At some point, I will join your Patreon at a more engaged level, right now I’m concentrating on getting a huge body of standards down, stone cold, off book, for solo guitar at least 100 is the goal about half way through. . I bought your 2 books and the prior materials-elevator stuff- in the last iteration. Will go through them as well. I’m a Barry person, having studied materials by Roni Ben Hurr and Pasquale Grosso. I think the use of internalizing all these material as muscle memory is it gives you cool stuff to play that you don’t have to think about,so you can concentrate on what’s’ REALLY important: the RHYTHM! thanks again.
I like this approach to codifying chord movement. I learned something similar (but not in the sixth-diminished system) for Bill Evans II-V-Is piano chord voicings but was never able to translate it to the guitar. This looks like the solution!
Hi Thomas,this is the best,now we can move through the music landscape without looking at the map ( in our mind ).Do you use the same principals for the rest of the elevator? Thx for bundeling all our little assumption’s into one slick theory!!!
6:54 you played C6 with the third in the bass. According to the transformation formula, you were supposed to go to the root in the bass and make it minor. But you didnt stay on the same fret and you also didnt go a semi tone down a major to resolve instead you stayed there. Could you please explain this? Thanks!
Hmmm take a look at the chord charts again. I just double checked (in case I had a glitch 😅), and I’m doing what the chord charts say at that point (and the chord charts follow the transformation formula there). It can be confusing moving between Major 6 and Minor 6 families, perhaps that’s what’s causing it to seem wrong to you? Let us know if you figure it out:)
5:23 Looking at this diagram I got: Root: D A B F Third: D Ab B Gb Fifth: Eb Ab B F Sixth: D Ab C F Based on this interpretation of the diagrams, I can’t quite figure out what ‘…in the bass’ means here. Could be that I’ve misinterpreted the diagrams entirely, or could be that something a little more nuanced is meant by the phrasing ‘…in the bass’ (ie the chord being referenced is actually different). Is this diagram intended to show the same transformations as the earlier one with the Eb examples?
Hi! These are Minor 6 Chords. D A B F is D Minor 6 with the root on the 5th string. D AB B Gb is B Minor 6 with the third on the 5th string. Make sense?
@@TheLabyrinthofLimitations Found a short hand that makes this easier on the keys. For moving forward, you locate the major third and turn it into a whole step (by moving each note a half step closer). For backward, do the opposite. For across, locate the alternating pair that is not a tritone, and transform it either from a fourth to a fifth or the inverse, by moving either note in the pair by a half step. Would love to be more involved here but don’t have time consistently enough. Some day. Thanks Thomas!
Hi, Cool vid Nice tone. I have an old nylon string guitar with broad neck. Those drop 2 shapes are impractical stretches. Isvtgat ehy you use that mini neck guitar ? you use the guitar
Hi! Thanks for the comment. Nope, that’s not why I use the guitar. My main guitar is 650 scale classical. I just like the recording sound with this guitar. Gotta work on those extensions, but you can also just leave a note out from the middle voices to make it manageable:)
At level 2 ii v I, I was so confused how it works then I figured out ii comes from C major diminished 6 chords V comes from Eb Minor diminished 6 chords I comes from Dmaj diminished 6 chords instead of Gmaj diminished 6 chords and that works because Dmaj6 is G9. oh my Gosh my brain almost melted ! Thank you
I've got a question about the level 1 minor 2-5-1s. He's using the Eb Minor diminished 6ths as dominant to B minor, but I don't understand how Ebmin6 works as a dominant. I see that its the tritones minor of D major, but its not for the relative minor. And its not 6 on the 5 because that would be C#min6 (the 5th of F#). what hes doing sounds nice but I dont understand it from a theory perspective.
