Tremendous concepts were very clearly explained in this vid.This is like a whole new.landscape! Your excellent skills on the piano are perfectly matched with your teaching gifts! Thank you!👍
This is pure fire. I have been a fan of Barry Harris's amazing ideas, and you are doing a great job putting it in context. I will study this for the rest of my days.
Awesome lesson. You pack a ton of information into a short video and I Always Learn something from you. Excellent series.. I can't wait to see them all. Thank you for making these.
Amazing talents and skills you have!! You’re a gift to all of us! Wish you could do some more beginner type stuff ... or take it down just a notch. Your vids are definitely for the intermediate player but for those with some basic understanding of chord progressions and scales, it would be amazing to see these vids slowed down a notch (especially with the fingering). Either way, still pushed us beginners to focus harder and watch again and again to learn. All good!! THANKS!!!
Thank you!!! This is so helpful! I'm an old hack who's finally decided to take music seriously, just for the hell of it. I can't Intuit jazz, so I need this. Bravo, sir.
This is such a powerful technique to master. You did a very good job explaining it. It's still a slightly advanced concept for me; but I will walk this over and over again to Master this in every key. Thanks again.
One of the most fascinating videos I have heard on RUclips. Just stumbled on this lesson and am in awe of this concept. Sounds terrific. Thank you so much for sharing. I'm subscribing immediately. Thanks again.
Thank you very much for putting this very useful and clear video together. I look forward to checking out your other posts and receiving new ones. Muchas gracias, Snr.
I've been aware of Barry Harris and is use of the 6th Diminished scale, for a few years now. I must admit, your tutorial makes it much easier to understand. I'm still going to have to watch the video several more times, but the way you explain this concept is very clear & concise.
Awesome lesson!!!! My questions about 6th diminished answered!! Thank you..I will keep watching your lesson brother!! Thank you so much!!! God Bless You!!!
I saw Berry Harris's video on the diminished 6th scale and it left me excited but totally confused. After watching your video and I was more excited and not quite so confused. I need more help to really understand these wonderful progressions. This is the type of progressions I have always wanted to play....if I new how, I'd play with them all day. Thanks for getting me on the right track again. I found your other videos as fascinating almost as much as this one. If you can give me more info on Dim movements it would be greatly appreciated. Keep up the good work!!!!!
Thank you guys so much. I have learnt a lot from your tutorials. I just wanted to ask if its possible if you can put some of these concepts into practice like covering some Jazz standards and using the techniques you showed us. You have already done this is some of the tutorials but I would be greatly appreciative if you could cover some more. Thank you very much.
I was using this idea sort of rigidly, like just the basics of it all. Like at 2:50- just the two chords (6th + dim) and their inversions. This vid showed me I should 'borrow' the diminished notes a bit more and use them to add onto the chords, like 4:50. Very nice.
Quiero llorar, es parte de lo que he estado queriendo aprender de hace mucho tiempo atrás. Más que suscrito, y deseoso de ver el contenido que sigas añadiendo al canal. Gracias, un abrazo.
I'm a gospel musician I'm learning jazz I like your tutorials and I can see you went to Professor Barry Harris classes to be a Mexican brother you are awesome teacher
I would really like to know how you get speed watching you do the 6th diminished scale I can understand the basic concept what is actually hard for me too do that if only you could be a little bit more pacific in a little bit slower preciate a brother trying to help somebody else out
Hola hermano que tal… Me alegra saber que hay personas que les gusta compartir sus conocimientos musicales, esa armonía es maravillosa, soy pianista y te cuento que al igual que otra persona que te escribió sobre los recursos musicales del vídeo, también había estado buscando este tipo de armonía para hacer consultas a músicos experimentados o buscarlo en internet. Quisiera que hicieras un vídeo con el tema Motivo del autor venezolano Ítalo Pizzolante aplicando la Escala Mayor Sexta Disminuida y te digo que con ese tema porque a partir de los acordes que arroje ese tema creo que se pueden aprovechar y aplicarlos para otras canciones como recurso armónico. De antemano te agradezco toda la ayuda que puedas brindar al respecto. Saludos y que Dios lo bendiga…
Great video. I was wondering if you could explain why the diminished scale also works for dominant chords a half step below since that contains chord tones outside the scale?
i was thinking the same thing the A flat is not part of the the scale...Ok i think what's is going on is he is using notes from the diminished scale not just the arpeggio notes ...so half step whole step coming off the Gdim..which makes sense when u think about it
You should play the minor 6 diminished scale found a half-step above the root of the dominant. In this case, he should have said F minor 6 diminished scale over the E7. The reason for this is that these notes are a perfect altered scale for the E7, as they contain the flat 9, sharp 9, 3rd, sharp 11 or flat 5, flat 13, flat 13, seventh and tonic.
Dylan Ralph, I think that's right. Ive been trying to work this one out too and now it makes more sense. The terms I think Dr Harris would have used are that you are using the tritone's minor. F minor6 (and its 6th diminished scale) is the 'important minor' built from the 5th of Bb7 which is the tritone of E7.
You can also see on the video when he says he is borrowing diminished notes for E7, he is holding down Ab in both hands. In the previous chord (F major) he is holding A. So for E7 he does seem to be using F minor6 and its 6th / diminished scale!
Very nice example. The chord before the dominant chord is a sus chord. The notation is odd (e.g. D7 9 11 instead of D sus 9 11). The dim notes being borrowed are not from the Maj6 scale but from the Maj6 b5 scale (or relative mn6 scale, as the printed version shows). This (using borrowed notes from the Maj6 flat chord, e.g. FABD instead of FACD sounds very good, and is easier to play than the Maj6 version would be, where you’d be moving from CD to AC to CD which is clunky and more difficult than the actually played BD to AC to BD, not to mention that it sounds better. The Maj 7 chord already has the 7 as a borrowed note. Then the #5 is added to that. That’s a neat trick! Also the voicing is cool, where both hands are doubled except when playing a sus or dom7 chord.
