Thank you Chris! Another great lesson. So to summarize when you play Dm6dim scale of chord, you can alternate between 4 notes and 2 notes chords. You assign the to 2 notes to all the Diminish chord OR all the m6 chord. And you can use Dm6dim chord scale on: #1 5:00 in a 2-5-1 in Dm #2 6:55 as the min7b5 of a minor 2-5-1. In this case as a Bm7b5 going to E7 to Am #3 8:45 As G7/G9 (minor 6 on the 5) #4 10:00 As Db7alt (tritone minor - tritone sub of G7) to resolve to Gb Body and Soul application 12:30 Edit: As personnal comments/observations there is 2 other commun minor chord case I can think of: *The vi which is minor. I think it's similar to the #1. *The minor iv. On a backdoor 2-5 I would say it's similar to #3 but instead of going to C your going to A but that a very theoric comment I don't think I can make anything pretty out of it on my guitar.
its called hybrid picking hefe!! youre not allowed to refer to it as “plucking” ever agsin! plucking is for chickens. (which is not the same as chicken picking btw!) lol lovely stuff!
for me and for the moment (I hope) I have "understood" your different videos and I have been working on them for several months, but I still have a lot of trouble getting out of my old habits when I want to apply these different movements on the jazz standards that I usually play...I don't really know how to move forward...:) but thank you very much Chris for all this "material"...
I heard a radio interview with mr Harris, where he said something in the line of that penatatonic scales doesnt even exist to him. I think those, wichever five notes you would choose, would be seen as a part of a bigger scale…
barry seemed to have this way of mastering simpleobjects and applying simple transformations and rules to them. Wish I met him, but i feel that, in a way, trough chanels like this one, I kind of have... Anyways, the more I learn, the more I know the extent of my ignorance. And the more i'm excited about that!
I get why most BH teachers name a chord’s partner diminished after the 2 of the scale (Dm6/E°7)… because you’re explaining it as the 2nd chord of the harmonized dim6 scale. But its functional name really is the “leading tone diminished“, so for Dm6 the partner scale is more properly named C#°7. I know it sounds picky, but it actually does make a difference. That off my chest 😂, great lesson as always. Hope to join your streaming class someday with my accordina, the perfect BH instrument.
I can’t believe I actually understand this stuff now.
Great to hear.
Again a very needed simple explanation about drop 2 etc. Finally. Thanks Chris, Peter
You're welcome Peter.
Thank you Chris! Another great lesson.
So to summarize when you play Dm6dim scale of chord, you can alternate between 4 notes and 2 notes chords. You assign the to 2 notes to all the Diminish chord OR all the m6 chord.
And you can use Dm6dim chord scale on:
#1 5:00 in a 2-5-1 in Dm
#2 6:55 as the min7b5 of a minor 2-5-1. In this case as a Bm7b5 going to E7 to Am
#3 8:45 As G7/G9 (minor 6 on the 5)
#4 10:00 As Db7alt (tritone minor - tritone sub of G7) to resolve to Gb
Body and Soul application 12:30
Edit:
As personnal comments/observations there is 2 other commun minor chord case I can think of:
*The vi which is minor. I think it's similar to the #1.
*The minor iv. On a backdoor 2-5 I would say it's similar to #3 but instead of going to C your going to A but that a very theoric comment I don't think I can make anything pretty out of it on my guitar.
Perfect!
Thanks for another great lesson.
Thank You
That's right, also in the Chack Wayne book the m6 chord can be 4 things: I-6=VIm7b5=IV9=VII7alt
its called hybrid picking hefe!! youre not allowed to refer to it as “plucking” ever agsin! plucking is for chickens. (which is not the same as chicken picking btw!) lol
lovely stuff!
for me and for the moment (I hope) I have "understood" your different videos and I have been working on them for several months, but I still have a lot of trouble getting out of my old habits when I want to apply these different movements on the jazz standards that I usually play...I don't really know how to move forward...:) but thank you very much Chris for all this "material"...
Great lesson!
Love when you upload a new video! I've been wondering if Barry ever talked about Pentatonics in his lessons?
Interesting question ! I've heard Pasquale Grasso, Barry's student, talk about pentatonics as 5 note arpeggios.
I heard a radio interview with mr Harris, where he said something in the line of that penatatonic scales doesnt even exist to him. I think those, wichever five notes you would choose, would be seen as a part of a bigger scale…
First
Yes!
barry seemed to have this way of mastering simpleobjects and applying simple transformations and rules to them. Wish I met him, but i feel that, in a way, trough chanels like this one, I kind of have... Anyways, the more I learn, the more I know the extent of my ignorance. And the more i'm excited about that!
a bit off topic, but has barry ever shared some stories about bud and did he ever say something useful for guitarists about pasquales approach ?
another good video Chris ! thanks !
I love this one
Me too man.
Another tilf, nice.😎😎🎸🎶
Thanks
Hello 👋 😊
Hello
Hey from seattle... you are using that minor six with the b in the bass for that g dominant.... would you ever use the G dom dim scale in that?
Yes. I would. Also very pretty.
😊
Awesome!!
I love this idea too.
I get why most BH teachers name a chord’s partner diminished after the 2 of the scale
(Dm6/E°7)… because you’re explaining it as the 2nd chord of the harmonized dim6 scale. But its functional name really is the “leading tone diminished“, so for Dm6 the partner scale is more properly named C#°7.
I know it sounds picky, but it actually does make a difference.
That off my chest 😂, great lesson as always. Hope to join your streaming class someday with my accordina, the perfect BH instrument.