Nice video. Ive been learning this from a phenomenal teacher who studied with Barry as well. Just want to say that what Jay calls "major notes" I learned as "Tonic Notes", which to me is more fitting. Calling them Major is rather confusing. "Tonic notes" as a term gets to the point, they are all supportive of the tonic, 1 3 5 &6 are all on the tonic side, and 2, 4, b6, &7 are on the diminished side. Great content and I am enjoying your vids!
LOL 😂😂 Sean picked up his keys and said I’m out LOL. This is how we need to teach what’s going on when we play these crazy chords. They are not just random. There is a method to it. This guy was taught by a master!!
I miss Barry so much. Every Saturday he taught us for hours on end. He was like a grandfather to me, close friends with my dad, and I grew up listening to him and hearing about him before finally meeting him. His philosophy was so much more about harmony - he breathed music. I remember the last ever workshop we did in November before he passed. All he wanted was to pass down his immense knowledge, and it's so good to see how far it's gone. He used to say "I've had a wonderful life. I've made friends all around the world."
I first tried to learn the modes of the 8 note bebop scale which drove me crazy and I ignored this scale for years. Later I came back after refreshing my perspective on it as the 6th diminished scale instead of the bebop view, and it was less confusing. Realizing it as just literally a 6th and a diminished (and their inversions) made me see it for the elegant weaving of major and functional diminished that it is. I'm cynical of diminished because it's a wonderful musical alphabet but people tend to only spell one word with it (diminished seventh moving in minor thirds) and that bored my snobby mind, but the 6th diminished is so wonderful in that it makes the diminished accessible, and blends perfectly with the fundamental major scale. Fantastic ideas to explore.
I remember coming across Barry Harris years ago….this has soooooo much more foundational harmonic movement in building vocabulary….thank you gentlemen 🙏🏾
Barry was a beautiful brother, I studied with him when he was teaching across from Lincoln Center in NYC and the class would be packed, Barry told me how beautiful my horn sounded and for me to stop being timid to play.
YES! The drop 2 applied to the BH diminished 6th is definitely cool. I was always playing it starting from the sixth in the bass. Sean, you're so right, we should always be open to people's different perspectives. Brilliant! Thank you!
I LEARNED SOMETHING!!!!! That resolving C7+9 as being C Major with two dimisheds B,D and they resolve to A,C making the CMaj6. This was mind blowing!! Thanks for that.
Just want to add that the diminished notes and major notes can co- exist because the 6 chord contains of 2 diminished chords. Ex. C6 note C and A come from A dim - E and G comes from the E dim chord. The only diminished that is missing is the D diminished, and that is the dim that connects the C6 dim scale.Thnx for a great video
Nice lesson; the top big bands like the Basie outfit used these implied gospel-style diminished passing-chords in their 14-piece horn lines... so much voice movement inside the general harmony of say a blues... this will help get me into the gospel/neo-soul zone thanks !
Great video. The song at the end sounds like Polka Dots and Moonbeams. Something I believe that must be made clear about Barry Harris' 6th dim scale theory is that in order to fully process the theory, you have to listen to the standards from the 30's, 40's & 50's. Those songs were written with the Maj 6th in mind and not the Maj 7th. As Barry used to say, it provides "movement" within and between the chord progressions. Also, big band music from the same era. This is where the drop 2 idea came from. It was used to create better voice leading within the horn section. Once this sound is in your ear, the language really starts to make since & you'll begin to hear progressions in a totally different way. Also, you MUST know ALL of the Maj & Min scales & chords within these scales FIRST to be able to full utilize any of this knowledge. The number system makes it even simpler. Thanks again for the awesome video & for always sharing.👊🏾👊🏾
This Is A Good Example Of The Science Of Playing By EAR. U Are Playing What U Hear, As opposed 2 What U Are Reading(from SHEET Music. Playing By EAR Gives More Freedom. But Reading Music Is The Foundation, & Playing By EAR Is The Next Step. Although Some Of The Best Musicians I've Heard Could NOT Read Music, They Started By Playing By Their Hearing. Later On They Learned 2 Read (music) But They We're Blessed By GOD With That Talent, Or Genius. Oh, I Dig Your New Diggs (Music Room) Professor Sean Wilson 🔥🎵.
