Why Barry Harris has the Best Method for Chromatic Notes
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- เผยแพร่เมื่อ 29 มิ.ย. 2024
- In my experience, the best way to learn to use chromatic passing notes in your solos is using Barry Harris Chromatic Scale. But there is a lot more in there than you might think!
✅The Real Secret About Chromatic Phrases And Great Jazz Licks🧨
• The Real Secret About ...
✅Overlooked Barry Harris Wisdom That Is Amazing Advice For Jazz
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Content:
00:00 Intro
00:18 The Basic Exercise
01:35 The Advantage - Modular Bebop
03:07 Taking It Up A Level
04:23 It's All About That Exception
05:26 The Hidden Bonus
06:27 Going Too Far
07:23 Going WAY Too Far
08:37 Learning Chords Through Melody
08:45 Like the video? Check out my Patreon page!
My name is Jens Larsen, Danish Jazz Guitarist, and Educator. The videos on this channel will help you explore and enjoy Jazz. Some of it is how to play jazz guitar, but other videos are more on Music Theory like Jazz Chords or advice on how to practice and learn Jazz, on guitar or any other instrument.
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Do you use this method?
✅Overlooked Barry Harris Wisdom That Is Amazing Advice For Jazz
th-cam.com/video/nVHDj54ZDXI/w-d-xo.html
@@determinedsalmon178 No, I haven't. I went to the masterclasses and the ones I saw was the same material, so they are not that interesting for me.
@@determinedsalmon178 I learned from Barry as a part of my academic training at the conservatory. I don't see how it is suppressed, he came for an entire week once a year for more 15(?) years, and many of my teachers were inspired by his way of teaching.
I also think most people I know have a deep respect for him and his teaching, and since I find it useful I also refer to it often in my videos even if I don't use it in the title.
As far as I can tell, Chris is doing great stuff with his channel as is Pyramid of Permutations(I forget what he is called but I am sure you know the channel), but you asked me if I watched his videos, and since they are mostly on basic stuff that I already heard from Barry then, I can only say honestly that I don't. Lying about it would be wrong, right?
To me, it seems you then turn that into a way to accuse me of exploiting Barry Harris for personal gain, which I don't understand.
I have recommended Chris to people very often (like twice this week 😁), and the fact that I make content about Barry Harris is useful for Chris' channel even if he is not in the video, and who knows maybe we do get the chance to do something together at some point.
@@determinedsalmon178 Well, the videos I did watch were solid and Chris is teaching things almost word for word like Barry, I also know that a lot of my audience likes them, and Chris and I were in the same masterclasses so why not recommend them?
Just because something is "not that interesting to me" doesn't mean that it isn't useful to recommend as a resource for someone else, but you were asking about me personally.
The fact that it is not something I feel useful to watch personally does not mean that it is bad, similar to how I have recommended the Barry videos from the Hague as a resource but I haven't watched them as something to study, and if people are looking for chord melody arrangements then I recommend Sandra Sherman's channel.
Doesn't that make sense?
@@determinedsalmon178 You're welcome Adam!
Yes Jens I am assiduously developing, or should I say revolutioning, my jazzy vocabulary to be able to speak the bebop language more "like the indigenous bebopers". Hopefully with a few years of burning the woodshed, so to speak, I can at least sit at the same table and have a cup of tea with Barry!
Jesus man, Barry's half-step rules, TRIADS, enclosure, and pivots are the sound of what my ears consider "the jazz". It made me feel like I am playing something closer to jazz day by day. Thanks for sharing your knowledge with people like me and many that are newbies to this beautiful music. No more obscure modes and 3 NPS fretboard visualization.
Glad you like it :)
I know, huh?
Exodus 20:7 (KJV) Thou shalt not take the name of the LORD thy God in vain; for the LORD will not hold him guiltless that taketh his name in vain.
