Great informative video and lovely playing. Kent does what all masters do - make it look easy and understandable. The diminished chords and their inversions are like taking harmonized half-step voice leading simple intervals that introduce tension toward resolution of the melody and harmony.
At around 10:00 you could play a C in the bass while "borrowing" the D Diminshed which results in the creative tension so characteristic of the Sixth Diminished scale.
What a great video! I just recently discovered Barry Harris and his approach, so it's amazing to me that you just posted this! I've been working on applying the method, with some limited success, to some tunes. This video will help so much, can't wait to watch it multiple times. Thanks so much!
Thanks Kent, this scale and the harmonization of it really explains a lot of the sound of swing/big band era music as well as bop/post bop music. It seems to crop up in a lot of different genres. Cheers to you !
Another great video, you are such a great teacher!!! It really helps when you have the sheet music above, so those of us who don't play by hear can read it as you explain. Thanks for sharing. God bless you!
Interesting that this particular scale is one I just recently discovered form "The Jazz Harmony Book" and I've become addicted to it. Quite possibly the most revolutionary discovery I've made in my 40+ years of jazz playing and can't seem to get enough of it. Thanks for your illustrations.
If I understand correctly, 6th diminished is a "tonality" as well. This what makes "modern jazz" distinct from Tin Pan Alley yet drawing its essence from the American songbook. Thank you for the lesson. I learned a lot.
it's just the C Harmonic MAJOR scale ( ion b6) The full diminished over lap with A Harmonic min D, F, Ab, B or B, D, F, G# or you can sort of cheat...play the MAJOR BEBOP The option /passing note between then the 5th and 6th It's a distinct sound...... C Maj.....F min G7 into C MAJOR You can also inverted it...play A lydian b3 B mix b2 into E harmonic MAJOR A min D min/dim E7 A Maj D min/dim E7.. or A min B7 into E MAJOR or min Then it'll actaully be EASIER to play G# as phrygian b4 You could play G#7 into C# min....or A dim C dim into C# min.. once in C# min/E MAJOR...You can apply the N6 or n6 Harmonic min b2 or Melodic min b2 D maj7 E7 F# min A MAJOR D7 E7 A melodic min D dim E7........A Harmonic min or MAJOR D dim E dim F Melodic min or D maj7/aug to D MAJOR/B min sense keys are just PITCH....you could transfer it to A min/C MAJOR Then you;ll see the A Harmonic min b2 or melodic min b2 easier. Basically play from F min/Ab MAJOR to A min/C MAJOR.. Then find it easier to alter the C Maj7 to C7 or C dim...ect
I love the Stan Tracey version of this song. He always seems to use slightly different voicings to any other pianist! Would love to hear your take on how he does this. Thanks KH.
@@KentHewittpiano88 ruclips.net/video/mcw5y7f5dms/видео.html or just type in Stan Tracey but not for me in the youtube search bar. You should find it quickly.
You're right about the complexity of this. If you're to expand on it though, you'd also need to cover the "borrowing" element to this approach such that you needn't make use of an entire Diminished chord but anywhere between one up to the four notes that comprise the chord followed by resolving to the next chord since Diminished chords have that property. Barry Harris himself demonstrates that in his videos.
Not to criticize what you're playing at 10:07 with the descending B Diminished chord but(and you may already know this) it actually adds more color(at least to me when playing this scale) if you keep the C note in the bass along with the Diminished chord instead of changing the root note to B.
I like your terminology - Instead of E major you say E "system", instead of saying secondary dominant, you say a chord is in "dominant form". You pianists digest this stuff quicker - Harris' stuff is meaty, but I've appreciated how he tries to make it simple for horn players. You're doing the same (making it a bit easier to digest) but with your own labels. Lots of gritty theory stuff here explained and SHOWN very well!
Great comment, and so helpful to me. Barry is a natural teacher, I try to be, but player /teachers are a rare breed, I think. I learned a lot from Fred Hersch.
You can't make it sound like this unless you have the lefthand rhythmic figures down. I don't recall Kent ever showing us that. But cool lesson on the harmonizations.
@@KentHewittpiano88 lo and behold, we're up and running at my end too! Looking forward to downloading this mammoth tome. It should keep me busy for the next 20 years 😆
Great video thanks. When you say a note that doesn’t belong, you mean note a strong tone of a chord? So if not one of these (like a 9th), then play a diminished chord, is that correct?
A diminished chord will often compliment a non- chord tone...which creates movement to resolution on a chord tone. So it could be a 9th... but more often a chromatic relationship to the chord tones.... like a b9 or b5. Would a tutorial be helpful?
I've a general question about the fake book Kent. This is used a lot by musicians, but where do the changes come from, the original sheet music, or are they a consensus from the general history of performance?
