I’ve been a professional musician for years, but only recently have I been diving deeply into the Harris method. And honestly, my mind hasn’t been open to so many new possibilities since my grad school years. Three cheers to Barry for his marvelous insights and method, and bravo to you for explaining and demonstrating it so clearly and effectively. You’ve given me lots to think about, and I really look forward to seeing how my playing will evolve now. Very exciting.
Thanks, so much. I watched this video a number of times. Each time I gather more insights! This material should be required viewing for all aspiring musicians. I really appreciate the geniuses of Barry Harris now...
Thank you so much Bill! I was already diving into the Barry stuff but was still struggling on how to actually apply it. This series makes so much sense 👌
I've played for decades and heard these sounds, yet not had them explained in a useful way. This is going to take a little while to get under my fingers, but will be worth it. Thanks for the info.
2:42 for intro to borrowing diminished notes. 4:30 major 6 chord borrowing dim notes up the scale. 6:50 same with minor 6 chord borrowing dim notes. 10:05 using over different chords, starting with I. 14:00 the ii. 16:00 the V.
Even if you don't use Barry's ideas all the time, thinking about Maj cords as unresolved M6 chords has really been impactful. "Traditional" theory says Maj7 is consonant but his considers them dissonant. An interesting perspective!
I would be interested in trying to make this system less "old timey" by putting current sounds in the Barry Harris perspective and seeing if there is more to be learned. I would bet that you could get a lot of insight from thinking of Bill Evans through the Barry Harris lens. Not that bill Evans is a super new sound...
I find that you get a lot of very Bill Evans-y sounds by simply converting these close voicings to drop-2. I'll make sure to do a video on that in the future. Thanks!
Traditional theory doesn't consider a Maj7 as a consonance but truly as a dissonance. Even in classical theory they telll us that the leading tone wants to resolve up a half step to the tonic in such a chord, in a jazz context they prefer to resolve it down to the 6th. btw thank you very much for this video it is very usefull.
@@yadoux this isn’t always true... many many many songs resolve to the Maj7. Maj 7 has definitely become a more acceptable consonance and “home” sound.
I can't stop smiling!! Great video. Amazing I can't believe!! I was studying C diminished scale, after see this video!! Then I was thinking about the whole scale.. you just make me understand all the things man!! I can't put in words!! You a blessed man
Wow, you've just explained this Barry Harris concept crystal clear. I've heard about it but I couldn't understand it because it's been explained by a guitarist and I have no clue about jazz guitar. Thanks.
This was by far the best video on the subject Ive seen. Truly elegantly explanation of what I had previously felt was too complicated. Bonus jumpscare at 14:48 made the video even better. E FLAT 6!!! 10/10
This is the best explanation I've seen for the Sixth Diminished System on video so far. So glad i clicked and subsequently subbed. Really glad you demonstrated how to apply this method to a tune. Most videos I've seen just stop after explaining the scale and the theory behind it.
Christmas came early this year! Thank you so much for this video! I've spent so many hours watching other youtubers explain this concept but none of them explained as well as you. Thank you so much once again and I hope you have great time this holiday season 🎉🎆
Thanks so much for patiently laying it out in your videos, Bill. I've been playing a long time, guitar, and these are so inspiring for practice. Just what I needed! Thanks again.
WOAH Mind blow moment #1 was when you said that the entire G6 diminished scale can be used over C! Mind blow moment #2 was when you said that the diminished notes you get from using G6 diminished can be called C dim! Mind blow moment #3 was when you said that two of those diminished notes can be moved, and you get back to a C6 shape! I had never even thought of the first two, but the cool part is that I've used an F6 shape (thought about as a D-7 sound) and the C dim shape in conjunction with a normal C6 shape to make really nice voice-leading as an intro to Sunny Side of The Street (in C). I have something to relate both of those concepts to which is really exciting and they were right under my nose!
struggled with how to improvise runs over chords for years. traditional music theory and modes seemed to difficult to integrate. of course, a lack of consistent practice time of scales and learning all chords is helpful but also useless without applying it to musical songs. now to see 2 chords, major 6th and diminished families, plus their related family of dominants (altering diminished) and a few rules with half notes opens up musicality so harmoniously. linking these runs and chord types to songs seems so infinitely intuitive than modes or traditional music theory could ever hope to explain with such integrated simplicity. now the reason barry insists great music is built on small chords or movements (borrowing 1-3 notes) within those block chords is abundantly clear and true beyond words without debate through this system. to break these chords in open style extends musicality too. thanks for sharing this truly insightful and high value lesson for viewers at every level to benefit from.
