I miss Barry so much. Every Saturday he taught us for hours on end. He was like a grandfather to me, close friends with my dad, and I grew up listening to him and hearing about him before finally meeting him. His philosophy was so much more about harmony - he breathed music. I remember the last ever workshop we did in November before he passed. All he wanted was to pass down his immense knowledge, and it's so good to see how far it's gone. He used to say "I've had a wonderful life. I've made friends all around the world."
I remember coming across Barry Harris years ago….this has soooooo much more foundational harmonic movement in building vocabulary….thank you gentlemen 🙏🏾
YES! The drop 2 applied to the BH diminished 6th is definitely cool. I was always playing it starting from the sixth in the bass. Sean, you're so right, we should always be open to people's different perspectives. Brilliant! Thank you!
I first tried to learn the modes of the 8 note bebop scale which drove me crazy and I ignored this scale for years. Later I came back after refreshing my perspective on it as the 6th diminished scale instead of the bebop view, and it was less confusing. Realizing it as just literally a 6th and a diminished (and their inversions) made me see it for the elegant weaving of major and functional diminished that it is. I'm cynical of diminished because it's a wonderful musical alphabet but people tend to only spell one word with it (diminished seventh moving in minor thirds) and that bored my snobby mind, but the 6th diminished is so wonderful in that it makes the diminished accessible, and blends perfectly with the fundamental major scale. Fantastic ideas to explore.
Barry was a beautiful brother, I studied with him when he was teaching across from Lincoln Center in NYC and the class would be packed, Barry told me how beautiful my horn sounded and for me to stop being timid to play.
LOL 😂😂 Sean picked up his keys and said I’m out LOL. This is how we need to teach what’s going on when we play these crazy chords. They are not just random. There is a method to it. This guy was taught by a master!!
Just want to add that the diminished notes and major notes can co- exist because the 6 chord contains of 2 diminished chords. Ex. C6 note C and A come from A dim - E and G comes from the E dim chord. The only diminished that is missing is the D diminished, and that is the dim that connects the C6 dim scale.Thnx for a great video
I LEARNED SOMETHING!!!!! That resolving C7+9 as being C Major with two dimisheds B,D and they resolve to A,C making the CMaj6. This was mind blowing!! Thanks for that.
Nice video. Ive been learning this from a phenomenal teacher who studied with Barry as well. Just want to say that what Jay calls "major notes" I learned as "Tonic Notes", which to me is more fitting. Calling them Major is rather confusing. "Tonic notes" as a term gets to the point, they are all supportive of the tonic, 1 3 5 &6 are all on the tonic side, and 2, 4, b6, &7 are on the diminished side. Great content and I am enjoying your vids!
Nice lesson; the top big bands like the Basie outfit used these implied gospel-style diminished passing-chords in their 14-piece horn lines... so much voice movement inside the general harmony of say a blues... this will help get me into the gospel/neo-soul zone thanks !
Jay Verma is correct EVERYTHING is 6th chords and the diminished chords that go with them! Making it two categories. Its profound complex not easy but this is the way it NEEDS to be done to arrive at complete freedom in music. Thanks everyone. Happy practicing.
Great video. The song at the end sounds like Polka Dots and Moonbeams. Something I believe that must be made clear about Barry Harris' 6th dim scale theory is that in order to fully process the theory, you have to listen to the standards from the 30's, 40's & 50's. Those songs were written with the Maj 6th in mind and not the Maj 7th. As Barry used to say, it provides "movement" within and between the chord progressions. Also, big band music from the same era. This is where the drop 2 idea came from. It was used to create better voice leading within the horn section. Once this sound is in your ear, the language really starts to make since & you'll begin to hear progressions in a totally different way. Also, you MUST know ALL of the Maj & Min scales & chords within these scales FIRST to be able to full utilize any of this knowledge. The number system makes it even simpler. Thanks again for the awesome video & for always sharing.👊🏾👊🏾
BRUH YEAH THIS WAS AMAZING BUT YES BRO WE NEED HIM BACK TO EXPLAIN THIS MORE ON HYMNS THIS IS DEEP THIS NEEDS LIKE A MONTH JUST SO WE GET A FULL UNDERSTANDING BECAUSE THIS GUY IS RIGHT UA-cam TUTORIALS DONT DO THIS MAN JUSTICE!!!