Great question. Publishers linked to musicians write the changes and they are often not accurate. Best way to learn the correct changes is from recordings of the songs by masters. The Prestige recordings by Miles have many standards and jazz standards with the correct (hip) changes. Of course you must realize that there's no exact formula , it's all personal.
thanks a million! Is there any where I can find the score for "but not for me" you showed during the video? i can't seem to locate any 6th dim stuff on your site at the moment. Really appreciate you and your sharing of your knowledge!
For more Barry Harris ideas, I highly recommend Kent and everyone look at the channel "things I've learned from Barry Harris" ruclips.net/channel/UCDdKVro-7hS8cMjBrcqaAMQ It is by one of Barry's students of decades who has dozens of excellent videos going into Barry's ideas. It is by far the best channel for learning Barry's methods other than clips of Him on youtube, or getting his workshop dvds and books.
Thanks for sharing...if I get some free time I'd love to watch it. You know I have a Barry Harris playlist on my channel. Please watch it. I will add to it anything you ask for! ruclips.net/channel/UCdmjw5sm9Kn83TB_rA_QBCwplaylists
"Sometimes I'm Happy", an old standards song that I recorded with my trio, but played in the tradition of Oscar Peterson, from his album "Live in Chicago".
I'm a 17 year old that is relatively new to jazz, what would you say is the fundamental concepts that I need to know? I've been taking jazz piano lessons for three years but i haven't been getting anywhere. Please help!
Hi George, For personal advice please. write to my email address: kenthewitt@hotmail.com Also please go to my playlists and select categories that you need to work on the most. Go here: ruclips.net/user/KentHewittpiano88playlists?view_as=subscriber Also my book covers the important things you need to know....at least those you can get from a book. A lot of listening to recordings is required as well as imitation, and the ability to do that.
This principle can apply to other instruments. The thumbnail shows the piano keyboard and Barry Harris is a pianist, so that would be a hint that's it's geared towards piano, but the concept could go beyond.
![Noob To Max With DRAGON REWORK In Blox Fruits [FULL MOVIE]](http://i.ytimg.com/vi/LnBMOinoOvA/mqdefault.jpg)
Hey Mastro Kent, you're a genius. Although I'm an Afro-Jazz accordionist from Cape Town, I gleaned allot from your piano sessions. Thanks a mil.
Actually, I wish I was an Afro-Jazz accordionist from Cape Town. I'm serious. Do you know Trevor Noah? He's a hero here, and also one of mine.
"But not for me" has to be one of my all time favourite jazz song at the moment. Its such a good tone to the ears.
I love Ahmad Jamaals version!
Absolutely the best. When I did my Ahmad tribute trio, we played that from the recording note for note. Those were fun times.
Great informative video and lovely playing. Kent does what all masters do - make it look easy and understandable. The diminished chords and their inversions are like taking harmonized half-step voice leading simple intervals that introduce tension toward resolution of the melody and harmony.
Good observation, thanks for sharing, Jay!
@@KentHewittpiano88 After a traumatic period with Covid crap, hoping to see you perform very soon!
Hi Mr.Kent’s, thank you for your lessons,I’ll be getting your lesson soon.
Great!
At around 10:00 you could play a C in the bass while "borrowing" the D Diminshed which results in the creative tension so characteristic of the Sixth Diminished scale.
Thanks for sharing your observation.
20:57 Never! 21:05 Thank you!!! You are the only one that does this!
I didn't realize that...thanks for the comment!
How beautiful it sounds!!!
Thank you!
thank you so much kent, for this and all your videos, i'm going to buy your stuff, i love the way you play and explain, beautiful. ❤
Thanks so much1
What a great video! I just recently discovered Barry Harris and his approach, so it's amazing to me that you just posted this! I've been working on applying the method, with some limited success, to some tunes. This video will help so much, can't wait to watch it multiple times. Thanks so much!
I appreciate the comment. Composers have used it for years, Barry put it together in a system, and I took it from there.
Thanks Kent, this scale and the harmonization of it really explains a lot of the sound of swing/big band era music as well as bop/post bop music. It seems to crop up in a lot of different genres. Cheers to you !
I believe that is true. Also Bill Evans used it a lot. Thanks!
@@KentHewittpiano88 Do you have any videos showing some of how Evans used it? That'd be cool!
Another great video, you are such a great teacher!!! It really helps when you have the sheet music above, so those of us who don't play by hear can read it as you explain. Thanks for sharing. God bless you!
Thanks, Carol, I do that when I can...even tho it's more work. Hearing from you makes it worth it.
Kent just a great selection of songs and excellent diminished chord approaches and useful voicings. Many thanks as usual :) Jake
Thanks for listening
So smooth, excellent!!!!
Many thanks!
I love your videos. Beautiful playing.
Thank you very much!
Kent- great work demonstrating the concept with practical applications! Thanks so much!