Jay Verma is correct EVERYTHING is 6th chords and the diminished chords that go with them! Making it two categories. Its profound complex not easy but this is the way it NEEDS to be done to arrive at complete freedom in music. Thanks everyone. Happy practicing.
Love the insight, especially about applying Barry's concept to actual pieces that one plays. Exactly, it's pretty much based on aural effect and musical taste. I apply this concept to working out passages with either loner time between chord changes (like a whole bar of one chord) or transitions. It also works perfectly well in long piano intros, ad lib improvisations etc. creating certain mood, combining it with other chords just as "one-of-the-tools" at certain spots. Harmonizing melodies in 4-voice brass arrangement utilizing Barry's concept works perfectly well too 🙂
BRUH YEAH THIS WAS AMAZING BUT YES BRO WE NEED HIM BACK TO EXPLAIN THIS MORE ON HYMNS THIS IS DEEP THIS NEEDS LIKE A MONTH JUST SO WE GET A FULL UNDERSTANDING BECAUSE THIS GUY IS RIGHT RUclips TUTORIALS DONT DO THIS MAN JUSTICE!!!
Great explanations! Can we get more insights on the Dominant and Dominant flat5 diminished scales? This video is great, but most everyone talks about the major minor versions, and I’d love to know more on the other two scales and their uses.
Went to his class in harlem back in the day you could sit with with him for piano horns q vocals for under 20 dollar and he had a 1 900 number u could call when u get stuck. RIP Uncle Barry.
Jay, you're killin' me bro...absolutely nuts :) Loved your presentation. Sean, thanks my bro, absolutely worth every minute watching and listening to you guys share, encourage and instruct.
Just 👌.....Super informative. We wanna hear from Jay again.... he covered the major and diminished chords...let's see something purely about the drop2.
The channels Things I Learned From Barry Harris and Labyrinth of Limitations speak about these elements of movement with major and diminished notes all of the time.
He's explaining a vii dim 7 chord (Dominant function) and its inversions which is a sub for Dominant. So B dim7, sub for G7 resolves to C6 or C. Another cool dim function is #ii diminished7, so D Sharp dim7 to C6. This is the famous Jazz standard Misty move that jazzers call a 1 diminished chord. Jazzers write the chord here as an E Flat Dim7 to E Flat Maj6 or Maj7. But this comes from the raised ii dim7 chord so proper "classical" name sake and where this Misty dim one chord originates would be F Sharp dim/E Flat bass resolving to E flat. I loved learning the classical origins of much of the jazz chord names, though jazz chord names makes it easier to read and possibly remember while the classical naming follows proper resolution of harmonic rules.
The way call them in my own studies are Bass Tenor alto soprano plus or minus borrowings. Some borrowings like major soprano + are very easy and intuitive on guitar (drop 2). Second degree becomes iVm6, abs third and 5th degree becomes very nice 4ths harmony . I like also how the 3rd degree can easily become a VI7 going to a mii!
Scared to hear what your ears are going to do with this concept. It seems strange at first when trying to grasp but with time it makes it hard to complete any song without hysterically laughing because it opens up so many different directions of going crazy but still being there. Anxious to see what you come up with when applying it to Gospel music. I've been just enjoying the challenge of expanding my mind's ear and just enjoying. Great video, absolutely love Barry Harris' method and teachings.
Late to the party, great stuff. Is there any relationship between Mr. Harris’ diminished 6ths and Cadential diminished? ii - V7 - i°/ Imaj7 I use this frequently to prolong the time before I hit the tonic. I only move up inversions on the diminished though, whereas Harris’ technique is a bit more sophisticated. Cheers!
I'm really curious the other ways that barry has shaped his thinking and perception of music. Because it's probably true that I conceptualize theory in a "wild" way too. And that's been more and more true, the further i get into exploring Barry's concepts.
Would you use this approach to coming up with solos? I always found BH's approach to harmony a lot easier to follow than his melodic approach (ie the half step rules)
Hi Sean, hope all is well. What is covered in the master class of this video in the members area? Is the master class just a continuation of the RUclips video?