Thank you for your amazing lessons, I learnt a lot from you and thanks to you I'm able to keep learning new thing. you are some sort of an angel. one of the best teachers I've seen. Thank you!
I was fortunate to have discovered this scale through "The Jazz Harmony Book" as well as videos like this. Now I'm studying it with a teacher who's been with Barry for eight years.
Thanks, Bill, for a most inspiring video. Some thoughts on the chord pair C6 - Bdim7. Bdim7 contains 3 actively resolving notes plus the d, moving by whole tone. Move the d to C6, and you get C6/9 - Fdim. Moreover, as ab is not part of the C diatonic scale, but a chromatic (jazzy) note, the dim reduces further, to the tritone f - b, or b - f. That tritone is at the core of tonal harmony, as it resolves by counter motion to the major third c - e. So Harris' practicable approach is quite on the spot, and to me, it points towards a pentatonic harmonic scale, and the tritone - or - as the basic dissonance, underpinning the dom7 ao.
Great explanations! It doesn’t matter the video quality .. the message is clear and well delivered .. keep up the good job! I will teach these to my piano students thru my channel ...by the way , you got my sub long ago!
Thank you so much for posting this material. This is by far the clearest demonstration of Barry's system i have seen. Thanks again and glad i found your channel!
At around 28:00, where you begin with the D note and descend in whole notes, you could also flatten the A so that you have a G suspended flat minor chord. The Sixth Diminished wouldn't work for that; it would be based on some alteration of the Locrian Scale or similar but it deviates a bit from the melody as you go downward. You start with this G suspended flat minor, then it's a C minor for the C note, then a G major for the G note, followed by an F minor for an Ab instead of the A which is actually the melody note. Call it a "Black Xmas" alteration :)
Bro ur videos are so sick that they need to go to the hospital jaja your channel is one of the best to learn jazz! Keep it up! Greetings from Guatemala
If we are in the key of C , The diminished chord is essentially the upper structure of a G7 flat 9 so basically it's one five one five one five, which is the trick used for locked hands technique on a major scale. This is how I would look at it in order for it to make sense to me.
Ok. After some mapping out of concepts in my notebook. I've decided I like to think about it this way. Let's think in the key of C Major for the sake of example. F, Ab, B, and D are notes from the "V7b9 diminished" of C. Another way to think about this is that these notes are from the C dim 6 scale. The diminished part of it to be more precise. C, Eb, Gb, and A are notes from the "Tonic Diminished" of C. They can also be thought of as the "V7b9 diminished" notes of the 5th of C (G) E, G, Bb, and Db are notes from the "diminished on the 5th" Edit: Another way to think about the V7b9 is as the diminished on the 5 of 5.
Thanks so much for this; so clarifying. How is it possible in decades of blues guitar that I've never thought of the tonic dominant 7 as the five of the IV chord that follows?!
Check out a Robben Ford video wherein he explains IV being V of I. He then teaches about using the Symmetrical Dominant (mode of Diminished scale) to move to I.
You are an exceptionally gifted teacher at the start of a brilliant career. I like the way you think about and approach Barry Harris' system. Hopefully you will improve your microphone to be more like Tony Winston's setup. I just now bought your book on Amazon published Oct 2018: "Chord Tone Improvisation: A Practical Method For Playing On Jazz Standards - Volume 1: Approaching Major And Minor Triads: Volume 1: Approaching Major And Minor Triads.".
RdgJr619 Thanks so much. That really means a lot. Sorry for the audio issues, this was my first instructional video, I’ve improved the audio quality substantially on the newer videos, and I’m going to keep working on making it better for future videos.
After a bit of unraveling, I've found (many of) the choices are the same you come up with by respecting the chord function. In a major key, a minor7 can be a ii, iii, or vi. In a vi, the tonic is the 3rd of the chord (or, the root of the respelled Maj6) In a ii, the tonic is the 7th of the chord (the fifth of the respelled Maj6) The choices are the same: we're playing the 6th dim of the prevailing tonic. The remaining choice should then be the much less common iii: the tonic is a non-chord tone, a minor 6th above the root (the 4th of the respelled Maj6). Experimenting with both, I find Barry's approach simpler and freeing.
