I go into the Barry Harris movement system and how it is applied in-depth in this lesson: *Barry Harris Movements + Voicings Overview - explained in detail with examples* ruclips.net/video/Q41nPrt0Ji0/видео.html
Hi Shan, I’m an ok-ish guitarist trying hard to master Jazz Standards and came across you down some worm-hole when I was trying to understand Barry Harris’s musical philosophy. Well, I wasn’t short of offerings but I also wasn’t spoiled for choice in the communication department. So thanks for your tutorials; they are without doubt the most intelligible and patiently presented explanations out there. You have a great gift for teaching because (a) you know what you’re talking about , (b) you have an empathic connection with those you are communicating with, and (c) you have the humility of someone standing on a giant’s shoulders, wanting only to pass those insights on without boosting your own ego. Thanks a lot. You and your channel deserve to prosper.
Hi Ray, I just wanted to say thank you so much for this comment. It really does mean a lot to me and I hope that in some way, my videos help you. There's always a lot to learn (for me I mean!) but if we can share what we know with others, it means so much more. I wish you the very best with your playing! Shan
Hi Shan, I've watched videos from Barry Harris, and ended up discovering your channel. Could this concept of movement be applied to dominant 7 chords too. For example in a II-V-I progression, can the V use a 6th diminished scale to create movement? If so, I would use the scale from the I chord (for G7, the C 6th diminished scale). Is that correct? I've heard you saying in another video that you often play a 7 chord as a diminished chord, by moving one note (eg. G7 -> Fdim) but you didn't explain why. I feel that it is related to this very concept, and if you do play an Fdim for a G7, then why not use the C 6th diminished scale to create movement? Thanks for taking the time.
Hi Romain, dominants have the most choices because they come from the most scales. However, your instincts are correct. If we had say a G7 going to Cmaj, we could often use the Cmaj6dim moves (starting on the diminished part). I hope this helps. Wishing you good jazz! Shan
Yes, that helps, thank you Shan. I actually knew that a 7b9 chord (without the root) is a diminished chord a semitone higher, I just didn't think about it (I've learn quite a lot of theory in a short time). Therefore it can relate to the Cmaj6dim moves. Thanks again.
@6:20 Make the links between major sixths and minor sevenths and in the next lesson there are examples of exactly that... Can you point me to the next lesson, thank you.
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I go into the Barry Harris movement system and how it is applied in-depth in this lesson:
*Barry Harris Movements + Voicings Overview - explained in detail with examples*
ruclips.net/video/Q41nPrt0Ji0/видео.html
Hi Shan, I’m an ok-ish guitarist trying hard to master Jazz Standards and came across you down some worm-hole when I was trying to understand Barry Harris’s musical philosophy. Well, I wasn’t short of offerings but I also wasn’t spoiled for choice in the communication department. So thanks for your tutorials; they are without doubt the most intelligible and patiently presented explanations out there. You have a great gift for teaching because (a) you know what you’re talking about , (b) you have an empathic connection with those you are communicating with, and (c) you have the humility of someone standing on a giant’s shoulders, wanting only to pass those insights on without boosting your own ego. Thanks a lot. You and your channel deserve to prosper.
Hi Ray, I just wanted to say thank you so much for this comment. It really does mean a lot to me and I hope that in some way, my videos help you. There's always a lot to learn (for me I mean!) but if we can share what we know with others, it means so much more. I wish you the very best with your playing! Shan
@@JazzSkills I am also a guitar played who loves the way you explain these great ways of making music with chords !
WoW! What a good very good teaching of the sixth dim scale. The best ever thank you so much
Very interesting. Thank you.
Very welcome
Hello, great video. Could you do a video of Dr. Harris’ borrowed notes approach?
Nice tutorial
clear and exciting, gracias.
De nada!
Hi Shan, I've watched videos from Barry Harris, and ended up discovering your channel.
Could this concept of movement be applied to dominant 7 chords too. For example in a II-V-I progression, can the V use a 6th diminished scale to create movement? If so, I would use the scale from the I chord (for G7, the C 6th diminished scale). Is that correct? I've heard you saying in another video that you often play a 7 chord as a diminished chord, by moving one note (eg. G7 -> Fdim) but you didn't explain why. I feel that it is related to this very concept, and if you do play an Fdim for a G7, then why not use the C 6th diminished scale to create movement?
Thanks for taking the time.
Hi Romain, dominants have the most choices because they come from the most scales. However, your instincts are correct. If we had say a G7 going to Cmaj, we could often use the Cmaj6dim moves (starting on the diminished part). I hope this helps. Wishing you good jazz! Shan
Yes, that helps, thank you Shan. I actually knew that a 7b9 chord (without the root) is a diminished chord a semitone higher, I just didn't think about it (I've learn quite a lot of theory in a short time). Therefore it can relate to the Cmaj6dim moves. Thanks again.
Nice clear lesson.
Does it work with the Maj7? e.g F in bass and Cmaj6 dim? There is an Aflat which will clash with the A in the Fmaj7 chord.
That works sometimes, depending on the melody note.
@6:20 Make the links between major sixths and minor sevenths and in the next lesson there are examples of exactly that... Can you point me to the next lesson, thank you.
I go into that in-depth on this video ruclips.net/video/Q41nPrt0Ji0/видео.html
@@JazzSkills Thanks 🙏