This is the best Barry Harris lesson on the internet!! No one ever explains it in depth because I don't think anyone fully understands it. Thankyou for this and please give us more!!!
Thanks Chris, Your using the family of Dominants when you slide the Dom7 down a min 3rd in the final example. Very nice example for guitarists. Those "borrowed notes" have opened up my ears. Buried in the harmony like Monk.
Cool video ! Clearly laid out and explained. Love the color differences between regular C6 and using the 7 instead to those nice colors. One thing if I may - that second chord , the d half diminished is actually a subdominant rather than a dominant - and that’s also a great color in and of itself. A lot of people are only considering dominants in jazz but the sound of IV or ii (sub dominant) and the minor versions of those ii 1/2 diminished or IV minor are particularly beautiful ! Thanks for an inspiring video
Thanks Sam! I am a big fan of your playing. First heard you on "In The Blink Of An Eye". Made my day to get a comment from you! I was thinking of the Dm7b5 as a G7sus(b9) and that is how I was using it in the examples, but maybe I shouldn't have labeled it as dominant in the context of just the harmonized scale. I appreciate the feedback. Thanks
Love this session, I found the C6 harmonisation kinda dull but CW gives such insight into the Barry Harris system here via a CMAJ7 harmonisation, this has made all the difference, thanx
Thanks for sharing your knowledge! Great, easy and patient explanations! As I'm taking my first steps in jazz studies your video fits all my expectations. Cheers !
nooooooo! i like just harmonizing barrys 6thdim scale with the 6ths and the dims cuz it suddenly made comping simpler yet also not vanilla but what u just did makes me have to remember 8 different voicings! lol seriously tho very cool chords…but i wasnt kidding either. maybe in the next life. lol
This is amazing Mr. Whiteman. these voicings sound too great, i gotta put them down and transpose them. thank you very much for sharing your knowledge with us sir!
The Barry Harris 6th diminished scale is the traditional major scale with one additional note added, the flat (or diminished) 6. In a C scale, you would now have C, D, E, F, G, Ab, A, B. When you harmonize this scale by skipping notes, you have only two chords, a Cmajor6 and a Ddiminished7. They are just in different inversions. Cmajor6 is C, E, G, A. Ddiminished7 is D, F, Ab, B.
what method is being used to build the four note chords in an eight note scale? it appears to be somewhat arbitrary to me. using an "every other note in the scale" building technique and building them straight up, they look like this to me: CEGA DFAbB EGAC FAbBD GACE AbBDF ACEG BDFAb yet descriptions in the video of all chords after the II (DFAbB) chord are something else. what is the logic being used to select Ab or the A in a chord?
You are doing it with closed voicings and I am starting with drop 2 C Major 7th: C,G,B,E. Continue by moving each voice up one scale degree= D,Ab,C,F and continue on. E,A,D,G etc..
@@ChrisWhitemanGuitar thanks for the response. :) so we were not even starting with the same group of notes i guess. ha i assumed the chords were being built as a series of stacked thirds. i didn't realize you were using a third, a third above that then a fourth above that to build your diatonic set of chords. never heard of that, no wonder i was confused. ha. have all the combinations of thirds and fourths been investigated as possible combinations for building four note chords? like a third then a fourth and then a third? or a fourth, a third and then another third...etc? this is all new to me. and what is the metric being used to decide legitimacy? is it simply that it's possible or is it sound and or voice leading or personal preference, maybe? thanks again.
@@ChrisWhitemanGuitaram i correct that if we take your same notes and flat the 3rd (Eb) we then have the voicings for the melodic minor 6th diminished scale?
@@ChrisWhitemanGuitar Hi Chris, I thought the whole point of the Barry Harris theory was to eliminate the I major7 and play a major6 instead. You are playing a I major7 when you play C, G, B, E. I am no expert, but the Barris Harris theory seems to have only two chords when harmonizing the scale, the major6 and the diminished7. But then there would not be a half-diminished chord, only a fully diminished seven. Help! I'm sinking!
@@KlevonOfPearlandcmajor7( ceg) comes from b diminished. Barry Harris calls this borrowing from the diminished. So instead of cmajor6 ( cega) you can play cmajor7 (cegb)
And once again, Chris has advanced my knowledge & playing skills. Thank you!
Thanks Richard, my pleasure!
Wow, this variation wasn’t even on my radar. Beautiful! Thank you!
Thank you!
This is the best Barry Harris lesson on the internet!! No one ever explains it in depth because I don't think anyone fully understands it. Thankyou for this and please give us more!!!
Thanks Tim!
Well explained, I came across this years ago. The melodic minor harmonized the same way is gorgeous as well. Thanks
Thanks David, and yes, the melodic minor voicings are great!
@@ChrisWhitemanGuitar can you do a video on the melodic minor voicings and some comping examples of them please?
Thanks Chris,
Your using the family of Dominants when you slide the Dom7 down a min 3rd in the final example. Very nice example for guitarists. Those "borrowed notes" have opened up my ears. Buried in the harmony like Monk.
Thanks Alex!
Awesome as usual Chris. Beautiful Slaman too.
Thanks Vinnie!
Clear, musical, chill, loved it 🔥
Thank you 🙏🏻
Cool video ! Clearly laid out and explained. Love the color differences between regular C6 and using the 7 instead to those nice colors. One thing if I may - that second chord , the d half diminished is actually a subdominant rather than a dominant - and that’s also a great color in and of itself. A lot of people are only considering dominants in jazz but the sound of IV or ii (sub dominant) and the minor versions of those ii 1/2 diminished or IV minor are particularly beautiful !