Hello, my name is Markus, I play guitar and watched nearly all the videos from Barry's workshop. I already started to work out concepts to play scale of chords on the guitar also with borrowed notes and contrary. But there are some things I don't get yet how to apply all of it, im glad that I discovered your channel so that I can ask someone. ;-) OK, in this progression you show you borrow the diminished notes from the F6-dim for the following E7. The E7 has E G# B D and the dim notes from F6-dim are G Bb Db E this means that the E7 gets a #9, b5 and 13. This makes sense to me since these alterations are also found on the symmetrical dim scale. One can see the E7 as a SubV that goes to Ebmaj, but there is that #9 that doesn't fit the E lydian b7. So why do you borrow dim notes from F6th-dim for E7 theres something I don't get. Also before you go to E7 you play the relative minor from Fmaj wich is Dm, do you play the Dm6-dim scale then? I hope my comment isn't too long and the questions make sence somehow ;-) greetings from Austria
Fantastic!!! I have been trying to get a handle on this for a while but you laid it out correctly right from the beginning. Barry was a great developer but a discontinuous "explainer" [Bu we still loved him]. Sei Italiano?
Thanks for another excellent video! Again, you have presented the most comprehensive and easily understandable tutorial of the Barry Harris 6th Diminished Scale method that I've come across. Of course, the bigger lesson here is you demonstrating how to easily organization the stuff into practical applications. However, I love when I can understand the logical scale/chord relationships and learn where they are derived from within harmonic theoretical context to make any practical sense to me-as with the four diminished and four b9 chords in each of their diminished scale families do so perfectly. But here, you explain the use of the F 6th diminished scale to be used over both the F Maj. and E7 in bar one, then modulate the scale respectively throughout the chord progression. Please, correct me if I'm wrong, but are you instead, pivoting from Fmaj to its relative minor Dmi7 in order to pull the E7(b9) and borrow from the D diminished scale family? So, technically, you wouldn't be using the F 6th diminished scale over both the FMa and E7. That seems to be the only way I can logically explain or justify the upper structure tones for E7 being used in the example? If anyone has some insight on clearing this up, I would love to hear your thoughts.
a great lesson!... could you please! make short tutorial about the function of diminished and augmented chord, and how it can blended together to create jazzy sound! I can't wait for that. two thumbs up from Bali. thanks a lot.
I eventually figured out what you were doing on the fourth try through the video. But I can't see where the b natural comes from in the first iteration in the chord of F. It isn't in the scale. Can you consider more videos on this subject? Thanks.
It doesn't, E dominant is a different diminished scale but he marks A# (11#) and C# (13) in the chords because these notes form the glue with F diminished scale. (I think)
If you take the F diminished 7 chord and flatten one of its Four tonics the F to E it now spells (E Ab B D) look familiar? that is E dominant, it comes from that diminished scale. In fact you can note that if you take any diminished chord and include all four of its roots half step flattend Dominant notes in a scale form it gives you the half whole diminished scale.
Thank you for this fantastic video. Could the C6th Diminished Scale be used over an Am7 chord? being that Am7 is effectively the same right hand voicing as C6.
Enchanting! But I am afraid I didn't get a thing... Expecially the armonization of the major scale with the 6b, whay does it change so much?! Anyway, super cool!!! I'll go through the video many many more times. Thanks!
Finally someone applied the "borrowed diminished note concept" into a BEAUTIFUL practice model! Great job. However, I think you are using the relative minor 6 scale in this application (F major7, Fmajor #5, to D minor 6 then borrowing 2 notes from the associated diminished)...agreed? Either way you have done a phenomenal job and I am really looking forward to learning more from you!
Yes, there's definitely a Dm6 (D, F, A, B) in there. Frame by frame, it seems he's going from F maj#5 to F, A + borrowed Bb in addition to the Db or C#, which two borrowed notes then move 1/2 step down to B, D to form the Dm6. I can't figure out where the 9 (F#) from the E came from, though.
Hi Guys I am studying the method, hope that helps. F maj 6 dim scale = (F6 = F,A,C,D) + (Gdim7= G, Bb, Db, E) for Fmaj and E7 chords Eb maj 6 dim scale = (E6 = Eb,G,Bb,C) + (Fdim7= F,Ab, B, D) for Eb and D7 chords Db maj 6th dim scale = (Db6 = Db,F,Ab, Bb) + (Ebdim7= Eb,Gb, A, C) for Db and C7 chords C7b5+Ddim = C7b5 dim scale would have the F# for E7 chord from the Barry scale reminder
Thank you very much for your great lecture. I have a question! It says Em6(11) in 2:11. E, A, D, G E, Root A is 11 degrees, E is 7 degrees, G is only 3 degrees in Root. E6 should have C#, but it didn't come out. Was this a wrong mark? I think it was Em7(11), but I'd like to know the exact marking.
I agree with Em7(11). I consider it just a minor typo and am moving on, and not dwelling on why no response. You could possibly more precisely even call it Em7(11) (no 5). A lot of ways to look at it, different ways to spell it, but it has to make sense to you, for instance, I'm thinking of the Fm/D as a Dm7(b5)...just works for me, may hold me back later but for now it works.
Hey why did you use dm6 instead of dm7 (which is f6) for the f6 diminished scale leading into E7? The only thing I can think of is dm6 with the 3rd in the bass has the flat 2 and the 4th of the E7 which leads nicely into E7.
At 4:53, as you say, ’let’s borrow notes from the F major 6th dim scale’ , you play a B natural. Can you explain the choice of this note, since it isn’t in the f maj 6th dim scale? Thank you!