Love the insight, especially about applying Barry's concept to actual pieces that one plays. Exactly, it's pretty much based on aural effect and musical taste. I apply this concept to working out passages with either loner time between chord changes (like a whole bar of one chord) or transitions. It also works perfectly well in long piano intros, ad lib improvisations etc. creating certain mood, combining it with other chords just as "one-of-the-tools" at certain spots. Harmonizing melodies in 4-voice brass arrangement utilizing Barry's concept works perfectly well too 🙂
Great explanations! Can we get more insights on the Dominant and Dominant flat5 diminished scales? This video is great, but most everyone talks about the major minor versions, and I’d love to know more on the other two scales and their uses.
Jay, you're killin' me bro...absolutely nuts :) Loved your presentation. Sean, thanks my bro, absolutely worth every minute watching and listening to you guys share, encourage and instruct.
Went to his class in harlem back in the day you could sit with with him for piano horns q vocals for under 20 dollar and he had a 1 900 number u could call when u get stuck. RIP Uncle Barry.
The channels Things I Learned From Barry Harris and Labyrinth of Limitations speak about these elements of movement with major and diminished notes all of the time.
He's explaining a vii dim 7 chord (Dominant function) and its inversions which is a sub for Dominant. So B dim7, sub for G7 resolves to C6 or C. Another cool dim function is #ii diminished7, so D Sharp dim7 to C6. This is the famous Jazz standard Misty move that jazzers call a 1 diminished chord. Jazzers write the chord here as an E Flat Dim7 to E Flat Maj6 or Maj7. But this comes from the raised ii dim7 chord so proper "classical" name sake and where this Misty dim one chord originates would be F Sharp dim/E Flat bass resolving to E flat. I loved learning the classical origins of much of the jazz chord names, though jazz chord names makes it easier to read and possibly remember while the classical naming follows proper resolution of harmonic rules.
Scared to hear what your ears are going to do with this concept. It seems strange at first when trying to grasp but with time it makes it hard to complete any song without hysterically laughing because it opens up so many different directions of going crazy but still being there. Anxious to see what you come up with when applying it to Gospel music. I've been just enjoying the challenge of expanding my mind's ear and just enjoying. Great video, absolutely love Barry Harris' method and teachings.
Just 👌.....Super informative. We wanna hear from Jay again.... he covered the major and diminished chords...let's see something purely about the drop2.
The way call them in my own studies are Bass Tenor alto soprano plus or minus borrowings. Some borrowings like major soprano + are very easy and intuitive on guitar (drop 2). Second degree becomes iVm6, abs third and 5th degree becomes very nice 4ths harmony . I like also how the 3rd degree can easily become a VI7 going to a mii!
Late to the party, great stuff. Is there any relationship between Mr. Harris’ diminished 6ths and Cadential diminished? ii - V7 - i°/ Imaj7 I use this frequently to prolong the time before I hit the tonic. I only move up inversions on the diminished though, whereas Harris’ technique is a bit more sophisticated. Cheers!
This Is A Good Example Of The Science Of Playing By EAR. U Are Playing What U Hear, As opposed 2 What U Are Reading(from SHEET Music. Playing By EAR Gives More Freedom. But Reading Music Is The Foundation, & Playing By EAR Is The Next Step. Although Some Of The Best Musicians I've Heard Could NOT Read Music, They Started By Playing By Their Hearing. Later On They Learned 2 Read (music) But They We're Blessed By GOD With That Talent, Or Genius. Oh, I Dig Your New Diggs (Music Room) Professor Sean Wilson 🔥🎵.
Would you use this approach to coming up with solos? I always found BH's approach to harmony a lot easier to follow than his melodic approach (ie the half step rules)
I'm really curious the other ways that barry has shaped his thinking and perception of music. Because it's probably true that I conceptualize theory in a "wild" way too. And that's been more and more true, the further i get into exploring Barry's concepts.