@@augustpappas258Hi I think I can answer that. In Eb minor 6 Diminished chord Scale there is one voicing that looks like a “Cm7b5” Now “Cm7b5” is an upper structure of “D Alt” So here is a turning point where you got lost. “D Alt” usually resolves to either “G major” or “Gm” In this case it was meant to resolve to “G” But instead of using “G major6th diminished scale chords” He chose to use “D major6th diminished scale chords” as “substitution” to achieve “G major 9 Sound without playing the root (G)” Ebm6 = Cm7b5 = Dalt Dmaj6 = Bm7 or can be looked as “G major9 Omit Root. “ Hope that helps.
@@augustpappas258 Also in Level 1 , ii V I. Cm6 Ebmaj6 Bm7 1) The reason of using Cm6 is because in one of C minor 6th diminished chord voicing looks like "Am7b5" 2) The reason of using Ebm6 as Dominant because one of it's Eb minor 6 Diminished chord scale voicing looks like "Cm7b5" or can be looked as the Upper structure of "D Alt" 3) The reason Bm7 or Dmaj 6 as the resolution is because he chose to use "Dmaj 6th Diminished Chord scale" as "subsitution" Instead of "Gmaj 6th Diminished scale " to achieve "Gmaj 9 sound" with out playing the Root (Assuming we have bass player to play root for us). So to digest everything is simpler form is you are playing in Am7b5 DAlt/ Gmaj6 but with lots of chords substitutions. So you can go Am7b5 Cm7b5 / Bm7 or Dmaj6 Am7b5 Ebm6 / Bm7 or Dmaj 6 Cm6 Cm7b5 / Bm7 or Dmaj 6 Cm6 Ebm6 / Bm7 or Dmaj6 Cm6 Dalt / Bm7 of Dmaj6 and If you want clearer resolution just play "Em7 or Gmaj6 Dimnished chord voicing" instead of "Bm7 or Dmaj6"
@@It_is_now hey man I really appreciate the detailed response, these chords have been bending my brain in half and your response is helpful. While I understand the points you made, I have a follow up question. If Ebmin6 is used as a dominant for Bmin, isn’t there a problem with the notes of F#dominant (the unaltered V of Bmin) F#dom has an E natural in it, how can a chord with an Eb work with that E in there too? I know you said Ebmin is acting as Dalt but I would think in the context of Bmin it would be serving as F#dominant. Thanks again!
@ In this case, we have got to remember that when we play “Bm7” as substitution for “Gmaj6” we are not actually going to move to the key of”Dmaj6 or Bm7”. We are merely using Dmaj6 6th diminished chords and that works because It has only Bm7 and Dmaj6 chord (we are not using diminished chords that derive from Dmaj6 diminished scale”. So we are not going to touch F#7 which is usually in the key of Bm7. :) Think of it as were are moving into Bm7 which is the 3rd diatonic chord of regular G major scale.
Hi Thomas, I'm confused with the first minor ii V I ex. In a minor ii V isn't the i supposed to be a minor chord? If i see it as a Bm7 as in the video, why the first chord?starting on C minor 6 / a minor 7 flat five?
Oh gosh! What a gaff on my part. I was thinking of a minor iiø-V7 resolving to a Major I chord (like at the end of Stella by Starlight). I chose this as the example because it has a simpler transformation from V-I. I really should’ve labeled it preoperly and said “minor iiø-V7 to a Major I chord”. I really wish UA-cam would let me upload a video edit so I could fix this 🤦♂️
@@tommyecho alright! Anyways thank you again for all this amazing lessons. I will catch up soon on your patreon once our baby give us more time! All the best
Thank you, Very beautiful sound. Question: in minor 251 progression, why resolve to Bm7 or D6 (aka Third of G, or Major 6 of the 5 of G)? do you mean they can be resolved to either G and Gm?
That is super helpful! one thing I'm confused though,, in the video you talk about G minor ii v i, but the I chord you use D major 6 instead of G minor. question is, a D maj6 brings a B note witch is a major 3rd of G. didn't it make it a G major instead of a G minor?
Hi! This is a mistake I made in framing that example. It's a Minor iiø-V resolving to a Major tonic chord, like what happens at the end of Stella by Starlight, or the bridge of All the Things You Are (in some recordings). I should've said that rather than saying it was a minor iiø-V7-I progression. Sorry of the confusion!