This RUclips video is taken from the master class. It’s edited down for RUclips. I wouldn’t join the monthly site just for the master class. You can check the link in the description to see the price for just the class and LMV file
@@SeanWilsonPiano thanks. But is this a lesson where he teaches the moves and concepts and how to apply to some songs or is it just you guys talking and Jay playing? Could you elaborate on the content of the masterclass? Cheers
If you look at a C maj scale, and build the harmony in perfect fifths starting on C, you get C G D A E B F. F is the flat five of B and is considered dissonant, but if you raise it to F# it becomes a perfect fifth. In music, the #4/b5 divides the major, minor, and dominant scales in half and their is some genius level of math involved in that. This is what makes jazz so awesome. If you look at transcriptions of your favorite jazz musicians, you will see instances where that tritone (#4/b5) appears in there melodic lines even though it may not be part of the chord. I hope this helps you. Seek out the interviews and biographies of the greats and you'll be able to piece together their hidden secrets of how they thought about music, Dizzy, Bird, Miles, Coltrane, Wayne, Herbie, and Monk, Oscar and videos of Barry Harris. Good luck.
In strumming, like the guitar style of the 1930's - 1962, the sequence was always | CM7 C6 | CM7 C6| and so on. Same in minor. So, the major 7th and diminished 7th always resolved to the 6th. Asn't that funny? Harris took everything to a whole new level above that.
Can you do a video on : "There is no way" by Jayden Arnold and antuan Walker. Shout by Kevin Powell on Sebastian wheat works recording. Dave Jackson shout on gospel chips. Jayden Arnold and Donnie mcclurkin solo together.
Barry was my nextdoor neighbor for 16 years.
We would water each other's house plants when the other one was away. A fantastic guy.
Wow man, crazy story!!!
Wow man, never know who'll you'll meet!!
😢
Nice video. Ive been learning this from a phenomenal teacher who studied with Barry as well. Just want to say that what Jay calls "major notes" I learned as "Tonic Notes", which to me is more fitting. Calling them Major is rather confusing. "Tonic notes" as a term gets to the point, they are all supportive of the tonic, 1 3 5 &6 are all on the tonic side, and 2, 4, b6, &7 are on the diminished side. Great content and I am enjoying your vids!
Thanks for sharing that doc!
LOL 😂😂 Sean picked up his keys and said I’m out LOL. This is how we need to teach what’s going on when we play these crazy chords. They are not just random. There is a method to it. This guy was taught by a master!!
yeah man, thanks for watching
I miss Barry so much. Every Saturday he taught us for hours on end. He was like a grandfather to me, close friends with my dad, and I grew up listening to him and hearing about him before finally meeting him. His philosophy was so much more about harmony - he breathed music. I remember the last ever workshop we did in November before he passed. All he wanted was to pass down his immense knowledge, and it's so good to see how far it's gone. He used to say "I've had a wonderful life. I've made friends all around the world."
‘You start seeing notes as major notes or diminished notes’. Gotcha! Lightbulb came on at last! So appreciative of both Sean and Jay.
Yeah man! Thanks for watching!
I first tried to learn the modes of the 8 note bebop scale which drove me crazy and I ignored this scale for years. Later I came back after refreshing my perspective on it as the 6th diminished scale instead of the bebop view, and it was less confusing. Realizing it as just literally a 6th and a diminished (and their inversions) made me see it for the elegant weaving of major and functional diminished that it is. I'm cynical of diminished because it's a wonderful musical alphabet but people tend to only spell one word with it (diminished seventh moving in minor thirds) and that bored my snobby mind, but the 6th diminished is so wonderful in that it makes the diminished accessible, and blends perfectly with the fundamental major scale. Fantastic ideas to explore.
I remember coming across Barry Harris years ago….this has soooooo much more foundational harmonic movement in building vocabulary….thank you gentlemen 🙏🏾
This is how I taught myself to play at 8 years old by ear. I listened to gospel music and school musicals and christmas music by like 8 years.
That’s awesome doc!
Tear in my eye. Barry Harris was a National treasure. Thanks for sharing.