Hi Sean, hope all is well. What is covered in the master class of this video in the members area? Is the master class just a continuation of the UA-cam video?
This UA-cam video is taken from the master class. It’s edited down for UA-cam. I wouldn’t join the monthly site just for the master class. You can check the link in the description to see the price for just the class and LMV file
@@SeanWilsonPiano thanks. But is this a lesson where he teaches the moves and concepts and how to apply to some songs or is it just you guys talking and Jay playing? Could you elaborate on the content of the masterclass? Cheers
If you look at a C maj scale, and build the harmony in perfect fifths starting on C, you get C G D A E B F. F is the flat five of B and is considered dissonant, but if you raise it to F# it becomes a perfect fifth. In music, the #4/b5 divides the major, minor, and dominant scales in half and their is some genius level of math involved in that. This is what makes jazz so awesome. If you look at transcriptions of your favorite jazz musicians, you will see instances where that tritone (#4/b5) appears in there melodic lines even though it may not be part of the chord. I hope this helps you. Seek out the interviews and biographies of the greats and you'll be able to piece together their hidden secrets of how they thought about music, Dizzy, Bird, Miles, Coltrane, Wayne, Herbie, and Monk, Oscar and videos of Barry Harris. Good luck.
Can you do a video on : "There is no way" by Jayden Arnold and antuan Walker. Shout by Kevin Powell on Sebastian wheat works recording. Dave Jackson shout on gospel chips. Jayden Arnold and Donnie mcclurkin solo together.
In strumming, like the guitar style of the 1930's - 1962, the sequence was always | CM7 C6 | CM7 C6| and so on. Same in minor. So, the major 7th and diminished 7th always resolved to the 6th. Asn't that funny? Harris took everything to a whole new level above that.
With this much latency between your locations, all the little interruptions had jarringly late timing. I mean all the "mmmmmm"s, "okay"s, "I like that"s, lemme repeat your last words etc. It was jarring enough that I had a hard time connecting each pre and post-interruption train of thought into one continuum. The process of trying to refocus would compartmentalize away the previous chunk of the interview. It's hard to explain. Also the interviewer's mic was louder, and that combined with the late timing of the "okay"s are what made it jarring. Obviously the bad conversational timing (very "late" interruptions) was entirely due to latency inherent in long distance video chats. I'm not trying to accuse either of you of actually having bad timing. It's just the nature of long distance high bandwidth communication - by the time he hears the "okay", he's already starting his next sentence, and each "okay" or "here's what you just said" is like a little hitch in the interview's step, so to speak. So I think it's best, in that situation, to let each person speak in separate blocks, rather than to attempt too many "okay"s and "mmmmm"s and quick back and forths. Maybe if you were both in the same metro area, there would be less latency and you could pull of this type of back and forth without the awkward timing. The interviewee would be in the process of moving on to the B section, and then he'd hear the "okay" at the last second, and have to circle back to do another 2 unexpected bars of the A section, and it messed me up a little too. That's all I'm saying. I still do appreciate you guys' efforts, so I left this comment and gave a "like" - I'm only complaining about one minor issue of the video. There's that one little technicality I didn't like, but otherwise it's a good discussion and explanation of a sometimes confusing topic. (And it wasn't every back-and-forth where that happened, by a long shot. But the spots where it did were jarring. I don't really know a good solution that doesn't involve too much micro-editing). EDIT: got to the end, and yes, if like to see another video where Jay expands further on this. Even if it still has the inherent difficulties of long distance, that's better than none.
It’s not necessary it’s just a simple musical challenge to expand the view, technique and knowledge about your own approach. If you feel any „need“ in music it’s something which comes from your personal view dude.
Barry was my nextdoor neighbor for 16 years.
We would water each other's house plants when the other one was away. A fantastic guy.
Wow man, crazy story!!!
Wow man, never know who'll you'll meet!!
I miss Barry so much. Every Saturday he taught us for hours on end. He was like a grandfather to me, close friends with my dad, and I grew up listening to him and hearing about him before finally meeting him. His philosophy was so much more about harmony - he breathed music. I remember the last ever workshop we did in November before he passed. All he wanted was to pass down his immense knowledge, and it's so good to see how far it's gone. He used to say "I've had a wonderful life. I've made friends all around the world."