I apologize you just got a lovely accent you know I have one question I am practicing on my 251 I am used to doing my 251 with my right hand it's like when I played in Hammond B3 organ I could do a little bit more your tutorial very helpful I am a self-taught musician so I'm learning a lot from you Barry Harris was a great musician I'm just not discovering how to use the leaks and runs and scales on what's relative thank you
+Emmett House Thanks Emmett! I think I know what you are saying. We have to break the scales up to be able to use them more creatively I promise will explain this concept on the next video on minor chords improvisation. Thank you for watching and commenting!
Great Video. Can someone help me out why there is a b-note in the movement at 4:52 ? I think b is not part of the F-major diminished 6 scale? It sounds alright but b is not in the scale, I think c would be the scale-note. It's in the progression Fmaj7 to E7. the first passing notes. The upperstructure-chord is f-a-b-d? Where does the b come from? Thanks a lot.
Thank you for your posting. I'm new to this concept...please forgive my confusion. I have a question about the example of the Imaj7-VII7. In the Fmaj7 it makes complete sense why you were able to "borrow" the C# to create a Fmaj7#5...as this is a blending of the alternating F6 and C#dim7 chords that comes from the Harris scale. My confusion lies within the "movement" that takes place to lead into E7. It sounds to me like you are using the Ddim scale to move into E7...which totally works...but you state in the video that you are using the "Fmaj6 and its relative diminished tones" to get into E7....at the same moment the chords above the piano say "Dmin6" which would explain the "B natural". I'm sure that I'm just missing something. I truly appreciate your time in responding. All my best
most videos i have found limit this to the C6 and Ddim7 inversion cycle. which is great and the backbone of this. but it "only" gts you that Django Gypsy jazz more traditional sound. but we all know what we are after here :). it's those tasty sounding (i'm getting a whole tone scale feeling..could be wrong) hybrid voicings created by borrowing the notes and mixing the C6 and the Ddim chord, right? thx for this video. now it's time to go and play around with this!
seb bo go watch that one guy Conner’s videos, he goes into depth on different ways to move around through these scales and how to actually apply it to voices instead of just learning premade movements
Great vid ... but I think there is a slight mistake in the notation ... the 3rd chord in the scale is not an Em6(11) but just Em(11) ... that is also what is being played
I don't understand in the Fmaj7 you're using dm6 diminished scale. with a b natural? Why? also the diminished notes you're using in the E7 aren't in the diminished chords found in either the fmaj7 or dm6 (E G Bb C#). Aren't you using them from the Amaj7 (G# B D F). Please explain what scale you play over a dominant chord.
Idk what part you're talking about but an Fmajor7 could be the I chord in F major but it could also be the IV chord in C major which of course has a b natural so that could explain it.
It's not BORROWED NOTES is it though. 4:23, specifies its the F major 6th dim scale. Diminished notes are E G Bb and Db. Notice the graphic goes straight to Dm6 dim6 scale, changes the tonality completely without saying why. Initially it's going from the tonic major, and you can't justify it's the relative minor as it would be a Dmin7 not a min6. Makes no sense at all. Same goes for the E7. So these aren't BORROWED NOTES I'm afraid.
Noah Pereira kindly note that the Barry Harris method is a disjoint scale with a 6th chord C E G A and a dim 7th chord of B D F G# this disjoint allows for the alternation of both chord to play the whole scale
The B natural appears over the E7 as it forms part of an F diminished 7 chord. This is actually where an E7 chord comes from. If you take the F diminished 7 chord and flat only the F, you get E7. If you go back and now only flat the A flat, you get G7. Do this for the last two and you will realise that E7, G7, B flat 7 and D flat 7 all come from that same diminished chord. The roots of all these chords form another diminished chord, E diminished 7. If you put these two diminished seven chords together, that's what a diminished scale is.
The 6th diminished jazz scale? From when there is “jazz scale“? Everything in jazz is based on classical harmony, so it is better to say scales that are used common in jazz. These kind of things were already used a lot in 19th and 20th classical music.
This scale is the same of the so called major "be bop" scale this name was invented by the teacher David Baker. The diatonic scales plus a chromatic note are called be bop notes, there is the dominant (mixolidian) bebop scale, the halfdiminished bebop scale and so on. Boppers use these scale since Forties in order to fit the measure of 4/4 with eight notes of the same value, from this the name "bebop" scale. Anyway it is not true that everything in jazz is based on classical harmony, jazz is a phenomenon of cultural syncretism and european music is only a part of it, many things like the vocal intonation (and the instrumental application of it) or ethnic scales come from differentes cultures. The name "jazz scale" is only descriptive, even the hexatonic scale is often referred to as "Debussy scale" even if Debussy did not invented it. It simple means that jazz players use it intensively.
Of course that not everything in jazz is based on classical harmony and scales, but 95% is :D I am just relaxing and not saying that you don’t have knowledge, but maybe “jazz“ musicians should start listening 19th and 20th century classical music and realize some things in life that there is no “jazz harmony“, “jazz chords“, “jazz scales“ just like there is no pop, rock, metal, techno chords or scales or whatever. How do you use chords and scales is your free choise. Every musician should experiment and use chords and scales in way that he likes. Vast majority of jazz musicians that I have met in my life think that Beethoven and Mozart are only classical composers in world and if you use extended chords or syncopation then your composition is jazzy, lol.
Theo Martin, I am a classical trained musician and I also play jazz. I don't know which kind of jazz musician you met in your life but it's well known that jazz musicians began to study classical music in theory and practice since Forties and maybe sooner. We in Italy study jazz music in our Conservatories side by side with classical music and this allows us to realize what really is jazz. A big italian musicologist who was at same time a classical composer and a jazz player, Giorgio Gaslini, wrote a very deep book about jazz and its differences with european classical music. The key to the understanding is the blues and of course a musician only classical trained cannot even know what we are speaking about. Funny that an european guy should defend afroamerican music that is one of the things americans should be proud of, lol!