Barry was a beautiful brother, I studied with him when he was teaching across from Lincoln Center in NYC and the class would be packed, Barry told me how beautiful my horn sounded and for me to stop being timid to play.
Its incredible the amount of knowledge that is present in this 20min video! great content!
Appreciate it man!!
YES! The drop 2 applied to the BH diminished 6th is definitely cool. I was always playing it starting from the sixth in the bass. Sean, you're so right, we should always be open to people's different perspectives. Brilliant! Thank you!
Awesome lesson, Sean, thank you!
Glad it was helpful man!
I LEARNED SOMETHING!!!!!
That resolving C7+9 as being C Major with two dimisheds B,D and they resolve to A,C making the CMaj6.
This was mind blowing!! Thanks for that.
Man, so clear so good, precious
Sean you're doing great things in sharing music with the world.
Thanks Vila!! Nice seeing you! Hope you’re well
Yes.. Lets see Jay again
YES!!!... We want to see Jay again!!!
Just want to add that the diminished notes and major notes can co- exist because the 6 chord contains of 2 diminished chords. Ex. C6 note C and A come from A dim - E and G comes from the E dim chord. The only diminished that is missing is the D diminished, and that is the dim that connects the C6 dim scale.Thnx for a great video
Your commentary and clarifications on his teachings are wonderful! What an inciteful eye opening video. Thanks
This was amazing . I’m a guitarist but it’s all relevant. I love this stuff.
Nice lesson; the top big bands like the Basie outfit used these implied gospel-style diminished passing-chords in their 14-piece horn lines... so much voice movement inside the general harmony of say a blues... this will help get me into the gospel/neo-soul zone thanks !
Awesome session here
Great video. The song at the end sounds like Polka Dots and Moonbeams. Something I believe that must be made clear about Barry Harris' 6th dim scale theory is that in order to fully process the theory, you have to listen to the standards from the 30's, 40's & 50's. Those songs were written with the Maj 6th in mind and not the Maj 7th. As Barry used to say, it provides "movement" within and between the chord progressions. Also, big band music from the same era. This is where the drop 2 idea came from. It was used to create better voice leading within the horn section. Once this sound is in your ear, the language really starts to make since & you'll begin to hear progressions in a totally different way. Also, you MUST know ALL of the Maj & Min scales & chords within these scales FIRST to be able to full utilize any of this knowledge. The number system makes it even simpler.
Thanks again for the awesome video & for always sharing.👊🏾👊🏾
This Is A Good Example Of The Science Of Playing By EAR. U Are Playing What U Hear, As opposed 2 What U Are Reading(from SHEET Music. Playing By EAR Gives More Freedom. But Reading Music Is The Foundation, & Playing By EAR Is The Next Step. Although Some Of The Best Musicians I've Heard Could NOT Read Music, They Started By Playing By Their Hearing. Later On They Learned 2 Read (music) But They We're Blessed By GOD With That Talent, Or Genius. Oh, I Dig Your New Diggs (Music Room) Professor Sean Wilson 🔥🎵.
Jay Verma is correct EVERYTHING is 6th chords and the diminished chords that go with them! Making it two categories. Its profound complex not easy but this is the way it NEEDS to be done to arrive at complete freedom in music. Thanks everyone. Happy practicing.
THANK YOU SO MUCH I REQUESTED IT YOU DELIVERED!!! LISTEN LADIES AND GENTLEMEN INTRODUCING THE GREAT SEAN WILSON!!!!
Love the insight, especially about applying Barry's concept to actual pieces that one plays. Exactly, it's pretty much based on aural effect and musical taste. I apply this concept to working out passages with either loner time between chord changes (like a whole bar of one chord) or transitions. It also works perfectly well in long piano intros, ad lib improvisations etc. creating certain mood, combining it with other chords just as "one-of-the-tools" at certain spots. Harmonizing melodies in 4-voice brass arrangement utilizing Barry's concept works perfectly well too 🙂
Bring Jay back 🙏🏾🙏🏾🙏🏾 Gonna start practicing my drop 2s ASAP❗❗❗❗❗
BRUH YEAH THIS WAS AMAZING BUT YES BRO WE NEED HIM BACK TO EXPLAIN THIS MORE ON HYMNS THIS IS DEEP THIS NEEDS LIKE A MONTH JUST SO WE GET A FULL UNDERSTANDING BECAUSE THIS GUY IS RIGHT RUclips TUTORIALS DONT DO THIS MAN JUSTICE!!!