Thanks for an inspiring video
Thanks Sam! I am a big fan of your playing. First heard you on "In The Blink Of An Eye". Made my day to get a comment from you! I was thinking of the Dm7b5 as a G7sus(b9) and that is how I was using it in the examples, but maybe I shouldn't have labeled it as dominant in the context of just the harmonized scale. I appreciate the feedback. Thanks
Perfectly explained, stands out from the usual boring lessons about harmonization of the 6th Dim Scale
Thank you!
Much THNX Chris, always a joy to watch and learn, especially if it has a snippet of Barry Harris wisdom in it !!!
Thanks Michael
Wonderful harmonies as always Chris!
Thanks Rick!
Love this session, I found the C6 harmonisation kinda dull but CW gives such insight into the Barry Harris system here via a CMAJ7 harmonisation, this has made all the difference, thanx
Thank you!
Brilliantly explained, always wondered how the 6th diminished scale worked. Love the enharmonic chords...thank you :-)
Thanks for sharing your knowledge! Great, easy and patient explanations! As I'm taking my first steps in jazz studies your video fits all my expectations. Cheers !
Thanks Paul!
have really enjoyed learning stuff from you. Blue Bossa was the first..im 64...play BG.
You are really something brother
Thank you Roger! Glad to hear!
Love the tension and resolution to the maj7th
yes!
nooooooo! i like just harmonizing barrys 6thdim scale with the 6ths and the dims cuz it suddenly made comping simpler yet also not vanilla but what u just did makes me have to remember 8 different voicings! lol seriously tho very cool chords…but i wasnt kidding either. maybe in the next life. lol
😂😂😂
This is amazing Mr. Whiteman. these voicings sound too great, i gotta put them down and transpose them. thank you very much for sharing your knowledge with us sir!
You're very welcome! Glad you enjoyed the lesson!
@@ChrisWhitemanGuitar Thank you ! excellent explaint ! ,Otherwise I had had no really chance to find it on my owne !
Great stuff, Chris. Such a clear and concise summary/introduction of a very deep topic. Warch, play, repeat (and discover something new each time)!
Thanks Eric, Glad you enjoyed it!
Another great lesson. Thank you Chris!
My pleasure!
This is excellent Chris!
Thank you!
Great lesson, thanks.
My pleasure!
Thank you for your time and knowledge Chris!!!!!
My pleasure!
Wonderful! Thank you!
Glad you liked it!
Great information taught wonderfully!
Thank you, glad you enjoyed it!
Always insightful, …and enjoyable! Great presentation, Chris!👏😁
Thank you Barry !
You are the man! Awesome my friend!
Thanks Michael!
Thank You sir.
Most welcome
Really useful thanks
Glad it helped
Great, thanks!
You're welcome!
Wonderful!
Many thanks!
@@ChrisWhitemanGuitar Thank you for sharing your knowledge. I am a subscriber to your Patreon and greatly appreciate your teaching!
Thanks!!
You bet!
great stuff
What scale did you actually harmonize, i don't understand how you got those voicings
The Barry Harris 6th diminished scale is the traditional major scale with one additional note added, the flat (or diminished) 6. In a C scale, you would now have C, D, E, F, G, Ab, A, B. When you harmonize this scale by skipping notes, you have only two chords, a Cmajor6 and a Ddiminished7. They are just in different inversions. Cmajor6 is C, E, G, A. Ddiminished7 is D, F, Ab, B.
what method is being used to build the four note chords in an eight note scale? it appears to be somewhat arbitrary to me.
using an "every other note in the scale" building technique and building them straight up, they look like this to me:
CEGA DFAbB EGAC FAbBD GACE AbBDF ACEG BDFAb
yet descriptions in the video of all chords after the II (DFAbB) chord are something else. what is the logic being used to select Ab or the A in a chord?
You are doing it with closed voicings and I am starting with drop 2 C Major 7th: C,G,B,E. Continue by moving each voice up one scale degree= D,Ab,C,F and continue on. E,A,D,G etc..
@@ChrisWhitemanGuitar
thanks for the response. :)
so we were not even starting with the same group of notes i guess. ha
i assumed the chords were being built as a series of stacked thirds. i didn't realize you were using a third, a third above that then a fourth above that to build your diatonic set of chords. never heard of that, no wonder i was confused. ha.
have all the combinations of thirds and fourths been investigated as possible combinations for building four note chords? like a third then a fourth and then a third? or a fourth, a third and then another third...etc? this is all new to me.
and what is the metric being used to decide legitimacy? is it simply that it's possible or is it sound and or voice leading or personal preference, maybe?
thanks again.
@@ChrisWhitemanGuitaram i correct that if we take your same notes and flat the 3rd (Eb) we then have the voicings for the melodic minor 6th diminished scale?
@@ChrisWhitemanGuitar Hi Chris, I thought the whole point of the Barry Harris theory was to eliminate the I major7 and play a major6 instead. You are playing a I major7 when you play C, G, B, E. I am no expert, but the Barris Harris theory seems to have only two chords when harmonizing the scale, the major6 and the diminished7. But then there would not be a half-diminished chord, only a fully diminished seven. Help! I'm sinking!
@@KlevonOfPearlandcmajor7( ceg) comes from b diminished. Barry Harris calls this borrowing from the diminished. So instead of cmajor6 ( cega) you can play cmajor7 (cegb)
Can you please make an hour loop of the intro for us posers :)
😂😂😂
How about for a minor 251?