Domingojazz All new music is “different“ from european classical music. Dream Theater, Symphony X, ABBA, Queen, Radiohead, A-HA, Bill Evans, Keith Jarrett they are sound different and have different approach to music, but classical music is still vast majority over their music. It is something new how it sounds, but you can’t tell that Paul McCarnety, Freddie Mercury or Dream Theater invented new harmonies, chords, scales just because they sound “different“ than traditional classical music. Even all classical composers sound different and you can find difference between them, because they grown up in different countries, with different cultures and folk music. Of course that jazz have some differences with classical music just like every new music have, but still chord is chord, scale is scale. You can’t call some chord “jazz chord or jazz scale“ just because some jazz musician used it. Or you can’t call some chord or scale “rock“ scale just because some random rock musicians used it. That was my whole point. I listen different kinds of music. From classical to jazz, from metal to pop, from dance to folk, but everything that musicians use today is already based on 1,000 years long tradition of church music and modes and folklore. You have pentatonic scale in West Africa (Mali), but also you have pentatonic scale in Anglo-Celtic music, East Asian music, Sammy music and others. Whole Japanese or Chinese music is based on pentatonics. You live in free conditions now to experiment with music and try new things. Many classical composers didn’t have that luck, because of the society, religion, church. Atonality was considered many centuries like “degeneration“ from the church. Just little information. You probably know that already.
We are not speaking about stylistic differences but about theoretical and practical evolution of music. Jazz music take birth at the beginning of 20th Century from the union of two different musical worlds: the western music and the african vocal approach different in intonation an rhythmically. This lead to a very original music form that was originally based on western harmony (Ragtime is 100% western harmony) and afterwhile the union with the Blues lead to a particular form of harmony that you wont see described in any classical harmony book. Permanent four parts harmony and then up to seven parts harmony in tonal environment that leads to a complete different voice leading, the superimposition minor/major typical of Blues, the “blue notes” that come from the african vocal intonation and are transferred on instruments like guitar and sax, the permanent chromatic nature of harmony in tonal environment, the diatonic scales modified in order to become octatonic scales (like Barry Harris makes), the theory and praxis of modern improvisation, the description and explication of the so called “outside playing”, the jazz modality (that is different from the one o Middle Ages and Renaissance), the free jazz structures and many other things is something you wont find in any classical harmony book, even those who speak of the contemporary music (like Persichetti book). From Fifties on, thanks to the theorist George Russell who published the book “Lydian Chromatic Concept of Tonal Organization” we can say there is a “jazz theory” that tries to explain what jazz players do. You can like it or not but for your culture should be better not to close yourself in your ivory tower, this would be a very old and surpassed euro-centric cultural approach while Western music actually represent a very little and modest percentage of the music produced in the World. By the way I don’t understand why you focus so much on pentatonic scales. Pentatonics and blues scales are of course used in jazz as hundreds of other scales like armonic minor, melodic minor, armonic major and all their modes, diminished and augmented scales and ethnic scales and many others. To conclude, the name “jazz scale” is a legitimate name like “blues scale” to indicate a particular scale used, if not invented, by jazz players. Classical musicians made the same calling “Pijper scale” the diminished scale or, as I said, “Debussy scale” the exatonic scale. Pijper and Debussy did not invented diminished and exatonic scales but no one ever made a big deal of this.
At the request of the subscribers, we started the new series "Piano for the Modern Musician" available at insidepiano.com/register
Tremendous concepts were very clearly explained in this vid.This is like a whole new.landscape! Your excellent skills on the piano are perfectly matched with your teaching gifts! Thank you!👍
This is pure fire.
I have been a fan of Barry Harris's amazing ideas, and you are doing a great job putting it in context.
I will study this for the rest of my days.
IT IS YOU WHO ARE AWESOME MY FRIEND. YOU HAVE JUST OPENED MY EARS. I THANK YOU !
I am soooooooooooo blessed to have found you. Finally, I know what I'm doing with chords. You take the mysery out of "how to build chords." Thank you.
Awesome lesson. You pack a ton of information into a short video and I Always Learn something from you. Excellent series.. I can't wait to see them all. Thank you for making these.
+Joel Stopka Thanks Joel for all your support!
Amazing talents and skills you have!! You’re a gift to all of us! Wish you could do some more beginner type stuff ... or take it down just a notch. Your vids are definitely for the intermediate player but for those with some basic understanding of chord progressions and scales, it would be amazing to see these vids slowed down a notch (especially with the fingering). Either way, still pushed us beginners to focus harder and watch again and again to learn. All good!! THANKS!!!
Thank you!!! This is so helpful! I'm an old hack who's finally decided to take music seriously, just for the hell of it. I can't Intuit jazz, so I need this. Bravo, sir.
This was really useful, I never thought it was easier than I thought. More ands in life. Peace and Love
A great learning experience from your videos, especially the song you played demonstrating the 6th dim Jazz Scale. Thanks.
This is such a powerful technique to master. You did a very good job explaining it. It's still a slightly advanced concept for me; but I will walk this over and over again to Master this in every key. Thanks again.
I already started applying this.... and I'm a guitarist! Easiest vid to understand Barry Harris method.
+john444jc That's Awesome! Thank you for watching John.
john444jc
Same
Maybe you can clerify how dm6 is working with F major sixth deminish scale?
One of the most fascinating videos I have heard on RUclips. Just stumbled on this lesson and am in awe of this concept. Sounds terrific. Thank you so much for sharing. I'm subscribing immediately. Thanks again.
+David Faria Thank you for your wonderful comment! I'm glad you liked it.
Can't wait for your other tutorials.
Thank you very much for putting this very useful and clear video together. I look forward to checking out your other posts and receiving new ones. Muchas gracias, Snr.