@@TerresEndormies I haven’t found that to be the case. In most of the explanations the root note of every chord is paired with a 6dim scale with the same name as the root note. Essentially what happens is EVERY chord is treated more or less like the tonic. For example: Dm7 G7 to C6 The Dm7 chord is often treated a tonic one chord and is paired with the Dm6dim scale. As opposed to thinking of it being the ii of C Maj and thinking Dorian.
I think certain songs iike "White Christmas" lend themselves to this more than others. But it's hard when you tackle(as did I) a more sophisticated melody like "Stella by Starlight."
This is a starting example. Barry Harris treats every note as a separate line, free to move along the diminished scale and between diminished scales. movement in melody, inner voices, bass, in any arrangement. Parallel, contrary motion. Like this: 1. Barry applying and explaining the Diminished6 scale in complex harmonic and melodic settings: ruclips.net/video/G1siDXQ92Nw/видео.html 2. Barry talking through Stella by Starlight, with his characteristic moves through diminished relationships: ruclips.net/video/GQ5Co1vPRaw/видео.html
Barry says he plays "movements." Isn't that what music is? V-I is a movement. They could also be called cadences. BTW, you are doing an excellent job of showing how to use the Harris contributions.
Rest in Peace, Barry Harris. Fortunately, he lived long enough that his teachings live through individuals like Bill Graham.
man you're really a genius for explaining all this stuff so clearly. Been searching for years for someone to explain it all like this
I’ve been a professional musician for years, but only recently have I been diving deeply into the Harris method. And honestly, my mind hasn’t been open to so many new possibilities since my grad school years.
Three cheers to Barry for his marvelous insights and method, and bravo to you for explaining and demonstrating it so clearly and effectively. You’ve given me lots to think about, and I really look forward to seeing how my playing will evolve now. Very exciting.
Thanks, so much. I watched this video a number of times. Each time I gather more insights! This material should be required viewing for all aspiring musicians. I really appreciate the geniuses of Barry Harris now...
23:50 terrifying
lmao yep especially with headphones. deep fried audio
a little t w o f i v e
hahahahahaha this comment killed, I wondered if it was just me. Excellent vid though.
33:35
Can tell he really enjoys this. Every time he plays something tasty its "and that's nice"
Man i’m a big fan of barry harris your video just changed my life
Those earrapes create perfect funny interludes😂😂😂
Amazing video thank you! The worked example of how to apply the Barry Harris sound to an actual tune is priceless.
Thank you so much Bill!
I was already diving into the Barry stuff but was still struggling on how to actually apply it.
This series makes so much sense 👌
Great video - probably the best treatment of the 6/dim concepts I’ve ever seen. We’ll done!
Thanks Don!
We can think... E FLAT SIXTH!!!
honestly some of the best info thats out on the internet right now!
So much to explore with this technique! Can’t express enough how grateful I am for your clear explanations. Thanks so much 🙏🏻
A beginner on piano here, and this is a really great explanation! Nice exercises and examples to practice. Thanks!
I've played for decades and heard these sounds, yet not had them explained in a useful way. This is going to take a little while to get under my fingers, but will be worth it. Thanks for the info.
pianobyscott Happy to help!
2:42 for intro to borrowing diminished notes. 4:30 major 6 chord borrowing dim notes up the scale. 6:50 same with minor 6 chord borrowing dim notes. 10:05 using over different chords, starting with I. 14:00 the ii. 16:00 the V.
Even if you don't use Barry's ideas all the time, thinking about Maj cords as unresolved M6 chords has really been impactful. "Traditional" theory says Maj7 is consonant but his considers them dissonant. An interesting perspective!
I would be interested in trying to make this system less "old timey" by putting current sounds in the Barry Harris perspective and seeing if there is more to be learned. I would bet that you could get a lot of insight from thinking of Bill Evans through the Barry Harris lens. Not that bill Evans is a super new sound...
I find that you get a lot of very Bill Evans-y sounds by simply converting these close voicings to drop-2. I'll make sure to do a video on that in the future. Thanks!
