I've struggled with approaching jazz harmony and improv for years and Barry Harris has transformed my playing like no other method. Especially his family of four dominants.
I know this is an old comment but you know family of dominants comes from chopin, liszt, Mendelssohn, etc ill send a cool chopin song that uses this techniques 200 years before people like to say the were invented
I just bring this up because everything i mean everything barry talks about the great composers have at least tried before things such as borrowed diminished notes aswell
20 years of hacking my way through jazz standards for a living, and now look.... there's the whole soundscape taken care of with two basic chord shapes I use all the time. thanks Adam!
:) regardless of the instrument we play i always believe we can always learn from other instruments and apply to our own..everyone has something to bring to the table :)
Hey it’s been a while since this comment, but I was wondering if you had found any exercises or discussions online that apply the diminished 6th scale to guitar? Would love to see/hear how it transformed your practice/comping
The magic of his scale to me is that it gives the major key access to the fully diminished network via the most accessible chromatic note. When you think about it, we were only one note away from a fully diminished chord from our major key anyways, just needed that extra #5 to bring us into the fold.
When you're performing the two note contrary motion starting from C. You can interpret it as borrowing d diminished and f minor, effectively modulating between C Major and C Natural minor. I didn't know what the 6th diminished scale was and you did a great job of explaining the basics of it. I'm learning my music theory so wildly out of order. Thank you for these amazing videos!
Just viewed this again. The whole thing is really like "endless puzzle Chinese boxes". That #5/b6 note (G#/Ab in this case), also implies two of my favorite sounds: the minor IV chord and the Blues walkdown. Discovered these in a different way long ago just by being observant and- as a guitarist- listening to piano theory/jazz. So there's that 'pivot note' as I called it (G#/Ab): SHARED BY BOTH DIMINISHED AND AUGMENTED...
This is amazing !!! So many great block voicings Mr. Harris was a GENIUS… it feels like It opens up to A minor as soon as you hear it… descending… ii (c,b,a,g) V7 (ab, f, e, d), I (c) maybe ?
Sure it makes it an 8 note symmetrical scale. As a guitarist that knows a lot of theory and loves to mess around with unusual shapes and sounds, I found Ab/G# as what I called a "pivot" note that anchors both augmented/whole-tone chord/scales with all 3 diminished chord/scales thus leading to sort of a "master mode" that all 12 keys emerge from. But Barry's 12 divided by 2 (Adam and Eve); divided by 3, etc, really makes sense of his ideas. I suppose it's just chromaticism at the end of the day, but it's fun and useful stuff for us theory geeks...
I like your comment early in the video about more than one way to skin a cat. It's so true and there's no one way to approach playing this great music. The problem with playing in a 'system' is that some players get trapped in following the system rigidly. There's a danger of following rules and just running changes and not allowing the ear to hear the melodies developing in their head. Barry has his harmonic system and it's one of many out there. I started working through his approach the last couple years because I like some of the harmonic colors and types of resolutions/voicings I've heard on some recordings. I do prefer guys who sound a little more adventurous like Monty Alexander and Cedar Walton. Personally, I still try to learn a song without a sheet/chart and listen to multiple recordings of the same song and transcribe the lyric(if there is one), the melody and harmony. This gives me multiple approaches on how to play a song. It's old school, but it's really rewarding.
Great video sir. I have watched a few and this made a ton of sense. Love you breakdown of opposing motion, other videos I saw didn't have that and it is really simple yet brilliant and explains the tension resolution aspect well.
It is a Minor Blues scale up a whole step up from the tonic. Make sense that it was for the "lineup" of strong tones on the beat? But who really improvises in direct step by step motion? I find it is more interesting for harmony.
😊this sb named the block chord scale. Bebop changes chords/keys to frequently for the octave to make harmonic sense by the time it’s reached with swinging eigths.
If you take a C6 CEGA Then take its dominant ( but in the form of diminished ) G#BDF Put them in a row CDEFGG#ABC So its all outlining the main chord on the beat ,but on the off beat is the dominant chord that belongs to it. C6 is also Amin7 ACEG What's the dominant that belongs to it? E7 ( but in the form of diminished) FG#BD Put them in a row. CDEFGG#ABC So it's not only that your outlining the Major chord on strong beat, and its dominant on weak beats. You are also outlining the telarice minor on strong beats and in the weak beats ITS dominant chord. It's just the beginning. Because a Min6 same as Min7b5 So this ISNT the same as putting a chromatic between every note. This scale isn't related to a key. It's about the main 2 chords ( tonic) And the 2 dominant that resolve to them. So if you wanted to think about this in terms of a whole KEY You would need to create one these for each chord in the key .
