Muuroong Geooffrey if you put Barry's name into a search, you will find a lot of videos on here. If you google "barry Harris DVD" you can buy the book with the dvds."
There is no locrian in functional harmony there is locrian in modal harmony. The songbook is written with the diminished and the dominants that derive from them.
TRUE: A Gm7b5 is the same as a Bbm6 (but could you explain why this is so important?) CONFUSING: You are talking about an "Eb7 Scale". Eb7 is not a scale. Do you mean mixolydian? FALSE: You say one shouldn't play an A (natural) on a Gm7b5. Why not? It is a wonderful note to use on a Gm7b5, in this case we would be using G locrian natural 9 which is a sound used by nearly all the great jazz musicians around. In fact if you play Eb mixolydian #11 (which is a possible scale for Eb7) you are playing exactly the notes of G locrian natural 9.
Sorry but I don't understand the point of this. Gm7b5 is simply the second degree of F minor, it's not related to anything else, so you play F minor scale over it. Why twist it around and involve a questionable chord like "minor 6" and a totally unrelated dominant scale from the relative major? In other words, Eb7 scale is the same as F natural minor, but Eb7 has nothing to do with Gm7b5.
WolfPsx I guess he means the altered scale, not the mixolydian scale (I'm not sure though; see my other comment under this video). I agree that the explanation could be clearer. I disagree, however, that minor 6 chord is somehow "questionable" - m7b5 /is/ an inversion of a m6 chord, and the latter is used very wildly in jazz, so it's assumed the audience is already familiar with it and has it under their hands, hence it's only rational to use that fact in the explanation.
WolfPsx well, I've said the exact same thing - it's an inversion of half-dim chord; the same thing is stated in the video. I don't quite see what you are arguing with. If you are familiar only with common practice period music theory, it doesn't make all other theories disappear, wouldn't you agree? In fact, if you open almost any beginner jazz book, you'd most likely see m6 chord listed next to maj7, dom7 and min7 right in the beginning. Stylistically speaking, in pre-bop era it was probably the most common type of chord to use as the tonic and the subdominant in minor tonalities - because it has that tasty tritone in there, giving the chord that characteristic flavour, and because it allows the soloists to use either natural or flatted seventh in his improvisation. Anyway, I think we're sliding a bit off topic here; I hope someone will step up and answer the question posed in your first comment.
I understand your point perfectly, but you said earlier that m7b5 is an inversion of a m6 chord, when I say it's the other way around. It's not a hugely important issue, but confusing for amateurs who don't automatically know all scale degrees at all times. I know a lot of people don't care about this, but anyone with classical theory background will roll their eyes whenever they see something like "Bbm6 - C7 - Fm" or "C6 - D7 - G". It's almost as clumsy and out-of-context as writing C major triad as "E minor omit 5 / C".
WolfPsx it's not "the other way around" though; it's both ways. One chord is an inversion of another, and vice versa. There's no contradiction whatsoever here. Also, I don't see how writing e.g. the tonic chord in C minor as Cm (with an added 9th, 6th or whatever) is the same as writing C major triad as E minor omit 5. Once again, it occurs to me you're trying to apply a theory outside of the scope of its intended use.
100% Barry Harris theory. Nicely explained Ari. Barry is the Master.
Yup. My immediate thought. Awesome explanation.
good to know the origin.
Could you give me some book name which talks about Barry Harris Theory? I am planning to study that. thx
Muuroong Geooffrey if you put Barry's name into a search, you will find a lot of videos on here. If you google "barry Harris DVD" you can buy the book with the dvds."
Can somebody please explain to me why we would use the f minor scale (eb7) instead of the Bb6th diminished scale?
Ok, simple... Gm7B5 is a locrian of Abmaj7, so Eb7 is dominant chord on IIm7, V7 Imaj7 because Bbminor 7 Is the second grade to Abmaj7.
There is no locrian in functional harmony there is locrian in modal harmony. The songbook is written with the diminished and the dominants that derive from them.