Traditional theory doesn't consider a Maj7 as a consonance but truly as a dissonance. Even in classical theory they telll us that the leading tone wants to resolve up a half step to the tonic in such a chord, in a jazz context they prefer to resolve it down to the 6th. btw thank you very much for this video it is very usefull.
@@yadoux this isn’t always true... many many many songs resolve to the Maj7. Maj 7 has definitely become a more acceptable consonance and “home” sound.
@@garyleemusic I think it depends on the era. I believe most, if not all prebop stuff resolves to Maj6.
I can't stop smiling!! Great video. Amazing I can't believe!! I was studying C diminished scale, after see this video!! Then I was thinking about the whole scale.. you just make me understand all the things man!! I can't put in words!! You a blessed man
Thanks so much Paulo!
Yours is the best breakdown of Barry's 6 dim scale I have checked out. Thanks for sharing the knowledge. Keep Jazz alive.
I have watched two tutorials about this before but didn't understand the concept but you have taught me in the first 02:34 min. Thank you!
You are great! Thanks for explainng this in such a creative and didactic way
Thanks, you made this make more sense to me than other explanations.
Glad it helped!
Those Lessons are not hasty and really great to follow(2years busy wit 6th diminished, my best result to do this lesson of Yours!!)
You have given me work for the rest of my life! thank you! excellent explanation, very clear, those audio explosions are great! Thank you!
Wow, you've just explained this Barry Harris concept crystal clear. I've heard about it but I couldn't understand it because it's been explained by a guitarist and I have no clue about jazz guitar. Thanks.
Nice explanation and nice examples.
Things I've Learned From Barry Harris Thanks so much, man. I love your videos.
This was by far the best video on the subject Ive seen. Truly elegantly explanation of what I had previously felt was too complicated. Bonus jumpscare at 14:48 made the video even better. E FLAT 6!!! 10/10
38:25 your smile made me happy !
Love the freedom to really make beautiful movement, beautiful music, Thanks Bill
Thanks Jeff! It really is freeing to be able to play all of this movement instead of being stuck on static chord voicings.
This is the best explanation I've seen for the Sixth Diminished System on video so far. So glad i clicked and subsequently subbed. Really glad you demonstrated how to apply this method to a tune. Most videos I've seen just stop after explaining the scale and the theory behind it.
Christmas came early this year! Thank you so much for this video! I've spent so many hours watching other youtubers explain this concept but none of them explained as well as you. Thank you so much once again and I hope you have great time this holiday season 🎉🎆
Thanks so much, Flavio! I’m glad you found it helpful.
Fantastic video - you are an amazing teacher!
Thanks so much for patiently laying it out in your videos, Bill. I've been playing a long time, guitar, and these are so inspiring for practice. Just what I needed! Thanks again.
This video is amazing. I’m learning a lot, especially with the usage in shown on White Christmas.
Thanks so much.
Most clear harry tutorial in RUclips
Thank you for your deliberate way of teaching.
Great analysis. Thank You.
i keep coming back to this. its great for guitar too. brilliant explanations.
A whole new world and more simple way to think about piano - thank you for great explanation
WOAH
Mind blow moment #1 was when you said that the entire G6 diminished scale can be used over C!
Mind blow moment #2 was when you said that the diminished notes you get from using G6 diminished can be called C dim!
Mind blow moment #3 was when you said that two of those diminished notes can be moved, and you get back to a C6 shape!
I had never even thought of the first two, but the cool part is that I've used an F6 shape (thought about as a D-7 sound) and the C dim shape in conjunction with a normal C6 shape to make really nice voice-leading as an intro to Sunny Side of The Street (in C). I have something to relate both of those concepts to which is really exciting and they were right under my nose!
struggled with how to improvise runs over chords for years. traditional music theory and modes seemed to difficult to integrate. of course, a lack of consistent practice time of scales and learning all chords is helpful but also useless without applying it to musical songs.
now to see 2 chords, major 6th and diminished families, plus their related family of dominants (altering diminished) and a few rules with half notes opens up musicality so harmoniously. linking these runs and chord types to songs seems so infinitely intuitive than modes or traditional music theory could ever hope to explain with such integrated simplicity. now the reason barry insists great music is built on small chords or movements (borrowing 1-3 notes) within those block chords is abundantly clear and true beyond words without debate through this system. to break these chords in open style extends musicality too.
thanks for sharing this truly insightful and high value lesson for viewers at every level to benefit from.