8:33 I don't major in music, and I don't even have perfect pitch... but man.. I really wanna play like him someday. To me, just playing the chords right is a thing.
Yup! OP, if you want to study music, don't worry about perfect pitch, most people, including great musicians, don't have it. Getting a good ear for melody, harmony, groove, and relative pitch; they're far more important skills.
The left hand G note you played along with the changing Diminished chord in the right hand is a "borrowing" technique that characterized the Sixth Diminished scale shown elsewhere on You Tube.
This is a video about the Major 6th Diminished. It is incorrect to take it out of context. This does NOT do Barry Harris’s theory justice. Used correctly, theory is a way to understand what original composers and improvisors do. Regurgitators use theory to concoct unoriginal music. Creative composers and players use it as a framework to understand works so they can more easily extricate what they imagine and bring it to life. Barry Harris was an educator, composer and player. He knew and played with many of the Jazz greats. In my 45 years of playing, composing and learning jazz I find his teaching is by far the most enlightening. He discarded the hundreds of years of patchwork Euro-centric classical theory that is terrible for understanding music in a post Jazz world. Starting fresh, he replaced it with a much simpler theory consisting of harmonic and melodic concepts of which the four (6th) Diminished Scales are only a part. His harmonic theory starts with the “family” of Two whole tone parents that combine to create three diminished children and from there derives his three groups of four siblings, the (6th) Diminished Scales (Major 6th, Minor 6th, Dominant Diminished and Dom7-flat5 Diminished), the first two cover Minor 7th and Minor7th-Flat5. As he would say “Brothers and Sisters play well together”. This is a method for chord substitution made easy by utilizing the “family”, for example, “playing the 6th on the 5th”. His melodic concepts cover are meant to simplify the ability to outline the chord tones on the down beat and incorporated chromaticism (“half step rules”, his chromatic scales, etc. His point was to make it easier to learn quickly and improvise (something few classical players can do at all). To be able to apply the ideas of improvised jazz in an ensemble requires an ability to listen, immediately respond to what others are doing. This can not be done using Classical theory or its derivatives in Chord-Scale theory.
I was wondering if you and Peter could talk more about "what you hear" found it fascinating when Peter played an example of what he heard between the root and melody once, could you somehow chat about the different kinds of things you hear when you play? Loving the show can't wait for Monday :)
Adam, this is a harmonic approach. Barry’s melodic approach is all about putting in additional notes all over the place. Start with C6 and Bdim7 and add them together.
What you say 3 minutes in is not really true. Bebop scales use chromatic passing tones to make land chord tones land on the beat which is what you and your friend was talking about. This is NOT THE CASE for the 6th dim scale. It is vital the note is inbetween the 5th and 6th degree
It's not that complicated. You just stick a diminished between each inversion of a major or minor 6 chord. (Or any chord - just won't fit the dim 6 scale anymore.) Then you can come up with harmonic or melodic ideas from that for use on 1 chord.
@@thearno2885 I'm going to review the video and try to understand what I meant. Thank you for your reply, I'm pretty sure that my original question was generated using voice to text and that is definitely the reason why it is unintelligible.
@@thearno2885 I think I was curious about how to play the diminished 6 in minor. It's weird I think maybe you use a Dorian sound? But then where is the diminished note.? Thank you.
highkari they have taken a major scale and added a minor 6. When you play a chord by stacking thirds from the root you play 1,3,5 and 6 which is a major 6th. When you play a chord starting on the second note of the scale you play 2,4,b6 and 7 which is a diminished chord. If we are in C then the root chord is Cmaj6 as the notes are C,E,G and A. The chord on the second note is Ddim D,F, Ab and B( there is a minor third between each note). You also get a diminished chord if you start on F, Ab or B and build a chord.
definitely interesting scale but I can't stand Barry Harris' teaching. I always hear him talk about "mistakes" and "wrong notes" like he only accepts what you play if you play exactly like him. Everything in me feels uncomfortable with this approach. I would get depressed if he was my teacher and I can't even watch him teach others. for me this has nothing to do with the open spirit of jazz. nevertheless, as I said, it's interesting to explore the possibilities of this scale, so thanks for the insights!
