
tremendous stuff. here we go!
yes i would love to see a video on turnarounds ! you are so good ! no way i'll ever learn it all, but it's very enriching just to see and hear this level of depth ! very good indeed ! i'll be watching you ! thanks so much !
Awesome video! I think the 3rd to last chord is Dm7b5 because the melody on the lyric "Why not" descends C to Ab
Man Bill.. You're awesome. Thanks!
Wow, you really rock. This is pure gold
Thank you very much. This is very useful. You are very generous of sharing your knowledge, I will be getting a copy of your book soon. Yes please, I'd love a tutorial dedicated to turn arounds with the level of depth you use to put!
Gold!
Great great video and teaching here many thanks 😊
I’m proud of you brother !!!
great tutorial thank you!
I would love to see a video from you on turnarounds! Count me in!
Great vid!
Dig your channel. Methodical, accurate, relaxed and with some great nuggets. As a guitarist I'm hearing Freddie Greene's three note voicings and finding it easier to get around big-band charts or arrange standards using Barry's system... Also the major (and minor) second intervals in some sounds get you into John Scofield's super-hip clanging neo-blues-style... Thanks, subscribed !
Thank you very much. I got through the first chord. whew! I play guitar. your explanation and examples are wonderful. I am playing solo and this very useful.info is appreciated. YES TURNAROUNDS. THANK YOU.
9 months later of practicing this periodically along with other Barry Harris concepts has been amazing. It is just starting to filter through naturally at work. I am so fortunate to have a solo gig every Saturday during this Covid 19 . Before I did 9-12 gigs every month. I am SO GRATEFUL.
Thank you!!
Thank you.
Hi Bill. Super helpful , great work though I am a guitar player. Yes a bit overwhelming, but this opens Barry's amazing concepts to public in a practical manner . I think at this stage, any tune, or progresssion you can show it on would help uncover all the beauty , and the ideas you explained so thoroughly would start coming together . Thanks so much for sharing.
Thank you so much !
Thanks Mark!
Great lesson!
I need help to understand the movements you played at the end. I would appreciate if you do a video on this.
Thx!
This is great! I don't understand why you start on the diminished sometimes. For example using the D minor6dimished starting from the diminished over A7
a gold mine :-)
Very interesting
Thanks!
thank you!!!!!!!!!!!!!
Please do a video on turn arounds! You rock Bill :)
Yes do a video on turnarounds! Please :)
Love your videos Bill. Thank you. On the video "comping on the blues" you used a Cmin6 dim scale over the F7. Here on "All of me" you're using the Amin6 dim scale over the E7 as opposed to the Bmin6 dim scale .... when I watched the "comping on the blues' I made the assumption that whenever there is a dominant 7 chord, use the MinorDim6 scale a fifth away... ie: Cmin6 dim over F7. On "all of me" when I got to the E7 I used the Bmin6 dim and it sounded fine ... I guess there are just countless variations on the dim6 scale???
This is precisely what Barry teaches. It is one variation of harmonizing an E7
Because it’s a borrowed chord ie normally an em7. By using am6 you have the note C ie part of the same c major scale but for Bm6 you’d have a c# etc
@@tradingwithwill7214 Over the E7 you can use the b2min (Fmin) dim6th scale as well. It will give you the Cnat note. It maps out an Ealt chord.
Great work following your illumined path in this lifetime. This stuff is really beaming inspiration to the many others of us who care a lot. Can I ask where you unearthed the small but important tidbit that the dominant of a minor would use the related minor dim 6 scale? All I ever found in Barry's workshops were to use the important minor (minor6dim scale of the V) over any and all V chords, which has really caused me a lot of head scratching, because that is not what he does, haha. Imagine me trying to use the important minor's dim6 scale over every V7 chord, regardless of context, for the past year! Well, that's what I've been doing, until now, thanks to your video! He of course does what you do, but I just was never able to find out what he was doing or why, until now. Many blessings! Also, if you could refer me to the instructional passage where you learned that little tidbit, it would really help me know what to revisit since you've obviously read up on that stuff and I must have gotten an F in that class, haha. I have all his workshop books btw, even the ones for vocals and the ones for guitar =) I just love his stuff so much!!
Hi Bill. Another great lesson thanks. Oddly, I hadn't come across (officially!!) what is probably the most obvious treatment of a Dom7 namely the maj or min6 dim scale of which the dom7 is the chord V. I've seen it, but not in the context of BH. Great stuff sir!
Great stuff. Please do turn around video.
Woah..did you ever do a video on the profound implications of the diminished below the diminished? So epic!
Thank you for your musical expertise. Incidentally it would be nice to perhaps use some musical software notation to help accommodate with what you are playing.Thus, it would be very helpful from a visual perspective.
In any event I appreciate your efforts and what you have given thus far.