For real man!
What u said..The man is a baby Jacob Collier or sumthing..just on piano.. just on piano..#Iaintcrazy
YES LETS SEE MORE JAY!
Well done!... This was a fantastic session on diminished 6 chord or Sound of Barry Harris Thank you keep up the good work!...
Jay on beast mode 🔥
Yes Sir Doc!
I love the way this man explains things.
Bro pleeeeeeeaassssse have Jay back on 😭😭
Thnxs my brotha 💪🏽✊🏽💙
yessir doc!
Finally understood this concept
Great explanations! Can we get more insights on the Dominant and Dominant flat5 diminished scales? This video is great, but most everyone talks about the major minor versions, and I’d love to know more on the other two scales and their uses.
Master the Sound of the 6th Diminished Scale
ruclips.net/video/V8qbcheiHZY/видео.html
Went to his class in harlem back in the day you could sit with with him for piano horns q vocals for under 20 dollar and he had a 1 900 number u could call when u get stuck. RIP Uncle Barry.
Great talk!
Appreciate it!
Jay, you're killin' me bro...absolutely nuts :) Loved your presentation. Sean, thanks my bro, absolutely worth every minute watching and listening to you guys share, encourage and instruct.
Im late to the 6Dim scale. Such a powerful tool!! Powerful!!
Just 👌.....Super informative. We wanna hear from Jay again.... he covered the major and diminished chords...let's see something purely about the drop2.
Thanks… That’s a different vid. I have plenty stuff on Drop 2 on my channel. I wanted to hear from Jay about how he interprets Barry
The channels Things I Learned From Barry Harris and Labyrinth of Limitations speak about these elements of movement with major and diminished notes all of the time.
That’s so fire bro.
He's explaining a vii dim 7 chord (Dominant function) and its inversions which is a sub for Dominant. So B dim7, sub for G7 resolves to C6 or C. Another cool dim function is #ii diminished7, so D Sharp dim7 to C6. This is the famous Jazz standard Misty move that jazzers call a 1 diminished chord. Jazzers write the chord here as an E Flat Dim7 to E Flat Maj6 or Maj7. But this comes from the raised ii dim7 chord so proper "classical" name sake and where this Misty dim one chord originates would be F Sharp dim/E Flat bass resolving to E flat. I loved learning the classical origins of much of the jazz chord names, though jazz chord names makes it easier to read and possibly remember while the classical naming follows proper resolution of harmonic rules.
The way call them in my own studies are Bass Tenor alto soprano plus or minus borrowings.
Some borrowings like major soprano + are very easy and intuitive on guitar (drop 2).
Second degree becomes iVm6, abs third and 5th degree becomes very nice 4ths harmony .
I like also how the 3rd degree can easily become a VI7 going to a mii!
Yeah man!
Scared to hear what your ears are going to do with this concept. It seems strange at first when trying to grasp but with time it makes it hard to complete any song without hysterically laughing because it opens up so many different directions of going crazy but still being there. Anxious to see what you come up with when applying it to Gospel music. I've been just enjoying the challenge of expanding my mind's ear and just enjoying. Great video, absolutely love Barry Harris' method and teachings.
I’m already with you bro!! 🏆
Jay was fire..... His teaching style is really cool and I'm appreciative of you both for this video. MMMMMMMMMMMOOOOre
Thank you!!
thanks for watching!
Thank you👍
Yeah man! Thanks for watching!
Yes sir Barry Harris is a genius
For real bro!
Mind Opening 😮....
This was dope
Need to re-watch at least 20 times...
Yes! Awesome insights
His uncle is Shaun Varma who runs Jazz Skills, focused in Jazz and Barry Harris methods.
Super deep!
Yes!
Thanks much sean and be blessed i wish you could do the song change me by tamela mann.
I'd like to see more.
im not that great at theory but have learned many chords through sound so this is very cool to me
Yes ,please.
YES.