@@TheLabyrinthofLimitations Got it. Thank you! So, if I want to resolve to a G minor 7(or Bb maj6), from the position in the video, then I should go"forward, and down two steps, and make it major", is that right?
First, Amazing break down. Thank you Thomas! Question: In the Major ii V to G example, I don't see how the Bmin7 or D Maj6 is in the key of G major? It isn't a family member (brother or sister) right?
@@TheLabyrinthofLimitations Hey man huge fan of your channel and lessons! I've got a question about the level 1 minor 2-5-1s. You're using the Eb Minor diminished 6ths as dominant to B minor, but I don't understand how Ebmin6 works as a dominant. I see that its the tritones minor of D major, but its not for the relative minor. And its not 6 on the 5 because that would be C#min6 (the 5th of F#). It sounds nice but I dont understand it from a theory perspective.
![Foundations 1: Polyphony [Barry Harris Improvisational Method] #jazz #improvisation #musiceducation](http://i.ytimg.com/vi/BExfs5p8ZGY/mqdefault.jpg)
keep it going ! you are a genius and a inspiration for guitarists like me
At some point, I will join your Patreon at a more engaged level, right now I’m concentrating on getting a huge body of standards down, stone cold, off book, for solo guitar at least 100 is the goal about half way through. . I bought your 2 books and the prior materials-elevator stuff-
in the last iteration. Will go through them as well. I’m a Barry person, having studied materials by Roni Ben Hurr and Pasquale Grosso. I think the use of internalizing all these material as muscle memory is it gives you cool stuff to play that you don’t have to think about,so you can concentrate on what’s’ REALLY important: the RHYTHM! thanks again.
That was tremendous 🎉
🙏
I don't understand nothing but I love all you play!!!!!
A truly original and refreshing approach. Months of practice material packed into 10 minutes. 🤯
This was again a very good lesson-lots of stuff to digest, thank you 🎸
Thank you so Much for this , So Very Helpful!!
bro, your content is so inspiring.. have been helping me a lot to dig these BH stuff on the guitar... fantastic, thanks a million :)
Thank you, Silvio 😁
Thanks Thomas! This is amazing!
Muy bueno Thomas gracias!!!
Thank you so much for this! Really mind blowing genius stuff
I like this approach to codifying chord movement. I learned something similar (but not in the sixth-diminished system) for Bill Evans II-V-Is piano chord voicings but was never able to translate it to the guitar. This looks like the solution!
this is actually over my head right now. i gotta go learn some more
This is where you should begin:)
www.thomasechols.com/scores/p/foundations-1
Hi Thomas,this is the best,now we can move through the music landscape without looking at the map ( in our mind ).Do you use the same principals for the rest of the elevator? Thx for bundeling all our little assumption’s into one slick theory!!!
Thanks Pierre! Yep, it works for any “floor” of the elevator
6:54 you played C6 with the third in the bass. According to the transformation formula, you were supposed to go to the root in the bass and make it minor. But you didnt stay on the same fret and you also didnt go a semi tone down a major to resolve instead you stayed there. Could you please explain this? Thanks!
Hmmm take a look at the chord charts again. I just double checked (in case I had a glitch 😅), and I’m doing what the chord charts say at that point (and the chord charts follow the transformation formula there).
It can be confusing moving between Major 6 and Minor 6 families, perhaps that’s what’s causing it to seem wrong to you? Let us know if you figure it out:)
@@tommyecho ohhhh wait got it moving down a minor means making the third a flat 3rd 😂
Very cool voice leading hacks though i love the concept! The barry harris approach is addicting
5:23
Looking at this diagram I got:
Root: D A B F
Third: D Ab B Gb
Fifth: Eb Ab B F
Sixth: D Ab C F
Based on this interpretation of the diagrams, I can’t quite figure out what ‘…in the bass’ means here.