@@EdwinDekker71 what about people quoting the Bible in vain like you just did ? The guy just wants how amazed he is at receiving knowledge that helps him getting closer to the epitome of a beautiful form of art. Show some understanding
You are indeed a gentleman and a scholar. I have struggled to gain a clear understanding of the Harris chromatic method for many years, reading Roni Ben Hur’s book, etc. In about 10 minutes you have given the best & most useful explanation I’ve ever seen. I am in your debt sir.
That is really great to hear :) Glad it is useful!
Check out Chris Park’s channel. Jens video was most definitely inspired by Chris’s videos.
I like how you snuck “ super easy barely an inconvenience” in there, well done
Thank you 🙂
Such a nice surprise
Chromatic passing meme
"super easy, barely an inconvenience" ahah! TH-cam references!
Jens, this is the Best explanation of the Barry Harris method on TH-cam. What I like to tell my students is, the reason why their is Chromatic Passing Notes in between diatonic notes in Scales in Jazz is #1. The Chromatisism sounds good. Their are different ways to achieve Chromatisism but the point is, its an important part of the Jazz Language. I like to call it Jazz Grease. #2. It puts Chord Tones on Down Beats as long as you start the Phrase on a Diatonic 1, 3, 5, or 7 and Phrase with 8th notes. Chord Tones on Down Beats help to Define the Chord. Both Bach and Charlie Parker did this but, they were absolutely NOT dogmatic about it. It was not an always rule. Hal Galpers book Forward Motion goes into greater detail.Also, the change in direction can be thought of as an Enclosure and the Intervalic Leap direction change are both important parts of the Jazz Language. Especially Bebop. Also, as far as Harmonizing the Barry Harris scale, the Chromatic Chords in between the Diatonic Chords can be thought of as Diminished Chords with notes from both Whole Half and Half Whole Diminished Scales. Jens, was that Jazz Nerd enough. Have I earned my Degree in Jazz Nerd?
Certainly sounds like a thesis for that Jazz nerd degree 😁👍
Chromatics as “Jazz Grease” is a great term 👍
Michael, check out the Things I’ve Learned from Barry Harris channel here on TH-cam
Barry’s chromatic became the catalyst that got me away from Baker bebop scale thought and into a more organic use of chromaticism. Basically, practicing through my fretboard system the chromatics became automatic as opposed to something I had to think about inserting. Very freeing! Great stuff here! Cheers, Daniel (And Jens, be nice to dogs! 🐶)
Thanks Daniel! :) I'll try not to infect any more dogs of random uncles
@@skineyemin4276 Mickey baker. Google him 🙂
@@JensLarsen Ah.., okay.
Actually David Baker RIP
@@rockstarjazzcat Ah, there are a few Bakers in Jazz 😁😁
I can tell this is going to be a wonderfully valuable lesson! Thank-you Jens!
My brain has exploded over this concept. It’s the hot girl in my math class who’s open to dating me, but I didn’t notice until second semester.
This is THE BEST material on Barry's Chromatic Scale I've EVER seen. I love your approach! I'll be sharing this with all my bass students and combos at C.S.U.F. Thanks so much Jens. 👋
Thank you! Glad it was useful!
Loved it! pretty complex but effective way to make beautiful lines.
Thanks Jens!
Great lesson Jens. That chromatic chord scale looks right up my alley. It could keep me out of trouble for a while.
There's so much goodness in Barry's teachings! I'm happy that you are covering this. A little knowledge of his approach and some initial practice can really open things up. What I found most meaningful to myintudy was learning to listen to how Barry coached workshop participants on how to construct lines. In this way, when thinking about how to use the chromatic scale, pivots, the scale of chords, or any of the other devices he created, every time you play, you have the opportunity for something new, original, and tailored to how I hear things. So powerful!
Once again, superb! Thank you 😁
Thank you Jens!!! THIS IS AMAZING STUFF. You made it super clear I'm excited to get in the shed and learn this.
Great that it is useful 🙂 go for it!