Peace and blessings
Please, come back with the Borrowing notes, and the diminished chords below diminished chords.
You're really good.!!
Great work! Please can you do the same on "There Will Never Be Another You"? Thanks!!
Please do a video of turnarounds!
Fantastic dude! If only i had the time to study this all day every day.. :(
MrMafunk now you have it :)
Hahaha, careful what you wish for!
Bill, congragulations for this wonderful work. I had been studying jazz close to 10 years, always searching for useful bits and pieces here and there, but these series of yours are pure gold.
After 2 months of practising some of this stuff, my playing is "boping", especially when comping, but also when soloing, because the ear is now used to this specific tension-release pattern and my lines are following them, unintentionally.
Basically a door for completely new sounds have opened and forever changed my harmonic language.
I just have 2 questions:
1) on a tritone substitution, which one would you choose over the V chord? minor 6th diminished from b2?
2) I get the feeling that thinking this way is not very helpful for some modern songs, with sus chords and not clear V-I resolutions. For example, where do quartal voicings fit in this?
For 1): Yes exactly--I have found the b2 to be an excellent way to visualize the altered scale.
For 2): They actually do! Sus and quartal voicings come from holding 'borrowed' notes from the scale. Sus example: G#-A-C#, where G# is a borrowed diminished note of F#min6. Quartal example: C-F-Bb, where F and Bb are borrowed notes of Bbmaj6 (If you play the C chord in Bbmaj6, it's normally a diminished chord. Instead, drop Eb, Lower F# by one note to F, and raise A to Bb.).
@@marcusstoica thanks for the clarifying answer, I thought that you could only drop notes and put them on the bass
WOW 💪🏽💪🏽🎺👌🏾
Merci beaucoup pour toutes ces pistes de travail. Pour la guitare, à la façon de Django Reinhardt, nous utilisons plutôt des accords avec 3 sons , c'est plus facile et ça sonne plus clair quand les lignes sont mouvantes: CAE DBF D#CF# ECG
I'd like more help on those changes.
Why does E major come from A minor and not the major? Do the dominant chords always come from a fith below and can be altered to major or minor?
#dim7
please on 8'11'' you say "E7 borrows from Amin key". But the next chord is A7(not minor)!! and then on 8'48'' - "since it's resolving into a minor key we can play a minor6 on the flat 2". Even if it is resolving to a minor key. where is this conclusion came from. Is it some rule? Thanks ahead for the answer
How much do you charge for Skype lessons sir??
I hate to break it to you, but 90% of this video is wrong. Like on the A minor, Barry would not play A minor 6 dim scale, but would play the relative Major, C major 6 dim scale and think about it in C Major 6th context, which of course is A minor 7 in 1st inversion. ( A,C,E,G = A Minor / C,E,G,A= C Maj 6).
SuperC55AMG
Chill, dude. Music theory is simply that: theory.
Nitpicking isn't going to help anyone. You can view the way the music is played in any way you want.
If you're going to hate on him, just don't watch the video.
So you rather have someone name drop a jazz legend like Barry Harris and " teach" Barry's methods incorrectly so more and more viewers can learn something the wrong way? I bet if Barry saw this video, he would say, " oh hell no, don't you associate my name with that shit he's playing." Your one of those "yes" people, too scared to say no and who agree and say yes to everything.
Lmao imagine being like this guy.
If anybody who has studied with Barry can speak to what Barry has to say about that chord, I'd love to hear. I haven't had the opportunity to study with Barry in person, but what I've pieced together of his ideas has helped me profoundly. All I'm trying to do with these videos is explain these ideas to the best of my understanding in the hopes that they'll help other musicians in the same way they've helped me. That being said, I think it's pretty disingenuous to claim that "90% of this video is wrong." I wasn't able to find any recordings of Barry playing that tune, although there is a video where he talks about playing that tune with Coleman Hawkins, so I checked out some recordings of him playing it. It might just be confirmation bias, but I hear minor 6 there on recordings by Coleman Hawkins, Teddy Wilson, Lester Young, and Charlie Parker. Of course if it were Am7 then the scale would be C6dim, as I've explained in previous videos. Have a good one.
SuperC55AMG why don't you go make a video?
Just because he didn't study with Barry Harris doesn't give you the right to trash his work.
If you're such a great musician, why don't you go and make videos. Actually, why don't you call Barry since you're his best friend?
Music is music. You play it and it's still music. No matter you're approach/ understanding, you still play the music at the end of the day.
Nobody asked you to come here and be a jerk.
please on 8'11'' you say "E7 borrows from Amin key". But the next chord is A7(not minor)!! and then on 8'48'' - "since it's resolving into a minor key we can play a minor6 on the flat 2". Even if it is resolving to a minor key. where is this conclusion came from. Is it some rule? Thanks ahead for the answer