Could be that I’ve misinterpreted the diagrams entirely, or could be that something a little more nuanced is meant by the phrasing ‘…in the bass’ (ie the chord being referenced is actually different).
Is this diagram intended to show the same transformations as the earlier one with the Eb examples?
Hi! These are Minor 6 Chords. D A B F is D Minor 6 with the root on the 5th string. D AB B Gb is B Minor 6 with the third on the 5th string. Make sense?
@@TheLabyrinthofLimitations yup! Didn’t see the additional axis of rotation there, but now I do.
Thanks!
@@TheLabyrinthofLimitations
Found a short hand that makes this easier on the keys. For moving forward, you locate the major third and turn it into a whole step (by moving each note a half step closer). For backward, do the opposite.
For across, locate the alternating pair that is not a tritone, and transform it either from a fourth to a fifth or the inverse, by moving either note in the pair by a half step.
Would love to be more involved here but don’t have time consistently enough. Some day. Thanks Thomas!
Cool
Hi,
Cool vid
Nice tone.
I have an old nylon string guitar with broad neck. Those drop 2 shapes are impractical stretches. Isvtgat ehy you use that mini neck guitar ? you use the guitar
Hi! Thanks for the comment. Nope, that’s not why I use the guitar. My main guitar is 650 scale classical. I just like the recording sound with this guitar. Gotta work on those extensions, but you can also just leave a note out from the middle voices to make it manageable:)
At level 2 ii v I, I was so confused how it works then I figured out
ii comes from C major diminished 6 chords
V comes from Eb Minor diminished 6 chords
I comes from Dmaj diminished 6 chords instead of Gmaj diminished 6 chords and that works because Dmaj6 is G9.
oh my Gosh my brain almost melted !
Thank you
I've got a question about the level 1 minor 2-5-1s. He's using the Eb Minor diminished 6ths as dominant to B minor, but I don't understand how Ebmin6 works as a dominant. I see that its the tritones minor of D major, but its not for the relative minor. And its not 6 on the 5 because that would be C#min6 (the 5th of F#). what hes doing sounds nice but I dont understand it from a theory perspective.
@@augustpappas258Hi I think I can answer that.
In Eb minor 6 Diminished chord Scale there is one voicing that looks like a “Cm7b5”
Now “Cm7b5” is an upper structure of “D Alt”
So here is a turning point where you got lost.
“D Alt” usually resolves to either “G major” or “Gm”
In this case it was meant to resolve to “G”
But instead of using “G major6th diminished scale chords”
He chose to use “D major6th diminished scale chords” as “substitution” to achieve “G major 9 Sound without playing the root (G)”
Ebm6 = Cm7b5 = Dalt
Dmaj6 = Bm7 or can be looked as “G major9 Omit Root. “
Hope that helps.
@@augustpappas258 Also in Level 1 , ii V I.
Cm6 Ebmaj6 Bm7
1) The reason of using Cm6 is because in one of C minor 6th diminished chord voicing looks like "Am7b5"
2) The reason of using Ebm6 as Dominant because one of it's Eb minor 6 Diminished chord scale voicing looks like "Cm7b5" or can be looked as the Upper structure of "D Alt"
3) The reason Bm7 or Dmaj 6 as the resolution is because he chose to use "Dmaj 6th Diminished Chord scale" as "subsitution" Instead of "Gmaj 6th Diminished scale " to achieve "Gmaj 9 sound" with out playing the Root (Assuming we have bass player to play root for us).
So to digest everything is simpler form is you are playing in Am7b5 DAlt/ Gmaj6 but with lots of chords substitutions.
So you can go
Am7b5 Cm7b5 / Bm7 or Dmaj6
Am7b5 Ebm6 / Bm7 or Dmaj 6
Cm6 Cm7b5 / Bm7 or Dmaj 6
Cm6 Ebm6 / Bm7 or Dmaj6
Cm6 Dalt / Bm7 of Dmaj6
and If you want clearer resolution just play "Em7 or Gmaj6 Dimnished chord voicing" instead of "Bm7 or Dmaj6"
@@It_is_now hey man I really appreciate the detailed response, these chords have been bending my brain in half and your response is helpful.
