Same here. Absolute clearest and most practical presentation of this approach. Never really clicked before for me or else I didn't see what it could offer or I was simply too bored after 10min of "omg barry harris" hagiography to continue on with the instruction. This however was great.
Thanks, this is much appreciated. I actually myself didn't think about the Barry Harris method too deeply for a long time until it all "clicked" for me.
Agree completely. I’ve been studying Barry Harris techniques for about a year now and have seen just about every TH-cam tutorial under the sun. This filled in so many holes in my understanding of his diminished chord theories. It’s that modulation of each chord that changed the game for me. Simply use the notes of the chord you are leading into! Bam!So simple. Thank you endlessly Mangold project!
I’ve seen many tutorials of Barry Harris 6th dimension system, drop 2, locked hands, dominant families, the corresponding scales, applications, and more that have helped, but your presentation, organization, delivery, and instruction makes this jazz piano tutorial one of the best in all of TH-cam. There are some content we come into the video being familiar with like puzzle pieces but this instruction helped fill in a lot of missing puzzle pieces.
Barry Harris chords have never quite clicked for me, but this feels like it gets me one step closer. I appreciate the reframing in terms of "even scales", as it really gets to the crux of the matter, and the variety of different scales you present (like "Aeolian dominant bebop" over dom7 chords, not just the usual major and minor 6th-diminished scales) helps clarify the core ideas!
I have students ask "where do you go to learn 'jazz' piano (?)". Your typical piano teacher may think Chopin is your direction to advanced lessons. This is so clear and rare to find. Many thanks!!
A first class exposition of the Barry Harris idea. Really clear . Huge amount of info possibly could have been spread over 2 videos but super video , well done .
My mind just exploded! I'm an almost-intermediate self-thaught pianist and this video very well be the next step I needed in my learnimg experience. Thank you!
Thank you for this comprehensive explanation is the application of the 6/7th-diminished concepts. I concur with some of the other commenters that this is the best lesson I've seen on the topic.
watched the video today and practiced the C bebop scale with associated chords and thought ugh this is kinda tricky with the fingers but after 2 hours I have it much better, and it sounds amazing. I can't wait to use this but need to learn how to play piano much better since my main instrument is trumpet. This is how I will replace melody with chords in songs, always wanted to learn how to do it, stopped because of trumpet, tastes evolved to 30's and 40's sound and really loved diminished chords. Love how it all comes in full circle with more exploration. Thank you! Great video.
This video filled in the blanks better than any other. Whenever trying to plod through sheet music I always wondered how do they decide on what other notes to put in the chord beyond the melody note.
Yes. The Harris system certainly is one of the tools to “enhance sonority” of your overall playing. This video explains in depth not only the concept itself (there are plethora of videos around explaining the basic principles in good or not-so-good ways), but most importantly - the application of the concept itself to actual playing. Any system has a tangible benefit to us - gigging musicians only after you can creatively adapt it to your own soloing. This video tackles that very important aspect in depth 😊
"Traditional" jazz doesn't really "jump around" by assigning a different chord to each note. The Barry Harris system encourages a lot of motion (which is, as the saying goes, "a feature, not a bug").
@@MangoldProjectExactly ! Myself- I use Harris concept only occasionally, and usually during “block soloing” at certain spots, but mostly during solo piano gigs, or with the band for intros (before the rhythm section kicks in) or at the very end when left alone for piano cadenza before the last chord 😊
What a great video, and excellent lesson. My compliments. I will seek your insights actively from now on. Thanks for your inspiring generosity in sharing these wonderful concepts 🙏🏼💝👍🏼
It would be best to maintain that - in a C scale, - A is step VI and B is VII. You can call the V+ step 5x or 5mark, anything, and still have people understand generic chord-schemes like I - VI - IV6 - V7. The other objection is that actually is the scale with 4+ common also, in improvization, anywhere from Classic to Jazz and blues: C D E F - F# or Gb - G A B C. The idea of even scales is very helpful! ❤
What an excellent lesson, but it's out of my pay grade.. for now. Except for practicing the scales. So that's what I'm going to do. My piano teacher made a comment this week that warmed my heart. I'm frustrated that my ear training isn't up to the level of my music theory Geekness, and I'm still working on my keyboard technique. I'm transposing Bach C Major Prélude, Moulin de Ville La Candeur, Arabesque and La Petite Réunion into other keys. He's happy, and he said that my knowledge of scales is helping me. We talked for a brief moment about seventh chords, but that will be coming later. I want to master triads first. I'm looking forward to rewatching many of your videos once I've fattened up my chops.