Interesting... By "seventh chord scale" he means the altered dominant? Because otherwise it's just the same tonic natural minor scale, no?
Yes, I guess we were wondering the same thing :)
seventh chord scale is just that. a dominant 7th chord arpeggio and the connecting scale notes. G7 scale = G A B C D E F
What do you think if I play locrian with natural ninth?
pop wittenino locrian #2 sounds really nice over a minor ii-v
he says at the end of the video that natural 9 won't really suggest the key. he likes straight locrian.
Just call it a half dim. ii chord naturally found in a minor scale. Why the twists and turns?
Ben Ereddia I think it's nice to understand the various relationships on this level, but yes, that's another way
We want a Dan Nimmer video too!
I don't even play double bass
Damn that was a complicated way of saying play locrian on II-7b5!
Haha I agree
If that was good enough for Monk and Dizzy, I'm taking it. Actually I'd pay for it...
bBm is II, bE is V
All this theory talk, then he plays and it all just sounds like minor scale haha
TRUE: A Gm7b5 is the same as a Bbm6 (but could you explain why this is so important?)
CONFUSING: You are talking about an "Eb7 Scale". Eb7 is not a scale. Do you mean mixolydian?
FALSE: You say one shouldn't play an A (natural) on a Gm7b5. Why not? It is a wonderful note to use on a Gm7b5, in this case we would be using G locrian natural 9 which is a sound used by nearly all the great jazz musicians around. In fact if you play Eb mixolydian #11 (which is a possible scale for Eb7) you are playing exactly the notes of G locrian natural 9.
Sorry but I don't understand the point of this. Gm7b5 is simply the second degree of F minor, it's not related to anything else, so you play F minor scale over it. Why twist it around and involve a questionable chord like "minor 6" and a totally unrelated dominant scale from the relative major? In other words, Eb7 scale is the same as F natural minor, but Eb7 has nothing to do with Gm7b5.
WolfPsx I guess he means the altered scale, not the mixolydian scale (I'm not sure though; see my other comment under this video). I agree that the explanation could be clearer.
I disagree, however, that minor 6 chord is somehow "questionable" - m7b5 /is/ an inversion of a m6 chord, and the latter is used very wildly in jazz, so it's assumed the audience is already familiar with it and has it under their hands, hence it's only rational to use that fact in the explanation.
No, m6 doesn't exist in music theory, it's an inversion of IIm7b5, II6/5.
WolfPsx well, I've said the exact same thing - it's an inversion of half-dim chord; the same thing is stated in the video. I don't quite see what you are arguing with.
If you are familiar only with common practice period music theory, it doesn't make all other theories disappear, wouldn't you agree? In fact, if you open almost any beginner jazz book, you'd most likely see m6 chord listed next to maj7, dom7 and min7 right in the beginning. Stylistically speaking, in pre-bop era it was probably the most common type of chord to use as the tonic and the subdominant in minor tonalities - because it has that tasty tritone in there, giving the chord that characteristic flavour, and because it allows the soloists to use either natural or flatted seventh in his improvisation.
Anyway, I think we're sliding a bit off topic here; I hope someone will step up and answer the question posed in your first comment.
I understand your point perfectly, but you said earlier that m7b5 is an inversion of a m6 chord, when I say it's the other way around. It's not a hugely important issue, but confusing for amateurs who don't automatically know all scale degrees at all times. I know a lot of people don't care about this, but anyone with classical theory background will roll their eyes whenever they see something like "Bbm6 - C7 - Fm" or "C6 - D7 - G". It's almost as clumsy and out-of-context as writing C major triad as "E minor omit 5 / C".
WolfPsx it's not "the other way around" though; it's both ways. One chord is an inversion of another, and vice versa. There's no contradiction whatsoever here.
Also, I don't see how writing e.g. the tonic chord in C minor as Cm (with an added 9th, 6th or whatever) is the same as writing C major triad as E minor omit 5. Once again, it occurs to me you're trying to apply a theory outside of the scope of its intended use.