That's what I like to do, so I appreciated the affirmation.
Thanks Kent. I like your version of But Not For Me. Always enjoy listening to what you have to say too.
Great comment, and helpful to me...thanks!
Interesting that this particular scale is one I just recently discovered form "The Jazz Harmony Book" and I've become addicted to it. Quite possibly the most revolutionary discovery I've made in my 40+ years of jazz playing and can't seem to get enough of it. Thanks for your illustrations.
Thanks for the comment...I'm not familiar w/ that book, I'll check it out.
WOW! I just had an AHA moment. I have been working this for a while and your explanation cleared things up. Thanks again.
I'm very pleased that I could help out...and for your comment!
excellent ! thanks for that one ! always enjoying your touch ! It always touch me when you talk about Ahmad Jamal !
Ahmad's my man, I did a tribute to him and his early music, with my trio. a number of years ago.
Thanks Kent. Thanks Herbie.
He thanks you and so do I!
First time on your channel. It looks terrific!
Thanks so much! 😊
Thank you man, really helpful ❤️
Glad it helped!
Thank you Mr. Hewitt!
Thank you!
Simply superior
Much appreciated!
Very nice!
Thank you!
kent, you make my life happier every week. Love you!
I love you too, brother, for telling me. Bless you!
Excellent lesson. Thanks KH!
Thanks!
If I understand correctly, 6th diminished is a "tonality" as well. This what makes "modern jazz" distinct from Tin Pan Alley yet drawing its essence from the American songbook. Thank you for the lesson. I learned a lot.
it's just the C Harmonic MAJOR scale ( ion b6)
The full diminished over lap with A Harmonic min
D, F, Ab, B or B, D, F, G#
or you can sort of cheat...play the MAJOR BEBOP
The option /passing note between then the 5th and 6th
It's a distinct sound...... C Maj.....F min G7 into C MAJOR
You can also inverted it...play A lydian b3 B mix b2 into E harmonic MAJOR
A min D min/dim E7
A Maj D min/dim E7..
or
A min B7 into E MAJOR or min
Then it'll actaully be EASIER to play G# as phrygian b4
You could play G#7 into C# min....or A dim C dim into C# min..
once in C# min/E MAJOR...You can apply the N6 or n6
Harmonic min b2 or Melodic min b2
D maj7 E7 F# min A MAJOR
D7 E7 A melodic min
D dim E7........A Harmonic min or MAJOR
D dim E dim F Melodic min
or D maj7/aug to D MAJOR/B min
sense keys are just PITCH....you could transfer it to A min/C MAJOR
Then you;ll see the A Harmonic min b2 or melodic min b2 easier.
Basically play from F min/Ab MAJOR to A min/C MAJOR..
Then find it easier to alter the C Maj7 to C7 or C dim...ect
Write to me at my email address...thanks!
Thanks KH! Well done and very educational.
All my best to you and laid back Herbie.
I appreciate that!
Awesome Kent=best explanation of this concept ever!
Terrific comment...thanks so much!
Great job Kent. Would very much welcome your follow - ups on 6thDim. !! This unravelling is creating new insights. Thx.
That's very helpful to me...and thanks for the comment!
The best explanation of the Barry Harris dim 6th scale and its practical application - including Barry harris himself lol!
Great compliment...thanks!
Great player ♥️
Many thanks!
I love the Stan Tracey version of this song. He always seems to use slightly different voicings to any other pianist! Would love to hear your take on how he does this. Thanks KH.
I'd like to hear it...got a link!"?
@@KentHewittpiano88 ruclips.net/video/mcw5y7f5dms/видео.html or just type in Stan Tracey but not for me in the youtube search bar. You should find it quickly.
Good video~ I guess 16th measure A flat9 #11 chord is another charming point to consider. How colorful~~:)
Nice observation....thanks for the comment!
youre an awesome guy. thanks for the video
Thanks!
Thank you
You're welcome
You're right about the complexity of this. If you're to expand on it though, you'd also need to cover the "borrowing" element to this approach such that you needn't make use of an entire Diminished chord but anywhere between one up to the four notes that comprise the chord followed by resolving to the next chord since Diminished chords have that property. Barry Harris himself demonstrates that in his videos.
I saw that and I should watch it again. Thanks for the comment.
Not to criticize what you're playing at 10:07 with the descending B Diminished chord but(and you may already know this) it actually adds more color(at least to me when playing this scale) if you keep the C note in the bass along with the Diminished chord instead of changing the root note to B.
I can dig that. Crosby probably just played the c bass note there. It does sound better , either way is still good.
I like your terminology - Instead of E major you say E "system", instead of saying secondary dominant, you say a chord is in "dominant form". You pianists digest this stuff quicker - Harris' stuff is meaty, but I've appreciated how he tries to make it simple for horn players. You're doing the same (making it a bit easier to digest) but with your own labels. Lots of gritty theory stuff here explained and SHOWN very well!