I've been told that bebop was an ugly, angry music lol, ...but this "C Major Bebop Scale" forms such beautiful chords. Thanks Bird, Gillespie, Monk, Powell, Roach and Mingus, for burning down the genre for decades until it had to be re-discovered from scratch ;) Although Gillespie had some sweet stuff in there every once in a while and I don't really know much about the others.
Thank you so much for this break down, I remember how excited I was when I learned the sixth diminished (maj bebop) tricks but I didn’t know about how to get to these options you’ve laid out. I really appreciate this knowledge 🙏🏼
Really great practical explanation with example of the sixth diminished system. I've seen a lot of others but this one really gives the most no-nonsense way of actually integrating it into your playing.
I was always taught in music lessons that when you have three notes on a stem, you have a Chord and you can have a Dis-Chord as well. A very good video. Thanks for sharing.
Three pitches (with no octaves among them) are a triad. Yes, triads are chords, but some triads are discords. F B E is a discordant triad. But there are chords with four or more different pitches, too. I find it hard to believe that someone who purports to teach jazz would claim that four or more different pitches can't make a chord.
I am loving this video! I’m halfway through and taking great notes. I’m looking forward to what you’ll be teaching in your next video and if there is a way to build on this topic some way. Thank you for really thinking through this topic on how to clearly demonstrate its use.
In case any of you were thinking you recognise this song but can’t place how you know it, it’s the Disney signature theme tune used over the logos during the opening credits. It was originally written for Pinocchio in 1940.
At 10:20 I was waiting for an explanation that the F actually is intended to clash with a C major harmony. Also, spreading the C major C G E G - G // E (spread) G C F - (E) I think the original intention of this tune is not to be played with block chords. Block chords are good for demonstration but does not explain what the overtone-scale is and what the overtone scale helps creating. I once found out what the original harmonization of "When You Wish" is but I have never posted it and never found any written down arrangement. Should I post it? It is great work you have done, easy to follow and it takes time. Your help here is so good for thousands of piano-students! ❤
That scale for a dominant makes sense. In the C bebop scale you can get the G7 chord by making the Ab of the dim chord an A natural, “borrowing” the note from the Cmaj 6 chord, but then you’re alternating with Cmaj 7 instead of D# diminished, which sounds a lot better when you’re on G7. That was great to see. I wouldn’t think of that an Aeolian chord though, because it doesn’t have a minor third (the E is E, not Eb), but seems you can just think of it as a C bebop with raised 6th (or 7th, however you want to think of the A). I wonder what other “even” scales you can come up with using this idea. If you raise the C, so you have a b9 voicing, that’s just the whole/half tone scale. I guess F# might work, so you have CEF#A alternating with DFAbB. Maybe C#EF#A. Interesting ideas to play around with!
Again, some people here seem to be upset I wasn't clear enough on this, so just to make it clear: the concept of passing notes is central to bebop, and made popular by players like Charlie Parker. Barry Harris took these ideas and extended them to a wider framework for playing jazz piano.
This is a very good video, opening a door into the magic realm of jazz, also honoring Barry Harris. We should go back to tension and resolution, and maybe revise the all too common 7-note scale. Maybe also take another look at the harmonic series and its 'layers' containing 1, 2, 4 and 8 notes, resulting scale C, D, E, F#, G, G#, A#, B. I've studied only the first two bars, but already sees a pattern of scales built on roots I, IV and V. I'd have to check on 8-note (octatonic) harmony, but this might be it, rather than combining two dim7 chords. Sorry if I got too carried away.
About your Aeolian Dominant Bebop scale. I love it. Ian Ring calls it Stogyllic, which is the Zeitler name for the scale, but I think the best name would be Bebop Harmonic Major. This is because there is a Bebop Harmonic Minor - just Harmonic Minor with the added minor 7th - and it differs from your scale only in that the 3rd is a minor third, not major. But, if we change the minor 3rd to major in the Harmonic Minor scale, we get the Harmonic Major scale. So if we change the minor 3rd to major in the Bebop Harmonic Minor scale, we should get the Bebop Harmonic Major scale. It makes so much sense that I can't believe this term isn't already in use. Have you seen Ian Ring's site and his Scale Finder? If not, google it. It is very useful.