Very Clear, Precise and amazingly insightful.
I've been aware of Barry Harris and is use of the 6th Diminished scale, for a few years now. I must admit, your tutorial makes it much easier to understand. I'm still going to have to watch the video several more times, but the way you explain this concept is very clear & concise.
Thank you! another great lesson
Brilliant tutorial. Thank you.
Awesome lesson!!!! My questions about 6th diminished answered!! Thank you..I will keep watching your lesson brother!! Thank you so much!!! God Bless You!!!
+Steve B.Evans MMz Thank you Steve!
I saw Berry Harris's video on the diminished 6th scale and it left me excited but totally confused. After watching your video and I was more excited and not quite so confused. I need more help to really understand these wonderful progressions. This is the type of progressions I have always wanted to play....if I new how, I'd play with them all day.
Thanks for getting me on the right track again. I found your other videos as fascinating almost as much as this one. If you can give me more info on Dim movements it would be greatly appreciated. Keep up the good work!!!!!
A terrific lesson. Thank you.
Thank you guys so much. I have learnt a lot from your tutorials. I just wanted to ask if its possible if you can put some of these concepts into practice like covering some Jazz standards and using the techniques you showed us. You have already done this is some of the tutorials but I would be greatly appreciative if you could cover some more. Thank you very much.
Best Video On The Scale by Far !!! I'd give many likes
Amazing hermano 😃🎸🎶🎶
I was using this idea sort of rigidly, like just the basics of it all. Like at 2:50- just the two chords (6th + dim) and their inversions. This vid showed me I should 'borrow' the diminished notes a bit more and use them to add onto the chords, like 4:50. Very nice.
Guys I found the best website that will help you to learn piano
that is PianoLessons99.blogspot.com Hope this will help…
Muy bueno! Congrats!
Quiero llorar, es parte de lo que he estado queriendo aprender de hace mucho tiempo atrás.
Más que suscrito, y deseoso de ver el contenido que sigas añadiendo al canal.
Gracias, un abrazo.
Thank You so Much
I'm a gospel musician I'm learning jazz I like your tutorials and I can see you went to Professor Barry Harris classes to be a Mexican brother you are awesome teacher
+Emmett House Thank you Emmett! Although I'm Argentinian.
I'm going to keep an eye out on your teaching wow
+InsidePiano Video Tutorials tought you were italian like me… very good lesson, please more on application of Barry Harris concepts..
I would really like to know how you get speed watching you do the 6th diminished scale I can understand the basic concept what is actually hard for me too do that if only you could be a little bit more pacific in a little bit slower preciate a brother trying to help somebody else out
Simply awesome!!!
Hola hermano que tal… Me alegra saber que hay personas que les gusta compartir sus conocimientos musicales, esa armonía es maravillosa, soy pianista y te cuento que al igual que otra persona que te escribió sobre los recursos musicales del vídeo, también había estado buscando este tipo de armonía para hacer consultas a músicos experimentados o buscarlo en internet. Quisiera que hicieras un vídeo con el tema Motivo del autor venezolano Ítalo Pizzolante aplicando la Escala Mayor Sexta Disminuida y te digo que con ese tema porque a partir de los acordes que arroje ese tema creo que se pueden aprovechar y aplicarlos para otras canciones como recurso armónico. De antemano te agradezco toda la ayuda que puedas brindar al respecto. Saludos y que Dios lo bendiga…
Great video. I was wondering if you could explain why the diminished scale also works for dominant chords a half step below since that contains chord tones outside the scale?
i was thinking the same thing the A flat is not part of the the scale...Ok i think what's is going on is he is using notes from the diminished scale not just the arpeggio notes ...so half step whole step coming off the Gdim..which makes sense when u think about it
You should play the minor 6 diminished scale found a half-step above the root of the dominant. In this case, he should have said F minor 6 diminished scale over the E7. The reason for this is that these notes are a perfect altered scale for the E7, as they contain the flat 9, sharp 9, 3rd, sharp 11 or flat 5, flat 13, flat 13, seventh and tonic.
Dylan Ralph, I think that's right. Ive been trying to work this one out too and now it makes more sense. The terms I think Dr Harris would have used are that you are using the tritone's minor. F minor6 (and its 6th diminished scale) is the 'important minor' built from the 5th of Bb7 which is the tritone of E7.
You can also see on the video when he says he is borrowing diminished notes for E7, he is holding down Ab in both hands. In the previous chord (F major) he is holding A. So for E7 he does seem to be using F minor6 and its 6th / diminished scale!
Great video, I feel like I can finally play like Bill Evans ! :)
Very nice example. The chord before the dominant chord is a sus chord. The notation is odd (e.g. D7 9 11 instead of D sus 9 11).
The dim notes being borrowed are not from the Maj6 scale but from the Maj6 b5 scale (or relative mn6 scale, as the printed version shows). This (using borrowed notes from the Maj6 flat chord, e.g. FABD instead of FACD sounds very good, and is easier to play than the Maj6 version would be, where you’d be moving from CD to AC to CD which is clunky and more difficult than the actually played BD to AC to BD, not to mention that it sounds better.
The Maj 7 chord already has the 7 as a borrowed note. Then the #5 is added to that.
That’s a neat trick!
Also the voicing is cool, where both hands are doubled except when playing a sus or dom7 chord.
Excellent!!!!
Very good !
+Chayapol Emapana Thanks! I like your Rachmaninoff video.
Muchísimas gracias eres genial
Hello,
my name is Markus, I play guitar and watched nearly all the videos from Barry's workshop.
I already started to work out concepts to play scale of chords on the guitar also with borrowed notes and contrary.
But there are some things I don't get yet how to apply all of it, im glad that I discovered your channel so that I can ask someone. ;-)
OK, in this progression you show you borrow the diminished notes from the F6-dim for the following E7.
