It finally dawned on me that the 4 members of the family represent each of the 4 forms of dominant. Bdim7 makes Bb7, then E7 2nd inversion, then G7 1st inversion, and Db7 3rd inversion. So I just played around with the notes of a 1st inversion E7 over an A-D-E rock progression and it sounds so much richer than anything I've been capable of before. THANK YOU!
0:23 : Intro to Barry's creation theory 0:53 : Dominant chords from a diminished chord 1:53 : important ("Diminished" scale as a result of stacking two dim. chords) 2:50 : Altered chords 3:25 : play with family of chords / Barry's understanding of "movement"
Hello Chris thank you for giving us lessons and ideas on how to tackle lot of songs, I was wondering how do you learn new jazz standards (since the fake books are obviously not a good way to learn a standard)
Great video ad usual. Just wanted to know if the dominants use a Minor 6th in it"s harmonised scale or minor 6th chord tones built on the Major 2nd instead of a diminished ( 5th of the 5th)? Ty
pardon me coming back to an old video but i've been thinking about this approach to getting the diminished scales. it makes sense to me why barry objects to the half-whole and whole-half terminology, but i've never seen him say anything about distinguishing the tonic dimiished from the dominant diminished. and when i think about getting the scale from the 4 dom7s + the dim7 that their roots form, i still end up thinking half-whole and whole-half afterward to tell them apart. is there anything more to barry's approach on these? many thanks for your videos, they make me wish i was a guitar player so i could really absorb it all more directly.
If you want to still think of it as half whole that's ok. I think Barry's only point is knowing where it comes from. His family of dominants idea is so beautiful. I still work on this stuff all the time. Barry is truly a Master. I'm glad you're enjoying these.
Things I've Learned From Barry Harris thanks. does barry mainly teach diminished as a dominant function scale anyway? just curious if he splits the two diminished scale “modes” at all in his teaching and if so where and why. i’ve definitely been practicing the dominant7 families together and sometime today or tomorrow i’d like to plot them out on paper to better understand what alterations of each other that they imply. so far it’s helped me to just remember them as V7, tritone7, V7/vi, and backdoor7. and yesterday i made some backing tracks with them in different orders to help really get the families memorized more quickly and put them together in my muscle memory. but i haven’t advanced to really being able to use the diminished scales except scale practice runs and exercises. another question if you don’t mind: does barry ever deal with “the blues scale” at all or does he get there from his other approaches like borrowing diminished notes? i haven’t seen him mention it (or even pentatonics) and that’s not too surprising, knowing a little of the history of how we got the 6 note blues scale.
I keep rewatching these, always something new. The D7 to B7 move you did was so smooth. Since the B7 is going to Emin as you say, are you meant to change the scale have a b6 instead of 6? Is this the case with any of the others of the family? I'm interested in how Barry approaches this
Thanks Mac. He actually thinks of the notes of D7 the whole way to the 3rd of B. Its not really a normal B7 because we're going to a minor. There are examples when he uses it going to a Major like if a tune goes from F#minor7b5 to B7 to Emajor (Bridge of all the things you are) He'll still runs D7 into that altered B7. I know Bird played a regular B7 going into E minor but Barry never approaches it that way. Hope this helped. Great Question.
This is for use from the 4 chord c dim to get the 4 chords for key of G? If for instance I use Adim We still get those chords. So there are only 3 dim chords, so since A is a minor 3rd down from C They are the same? But the A is the 4 of E.
Oopppss In your first D7 to F7 example you say "I wound up on 1" but you landed on the note "E" which is not 1 of F7 it is major 7 of F7 unless you are counting a 1/2 step as a chord tone.
Can you start on the f7 and then run to the b7 then a flat 7 then the d7 or the a flat 7 to d7 to the f7 to the b7? I guess I'm asking can you change the order and still be musical?
I studied with him starting from 1993 until present. In 1993 he was giving a workshop on Mondays and Tuesdays on 48th street. I went religiously. After, he moved to 57th street one day a week where I went religiously. Now hes on 54th and I have attended some but not as often as I'd like or should.