Regarding the min6 chord, another thing you can use it for is an altered dominant. For example, C#mn6 has the notes for a C alt chord as a rootless voicing, so you could use the C#mn bebop scale to create motion for it.
Regarding the C dom scale, I was thinking about this some more and realized another way of thinking about this. If you consider the C bebop scale, what are the missing notes, the ones not covered from the 12 note scale? It’s Db Eb Gb and Bb, which make a Db Maj 6 chord, the major6 chord which is a tritone away from the Cmaj 6 chord.You could crest even scales by borrowing from the maj6 chord a tritone away, still using the diminished chord as the other chord. For example, if you borrow the Bb in place of the A, you get the dom scale discussed in the video. If you borrowed the F# instead of the G, you get an Amn bebop scale, the relative minor. The other two possible one not borrowing result in an A dom bebop scale and a C mn bebop scale, nice symmetry! If you try two note borrowings you either get a whole/half scale, or a dom #11 as one of the “even” chords, e.g. C E F# B, always for both A and C. So all the even scales discussed can be thought of as borrowing from the maj6 chord a tritone away. The other “even” chord always stays the same - the d diminished chord.
Excellent. This continuous thinking about an idea is what pushes the field forward and also cements our own understanding. Every musician develops some portion which is his or her "own" theory. Keep on thinking!
Hi, Mr. Mangold, nice to see you back making videos again. Been awhile. The "bebop" scale I'm familiar with is a major scale with a flatted 7th in addition to the natural 7th, at least ascending. In descending, it sometimes switches over to the flatted 6th in addtion to the nat. 6th - according to some. The 'major' Barry Harris scale adds a flattened 6th to a major scale, both ascending and decending. Which he called a "major diminished 6th" scale. In the minor variant, the 3rd is flattened.
Thank you for a fantastic lesson. Can I ask, around 4:50, why did you play C Aeolean~dom bebop with an E instead of an Eb? Doesn’t Aeolean flatten the third?
Another great video. Someone already mentioned this, but can you please explain why you call a scale with a major 3rd "Aeolian" (Aeolian Dominant Bebop scale).
Ok, many people have asked this ... The "Dominant" in "Aeolian Dominant" means that you're playing an Aeolian scale, BUT such that the chord formed on the 1st degree is dominant. This requires you to replace the flattened 3rd by the unflattened 3rd, so you go from (say, for C): C D Eb F G Ab Bb C (7th chord on 1st degree = C, Eb, G, Bb = Cm7) to C D E F G Ab Bb C (7th chord on 1st degree = C, E, G, Bb = C7 = C dominant 7th chord) That's all there is to it!
22:15 Some aspect of the "brothers and sisters" idea really clicked for me in this moment. I'm not sure what to call F Bb Db E... but it's not too important, they "play together." Thank you! P.S. I was slightly confused around 7:03, when your software interprets C6 as "A7(no3) / C." It's one of the best piano visualization tools I've seen, I hope you'll consider emailing the authors about this bug. :)
26:50 Good suggestion, although I always "visualized" this pattern during piano soloing on the gigs as subdominant Maj7. I.E. For CMaj7 (treating it as a "subdominant" you're automatically, mentally in G). Then logically you apply Harris pattern of G Maj for either soloing or "block chording" in C. Stack of CMaj7 with Cdim-Ebdim-Gbdim-Adim chain sounds good as block "passing chords". Having F# note you can also apply entire Lydian Chromatic concept (Russell). Having Eb (D#) as a passing note - that automatically expands sonic options in C. Possibilities are "endless"... Great lesson on adapting Harris - I will definitely pass it onto my students to watch 🙂
Wow. I didn't think I could learn everything new at 70 years old. Should have done this 65 years ago. Of course it would not have been on the 2 networks we had.
@@MangoldProject My dad had a George Shearing book. I took it upon myself to learn "I'm in the Mood for Love" with my poor tiny hands. I think I was actually 6.