This is gold! Thank you Jens!
Glad it was helpful!
Excellent lesson as always Jens. I have really been getting into Barry Harris, and Charlie Christian lately. Thanks for all the content you provide. I can tell that the editing of your videos has improved a lot! You deserve more views and subscribers for sure. 😀
Thank you James! That is very kind of you :)
Man, this is so usable and eye-opening!! More of this Barry Harris stuff 🙏🏼
Glad you think so!
Before I began watching and learning from Jens and others, I would find chromatic runs accidentally in songs I played along with. Looking back, I would phrase without knowing 'what' I was playing but feeling it totally.
The terminology and structure of music, theory and such, were a mystery to me three years ago. I have had the advantage of learning Jazz without much pressure or stress. Works for me. I am challenging myself with more in depth musical classes now. The journey has certainly been enlightening. Peace.
Great that you found a way to learn that works for you :) Go for it!
Oh wow,wow,wow,wow.....wow...another great lesson Jens!
Thank you, Brett! :)
Another great lesson. Thanks so much Jens !
Thank you 🙂
I am not a guitarplayer but a saxophonist, but never the same I have learned a lot from this methods. I look forward to more videos.
THIS explains a whole lot. Thank you.
Glad it was useful :)
This is the most clear explanation I've come across on TH-cam so far. Thanks.
Glad it was helpful!
Jens, you really have helped me find a love for jazz! Explaining the techniques, while trying to find my own sonic finger print with the how, and why to the theory. Thank you.
Thank you! Great that it's useful 🙂
Fascinating stuff. I am not playing jazz, but exploring ambient music, but this is still stuff I can use, both for mastering the guitar, and injecting some jazzy flavours.
Excellent! Thanks for sharing, Jens!
Glad you enjoyed it!
These lines sound fantastic!!!!
Thanks Jens!
Glad you like them!
Love the Barry Harris stuff.
Jens you always deliver great information. Thx so much
Glad you think so!
This is the most effective TH-cam video on chromatics I’ve seen so far. Thanks a bunch!
You're very welcome!
I totally love this concept. It almost like instant bebop. Thanks Jens.
Glad you like it!
Thank you for finally bringing it back to Barry Harris man!
Glad you like the video!
Great great and even more great for reminding Eric Doelman ,what a guy!!!!
Wow...great lecture and demonstration...as always...you are the Best!
Thanks Andrew!
As a guitarist, I started following you at the same time as i discovered B.Harris, imo BH is a much deeper source than chromatics or passing tone, his approach and theory about harmony is the most efficient and simplest way to understand and redo what jazz and music is about.
Tks for all you sharing Knowledges and your precious support to jazz beginners like me;) ❤
Wow!This is great. I can use this for sure. Thank you so much !
Go for it 🙂
Excellent presentation of the method.
Glad it was helpful!
After watching this video! I've had the greatest lightbulb moment ever!! Thank you so, so much!!!
That's great! Go for it :)
Once again you’ve just made me a better guitarist. Thank you, Mr Larsen from Perth, Australia.
Go for it!
Great lesson! I hope I'm not the only one that caught that Pitch Meetings reference.. super easy, barely an inconvenience!
Thank you! There were a few that caught it, but not that many :)
Same here :)
This was a great video. I see why people are so crazy about it. I can hear how those chromatic notes give it what I consider that "Jazz" sound. Thanks for the simple, yet great explanation.
Glad it was helpful!
this is a simply wonderful set of insights Lars - thankyou so much
You're very welcome
Great video, thanks a lot Jens! Gonna send this to my non-guitar band members, cause I think this can help us all with soloing more bebop-ish. Speaking of which... If you happen to be looking for ideas for future videos, a little birdie told me a video about comping together with a piano player would be a smash hit among your viewers! Well, at least some of them. But seriously, if you plan on doing anything like this in the future it would be a huge help.
Thank you so much for letting us learn some secrets of the jazz greats.