While I understand the points you made, I have a follow up question.
If Ebmin6 is used as a dominant for Bmin, isn’t there a problem with the notes of F#dominant (the unaltered V of Bmin) F#dom has an E natural in it, how can a chord with an Eb work with that E in there too?
I know you said Ebmin is acting as Dalt but I would think in the context of Bmin it would be serving as F#dominant.
Thanks again!
@ In this case, we have got to remember that when we play “Bm7” as substitution for “Gmaj6” we are not actually going to move to the key of”Dmaj6 or Bm7”. We are merely using Dmaj6 6th diminished chords and that works because It has only Bm7 and Dmaj6 chord (we are not using diminished chords that derive from Dmaj6 diminished scale”.
So we are not going to touch F#7 which is usually in the key of Bm7. :)
Think of it as were are moving into Bm7 which is the 3rd diatonic chord of regular G major scale.
That’s awesome! Should it work on piano aswell?
Definitely! Guitar is very “shape” based, but I’ve had piano students who apply this to their playing with great results!
Hi Thomas, I'm confused with the first minor ii V I ex. In a minor ii V isn't the i supposed to be a minor chord? If i see it as a Bm7 as in the video, why the first chord?starting on C minor 6 / a minor 7 flat five?
Oh gosh! What a gaff on my part. I was thinking of a minor iiø-V7 resolving to a Major I chord (like at the end of Stella by Starlight). I chose this as the example because it has a simpler transformation from V-I. I really should’ve labeled it preoperly and said “minor iiø-V7 to a Major I chord”. I really wish UA-cam would let me upload a video edit so I could fix this 🤦♂️
@@tommyecho alright! Anyways thank you again for all this amazing lessons. I will catch up soon on your patreon once our baby give us more time! All the best
Thank you, Very beautiful sound. Question: in minor 251 progression, why resolve to Bm7 or D6 (aka Third of G, or Major 6 of the 5 of G)? do you mean they can be resolved to either G and Gm?
I got it now: ii dim, V, l. Thank you!
That is super helpful!
one thing I'm confused though,, in the video you talk about G minor ii v i, but the I chord you use D major 6 instead of G minor. question is, a D maj6 brings a B note witch is a major 3rd of G. didn't it make it a G major instead of a G minor?
Hi! This is a mistake I made in framing that example. It's a Minor iiø-V resolving to a Major tonic chord, like what happens at the end of Stella by Starlight, or the bridge of All the Things You Are (in some recordings). I should've said that rather than saying it was a minor iiø-V7-I progression. Sorry of the confusion!
@@TheLabyrinthofLimitations Got it. Thank you! So, if I want to resolve to a G minor 7(or Bb maj6), from the position in the video, then I should go"forward, and down two steps, and make it major", is that right?
Were is the link
Which link are you looking for? The video description has a few different ones. I'd be happy to paste the one you're looking for here
www.patreon.com/labyrinthoflimitations
First, Amazing break down. Thank you Thomas!
Question:
In the Major ii V to G example, I don't see how the Bmin7 or D Maj6 is in the key of G major? It isn't a family member (brother or sister) right?
Thanks! They are in the key:) B minor 7 is the iii chord in Gmaj, and D major 6 is the same thing as G Major 9. Make sense?
@@TheLabyrinthofLimitations Yes I was just too glued to Maj6 diminished scale. Thanks!
@@TheLabyrinthofLimitations Hey man huge fan of your channel and lessons! I've got a question about the level 1 minor 2-5-1s. You're using the Eb Minor diminished 6ths as dominant to B minor, but I don't understand how Ebmin6 works as a dominant. I see that its the tritones minor of D major, but its not for the relative minor. And its not 6 on the 5 because that would be C#min6 (the 5th of F#). It sounds nice but I dont understand it from a theory perspective.