Another question...with this concept in mind...you're saying that you can start on a new diminished 6th scale after each 4/4? In the beginning you're playing a c major with a 6 diminished...so i could go to a g major 6th diminished? Thanks.
You are describing all the things that Barry says are wrong: playing the whole scale, seeing it as whole and half steps, playing arpeggios on the down beat from one ... Then 7:17 onwards... no, just no. Why aren't you playing the exercise that Barry teaches to show students the flow of it? You're maybe confusing yourself with the four voicings - you lost the feel Barry teaches. 6th diminished is just where Barry starts off talking about music so that people will understand what he is playing. He is not teaching strictly 6th diminished scales to people. Not at all. His technical knowledge of music theory is a bit lax . Don't approach him straight up in a bookish way. He is teaching you how to re-create a sound... he is not teaching you raw music theory in a vacuum.
There is a more important concept that you didn’t mention. If you draw the chromatic circle and label the notes of C major, you’ll notice that D Dorian is symmetrical and Ab/G# is the tritone. The other accidentals aren’t symmetrical like this.
i wonder about all this BH BS....i was curious so picked up a copy of BH for guitar...after a bit of reading and pondering it seemed BH was saying simple things in complicated ways. as if he was trying to recreate an existing system to confused others and, would appear knowledgeable by explaining it. he just recreated the wheel but made it no rounder nor more concentric when rotating...simply made the wheel more out of balance. so of i went i search of BH live and was not surprised to find my suspicions confirmed. he plays like a child compared to oscar peterson. just plain crap..i tossed the BH BS book in the wood stove page by page and have moved on to learning with better ways of ciphering...simplicity is art..i find no art in BH BS...
I've struggled with approaching jazz harmony and improv for years and Barry Harris has transformed my playing like no other method. Especially his family of four dominants.
Instablaster...
I know this is an old comment but you know family of dominants comes from chopin, liszt, Mendelssohn, etc ill send a cool chopin song that uses this techniques 200 years before people like to say the were invented
ruclips.net/video/pTfeTJME7-I/видео.html
I just bring this up because everything i mean everything barry talks about the great composers have at least tried before things such as borrowed diminished notes aswell
ruclips.net/video/XXkdfIjzbxM/видео.html
20 years of hacking my way through jazz standards for a living, and now look.... there's the whole soundscape taken care of with two basic chord shapes I use all the time. thanks Adam!
That instep is fire. Also I’m a pianist but I applied Mr Harris’s 6th diminished to my guitar playing and I’m totally TRANSFORMED
:) regardless of the instrument we play i always believe we can always learn from other instruments and apply to our own..everyone has something to bring to the table :)
Likewise! Well, I haven't applied it at all to my playing yet, but I am a guitarist, and this is all helpful and insightful.
It's brilliant.
Hey it’s been a while since this comment, but I was wondering if you had found any exercises or discussions online that apply the diminished 6th scale to guitar? Would love to see/hear how it transformed your practice/comping
finding these solo videos on jazz extremely informative.
As a long time classical teacher trying to grasp at jazz i really appreciate it
Louis Pearson American jazz is the continuation of classical theory. Barry Harris’s own videos would make a great resource,
Great job explaining Mr. Harris's approach. Especially the contrary motions and the minor 6. Glad I watched.
The magic of his scale to me is that it gives the major key access to the fully diminished network via the most accessible chromatic note. When you think about it, we were only one note away from a fully diminished chord from our major key anyways, just needed that extra #5 to bring us into the fold.
Realy, once you start using this, can go back lol
When you're performing the two note contrary motion starting from C. You can interpret it as borrowing d diminished and f minor, effectively modulating between C Major and C Natural minor. I didn't know what the 6th diminished scale was and you did a great job of explaining the basics of it. I'm learning my music theory so wildly out of order. Thank you for these amazing videos!
As a guitarist, I learned some of these ideas - particularly the passing diminished chords - from Wes Montgomery.
I'm a guitarist too and I learned some of these things before as well, but from Django Reinhardt
Just viewed this again. The whole thing is really like "endless puzzle Chinese boxes". That #5/b6 note (G#/Ab in this case), also implies two of my favorite sounds: the minor IV chord and the Blues walkdown. Discovered these in a different way long ago just by being observant and- as a guitarist- listening to piano theory/jazz. So there's that 'pivot note' as I called it (G#/Ab): SHARED BY BOTH DIMINISHED AND AUGMENTED...