I remember coming across Barry Harris years ago….this has soooooo much more foundational harmonic movement in building vocabulary….thank you gentlemen 🙏🏾
‘You start seeing notes as major notes or diminished notes’. Gotcha! Lightbulb came on at last! So appreciative of both Sean and Jay.
Yeah man! Thanks for watching!
Its incredible the amount of knowledge that is present in this 20min video! great content!
Appreciate it man!!
Tear in my eye. Barry Harris was a National treasure. Thanks for sharing.
YES! The drop 2 applied to the BH diminished 6th is definitely cool. I was always playing it starting from the sixth in the bass. Sean, you're so right, we should always be open to people's different perspectives. Brilliant! Thank you!
I first tried to learn the modes of the 8 note bebop scale which drove me crazy and I ignored this scale for years. Later I came back after refreshing my perspective on it as the 6th diminished scale instead of the bebop view, and it was less confusing. Realizing it as just literally a 6th and a diminished (and their inversions) made me see it for the elegant weaving of major and functional diminished that it is. I'm cynical of diminished because it's a wonderful musical alphabet but people tend to only spell one word with it (diminished seventh moving in minor thirds) and that bored my snobby mind, but the 6th diminished is so wonderful in that it makes the diminished accessible, and blends perfectly with the fundamental major scale. Fantastic ideas to explore.
Barry was a beautiful brother, I studied with him when he was teaching across from Lincoln Center in NYC and the class would be packed, Barry told me how beautiful my horn sounded and for me to stop being timid to play.
Man, so clear so good, precious
Your commentary and clarifications on his teachings are wonderful! What an inciteful eye opening video. Thanks
Sean you're doing great things in sharing music with the world.
Thanks Vila!! Nice seeing you! Hope you’re well
LOL 😂😂 Sean picked up his keys and said I’m out LOL. This is how we need to teach what’s going on when we play these crazy chords. They are not just random. There is a method to it. This guy was taught by a master!!
yeah man, thanks for watching
Just want to add that the diminished notes and major notes can co- exist because the 6 chord contains of 2 diminished chords. Ex. C6 note C and A come from A dim - E and G comes from the E dim chord. The only diminished that is missing is the D diminished, and that is the dim that connects the C6 dim scale.Thnx for a great video
YES!!!... We want to see Jay again!!!
I LEARNED SOMETHING!!!!!
That resolving C7+9 as being C Major with two dimisheds B,D and they resolve to A,C making the CMaj6.
This was mind blowing!! Thanks for that.
This was amazing . I’m a guitarist but it’s all relevant. I love this stuff.
I love the way this man explains things.
This is how I taught myself to play at 8 years old by ear. I listened to gospel music and school musicals and christmas music by like 8 years.
That’s awesome doc!
Yes.. Lets see Jay again
THANK YOU SO MUCH I REQUESTED IT YOU DELIVERED!!! LISTEN LADIES AND GENTLEMEN INTRODUCING THE GREAT SEAN WILSON!!!!
Nice video. Ive been learning this from a phenomenal teacher who studied with Barry as well. Just want to say that what Jay calls "major notes" I learned as "Tonic Notes", which to me is more fitting. Calling them Major is rather confusing. "Tonic notes" as a term gets to the point, they are all supportive of the tonic, 1 3 5 &6 are all on the tonic side, and 2, 4, b6, &7 are on the diminished side. Great content and I am enjoying your vids!
Thanks for sharing that doc!
Awesome session here
Nice lesson; the top big bands like the Basie outfit used these implied gospel-style diminished passing-chords in their 14-piece horn lines... so much voice movement inside the general harmony of say a blues... this will help get me into the gospel/neo-soul zone thanks !
Jay Verma is correct EVERYTHING is 6th chords and the diminished chords that go with them! Making it two categories. Its profound complex not easy but this is the way it NEEDS to be done to arrive at complete freedom in music. Thanks everyone. Happy practicing.
YES LETS SEE MORE JAY!