Glad it was useful! :)
OMG, now you've got me doubled over in laughter.... HIGHER UP ON THE SCALE OF BEBOP GOODNESS.... and yes, we your disciples will humbly follow the straight and narrow path to that sweet bebop goodness.
Just Lovely Jens!
Thanks Jon! :)
I'm I the only one who noticed Ryan George's "Super easy, barley an inconvenience", that's superior humor from Jens right there !
Thank you! Actually a few people commented on it 🙂
Excellent Lesson!!!!! 🤘Thanks for the contributions.🙏
My pleasure!
Fantastic video, I always felt bebop scales don't lay on guitar as well as they do with horns. This Barry Harris approach is way more comfortable for me. Thanks for the video, using this approach is starting to have a real impact on my bop playing.
Hey Jens, this is really great stuff to work on. Since I can't afford to be a Patreon subscriber I hope you decide to make another video about making lines from Barry Harris' chromatic scale approach. Best regards from Montreal Canada.
Your joke about people freaking out in the comments about the rules had me literally lol. Hits close to home, I get the same thing on my Barry vids.
I love the observation about how Parker changes direction in surprising places. Thanks as always, Jens.
That's really a great approach. Thank you.
Glad you enjoyed it!
Thanks !! you re heaven!
Jens what a great video .. you had me laughing (ROFL) with the Jim Carrie typing madly 🤣👍 I got that haha
Great video as always first class content 👍🎶🎶🎶👌🎸🎸🎸
Thank you, Alan 🙂
@RyanGeorge would surely agree that chromatic pitches meeting are tight!
😁
My thought for today: jazz is about hip and cool motifs that refuse to be major or minor, refuse to be traceable, jumping here but continuing elsewhere
I am not sure I think that is a good description of most Jazz, to be honest 🙂
Thank you for sharing. Barry Harris! I’ll be listening to him. I’m from just south of Houston, Texas.
Great!
I see the other discussions on this super concept. up beat v down beat I see it as the essence of good music and jazz which is DEPARTURE, TENSION, and RESOLUTION *
forming mini turnarounds centred on the anchors V and VII. Jazz is not about LAWS but creativity, and all good music IMHO is about * DTL. Thank you Jens
Glad you like the video! 🙂
Thanks Jens for claring up Barries ideas on improvising. When studying Sound engineering in the hague in the 90ies, I should have gone more to his workshops he gave at koncon.
Very good. Thank you.
Thank you too!
You're content is so good, I should have subbed long ago. I'm subbed now. Great stuff from a great musician
Thank you very much, Homer 😁
Great video! More Barry ideas please!
Here you go: th-cam.com/video/__V5mPcVfvY/w-d-xo.html
Brilliant explanation Lars - well done 👍
Thank you Jens! 😁
@@JensLarsen 🤣😅😆!
Today is thanksgiving day in Canada . Thank you for your channel.🇨🇦
Thank you, Anthony 🙂
finally! thanks so much!
Glad you like it!
truly amazing, thanks a lot for share
Glad you liked it!
Excellent. This is the first time I've (kind of!) got it.
That's great! Now you can put it to use :)
great stuff thank you Jens
Glad you enjoyed it!
Chromatic thinking makes it easier to play interesting jazz. Thank you again! :)
My pleasure!
Jens, you are such a badass! Totally clear, your explanation. This is an amazing “vocabulary builder”; you didn’t bring this up, but around the melodic minor it yields some interesting things. Thank you for your vids-I’m mostly a sax/flute guy that loves to mess with the geetar (what a slide rule!), and your lessons are valuable for anyone on any instrument that wants some very effective tools to put some great jazz lines together. Great job!
Thank you! Glad it was helpful!