The E7 has E G# B D and the dim notes from F6-dim are G Bb Db E this means that the E7 gets a #9, b5 and 13.
This makes sense to me since these alterations are also found on the symmetrical dim scale.
One can see the E7 as a SubV that goes to Ebmaj, but there is that #9 that doesn't fit the E lydian b7.
So why do you borrow dim notes from F6th-dim for E7 theres something I don't get.
Also before you go to E7 you play the relative minor from Fmaj wich is Dm, do you play the Dm6-dim scale then?
I hope my comment isn't too long and the questions make sence somehow ;-)
greetings from Austria
This lesson was awesome. Which bass line would fit best this chord progression
Graciasuy explicativo
Fantastic!!!
I have been trying to get a handle on this for a while but you laid it out correctly right from the beginning.
Barry was a great developer but a discontinuous "explainer" [Bu we still loved him].
Sei Italiano?
Thanks for another excellent video! Again, you have presented the most comprehensive and easily understandable tutorial of the Barry Harris 6th Diminished Scale method that I've come across. Of course, the bigger lesson here is you demonstrating how to easily organization the stuff into practical applications. However, I love when I can understand the logical scale/chord relationships and learn where they are derived from within harmonic theoretical context to make any practical sense to me-as with the four diminished and four b9 chords in each of their diminished scale families do so perfectly. But here, you explain the use of the F 6th diminished scale to be used over both the F Maj. and E7 in bar one, then modulate the scale respectively throughout the chord progression. Please, correct me if I'm wrong, but are you instead, pivoting from Fmaj to its relative minor Dmi7 in order to pull the E7(b9) and borrow from the D diminished scale family? So, technically, you wouldn't be using the F 6th diminished scale over both the FMa and E7. That seems to be the only way I can logically explain or justify the upper structure tones for E7 being used in the example? If anyone has some insight on clearing this up, I would love to hear your thoughts.
a great lesson!... could you please! make short tutorial about the function of diminished and augmented chord, and how it can blended together to create jazzy sound! I can't wait for that. two thumbs up from Bali. thanks a lot.
Simple awesome!!!
I eventually figured out what you were doing on the fourth try through the video. But I can't see where the b natural comes from in the first iteration in the chord of F. It isn't in the scale. Can you consider more videos on this subject? Thanks.
Thanks!
Thanks for the video! Why are you using the F diminished scale for F and E Dominant? Specifically, why does it also work on E dominant?
It doesn't, E dominant is a different diminished scale but he marks A# (11#) and C# (13) in the chords because these notes form the glue with F diminished scale. (I think)
If you take the F diminished 7 chord and flatten one of its Four tonics the F to E it now spells
(E Ab B D) look familiar? that is E dominant, it comes from that diminished scale. In fact you can note that if you take any diminished chord and include all four of its roots half step flattend Dominant notes in a scale form it gives you the half whole diminished scale.
Thanks 👍. I did not understand the dim 6th thing. Do you have a written handout?
sos un capo !!!!!
Thank you for this fantastic video. Could the C6th Diminished Scale be used over an Am7 chord? being that Am7 is effectively the same right hand voicing as C6.
Enchanting! But I am afraid I didn't get a thing... Expecially the armonization of the major scale with the 6b, whay does it change so much?! Anyway, super cool!!! I'll go through the video many many more times. Thanks!
Finally someone applied the "borrowed diminished note concept" into a BEAUTIFUL practice model! Great job. However, I think you are using the relative minor 6 scale in this application (F major7, Fmajor #5, to D minor 6 then borrowing 2 notes from the associated diminished)...agreed? Either way you have done a phenomenal job and I am really looking forward to learning more from you!
Yes, there's definitely a Dm6 (D, F, A, B) in there. Frame by frame, it seems he's going from F maj#5 to F, A + borrowed Bb in addition to the Db or C#, which two borrowed notes then move 1/2 step down to B, D to form the Dm6. I can't figure out where the 9 (F#) from the E came from, though.
Hi Guys I am studying the method, hope that helps.
F maj 6 dim scale = (F6 = F,A,C,D) + (Gdim7= G, Bb, Db, E)
for Fmaj and E7 chords
Eb maj 6 dim scale = (E6 = Eb,G,Bb,C) + (Fdim7= F,Ab, B, D) for Eb and D7 chords
Db maj 6th dim scale = (Db6 = Db,F,Ab, Bb) + (Ebdim7= Eb,Gb, A, C) for Db and C7 chords
C7b5+Ddim = C7b5 dim scale would have the F# for E7 chord from the Barry scale reminder
Hello how can you apply this to gospel piano please and thanks for the video it's awesome
Thank you very much for your great lecture.
I have a question!
It says Em6(11) in 2:11. E, A, D, G E, Root A is 11 degrees, E is 7 degrees, G is only 3 degrees in Root. E6 should have C#, but it didn't come out. Was this a wrong mark? I think it was Em7(11), but I'd like to know the exact marking.
I agree with Em7(11). I consider it just a minor typo and am moving on, and not dwelling on why no response. You could possibly more precisely even call it Em7(11) (no 5). A lot of ways to look at it, different ways to spell it, but it has to make sense to you, for instance, I'm thinking of the Fm/D as a Dm7(b5)...just works for me, may hold me back later but for now it works.
thanks
Hey why did you use dm6 instead of dm7 (which is f6) for the f6 diminished scale leading into E7? The only thing I can think of is dm6 with the 3rd in the bass has the flat 2 and the 4th of the E7 which leads nicely into E7.
At 4:53, as you say, ’let’s borrow notes from the F major 6th dim scale’ , you play a B natural. Can you explain the choice of this note, since it isn’t in the f maj 6th dim scale? Thank you!