Bring Jay back 🙏🏾🙏🏾🙏🏾 Gonna start practicing my drop 2s ASAP❗❗❗❗❗
Jay on beast mode 🔥
Yes Sir Doc!
Great video. The song at the end sounds like Polka Dots and Moonbeams. Something I believe that must be made clear about Barry Harris' 6th dim scale theory is that in order to fully process the theory, you have to listen to the standards from the 30's, 40's & 50's. Those songs were written with the Maj 6th in mind and not the Maj 7th. As Barry used to say, it provides "movement" within and between the chord progressions. Also, big band music from the same era. This is where the drop 2 idea came from. It was used to create better voice leading within the horn section. Once this sound is in your ear, the language really starts to make since & you'll begin to hear progressions in a totally different way. Also, you MUST know ALL of the Maj & Min scales & chords within these scales FIRST to be able to full utilize any of this knowledge. The number system makes it even simpler.
Thanks again for the awesome video & for always sharing.👊🏾👊🏾
BRUH YEAH THIS WAS AMAZING BUT YES BRO WE NEED HIM BACK TO EXPLAIN THIS MORE ON HYMNS THIS IS DEEP THIS NEEDS LIKE A MONTH JUST SO WE GET A FULL UNDERSTANDING BECAUSE THIS GUY IS RIGHT UA-cam TUTORIALS DONT DO THIS MAN JUSTICE!!!
For real man!
What u said..The man is a baby Jacob Collier or sumthing..just on piano.. just on piano..#Iaintcrazy
Love the insight, especially about applying Barry's concept to actual pieces that one plays. Exactly, it's pretty much based on aural effect and musical taste. I apply this concept to working out passages with either loner time between chord changes (like a whole bar of one chord) or transitions. It also works perfectly well in long piano intros, ad lib improvisations etc. creating certain mood, combining it with other chords just as "one-of-the-tools" at certain spots. Harmonizing melodies in 4-voice brass arrangement utilizing Barry's concept works perfectly well too 🙂
Finally understood this concept
Great talk!
Appreciate it!
Well done!... This was a fantastic session on diminished 6 chord or Sound of Barry Harris Thank you keep up the good work!...
Thnxs my brotha 💪🏽✊🏽💙
yessir doc!
Bro pleeeeeeeaassssse have Jay back on 😭😭
Super deep!
Great explanations! Can we get more insights on the Dominant and Dominant flat5 diminished scales? This video is great, but most everyone talks about the major minor versions, and I’d love to know more on the other two scales and their uses.
Master the Sound of the 6th Diminished Scale
ua-cam.com/video/V8qbcheiHZY/v-deo.html
Thank you!!
thanks for watching!
Im late to the 6Dim scale. Such a powerful tool!! Powerful!!
Need to re-watch at least 20 times...
Jay, you're killin' me bro...absolutely nuts :) Loved your presentation. Sean, thanks my bro, absolutely worth every minute watching and listening to you guys share, encourage and instruct.
Went to his class in harlem back in the day you could sit with with him for piano horns q vocals for under 20 dollar and he had a 1 900 number u could call when u get stuck. RIP Uncle Barry.
That’s so fire bro.
Yes sir Barry Harris is a genius
For real bro!
This was dope
The channels Things I Learned From Barry Harris and Labyrinth of Limitations speak about these elements of movement with major and diminished notes all of the time.
He's explaining a vii dim 7 chord (Dominant function) and its inversions which is a sub for Dominant. So B dim7, sub for G7 resolves to C6 or C. Another cool dim function is #ii diminished7, so D Sharp dim7 to C6. This is the famous Jazz standard Misty move that jazzers call a 1 diminished chord. Jazzers write the chord here as an E Flat Dim7 to E Flat Maj6 or Maj7. But this comes from the raised ii dim7 chord so proper "classical" name sake and where this Misty dim one chord originates would be F Sharp dim/E Flat bass resolving to E flat. I loved learning the classical origins of much of the jazz chord names, though jazz chord names makes it easier to read and possibly remember while the classical naming follows proper resolution of harmonic rules.