@@JensLarsen Jens, it’s a great way to get not only the chromatic approach, but acquiring the chops to do it makes developing enclosures much, much easier. Interesting, though, that Barry breaks his pattern in the harmonic minor-there’s no G in A harmonic minor, but going G# down to F natural is a longer way from chromatic than the whole step. Needless to say, were Barry still with us, I wouldn’t dare to challenge his logic on that! What a fabulous musician. I’ll be those master classes were amazing. I lived in North Bergen in the mid-80’s-I probably could’ve studied privately with him back then when he was in town. I wish I had a Kr. for every opportunity I missed. . Whoops!
Thanks, Jens.
Thank
You 😊
Welcome 😊
I love that scale
It is indeed a great concept 🙂
wow , excellent stuff ....................
Glad you enjoyed it
Great, thanks!
You're welcome!
Great!!
Glad you like it
My uncles dog fell out of a tractor, and it is indeed your fault Jens!
On a serious note, this is a piece of material, that I've seen at the right time of my guitar journey. It requires effort, but I can start experimenting with it, and I think it will be very useful. Thank you :)
Glad it was useful (and funny 😁)
I'm safe. None of my uncles have dogs OR tractors. 🥰
You're on to something here. I have to try it legato
Chris Parks on BH’s Chromatic Scale….There is of course BH’s Half Step rules, but apparently BH came up with his chromatic scale years after the half step rules… For me his chromatic scale is incredible, it is the Charlie Parker bebop sound, and it can be done on any scale, mode. For some reason his chromatic scale is more accessible for me. The Half Step Rules, are not, much harder to figure out…I was actually messing around with it on the diminished scale. Actually you start doing it naturally after you get it down on major, Dorian, dominant, etc. There is also BHs diminished 6: major, minor, dominant, dominant 7b5…
Mantap👍 Pak Abu
This sounds like an interesting improvisational weapon for introducing some jazz blues fusion runs over 7th chords in a blues/rock progression even using a semi distorted amp channelling a bit of the old Mahavishnu Orchestra vibe. That's what i take out of all this. I can't play bebop to save my life. But this could work over some interesting rock chords to come up with something a bit different and colourful.
I remember eric showing me the harmonization in 4 voices and at one one point saying and “n now comes the weird chord’
Love the Jim Carrey part, lol. Very good lesson indeed. Thanks!
Glad you enjoyed it!
Thank you so much, Jens, as always ! "My uncle fell out of his tractor ..." 🤣
Glad you like it, Paul 🙂
Hoje não pude assistir. Mas na próxima estarei participando.
@Jens Larsen - Thanks to your lesson, I think I've discovered something that could be really useful. (To me, at least, but if you want to use it for any purpose, feel free.) It's about the harmonization starting at 8:00. What I noticed is that the transitional chords between the diatonic chords are always close to the secondary dominants (possibly altered) of the succeeding chords. In every case, the bass note is either the 3rd or the 5th of the secondary dominant (it's the 5th only twice - before C and before F where we jump up to the succeeding scale degree). Also in every case, the highest voice is either the 5th, the #5th (or ♭13) or the 7th of the secondary dominant (when the 5th is the bass, the high note is the ♭13). The two inner notes don't always work with this scheme -- they are the ones that cause the weird dissonance -- but we can fix this. We can use this series of chords:
Cmaj7 -> A7/C# -> Dm7 -> B7/D# -> Em7 -> C7♭13/G -> Fmaj7 -> D7#5/F# -> G7 -> E7/G# -> Am7 -> F#7/A# -> Bm7♭5 -> G7♭13/D -> Cmaj7
Here is one way of doing it:
Cmaj7 -> Dm7 use C#-A-B-G (A7(9)/C#)
Dm7 -> Em7 use D#-A-C#-F# (rootless B7(9)/D#)
Em7 -> Fmaj7 use G-B♭-E-A♭ (rootless C7♭13/G)
Fmaj7 -> G7 use F#-C-E-A# (rootless D7(9)#5/F#)
G7 -> Am7 use G#-E-F#-D (E7(9)/G#)
Am7 -> Bm7♭5 use A#-E-G-C# (rootless F#7(♭9)/A#)
Bm7♭5 -> Cmaj7 use D-F-B-E♭ (rootless G7♭13/D)
This can be simplified by using a diminished 7th chord with the given bass note scale tone as its root. The high note will be a diminished chord tone unless the bass is G, F# or D (where the secondary dominant would have either a ♭13 or a #5 high note). For the G and D we had jumped up to a diatonic scale tone, so when the bass moves chromatically we can use diminished unless it's the tritone - F# - then we need to play a high note a half-step above the chord tone.