I apologize you just got a lovely accent you know I have one question I am practicing on my 251 I am used to doing my 251 with my right hand it's like when I played in Hammond B3 organ I could do a little bit more your tutorial very helpful I am a self-taught musician so I'm learning a lot from you Barry Harris was a great musician I'm just not discovering how to use the leaks and runs and scales on what's relative thank you
+Emmett House Thanks Emmett! I think I know what you are saying. We have to break the scales up to be able to use them more creatively I promise will explain this concept on the next video on minor chords improvisation. Thank you for watching and commenting!
Gracias!
great
Sensacional!!
Great Video. Can someone help me out why there is a b-note in the movement at 4:52 ? I think b is not part of the F-major diminished 6 scale? It sounds alright but b is not in the scale, I think c would be the scale-note. It's in the progression Fmaj7 to E7. the first passing notes. The upperstructure-chord is f-a-b-d? Where does the b come from? Thanks a lot.
sensn sounds ...I thought the same thing. Not sure why it’s there, other than it sounds good.
спасибо! Очень круто!!!
Waoooo, excellent
Nice videos could you please do the songs The Nearness Of You and Lullaby Of Birdland.
There is any book where i can explore of this content Like you Aplly on last Song??
Best regards
Thank you for your posting. I'm new to this concept...please forgive my confusion. I have a question about the example of the Imaj7-VII7. In the Fmaj7 it makes complete sense why you were able to "borrow" the C# to create a Fmaj7#5...as this is a blending of the alternating F6 and C#dim7 chords that comes from the Harris scale. My confusion lies within the "movement" that takes place to lead into E7. It sounds to me like you are using the Ddim scale to move into E7...which totally works...but you state in the video that you are using the "Fmaj6 and its relative diminished tones" to get into E7....at the same moment the chords above the piano say "Dmin6" which would explain the "B natural". I'm sure that I'm just missing something. I truly appreciate your time in responding. All my best
most videos i have found limit this to the C6 and Ddim7 inversion cycle. which is great and the backbone of this. but it "only" gts you that Django Gypsy jazz more traditional sound. but we all know what we are after here :). it's those tasty sounding (i'm getting a whole tone scale feeling..could be wrong) hybrid voicings created by borrowing the notes and mixing the C6 and the Ddim chord, right?
thx for this video. now it's time to go and play around with this!
seb bo go watch that one guy Conner’s videos, he goes into depth on different ways to move around through these scales and how to actually apply it to voices instead of just learning premade movements
What is the name of this beautiful ballad? Gotta tell us. Like # 1 item to address.
we need more.. lol please I got more out of 10 mins that a hour
more about this. for guitar players :)
I've been been working on the guitar version… ruclips.net/video/o454sO4ZM9g/видео.html
I don't understand why in the example you use F maj 6th dim scale fot Famaj7 and E 7 and so on
Great vid ... but I think there is a slight mistake in the notation ... the 3rd chord in the scale is not an Em6(11) but just Em(11) ... that is also what is being played
you are the fucking boss my friend
I don't understand in the Fmaj7 you're using dm6 diminished scale. with a b natural? Why? also the diminished notes you're using in the E7 aren't in the diminished chords found in either the fmaj7 or dm6 (E G Bb C#). Aren't you using them from the Amaj7 (G# B D F). Please explain what scale you play over a dominant chord.
Purecano, isn't that the whole point though? He's using BORROWED NOTES.
Idk what part you're talking about but an Fmajor7 could be the I chord in F major but it could also be the IV chord in C major which of course has a b natural so that could explain it.
It's not BORROWED NOTES is it though. 4:23, specifies its the F major 6th dim scale. Diminished notes are E G Bb and Db. Notice the graphic goes straight to Dm6 dim6 scale, changes the tonality completely without saying why. Initially it's going from the tonic major, and you can't justify it's the relative minor as it would be a Dmin7 not a min6. Makes no sense at all. Same goes for the E7. So these aren't BORROWED NOTES I'm afraid.
It's not the chord on the iv of the F as he specifies it's from IMaj7. F major is the 1 chord. Not the 4 chord. makes no sense.
Bueno bien explicado !! pero el tercer acorde Em6(11) no es un 7 (11)? la 6ta de Em es C#.
A es 11na, D es 7ma y G 3ra
Sisi, muy bien ahi! ese es 7ma, le pegue a la tecla del al lado en la compu. Fe de Erratas. LOL
Man, jazzzzzz...
B E L L I S S I M O !
But if the 6th diminished scale only has the flat 6, why did u play b natural when going from Fmaj7 to E7(9,11)?
Noah Pereira kindly note that the Barry Harris method is a disjoint scale with a 6th chord C E G A and a dim 7th chord of B D F G# this disjoint allows for the alternation of both chord to play the whole scale
The B natural appears over the E7 as it forms part of an F diminished 7 chord. This is actually where an E7 chord comes from. If you take the F diminished 7 chord and flat only the F, you get E7. If you go back and now only flat the A flat, you get G7. Do this for the last two and you will realise that E7, G7, B flat 7 and D flat 7 all come from that same diminished chord. The roots of all these chords form another diminished chord, E diminished 7. If you put these two diminished seven chords together, that's what a diminished scale is.
top
It's starts to dazzle after 4:52
On the F maj 7 chord you play a b in the scale. Doesn't that make the scale Dm6 scale? I really don't know much. Just an observation.
Ok...now i know what is happening..thx...
Like a previous viewer, I'm also unclear as to why the B natural as part of the F diminished 6 scale.
Why do you call the F6 diminished scale Dm6. When it's not the same scale? Very confusing
En español maestro ☝️
en español es difícil entenderlo, en inglés te da dolor de cabeza 🤕
Jajajaja
it's the bebop scale then
@ 2:11 - This cannot be Em6 as there's no Db in the scale..
He doesnt play the Db. He plays the D at 2:11
"Here's how you do it."
Then precede to do something that sounds nice but with a bunch of notes that don't match what was described.
