I was just working on this tune so nice coincidence. Great lesson, Thomas. The Scale of Scales idea when thinking of dominant chords (along with using family) has really opened up the door to a much freer way of thinking. Much appreciation for all the work you are doing.
Dude. For us guitar players, you are way out ahead on this pathway into the alternate musical universe Barry mapped out. How much time do you spend on music each week? Also, was the first few years getting oriented to all this a bit like being a hermit monk? Also, how long had you been playing when you first found the BH map?
Hi Julian! I don't know how much time I spend on music each week. I kind of default to practicing in all of my spare time, so I've always logged a lot of hours (kind of formed my lifestyle around it). I teach music and freelance to pay the bills, so I'm always around music in a meaningful way:) Question 2: I didn't hermit anymore than usual (I am a bit of a hermit, though). In the first few years I was keeping a consistent 2 hours or so devoted to just Barry's teachings, though sometimes I'd often end up spending all my practice time on it, which is more than that. I didn't have much guidance, and there were less materials online when I started with it, so I spent a lot of time just thoroughly exploring a few things that were productive. One of my goals here is to help expedite the process for others so they can get there in less time Question 3: I had been playing since I was a little kid, and I had acquired 3 degrees in classical guitar performance, including a doctorate, when I discovered Barry's ideas (and became immediately obsessed) in 2010. I feel strongly that my educational background helped me to see the value of Barry's teaching immediately, and knew it had to be the big thing for me going forward. The cool thing about it all is that every step can be really inspiring and rewarding! I've had a lot of fun right from when I started with this stuff. Nowadays, it feels pretty flowing, which is also fun:) Thanks for hanging out! T
@@TheLabyrinthofLimitations Generous replies, professor. Thanks! One more Q: I understand the basics pretty well (the 6th dim on/off inversions, the chromatic rules), but wanted to ask you this-once able to play through the diminshed 6th scale of chords, how do i apply it to a basic ii-V-I? if I am in G, am I playing Am6/Bdim inversions over the ii-and then moving up a half step for the correct diminished on the V? Not sure if that makes sense... Another way to ask is this-how does the minor 6 dim and major 6 dim concept work when comping through a ii-V-I?
Have you ever looked into 6 note scales and tried applying similar contrary motion on-chord/off-chord concepts to them? Like over a C major chord playing the scale C E G + D F A or analogous to the 6 on the 5 G B D + A C E ? I haven't explored it much but I feel like there is some interesting stuff there, similar properties to the 8 note scales but less tension / more poppy.
First chord: Fm7 == Ab maj 6 "Instead of moving the fifth and third down, move the root and the sixth up" 5:12 That brings you to Db maj6... Think of the off chord of Dbmaj6. Minor thirds moving up or down a half step
Love your videos! In ATTYA how would you create the second chord bm7 (Dorian minor) with a natural six and a natural nine? Would you stay on the AbMajor six and just borrow the notes? Or would you immediately go to the five and use the Eb7 diminished 6? You mentioned later on in the video that you are thinking of the minor six on the five. That makes a lot of sense but I’m having trouble letting go of my usual way of seeing these things and learning Barry’s way of seeing things.
![Foundations 1: Polyphony [Barry Harris Improvisational Method] #jazz #improvisation #musiceducation](http://i.ytimg.com/vi/BExfs5p8ZGY/mqdefault.jpg)
I was just working on this tune so nice coincidence. Great lesson, Thomas. The Scale of Scales idea when thinking of dominant chords (along with using family) has really opened up the door to a much freer way of thinking. Much appreciation for all the work you are doing.
this is amazing information. thank you kind sir
Dude. For us guitar players, you are way out ahead on this pathway into the alternate musical universe Barry mapped out. How much time do you spend on music each week? Also, was the first few years getting oriented to all this a bit like being a hermit monk? Also, how long had you been playing when you first found the BH map?
Hi Julian! I don't know how much time I spend on music each week. I kind of default to practicing in all of my spare time, so I've always logged a lot of hours (kind of formed my lifestyle around it). I teach music and freelance to pay the bills, so I'm always around music in a meaningful way:)
Question 2: I didn't hermit anymore than usual (I am a bit of a hermit, though). In the first few years I was keeping a consistent 2 hours or so devoted to just Barry's teachings, though sometimes I'd often end up spending all my practice time on it, which is more than that. I didn't have much guidance, and there were less materials online when I started with it, so I spent a lot of time just thoroughly exploring a few things that were productive. One of my goals here is to help expedite the process for others so they can get there in less time
Question 3: I had been playing since I was a little kid, and I had acquired 3 degrees in classical guitar performance, including a doctorate, when I discovered Barry's ideas (and became immediately obsessed) in 2010. I feel strongly that my educational background helped me to see the value of Barry's teaching immediately, and knew it had to be the big thing for me going forward.
The cool thing about it all is that every step can be really inspiring and rewarding! I've had a lot of fun right from when I started with this stuff. Nowadays, it feels pretty flowing, which is also fun:)
Thanks for hanging out!
T
@@TheLabyrinthofLimitations Generous replies, professor. Thanks!
One more Q: I understand the basics pretty well (the 6th dim on/off inversions, the chromatic rules), but wanted to ask you this-once able to play through the diminshed 6th scale of chords, how do i apply it to a basic ii-V-I? if I am in G, am I playing Am6/Bdim inversions over the ii-and then moving up a half step for the correct diminished on the V? Not sure if that makes sense...
Another way to ask is this-how does the minor 6 dim and major 6 dim concept work when comping through a ii-V-I?
Have you ever looked into 6 note scales and tried applying similar contrary motion on-chord/off-chord concepts to them? Like over a C major chord playing the scale C E G + D F A or analogous to the 6 on the 5 G B D + A C E ? I haven't explored it much but I feel like there is some interesting stuff there, similar properties to the 8 note scales but less tension / more poppy.
"Move the off chord in Ab6 down a half step"
First chord: Fm7 == Ab maj 6 "Instead of moving the fifth and third down, move the root and the sixth up" 5:12
That brings you to Db maj6... Think of the off chord of Dbmaj6. Minor thirds moving up or down a half step
Love your videos! In ATTYA how would you create the second chord bm7 (Dorian minor) with a natural six and a natural nine? Would you stay on the AbMajor six and just borrow the notes? Or would you immediately go to the five and use the Eb7 diminished 6? You mentioned later on in the video that you are thinking of the minor six on the five. That makes a lot of sense but I’m having trouble letting go of my usual way of seeing these things and learning Barry’s way of seeing things.
Hi! I’m available for lessons:)
And thanks for following! Lots to discuss with your questions tho:)
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