You got it bro!
Late to the party, great stuff.
Is there any relationship between Mr. Harris’ diminished 6ths and Cadential diminished?
ii - V7 - i°/ Imaj7
I use this frequently to prolong the time before I hit the tonic. I only move up inversions on the diminished though, whereas Harris’ technique is a bit more sophisticated.
Cheers!
This is it!!!
I love this
I'm really curious the other ways that barry has shaped his thinking and perception of music. Because it's probably true that I conceptualize theory in a "wild" way too. And that's been more and more true, the further i get into exploring Barry's concepts.
The mark of a true teacher, allows you to form new and exciting ideas on your own 💯
"all we know is that he wants to go home"
*ET enters the music lesson*
I need to understand the movement of the drop 2 please
For guitarists, I highly recommend tilfbh and labyrinth of limitations on youtube.
Yessir Doc!
YES YES YES!
Was Barry opposed to Aug+ chords? Just wondering with b6 also as #5
Thanks!
Barry Harris be so deep!
You know it!
Would you use this approach to coming up with solos? I always found BH's approach to harmony a lot easier to follow than his melodic approach (ie the half step rules)
Dick Hyman did this long time ago.. dope stuff Sean
Hi Sean, hope all is well. What is covered in the master class of this video in the members area? Is the master class just a continuation of the RUclips video?
This RUclips video is taken from the master class. It’s edited down for RUclips. I wouldn’t join the monthly site just for the master class. You can check the link in the description to see the price for just the class and LMV file
@@SeanWilsonPiano thanks. But is this a lesson where he teaches the moves and concepts and how to apply to some songs or is it just you guys talking and Jay playing? Could you elaborate on the content of the masterclass? Cheers
@@SeanWilsonPiano thanks. Does he apply the concepts to any full song?
yes
Yes
Got it!
I've never looked at this that way, but I would look at a 6/9 and 13th as the same chord. I would just see the 13th as a 6/9 with a 7th added.
Nice perspective man!
Yes put that guy on again
If he could explain in more detail with specific examples how to mix and match it would be helpful.
Please Sean how can i buy Jay Vermar Masterclass ?
I put a link in description
Please what is the guy RUclips page
Hi can you explain where the #11 came from?
If you look at a C maj scale, and build the harmony in perfect fifths starting on C, you get C G D A E B F. F is the flat five of B and is considered dissonant, but if you raise it to F# it becomes a perfect fifth. In music, the #4/b5 divides the major, minor, and dominant scales in half and their is some genius level of math involved in that. This is what makes jazz so awesome. If you look at transcriptions of your favorite jazz musicians, you will see instances where that tritone (#4/b5) appears in there melodic lines even though it may not be part of the chord. I hope this helps you. Seek out the interviews and biographies of the greats and you'll be able to piece together their hidden secrets of how they thought about music, Dizzy, Bird, Miles, Coltrane, Wayne, Herbie, and Monk, Oscar and videos of Barry Harris. Good luck.
thats interesting
😊
Yes drop the 2 if you want strong Melodic presence
His dad is his uncle's brother??? 😎
In strumming, like the guitar style of the 1930's - 1962, the sequence was always | CM7 C6 | CM7 C6| and so on. Same in minor. So, the major 7th and diminished 7th always resolved to the 6th. Asn't that funny? Harris took everything to a whole new level above that.
Thanks so much for the support!!
I started catching on when he used the 6 major in F example then like 30 seconds later I got lost again …..
Lol!!
you can harmonize the d en c major with a g6
Yeah man! Thanks for watching!
What’s the scale for the MODEL X?
This was a Model Y
Check out this guy... Mark Angelo Green official
Is his uncle's name Shan?
Cmaj.6 is not a resolved cord. G and A are dissonant. A wants to go home to G
Can you do a video on :
"There is no way" by Jayden Arnold and antuan Walker.
Shout by Kevin Powell on Sebastian wheat works recording.
Dave Jackson shout on gospel chips.
Jayden Arnold and Donnie mcclurkin solo together.
Is this Shan's nephew?..
...but a Cmaj9 makes complete sense as a G6 over C, which is a very basic barry harris sub.
This is insene