What do you think? Is there any value in this observation?
Well, actually I don't think you are right about that. The 2nd chord would be an Amaj7(11,b7) which isn't really an A7 or a C#dim for that matter. The 2nd passing chord is a D#m7 which is also closer to a Bmaj7 than a D#dim.
Trying to fit it into a series of dominant dim chords, to me, sort of misses the point of the whole thing. You can of course do that anyway, but you will lose the connection to Barry's exercise in doing so.
@@JensLarsen -- I wrote a lot, so I can understand why you didn't read all of it. What I'm doing is *changing* the chords. I'm keeping the low and high notes but changing the two inner voices to make the chords into secondary dominants. I replace the Amaj7(11,b7), which has a C# bass and a G on top, with another chord that has the same bass and top note -- either an A7 or a C#dim7. My point is that we can retain the Harris chromatic patterns for both the high and low voices while having a more conventional sound that flows nicely.
I did this only for the Cmaj7 voicing you used -- I guess it's a drop-2 voicing of a 2nd inversion tetrad, so it has the root in the bass and the third on top. A different voicing wouldn't work the same way. For example, if the G were the high note in the Cmaj7, then I couldn't use A7 while retaining the Harris chromatic patterns for high and low voices -- I'd need a G# top note. I'd have to go for something like C#m6 or C#7.
I'm saying that if every voice follows the Harris pattern, we'll run into trouble, but we can change it a little bit and get something a lot more useful.
@@mbmillermo I don't think it really makes it more useful, I think it is fine as it is.
I think there is something really nice about it not always being dominant passing chords. Forcing everything into that is also throwing away a part of what is nice about it.
But you should of course do what you want to do.
0:34 super easy barely an inconvenience !!!
LoL 😂
I am going to need you get all the way of my back about that comment! 😂
Oh my god! Jens watches Pitch Meeting :)
😁👍
was just working on bh stuff. 😊
im sure u have by now but check out robbie barnbys comprehensive step by step video on the 6thdiminised scale of chords.
it’sbeen blowing my mind seeing all those symmetrical dims in between all the maj 6th chords…like a universe of connective tissue for lines and passing chords…
Kind of like Slonimsky's Melodic Patterns idea, no? Infrapolation, ultrapolation etc in regards to where the passing notes are added
No, not really 🙂
Can you make a video about the rules barry demonstrates about making rhytmic runs
In the video he talks about putting a half step between tonic and sevent when he starts from the tonic,3,5th or 7th of the chord.
Or you could put 3 half steps between 3rd and second, second tonic and tonic seventh
Can you make a video about these possibilies?
I think this video is on that: th-cam.com/video/JZt2mlpaHcw/w-d-xo.html
And otherwise you should check out Chris Park's channel: www.youtube.com/@thingsivelearnedfrombarryh2616
@@JensLarsen thank you
Really interesting
Never thought Jens watched pitch meetings haha
😁🙏
This "guitar centric" idea could work in a modal or fusion setting over a static harmony. Can play as a string of swing 8th notes or "very fast" 16th notes. Experiment with starting these "chromatic sheets of sound fragments" on various chord tones. Move them around through a scale. Have fun with this simple concept.
for example - starting on the 5th fret - play ascending from the 4th string to the 2nd string - also play descending
string 4 - G G# A A#
string 3 - C C# D D#
string 2 - E F F# G
for example - starting on the 5th fret - play ascending from the 3rd string to the 1st string - also play descending
string 3 - C C# D D#
string 2 - E F F# G
string 1 - A A# B C
Jens, thank you for your Informative and Thoughtful Videos!