Good thing I don't like how it sounds
Looks pretty time consuming to learn
Also isn't any major 7 a 6 chord with a borrowed diminished note anyway?
The 6th diminished jazz scale? From when there is “jazz scale“? Everything in jazz is based on classical harmony, so it is better to say scales that are used common in jazz. These kind of things were already used a lot in 19th and 20th classical music.
This scale is the same of the so called major "be bop" scale this name was invented by the teacher David Baker. The diatonic scales plus a chromatic note are called be bop notes, there is the dominant (mixolidian) bebop scale, the halfdiminished bebop scale and so on. Boppers use these scale since Forties in order to fit the measure of 4/4 with eight notes of the same value, from this the name "bebop" scale.
Anyway it is not true that everything in jazz is based on classical harmony, jazz is a phenomenon of cultural syncretism and european music is only a part of it, many things like the vocal intonation (and the instrumental application of it) or ethnic scales come from differentes cultures.
The name "jazz scale" is only descriptive, even the hexatonic scale is often referred to as "Debussy scale" even if Debussy did not invented it. It simple means that jazz players use it intensively.
Of course that not everything in jazz is based on classical harmony and scales, but 95% is :D
I am just relaxing and not saying that you don’t have knowledge, but maybe “jazz“ musicians should start listening 19th and 20th century classical music and realize some things in life that there is no “jazz harmony“, “jazz chords“, “jazz scales“ just like there is no pop, rock, metal, techno chords or scales or whatever. How do you use chords and scales is your free choise. Every musician should experiment and use chords and scales in way that he likes. Vast majority of jazz musicians that I have met in my life think that Beethoven and Mozart are only classical composers in world and if you use extended chords or syncopation then your composition is jazzy, lol.
Theo Martin, I am a classical trained musician and I also play jazz. I don't know which kind of jazz musician you met in your life but it's well known that jazz musicians began to study classical music in theory and practice since Forties and maybe sooner. We in Italy study jazz music in our Conservatories side by side with classical music and this allows us to realize what really is jazz. A big italian musicologist who was at same time a classical composer and a jazz player, Giorgio Gaslini, wrote a very deep book about jazz and its differences with european classical music. The key to the understanding is the blues and of course a musician only classical trained cannot even know what we are speaking about.
Funny that an european guy should defend afroamerican music that is one of the things americans should be proud of, lol!
Domingojazz All new music is “different“ from european classical music. Dream Theater, Symphony X, ABBA, Queen, Radiohead, A-HA, Bill Evans, Keith Jarrett they are sound different and have different approach to music, but classical music is still vast majority over their music. It is something new how it sounds, but you can’t tell that Paul McCarnety, Freddie Mercury or Dream Theater invented new harmonies, chords, scales just because they sound “different“ than traditional classical music. Even all classical composers sound different and you can find difference between them, because they grown up in different countries, with different cultures and folk music.
Of course that jazz have some differences with classical music just like every new music have, but still chord is chord, scale is scale. You can’t call some chord “jazz chord or jazz scale“ just because some jazz musician used it. Or you can’t call some chord or scale “rock“ scale just because some random rock musicians used it. That was my whole point. I listen different kinds of music. From classical to jazz, from metal to pop, from dance to folk, but everything that musicians use today is already based on 1,000 years long tradition of church music and modes and folklore. You have pentatonic scale in West Africa (Mali), but also you have pentatonic scale in Anglo-Celtic music, East Asian music, Sammy music and others. Whole Japanese or Chinese music is based on pentatonics.
You live in free conditions now to experiment with music and try new things. Many classical composers didn’t have that luck, because of the society, religion, church. Atonality was considered many centuries like “degeneration“ from the church. Just little information. You probably know that already.
We are not speaking about stylistic differences but about theoretical and practical evolution of music. Jazz music take birth at the beginning of 20th Century from the union of two different musical worlds: the western music and the african vocal approach different in
intonation an rhythmically. This lead to a very original music form that was originally based on western harmony (Ragtime is 100% western harmony) and afterwhile the union with the Blues lead to a particular form of harmony that you wont see described in any classical harmony book.
Permanent four parts harmony and then up to seven parts harmony in tonal environment that leads to a complete different voice leading, the superimposition minor/major typical of Blues, the “blue notes” that come from the african vocal intonation and are transferred on instruments like guitar and sax, the permanent chromatic nature of harmony in tonal environment, the diatonic scales modified in order to become octatonic scales (like Barry Harris makes), the theory and praxis of modern improvisation, the description and explication of the so called “outside playing”, the jazz modality (that is different from the one o Middle Ages and Renaissance), the free jazz structures and many other things is something you wont find in any classical harmony book, even those who speak of the contemporary music (like Persichetti book).
From Fifties on, thanks to the theorist George Russell who published the book “Lydian Chromatic Concept of Tonal Organization” we can say there is a “jazz theory” that tries to explain what jazz players do. You can like it or not but for your culture should be better not to close
yourself in your ivory tower, this would be a very old and surpassed euro-centric cultural approach while Western music actually represent a very little and modest percentage of the music produced in the World.
By the way I don’t understand why you focus so much on pentatonic scales. Pentatonics and blues scales are of course used in jazz as hundreds of other scales like armonic minor, melodic minor, armonic major and all their modes, diminished and augmented scales and ethnic scales and many others.
To conclude, the name “jazz scale” is a legitimate name like “blues scale” to indicate a particular scale used, if not invented, by jazz players. Classical musicians made the same calling “Pijper scale” the diminished scale or, as I said, “Debussy scale” the exatonic scale. Pijper and Debussy did not invented diminished and exatonic scales but no one ever made a big deal of this.
Great, if only it was s-l-o-w-e-r.
just learn to fucking use youtube
A lot of note doubling....
this is to confusing!
you are tooooo fast