Really clear explaining........thanks very much! Keep up the good work!
This is very helpful! I watched the video of Barry teaching the group of students but I didn't quite get it. This makes sense. Thanks!
So good! Thank you so much, you are a great teacher!
Seconded
Bill you deserve respect cause you're good teacher
thaks u for explain that kind of thing. I really love your chanel and your way to play. its remaindme lennie's tristano sound.
Thank you for your amazing lessons, I learnt a lot from you and thanks to you I'm able to keep learning new thing. you are some sort of an angel. one of the best teachers I've seen. Thank you!
I was fortunate to have discovered this scale through "The Jazz Harmony Book" as well as videos like this. Now I'm studying it with a teacher who's been with Barry for eight years.
Hi which book is it and which teacher ?
@@jazzsecrets "The Jazz Harmony Book" by David Berkman, chapter 9. I'd be interested in know who the teacher is as well :)
Your channel is the best jazz resource out there man!!!
Thanks Ivan!
Thanks, Bill, for a most inspiring video. Some thoughts on the chord pair C6 - Bdim7. Bdim7 contains 3 actively resolving notes plus the d, moving by whole tone. Move the d to C6, and you get C6/9 - Fdim. Moreover, as ab is not part of the C diatonic scale, but a chromatic (jazzy) note, the dim reduces further, to the tritone f - b, or b - f. That tritone is at the core of tonal harmony, as it resolves by counter motion to the major third c - e. So Harris' practicable approach is quite on the spot, and to me, it points towards a pentatonic harmonic scale, and the tritone - or - as the basic dissonance, underpinning the dom7 ao.
Amazing man! Thanks
Best teaching video about barry i have seen so far. Thank u very much for sharing.
Thanks so much! Excellent applied concise explanation. Your talent as a teacher is admirable
Thank you Bill you do it well that I understand greeting from here in Aalborg Denmark
Really explained indeed from A to Z.
Man, that opened my eyes. Thanks for doing this
This is a good summary. Barry .... teaches to a different level, let's just say
Thanks so much
Great explanations! It doesn’t matter the video quality .. the message is clear and well delivered .. keep up the good job! I will teach these to my piano students thru my channel ...by the way , you got my sub long ago!
Way underrated tutorial channel
Thanks so much!
Great lessons in spite ear splitting distortions!
Thank you so much for this😀. You are a great teacher !!! Cheers from Italy 🇮🇹
Thank you so much for posting this material. This is by far the clearest demonstration of Barry's system i have seen. Thanks again and glad i found your channel!
Excellent. Best video I've seen on Dim6th!
I finally got it, and it's bloody brilliant
At around 28:00, where you begin with the D note and descend in whole notes, you could also flatten the A so that you have a G suspended flat minor chord. The Sixth Diminished wouldn't work for that; it would be based on some alteration of the Locrian Scale or similar but it deviates a bit from the melody as you go downward. You start with this G suspended flat minor, then it's a C minor for the C note, then a G major for the G note, followed by an F minor for an Ab instead of the A which is actually the melody note. Call it a "Black Xmas" alteration :)
Smart musician!
This is so Cool!!!!! They didn't teach this at the Jazz university.
Bro ur videos are so sick that they need to go to the hospital jaja your channel is one of the best to learn jazz! Keep it up! Greetings from Guatemala
I found this video very helpful. Thanks very much Bill.
Thank you Bill! Your work is really important. Great teacher!
Greetings from Italy :)
If we are in the key of C , The diminished chord is essentially the upper structure of a G7 flat 9 so basically it's one five one five one five, which is the trick used for locked hands technique on a major scale. This is how I would look at it in order for it to make sense to me.
Patricio Da Silva Yep, that’s exactly right
He said it in the video aswell 👍🏻
Great lesson. Beautiful arrangement at the end.
Thanks
You’re like a god!! Thank you hard!! 🤘🏽🤘🏽
Thanks bill ... You get my subs
Amazing. I'll to try on me guitar !!!
I'm in. Thank you Bill.
thank you for your clear explanations.. I lear a lot from you...
keep sharing Love..
Crystal clear!
Thanks for the great explanation and examples!! Also didnt see the **Eb SIXTH** (14:46) coming 🤣
Ok. After some mapping out of concepts in my notebook. I've decided I like to think about it this way.