Scared to hear what your ears are going to do with this concept. It seems strange at first when trying to grasp but with time it makes it hard to complete any song without hysterically laughing because it opens up so many different directions of going crazy but still being there. Anxious to see what you come up with when applying it to Gospel music. I've been just enjoying the challenge of expanding my mind's ear and just enjoying. Great video, absolutely love Barry Harris' method and teachings.
I’m already with you bro!! 🏆
Jay was fire..... His teaching style is really cool and I'm appreciative of you both for this video. MMMMMMMMMMMOOOOre
Yes! Awesome insights
Just 👌.....Super informative. We wanna hear from Jay again.... he covered the major and diminished chords...let's see something purely about the drop2.
Thanks… That’s a different vid. I have plenty stuff on Drop 2 on my channel. I wanted to hear from Jay about how he interprets Barry
Mind Opening 😮....
The way call them in my own studies are Bass Tenor alto soprano plus or minus borrowings.
Some borrowings like major soprano + are very easy and intuitive on guitar (drop 2).
Second degree becomes iVm6, abs third and 5th degree becomes very nice 4ths harmony .
I like also how the 3rd degree can easily become a VI7 going to a mii!
Yeah man!
Late to the party, great stuff.
Is there any relationship between Mr. Harris’ diminished 6ths and Cadential diminished?
ii - V7 - i°/ Imaj7
I use this frequently to prolong the time before I hit the tonic. I only move up inversions on the diminished though, whereas Harris’ technique is a bit more sophisticated.
Cheers!
His uncle is Shaun Varma who runs Jazz Skills, focused in Jazz and Barry Harris methods.
Thanks much sean and be blessed i wish you could do the song change me by tamela mann.
This Is A Good Example Of The Science Of Playing By EAR. U Are Playing What U Hear, As opposed 2 What U Are Reading(from SHEET Music. Playing By EAR Gives More Freedom. But Reading Music Is The Foundation, & Playing By EAR Is The Next Step. Although Some Of The Best Musicians I've Heard Could NOT Read Music, They Started By Playing By Their Hearing. Later On They Learned 2 Read (music) But They We're Blessed By GOD With That Talent, Or Genius. Oh, I Dig Your New Diggs (Music Room) Professor Sean Wilson 🔥🎵.
I'd like to see more.
Yes!
Yes ,please.
I love this
YES.
You got it bro!
Would you use this approach to coming up with solos? I always found BH's approach to harmony a lot easier to follow than his melodic approach (ie the half step rules)
im not that great at theory but have learned many chords through sound so this is very cool to me
Was Barry opposed to Aug+ chords? Just wondering with b6 also as #5
This is it!!!
Barry Harris be so deep!
You know it!
"all we know is that he wants to go home"
*ET enters the music lesson*
I'm really curious the other ways that barry has shaped his thinking and perception of music. Because it's probably true that I conceptualize theory in a "wild" way too. And that's been more and more true, the further i get into exploring Barry's concepts.
The mark of a true teacher, allows you to form new and exciting ideas on your own 💯
Hi Sean, hope all is well. What is covered in the master class of this video in the members area? Is the master class just a continuation of the UA-cam video?
This UA-cam video is taken from the master class. It’s edited down for UA-cam. I wouldn’t join the monthly site just for the master class. You can check the link in the description to see the price for just the class and LMV file
@@SeanWilsonPiano thanks. But is this a lesson where he teaches the moves and concepts and how to apply to some songs or is it just you guys talking and Jay playing? Could you elaborate on the content of the masterclass? Cheers
@@SeanWilsonPiano thanks. Does he apply the concepts to any full song?
Thanks!
YES YES YES!
For guitarists, I highly recommend tilfbh and labyrinth of limitations on youtube.
Yessir Doc!
I need to understand the movement of the drop 2 please
I've never looked at this that way, but I would look at a 6/9 and 13th as the same chord. I would just see the 13th as a 6/9 with a 7th added.
Nice perspective man!
Dick Hyman did this long time ago.. dope stuff Sean
Yes
Got it!
Please Sean how can i buy Jay Vermar Masterclass ?