Great comment, and so helpful to me. Barry is a natural teacher, I try to be, but player /teachers are a rare breed, I think. I learned a lot from Fred Hersch.
You can't make it sound like this unless you have the lefthand rhythmic figures down. I don't recall Kent ever showing us that. But cool lesson on the harmonizations.
Go to my playlists on my channel page and you'll see categories on left hand voicings and rhythm comping.
Very good!
Appreciated!
Great
Thanks!
In a similar video the added flatter 6th creates the bebop major scale.
I'm not sure I understand why (b6) that has so much to do with bebop, but I won't argue the point.
Awesome, Kent!
I'd like to check out your book, but your website seems to be down...
Not on my end. Try a reboot or refresh the page. Here's a link: www.kenthewitt.com/my-book
@@KentHewittpiano88 lo and behold, we're up and running at my end too! Looking forward to downloading this mammoth tome. It should keep me busy for the next 20 years 😆
Sooooooooooo dope 😎🤓😎🤩thanks
Cool shades!
Cook book "Salt Fat Acid Heat" is very much about jazz, like the quote
Thanks for sharing, David!
Hi Mr Kent, I was wondering what advice you would have for a beginner jazz pianist trying to go to advanced (Also any book recommendations?)
Write to my email...for lots of info, thanks!
Nice!
Thank you!
I *:•.♥¨*:•LOVE *:•.♥¨*:•hearing you play, Kent!! XO - M
Marilyn, you're the best!
Herbie 😍🎶
Ya, Mon!
Great video thanks. When you say a note that doesn’t belong, you mean note a strong tone of a chord? So if not one of these (like a 9th), then play a diminished chord, is that correct?
A diminished chord will often compliment a non- chord tone...which creates movement to resolution on a chord tone. So it could be a 9th... but more often a chromatic relationship to the chord tones.... like a b9 or b5. Would a tutorial be helpful?
I've a general question about the fake book Kent. This is used a lot by musicians, but where do the changes come from, the original sheet music, or are they a consensus from the general history of performance?
Great question. Publishers linked to musicians write the changes and they are often not accurate. Best way to learn the correct changes is from recordings of the songs by masters. The Prestige recordings by Miles have many standards and jazz standards with the correct (hip) changes. Of course you must realize that there's no exact formula , it's all personal.
thanks a million! Is there any where I can find the score for "but not for me" you showed during the video? i can't seem to locate any 6th dim stuff on your site at the moment. Really appreciate you and your sharing of your knowledge!
oops found it, gonna buy the book when i get my student loans this semester!
I have student discounts...write to me.
I have a score for that...write to me.
This was hard as shit, Kent! Big Fan!!!!! Learning a lot from your sessions!!!!
Thanks for the comment!
For more Barry Harris ideas, I highly recommend Kent and everyone look at the channel "things I've learned from Barry Harris"
ruclips.net/channel/UCDdKVro-7hS8cMjBrcqaAMQ It is by one of Barry's students of decades who has dozens of excellent videos going into Barry's ideas. It is by far the best channel for learning Barry's methods other than clips of Him on youtube, or getting his workshop dvds and books.
Thanks for sharing...if I get some free time I'd love to watch it. You know I have a Barry Harris playlist on my channel. Please watch it. I will add to it anything you ask for!
ruclips.net/channel/UCdmjw5sm9Kn83TB_rA_QBCwplaylists
kent! would you tell me where can i find the backing track you used to play-along?
Please write to me at my email address on my website, and I will send it to you.
@@KentHewittpiano88 that's beatiful! Writing to You right know
What is the name of the song at begin playing?
"Sometimes I'm Happy", an old standards song that I recorded with my trio, but played in the tradition of Oscar Peterson, from his album "Live in Chicago".
wow,wow,wow
The altered dominant man especially appreciates the enthusiasm!
I'm a 17 year old that is relatively new to jazz, what would you say is the fundamental concepts that I need to know? I've been taking jazz piano lessons for three years but i haven't been getting anywhere. Please help!
Hi George, For personal advice please. write to my email address: kenthewitt@hotmail.com Also please go to my playlists and select categories that you need to work on the most. Go here:
ruclips.net/user/KentHewittpiano88playlists?view_as=subscriber
Also my book covers the important things you need to know....at least those you can get from a book. A lot of listening to recordings is required as well as imitation, and the ability to do that.
fly me to the moon
One of the best.
I love how you're barely hearable humming to your own playing :-)
I actually try not to hum...it happens unconsciously.
no one said anythint about the piano in the thumbnail 😩
This principle can apply to other instruments. The thumbnail shows the piano keyboard and Barry Harris is a pianist, so that would be a hint that's it's geared towards piano, but the concept could go beyond.