Let's think in the key of C Major for the sake of example.
F, Ab, B, and D are notes from the "V7b9 diminished" of C. Another way to think about this is that these notes are from the C dim 6 scale. The diminished part of it to be more precise.
C, Eb, Gb, and A are notes from the "Tonic Diminished" of C. They can also be thought of as the "V7b9 diminished" notes of the 5th of C (G)
E, G, Bb, and Db are notes from the "diminished on the 5th"
Edit: Another way to think about the V7b9 is as the diminished on the 5 of 5.
Nice explanation, I have been practising....thx Bro
Amazing lesson.
Now i understand it ... Thank you so much. I subscribed and i continue to watch your channel
Thanks so much for this; so clarifying. How is it possible in decades of blues guitar that I've never thought of the tonic dominant 7 as the five of the IV chord that follows?!
Check out a Robben Ford video wherein he explains IV being V of I.
He then teaches about using the Symmetrical Dominant (mode of Diminished scale) to move to I.
You are a beast 💪🔥. Excellent video and excellent info.
Is this a comedy channel??
those mic peaks had me creasing
Thank you!
No problem. Thanks for watching!
You are an exceptionally gifted teacher at the start of a brilliant career. I like the way you think about and approach Barry Harris' system. Hopefully you will improve your microphone to be more like Tony Winston's setup. I just now bought your book on Amazon published Oct 2018: "Chord Tone Improvisation: A Practical Method For Playing On Jazz Standards - Volume 1: Approaching Major And Minor Triads: Volume 1: Approaching Major And Minor Triads.".
RdgJr619 Thanks so much. That really means a lot. Sorry for the audio issues, this was my first instructional video, I’ve improved the audio quality substantially on the newer videos, and I’m going to keep working on making it better for future videos.
Merci beaucoup c'est très intéressant
Beautiful concepts. The hardest part for me to get used to is basically treating every m7 chord as if it has a Tonic Function.
After a bit of unraveling, I've found (many of) the choices are the same you come up with by respecting the chord function. In a major key, a minor7 can be a ii, iii, or vi.
In a vi, the tonic is the 3rd of the chord (or, the root of the respelled Maj6)
In a ii, the tonic is the 7th of the chord (the fifth of the respelled Maj6)
The choices are the same: we're playing the 6th dim of the prevailing tonic. The remaining choice should then be the much less common iii: the tonic is a non-chord tone, a minor 6th above the root (the 4th of the respelled Maj6).
Experimenting with both, I find Barry's approach simpler and freeing.
@@TerresEndormies I haven’t found that to be the case. In most of the explanations the root note of every chord is paired with a 6dim scale with the same name as the root note. Essentially what happens is EVERY chord is treated more or less like the tonic. For example:
Dm7 G7 to C6
The Dm7 chord is often treated a tonic one chord and is paired with the Dm6dim scale.
As opposed to thinking of it being the ii of C Maj and thinking Dorian.
this is excellent jazz education, thank you
Thanks!
Nice concepts. Am Masterfillz from Nigeria
Top class. Thank you 🙏
Where you use C# Diminished 7 at 25:22, you could also instead play a B major over the C bass note, this based on the C Whole Tone scale.
I think certain songs iike "White Christmas" lend themselves to this more than others. But it's hard when you tackle(as did I) a more sophisticated melody like "Stella by Starlight."
I don't think the point is to play every song in block chords fashion.
This is a starting example. Barry Harris treats every note as a separate line, free to move along the diminished scale and between diminished scales. movement in melody, inner voices, bass, in any arrangement. Parallel, contrary motion. Like this:
1. Barry applying and explaining the Diminished6 scale in complex harmonic and melodic settings: ruclips.net/video/G1siDXQ92Nw/видео.html
2. Barry talking through Stella by Starlight, with his characteristic moves through diminished relationships: ruclips.net/video/GQ5Co1vPRaw/видео.html
23:53 some serious ear rape right there
Aerial J Terribly sorry about that. I fixed the audio issues for all videos after this one.
Hi, a question for you. Is the Melodic Minor Scale different for classical music as opposed to jazz?
Barry says he plays "movements." Isn't that what music is? V-I is a movement. They could also be called cadences.
BTW, you are doing an excellent job of showing how to use the Harris contributions.
Excelente, muy clara explicación!!!