This is amazing !!! So many great block voicings Mr. Harris was a GENIUS… it feels like It opens up to A minor as soon as you hear it… descending… ii (c,b,a,g) V7 (ab, f, e, d), I (c) maybe ?
Sure it makes it an 8 note symmetrical scale. As a guitarist that knows a lot of theory and loves to mess around with unusual shapes and sounds, I found Ab/G# as what I called a "pivot" note that anchors both augmented/whole-tone chord/scales with all 3 diminished chord/scales thus leading to sort of a "master mode" that all 12 keys emerge from. But Barry's 12 divided by 2 (Adam and Eve); divided by 3, etc, really makes sense of his ideas. I suppose it's just chromaticism at the end of the day, but it's fun and useful stuff for us theory geeks...
Just landed on your channel and found a pearl of a lesson. Thank you.
Adam, brilliant! Thanks for finally explaining this to me- definitely going to work on these 🎶🎹😊❤️
A very helpful short explanation. Thanks!
wow. you have beautiful eyes and you teached me the 6th diminished i've never heard of. thank you!
I like your comment early in the video about more than one way to skin a cat. It's so true and there's no one way to approach playing this great music. The problem with playing in a 'system' is that some players get trapped in following the system rigidly. There's a danger of following rules and just running changes and not allowing the ear to hear the melodies developing in their head. Barry has his harmonic system and it's one of many out there. I started working through his approach the last couple years because I like some of the harmonic colors and types of resolutions/voicings I've heard on some recordings. I do prefer guys who sound a little more adventurous like Monty Alexander and Cedar Walton.
Personally, I still try to learn a song without a sheet/chart and listen to multiple recordings of the same song and transcribe the lyric(if there is one), the melody and harmony. This gives me multiple approaches on how to play a song. It's old school, but it's really rewarding.
That's true
its a great way to develop your ear and gives more time and space to experiment in my opinion :)
Yes, great to reharmonize on the fly with all sorts of different ideas and approaches.
Woooo !!!! One of Barry Harris students👏👏👏👏👏👏
I unno who you paid to show up on my feed but I'm grateful
It was a GREAT week Adam. Thank you very much. Rating for the week: 49*.
Thanks for this interesting lesson. Norbert from France.
Thanks!
Nice ! I didn't understand this from the original video, but I got it right now, thanks !
thanks man. I'm planning on giving myself a 10 day challenge of really getting my head around this unique scale. Cheers!
have you gotten your head around it brother?
Thanks for the update.
This is incredible beautiful and helpful. OOOH. And I sing my romance. Cool that you mentioned that as I was commenting!
Great video sir.
I have watched a few and this made a ton of sense. Love you breakdown of opposing motion, other videos I saw didn't have that and it is really simple yet brilliant and explains the tension resolution aspect well.
A beautifully clear explanation, thanks:)
It is a Minor Blues scale up a whole step up from the tonic. Make sense that it was for the "lineup" of strong tones on the beat? But who really improvises in direct step by step motion? I find it is more interesting for harmony.
that locked hand was sublime
Great vid! Love Barry Harris, and Gene of course!
😊this sb named the block chord scale. Bebop changes chords/keys to frequently for the octave to make harmonic sense by the time it’s reached with swinging eigths.
I’ve only been play a month or 2 but I’m so exited to finish my books so I can do this, looks fun!
wow you're a bright one and a fast learner if you can use this after playing a month. how's it going?
Video starts at 2:22.
Great job man. Keep doing it. I enjoyed.
Great Video, very informative
Intro song is killing ^^
emotion in motion by Peter Martin
If you take a C6
CEGA
Then take its dominant ( but in the form of diminished )
G#BDF
Put them in a row
CDEFGG#ABC
So its all outlining the main chord on the beat ,but on the off beat is the dominant chord that belongs to it.
C6 is also Amin7
ACEG
What's the dominant that belongs to it?
E7 ( but in the form of diminished)
FG#BD
Put them in a row.
CDEFGG#ABC
So it's not only that your outlining the Major chord on strong beat, and its dominant on weak beats. You are also outlining the telarice minor on strong beats and in the weak beats ITS dominant chord.
It's just the beginning.
Because a Min6 same as Min7b5
So this ISNT the same as putting a chromatic between every note.
This scale isn't related to a key.
It's about the main 2 chords ( tonic)
And the 2 dominant that resolve to them.