Guitar centric? Barry Harris is a piano player 🙂
@@JensLarsen My comment above outlines some simple "guitar centric" chromatic improvising ideas for someone to try out if they want to. That's all I had in mind.
Hey, you said “super easy, barely an inconvenience!” - you watch the Pitch Meeting series too Jens? 😅
I am going to need you get all the way of my back about that comment! 😂
wow wow wow…wow
Did you just quote the pitch meeting ? ? 🤩🤩🤩
😁🙏
@@JensLarsen I was watching one of his episodes before I opened your video and I thought I misheard! My mind played tricks on me and I had to check again ! Duuude that was so funny !!
Great lesson thank you ! I'm confused on why you used the G instead of G# in your exemple of A harmonic minor, it doesn't follow the same pattern as the previous scale and sounds like aeolian with an enclosure. Would love to understand the logic behind that change. Thanks
Because it sounds a lot better?
@@JensLarsen it sure does ! but then it's not exactly the same logic I guess :) Anyway it's very interesting !
@@stratotheo the logic is that any note can be a half step. It is not a rule as I also demonstrate in the video.
Question: in the harmonic minor example, in the 2nd measure I was expecting the note between the E and F to be a G# (the diatonic note), but it goes to a G. So, is this an adjustment to the rule to compensate for the minor 3rd scale jump? Thanks Jens!
It just sounds better (to me anyway). Don't get stuck in rules, any note can be a halfstep according to the man himself
Wondered this as well.
@@JensLarsen I wondered that too.
G# acts as leading tone going to A in A Harmonic minor but when going down to F you don't need the G to be # because its not acting as a leading tone. Its a bit like the way melodic minor, in classical terms is different ascending and descending. It's also an augmented 2nd going between G# and F which is a more awkward sound in the context of Am (and was a complete no no in classical music). As my composition teacher told me, the origin of the harmonic and melodic minor scales was a codification of certain musical practices - the ways of using the leading tone in minor came first, then the codification into fixed scale for learning purposes. Sorry for the wonk reply but I think that analysis is broadly correct.
Ok but after you run up barry scale with a chord voicing then what like what is that good fun i play piano and have a original progression im working on
It seems that another approach to effective soloing, given the chromatic scale, is knowing which notes to omit (or pass through) on any given chord. That is less to remember and reminds you to stay focussed on the chord of the moment so you hit the right 3rd etc. Thoughts?
To me, that doesn't make that much sense.
1. You are not thinking of the chord in a context so you can't process several chords at the time.
2. It is never useful to think about what not to play, you want to think about what you do want to play.
3. Since you are not thinking of a chord in a key then you can't hear what it sounds like, and you don't have a way of understanding how it moves to the next chord which helps you play a solo with a natural flow.
I have never met anyone who thought about music like this, most likely because it doesn't work very well.
Well, better scratch that idea!
@@seattlevegas66 Yes, I don't think it will be very useful 🙂
👍👍🙏
so if you are playing the harris chromatic scale over a dm7 (Functioning as a ii in the key of c) starting at the d, you have to "properly arrange" the jump like so to keep the scale tones on the down beat: d d# e g f f# g g# a b d c c# d At least, this seems logical to me. similar different adjustments are necessary for every different chord of the key. Or am I missing something? Funny thing is, several different videos on this subject, and not one I've found talkes about the "Harris chromatic scale" except as described for a I chord (major 7 functioning as a I). Which makes me wonder if I'm misunderstanding something.
You don't always need to have chord tones on the down beat, and the approach is not really specific to the chord, do. It doesn't matter what chord in the scale you apply it to.
I suspect you might be missing that part of it?