I'm thinking D7 running into B7. Barry says D7 down to the 3rd of B. So if you're playing over F#minor7b5 to B7 (a minor ii-v ) you should think D7 into B7. Thanks for the question Louis. I hope I answered it.
Frustrating as the example of D7 to F7 changes slightly every time he plays and explains it with differing accents and or notes between 6:30 and 7:00. Perhaps best to focus camera on guitar neck if retreating into one's own world during differing playback and tempo of one example. Regardless, highly informative series but notice this frequently. As though explanations go from turtles pace to breakneck on a whim. My only criticism otherwise, once again, highly informative.
Perhaps you should also learn the method that he's describing about the way to use half steps when descending the dominant scale and then apply his technique to playing your standards. And somehow if you can't find this in a standard...because of laziness..then reharmonize one and work on it. Heck, he gave you every basic movement, Fill in the gaps yourself! Saying thank you first and forgetting your negativity you will understand quickly if you're diligent.❤❤❤
You are doing a seriously great service to humanity with these videos. Thanks!
It finally dawned on me that the 4 members of the family represent each of the 4 forms of dominant. Bdim7 makes Bb7, then E7 2nd inversion, then G7 1st inversion, and Db7 3rd inversion. So I just played around with the notes of a 1st inversion E7 over an A-D-E rock progression and it sounds so much richer than anything I've been capable of before. THANK YOU!
You pin down on of the biggest "Barry Concepts" to songs and practice. Invaluable.
0:23 : Intro to Barry's creation theory
0:53 : Dominant chords from a diminished chord
1:53 : important ("Diminished" scale as a result of stacking two dim. chords)
2:50 : Altered chords
3:25 : play with family of chords / Barry's understanding of "movement"
I think the “lightbulb “just came on re:family of dominants.Thanks for your work!
Thanks so much for your contribution to musicians that wants to grow a litle...like me. Thanks for this great dominant family lesson!!
I watched your most recent on families and came back here to refresh. Thanks for doing these.
I can't thank you enough!!
You're welcome Louis. Please share with your musician friends.
Extremely important lesson, thank you Chris!
wow I am gonna try that/ Thanks so much ................
Great
love it! keep 'em coming
Thanks Ian. Please share with your musician friends.
nice!
Excellent!
Hello Chris thank you for giving us lessons and ideas on how to tackle lot of songs, I was wondering how do you learn new jazz standards (since the fake books are obviously not a good way to learn a standard)
I try to find Bird, Bud or Coleman Hawkins playing it and figure out the changes from them.
Glad you're enjoying the videos.
Thanks Chris again. You Will be nice to over dubbing chord truck to this video to understand What you doing.
Great video ad usual. Just wanted to know if the dominants use a Minor 6th in it"s harmonised scale or minor 6th chord tones built on the Major 2nd instead of a diminished ( 5th of the 5th)? Ty
pardon me coming back to an old video but i've been thinking about this approach to getting the diminished scales. it makes sense to me why barry objects to the half-whole and whole-half terminology, but i've never seen him say anything about distinguishing the tonic dimiished from the dominant diminished. and when i think about getting the scale from the 4 dom7s + the dim7 that their roots form, i still end up thinking half-whole and whole-half afterward to tell them apart. is there anything more to barry's approach on these? many thanks for your videos, they make me wish i was a guitar player so i could really absorb it all more directly.
If you want to still think of it as half whole that's ok. I think Barry's only point is knowing where it comes from. His family of dominants idea is so beautiful.
I still work on this stuff all the time.
Barry is truly a Master.
I'm glad you're enjoying these.