So if you wanted to think about this in terms of a whole KEY
You would need to create one these for each chord in the key .
Thanks for pointing that out. Very usefull! Didn't notice the Amin7 - E7 thing. Brilliant!
Thanx, John. Telarice minor??? I missed something along the way, perhaps. TELARICE MINOR🤔
@@brendaboykin3281Relative minor?
@@ZXuCan melabit minor sharp11? This one teaches you ALL styles
Great teaching , great playing
Try split them into drop 2. 2 notes on left and 2 notes on right. Then offset left n right to get more tension. (Dim on one, maj6 on another)
8:33 I don't major in music, and I don't even have perfect pitch... but man.. I really wanna play like him someday. To me, just playing the chords right is a thing.
Almost nobody has perfect pitch
Yup! OP, if you want to study music, don't worry about perfect pitch, most people, including great musicians, don't have it. Getting a good ear for melody, harmony, groove, and relative pitch; they're far more important skills.
Very clear explanation!
Thanks for lesson 👍🙌🙏
The left hand G note you played along with the changing Diminished chord in the right hand is a "borrowing" technique that characterized the Sixth Diminished scale shown elsewhere on You Tube.
This is interesting, now I will try to relate it to the guitar.
Merveilleux merci beaucoup from France
Very Nice:) Thank You for sharing
6:12 reminds me of Super Mario Bros 2 theme! :) I'm a novice at jazz harmony, but that theme is pretty jazzy.
I am still trying to figure out this method.
This is a video about the Major 6th Diminished. It is incorrect to take it out of context. This does NOT do Barry Harris’s theory justice. Used correctly, theory is a way to understand what original composers and improvisors do. Regurgitators use theory to concoct unoriginal music. Creative composers and players use it as a framework to understand works so they can more easily extricate what they imagine and bring it to life.
Barry Harris was an educator, composer and player. He knew and played with many of the Jazz greats. In my 45 years of playing, composing and learning jazz I find his teaching is by far the most enlightening. He discarded the hundreds of years of patchwork Euro-centric classical theory that is terrible for understanding music in a post Jazz world.
Starting fresh, he replaced it with a much simpler theory consisting of harmonic and melodic concepts of which the four (6th) Diminished Scales are only a part. His harmonic theory starts with the “family” of Two whole tone parents that combine to create three diminished children and from there derives his three groups of four siblings, the (6th) Diminished Scales (Major 6th, Minor 6th, Dominant Diminished and Dom7-flat5 Diminished), the first two cover Minor 7th and Minor7th-Flat5. As he would say “Brothers and Sisters play well together”. This is a method for chord substitution made easy by utilizing the “family”, for example, “playing the 6th on the 5th”.
His melodic concepts cover are meant to simplify the ability to outline the chord tones on the down beat and incorporated chromaticism (“half step rules”, his chromatic scales, etc. His point was to make it easier to learn quickly and improvise (something few classical players can do at all). To be able to apply the ideas of improvised jazz in an ensemble requires an ability to listen, immediately respond to what others are doing. This can not be done using Classical theory or its derivatives in Chord-Scale theory.
So you can really apply this to any 7 note scale buy just adding a half step 🤔. Guess I know what I’m doing next time I’m practicing modes
8:20 Yes Sir!
baited me with the thumb nail. well done
Thank you!
Wow! So cool!
Dude... you're clever!
te main, ce plait mon ami
I was wondering if you and Peter could talk more about "what you hear" found it fascinating when Peter played an example of what he heard between the root and melody once, could you somehow chat about the different kinds of things you hear when you play? Loving the show can't wait for Monday :)
What video are you referring to? I'd like to check that out
Where can I find the masterclasses you mentioned?
fascinating!
What is the music you play at the beginning of these? That's 7/4 time, isn't it?
thank u
Great tutorials!
Adam, this is a harmonic approach. Barry’s melodic approach is all about putting in additional notes all over the place. Start with C6 and Bdim7 and add them together.
2:05
Thank.
Always landing on the up beat?
I made it to 1:00
can someone tell me the name of the song in the beginning (intro) ?
for those who wondered - its Emotion in Motion by Peter Martin
8:05
its an inversion of spanish phyrigian no?
Great!!