I put a link in description
yes
If he could explain in more detail with specific examples how to mix and match it would be helpful.
Yes put that guy on again
Hi can you explain where the #11 came from?
If you look at a C maj scale, and build the harmony in perfect fifths starting on C, you get C G D A E B F. F is the flat five of B and is considered dissonant, but if you raise it to F# it becomes a perfect fifth. In music, the #4/b5 divides the major, minor, and dominant scales in half and their is some genius level of math involved in that. This is what makes jazz so awesome. If you look at transcriptions of your favorite jazz musicians, you will see instances where that tritone (#4/b5) appears in there melodic lines even though it may not be part of the chord. I hope this helps you. Seek out the interviews and biographies of the greats and you'll be able to piece together their hidden secrets of how they thought about music, Dizzy, Bird, Miles, Coltrane, Wayne, Herbie, and Monk, Oscar and videos of Barry Harris. Good luck.
Please what is the guy UA-cam page
Can you do a video on :
"There is no way" by Jayden Arnold and antuan Walker.
Shout by Kevin Powell on Sebastian wheat works recording.
Dave Jackson shout on gospel chips.
Jayden Arnold and Donnie mcclurkin solo together.
In strumming, like the guitar style of the 1930's - 1962, the sequence was always | CM7 C6 | CM7 C6| and so on. Same in minor. So, the major 7th and diminished 7th always resolved to the 6th. Asn't that funny? Harris took everything to a whole new level above that.
Thanks so much for the support!!
I started catching on when he used the 6 major in F example then like 30 seconds later I got lost again …..
Lol!!
Yes drop the 2 if you want strong Melodic presence
His dad is his uncle's brother??? 😎
What’s the scale for the MODEL X?
This was a Model Y
thats interesting
you can harmonize the d en c major with a g6
Yeah man! Thanks for watching!
Is his uncle's name Shan?
Cmaj.6 is not a resolved cord. G and A are dissonant. A wants to go home to G
Is this Shan's nephew?..
...but a Cmaj9 makes complete sense as a G6 over C, which is a very basic barry harris sub.
Check out this guy... Mark Angelo Green official
This is insene
With this much latency between your locations, all the little interruptions had jarringly late timing. I mean all the "mmmmmm"s, "okay"s, "I like that"s, lemme repeat your last words etc. It was jarring enough that I had a hard time connecting each pre and post-interruption train of thought into one continuum. The process of trying to refocus would compartmentalize away the previous chunk of the interview. It's hard to explain. Also the interviewer's mic was louder, and that combined with the late timing of the "okay"s are what made it jarring. Obviously the bad conversational timing (very "late" interruptions) was entirely due to latency inherent in long distance video chats. I'm not trying to accuse either of you of actually having bad timing. It's just the nature of long distance high bandwidth communication - by the time he hears the "okay", he's already starting his next sentence, and each "okay" or "here's what you just said" is like a little hitch in the interview's step, so to speak. So I think it's best, in that situation, to let each person speak in separate blocks, rather than to attempt too many "okay"s and "mmmmm"s and quick back and forths. Maybe if you were both in the same metro area, there would be less latency and you could pull of this type of back and forth without the awkward timing.
The interviewee would be in the process of moving on to the B section, and then he'd hear the "okay" at the last second, and have to circle back to do another 2 unexpected bars of the A section, and it messed me up a little too. That's all I'm saying. I still do appreciate you guys' efforts, so I left this comment and gave a "like" - I'm only complaining about one minor issue of the video. There's that one little technicality I didn't like, but otherwise it's a good discussion and explanation of a sometimes confusing topic. (And it wasn't every back-and-forth where that happened, by a long shot. But the spots where it did were jarring. I don't really know a good solution that doesn't involve too much micro-editing).
EDIT: got to the end, and yes, if like to see another video where Jay expands further on this. Even if it still has the inherent difficulties of long distance, that's better than none.
You don't actually "need" to do anything. So sick of these overstated youtube titles.
It’s not necessary it’s just a simple musical challenge to expand the view, technique and knowledge about your own approach. If you feel any „need“ in music it’s something which comes from your personal view dude.
U cut dude way too short