Things I've Learned From Barry Harris thanks. does barry mainly teach diminished as a dominant function scale anyway? just curious if he splits the two diminished scale “modes” at all in his teaching and if so where and why. i’ve definitely been practicing the dominant7 families together and sometime today or tomorrow i’d like to plot them out on paper to better understand what alterations of each other that they imply. so far it’s helped me to just remember them as V7, tritone7, V7/vi, and backdoor7. and yesterday i made some backing tracks with them in different orders to help really get the families memorized more quickly and put them together in my muscle memory. but i haven’t advanced to really being able to use the diminished scales except scale practice runs and exercises. another question if you don’t mind: does barry ever deal with “the blues scale” at all or does he get there from his other approaches like borrowing diminished notes? i haven’t seen him mention it (or even pentatonics) and that’s not too surprising, knowing a little of the history of how we got the 6 note blues scale.
Do you guys know any standards that use D7 to f7 , D7 to ab7, D7 to B7 ?
I keep rewatching these, always something new. The D7 to B7 move you did was so smooth. Since the B7 is going to Emin as you say, are you meant to change the scale have a b6 instead of 6? Is this the case with any of the others of the family? I'm interested in how Barry approaches this
Thanks Mac. He actually thinks of the notes of D7 the whole way to the 3rd of B. Its not really a normal B7 because we're going to a minor. There are examples when he uses it going to a Major like if a tune goes from F#minor7b5 to B7 to Emajor (Bridge of all the things you are) He'll still runs D7 into that altered B7.
I know Bird played a regular B7 going into E minor but Barry never approaches it that way.
Hope this helped.
Great Question.
@@thingsivelearnedfrombarryh2616 so in case I want to nail F#-b5 to B7alt. should/could I play D7 to F7? than you!
@@LUig43 yes, D7 over F#-7b5 to F7 over B7 (as the tritoneV) to get the altered sound(s).
This is for use from the 4 chord c dim to get the 4 chords for key of G? If for instance I use Adim We still get those chords. So there are only 3 dim chords, so since A is a minor 3rd down from C They are the same? But the A is the 4 of E.
Ok school Is In .
Oopppss In your first D7 to F7 example you say "I wound up on 1" but you landed on the note "E" which is not 1 of F7 it is major 7 of F7 unless you are counting a 1/2 step as a chord tone.
Actually I was referring to the fact that I finished up the line and resolved it to G Major which is the 1 chord in the key of G.
Can you start on the f7 and then run to the b7 then a flat 7 then the d7 or the a flat 7 to d7 to the f7 to the b7? I guess I'm asking can you change the order and still be musical?
Louis Griffin yes :)
Did you actually take lessons or Did you get his videos and study?
I studied with him starting from 1993 until present. In 1993 he was giving a workshop on Mondays and Tuesdays on 48th street. I went religiously. After, he moved to 57th street one day a week where I went religiously. Now hes on 54th and I have attended some but not as often as I'd like or should.
Hello again Chris, for the B7 exemple at 7:15, are u firstly thinking B7 to D7 rather than D7 to B7? Regards
I'm thinking D7 running into B7. Barry says D7 down to the 3rd of B. So if you're playing over F#minor7b5 to B7 (a minor ii-v ) you should think D7 into B7.
Thanks for the question Louis. I hope I answered it.
@@thingsivelearnedfrombarryh2616 Are the workshops paid? Im in Europe but next time im in NY id check it out.
The Bible!!
It truly is. Barry is the greatest.
I'm available for skype lessons. Email me at chrisparksjazz22@gmail.com
Frustrating as the example of D7 to F7 changes slightly every time he plays and explains it with differing accents and or notes between 6:30 and 7:00. Perhaps best to focus camera on guitar neck if retreating into one's own world during differing playback and tempo of one example. Regardless, highly informative series but notice this frequently. As though explanations go from turtles pace to breakneck on a whim. My only criticism otherwise, once again, highly informative.
Perhaps it's best to pause and transcribe it, and be grateful for the free and varied information. It's almost like it's improvised.
Perhaps you should also learn the method that he's describing about the way to use half steps when descending the dominant scale and then apply his technique to playing your standards. And somehow if you can't find this in a standard...because of laziness..then reharmonize one and work on it. Heck, he gave you every basic movement, Fill in the gaps yourself! Saying thank you first and forgetting your negativity you will understand quickly if you're diligent.❤❤❤