This concept happens naturally on guitar I feel like
Dorian Blues
What you say 3 minutes in is not really true. Bebop scales use chromatic passing tones to make land chord tones land on the beat which is what you and your friend was talking about. This is NOT THE CASE for the 6th dim scale. It is vital the note is inbetween the 5th and 6th degree
Cool
It's not that complicated. You just stick a diminished between each inversion of a major or minor 6 chord. (Or any chord - just won't fit the dim 6 scale anymore.) Then you can come up with harmonic or melodic ideas from that for use on 1 chord.
Post your album!
Can somebody please help me understand as a minor sound until it's you play that. I would really appreciate that thank you in advance
What do you mean?
@@thearno2885 I'm going to review the video and try to understand what I meant. Thank you for your reply, I'm pretty sure that my original question was generated using voice to text and that is definitely the reason why it is unintelligible.
@@thearno2885 I think I was curious about how to play the diminished 6 in minor. It's weird I think maybe you use a Dorian sound? But then where is the diminished note.? Thank you.
for C minor diminished 6 would the diminished note be f sharp?
highkari they have taken a major scale and added a minor 6. When you play a chord by stacking thirds from the root you play 1,3,5 and 6 which is a major 6th. When you play a chord starting on the second note of the scale you play 2,4,b6 and 7 which is a diminished chord. If we are in C then the root chord is Cmaj6 as the notes are C,E,G and A. The chord on the second note is Ddim D,F, Ab and B( there is a minor third between each note). You also get a diminished chord if you start on F, Ab or B and build a chord.
definitely interesting scale but I can't stand Barry Harris' teaching. I always hear him talk about "mistakes" and "wrong notes" like he only accepts what you play if you play exactly like him. Everything in me feels uncomfortable with this approach. I would get depressed if he was my teacher and I can't even watch him teach others. for me this has nothing to do with the open spirit of jazz. nevertheless, as I said, it's interesting to explore the possibilities of this scale, so thanks for the insights!
If he could be any louder on that damper pedal
What do you mean by "strong notes?" Do you mean "dominant?"
Another question...with this concept in mind...you're saying that you can start on a new diminished 6th scale after each 4/4? In the beginning you're playing a c major with a 6 diminished...so i could go to a g major 6th diminished? Thanks.
Strong Notes probably means chord tones that define the character of the chord, like the 3rd and 7th.
Having watched again he means any chord tone. Root, 3rd, 5th, 6th (in the early example).
Jerry Coker calls this a major bebop scale.
Not talking modes as you usually do ?? 😁
Is this the same as the mixolydian mode?
‘Cadien Canaille Not really! Mixolydian is a major scale with a b7 degree, whereas this is a major scale with an additional #5/b6 passing note :)
Harmonic major....
Just making up stuff.
You are describing all the things that Barry says are wrong: playing the whole scale, seeing it as whole and half steps, playing arpeggios on the down beat from one ...
Then 7:17 onwards... no, just no. Why aren't you playing the exercise that Barry teaches to show students the flow of it? You're maybe confusing yourself with the four voicings - you lost the feel Barry teaches. 6th diminished is just where Barry starts off talking about music so that people will understand what he is playing. He is not teaching strictly 6th diminished scales to people. Not at all. His technical knowledge of music theory is a bit lax . Don't approach him straight up in a bookish way. He is teaching you how to re-create a sound... he is not teaching you raw music theory in a vacuum.
Thx for writ8ng for me. I am astounished. So i get more students...
There is a more important concept that you didn’t mention. If you draw the chromatic circle and label the notes of C major, you’ll notice that D Dorian is symmetrical and Ab/G# is the tritone. The other accidentals aren’t symmetrical like this.
Jesse Carpenter How is this more important?
Huh? 🤔😎😳😊
heeey heeey hooo hooo sophie need t iiioooooooooooostyuyyuuuuyyuydt
so fast
These are just bebop scales..😊
i wonder about all this BH BS....i was curious so picked up a copy of BH for guitar...after a bit of reading and pondering it seemed BH was saying simple things in complicated ways. as if he was trying to recreate an existing system to confused others and, would appear knowledgeable by explaining it. he just recreated the wheel but made it no rounder nor more concentric when rotating...simply made the wheel more out of balance. so of i went i search of BH live and was not surprised to find my suspicions confirmed. he plays like a child compared to oscar peterson. just plain crap..i tossed the BH BS book in the wood stove page by page and have moved on to learning with better ways of ciphering...simplicity is art..i find no art in BH BS...
Please. Never dye your hair red again. Thanks.
bebop scale ! nothing new !
Thanks!