Barry has 4 Scales of chords he talks about. Major 6th diminished, Minor 6th diminished, Dominant 7 diminished, and Dominant 7b5 diminished. Fminor7 (Ab6diminished) Bminor7 (Db6 diminished) Eb7 (Eb7diminished or Eb7b5diminished or Bbminor6 diminished or Eminor6 diminished or A7 diminished etc...) It's not really just about playing the 5 of the chord you're on. That is much too limited. I like your examples. Very pretty.
I know about the "minor 6th dim" scale. Take the diminished, "B, D, F and G#" and combine it with a Cmaj6/Amin7 chord, "C, E, G, A" and you get an eight-note scale which is C major (or A minor) with an added G# (sharp 5), "C, D, E, F, G, G#, A, B". Is this correct? If so how do you get a "dominant 7 diminished" scale?
@@ecaepevolhturt Major 6th Diminished =CEGA and DFAbB Minor 6th Diminished= CEbGA and DFAbB Dominant 7th Diminished= CEGBb and DFAbB Dominant 7thb5 Diminished= CEGbBb and DFAbB Each name describes the exact makeup of each scale. Barry is Brilliant.
@@thingsivelearnedfrombarryh2616 Thanks for the info! The names are clever. I shall have fun with this although figuring out all of the "chord-scales" and chords within these scales is going to take some time.
do you have a written source on this? i want to add this to wikipedia but it is less reliable to cite on of his workshops, which depends on someone being there/having a recording of his lessons
what a great vid and so helpful.please make another to explain this theory.I think its when I play a chord I can open and close it with its dominant 7th.mmm
Learning the dominant to each chord is a worthwhile thing to do, but I don't think it's a reliable device to use generally, because you lose the effect of the key. The B flat minor in this tune has a subdominant flavor and effect in the key- playing an F minor over it is much preferrable- it's still a 5th away, but the f minor keeps the key intact. B minor left hand, f minor right hand melodies.
Yep just be mindful of your voicings. Drop 2 works great on guitar, it’s all about just keeping the functional harmony there, and communicating with the bass player. Kinda like comping with a piano player simultaneously in a big band, but it can be beautiful
You should precise that you consider a X7b9 rootless as your five... And we can't barely see what you play on the piano as your finger cover the next chord as well.
great lesson thanks !
Barry has 4 Scales of chords he talks about. Major 6th diminished, Minor 6th diminished, Dominant 7 diminished, and Dominant 7b5 diminished.
Fminor7 (Ab6diminished)
Bminor7 (Db6 diminished)
Eb7 (Eb7diminished or Eb7b5diminished or Bbminor6 diminished or Eminor6 diminished or A7 diminished etc...)
It's not really just about playing the 5 of the chord you're on. That is much too limited.
I like your examples. Very pretty.
I know about the "minor 6th dim" scale. Take the diminished, "B, D, F and G#" and combine it with a Cmaj6/Amin7 chord, "C, E, G, A" and you get an eight-note scale which is C major (or A minor) with an added G# (sharp 5), "C, D, E, F, G, G#, A, B". Is this correct? If so how do you get a "dominant 7 diminished" scale?
@@ecaepevolhturt
Major 6th Diminished =CEGA and DFAbB
Minor 6th Diminished= CEbGA and DFAbB
Dominant 7th Diminished= CEGBb and DFAbB
Dominant 7thb5 Diminished= CEGbBb and DFAbB
Each name describes the exact makeup of each scale. Barry is Brilliant.
@@thingsivelearnedfrombarryh2616 Thanks for the info! The names are clever. I shall have fun with this although figuring out all of the "chord-scales" and chords within these scales is going to take some time.
do you have a written source on this? i want to add this to wikipedia but it is less reliable to cite on of his workshops, which depends on someone being there/having a recording of his lessons
What an awesome video, totally rad
brilliant
what a great vid and so helpful.please make another to explain this theory.I think its when I play a chord I can open and close it with its dominant 7th.mmm
thanks
superb!
very cool!
Thankyou!
subscribed!
Learning the dominant to each chord is a worthwhile thing to do, but I don't think it's a reliable device to use generally, because you lose the effect of the key. The B flat minor in this tune has a subdominant flavor and effect in the key- playing an F minor over it is much preferrable- it's still a 5th away, but the f minor keeps the key intact. B minor left hand, f minor right hand melodies.
We wont more please!
Can you use these types of voicings and harmonic ideas to comp while the bass player is playing the original changes?
Yep just be mindful of your voicings. Drop 2 works great on guitar, it’s all about just keeping the functional harmony there, and communicating with the bass player. Kinda like comping with a piano player simultaneously in a big band, but it can be beautiful
Kind of creates a "Bach like" effect, doesn't it?
It’s pure Bach with some Chopin thrown in for good measure
You should precise that you consider a X7b9 rootless as your five... And we can't barely see what you play on the piano as your finger cover the next chord as well.
Yoooooooo