No - because the Dm7 = F6 uses the Edim7, and C6 uses Ddim7. If you wanted to "explain" the Ebdim7 you'd have to maybe postulate a progression such as Cmaj7, Dbmaj7, Dm7, G7. However, not everything should be explained using just one system, no matter how sophisticated. Sometimes, a turnaround is just a turnaround.
Why did you call it a C Aeolean-Dom bebop scale? Doesn’t Aeolean require a minor third? This just looks like a major (Ionian) scale with a bebop G# and a dominant/mixolydian Bb on it. I don’t see where Aeolean plays into it.
I have a question: couldn’t you do what you’re doing here by adding in the G# with any chromatic note in the major scale! Say if I made a scale by adding F# instead of G#?
You could (remember: even scales). HOWEVER, the scale I've used has the ADDITIONAL useful property, which is that the passing chord is a dim7 which creates a nice amount of tension.
@@ZCBeats1 Not very common but certainly possible (we use the Aeolian Dominant in this video as one example). Basically the "standard" scale with G# offers both a strong resolution (C6) and strong tension (Ddim7) - if you can find these two properties in some other scale, go for it! And let the rest of us know :)
How does a hip hop dancer make moves up on the fly? Practice. You work things out slowly initially. Do it daily for an hour or two. After several months these things will be ingrained into your mind.
Progression remains the same but they're offset slightly by small changes in variations of the major scale? And you go back and forth between the scales regularly? I'm just guessing at the punchline of the tutorial because all I could think of 7 min into this is how much shorter it'd be were the notes lined up in a piano roll. You could probably illustrate that idea in a minute. I wonder if there's some music theory secret that substantially improves the sound of music as much as; call/response, syncopation and sticking to only scale notes does. I suspect the secret hides somewhere in between genres, when you combine rock and classical for example and you find out how they're able to compliment each other. That there's some knowledge there untapped that you could apply to anything. Same with folk music and country. I think at some point veteran composers figured it out, but didn't write it down because the secret is what makes people appreciate their work. John Williams talks about motifs, Nobuo Uematsu talks about doubling the length of melody notes and using them as a foundation for the harmony. But they've only hinted at these things, nothing substantial. Maybe there's some old composer book from the 19th century that talks about their "method". (That's not 500 pages long but gets to the point) Or maybe call/response, syncopation, intervals, scales and chords is all there is. Which would be kind of lame, because then music theory can be taught in an hour to anyone.
@@MangoldProject What details? How you harmonize a melody line? Isn't sticking to the chord/scale and rhythm enough? You emphasize the syncopated/polyrhythm notes or you don't. Then it's just call, response and repetition as well as making sure the instruments got their own range and aren't fighting over attention. Drum loops, riffs and ostinato are just patterns of repeating notes that usually change slightly before a new section to prepare the listener for a new section. Ornamentation that's slightly dissonant but inside the scale could compliment the sound as well. You're right 1 hour would require the examples to be short, 2 hours should be enough. Unless the (details) refer to something I'm unaware of. What are the details?
The consequence of this system is that it doesn't make any sense anymore to speak about "the key of C" because the concept of tonality of which it is a part is destroyed. Speaking of tension-resolution also gets a very different, weak and ill defined meaning. The consequences are far reaching. You may like it or not, but you should be aware of where you're going and that the result will miss a lot of the beauty, expressiveness and sophistication of tonality.
Of course it still makes sense. The tonal system is exactly why these scales work in the first place. Everything that is described by these scales can already be described in other terms using the tonal system. C6 + Ddim is just C6 + G7b9 rootless, at the same time being Amin7 + E7b9 rootless. It's just I and V. When used over a different chord, for example Dmin7 + Edim as a ii chord, the Edim is just functioning as a rootless A7b9. So the passing chords are just secondary dominants. Tension and resolution is not different or ill-defined, it's just a different perspective and application of standard tonal harmony. It's just another tool, not an alternative, and so you won't "miss out" on any of the beauty of the tonal system. Quite the opposite in fact.
@@Ambidextroid Ask yourself: what is the tonic of the C major Bebop scale (also called the Barry Harris' 6th Diminished scale). A tonal system has some fundamental properties. Use them as a checklist to verify your answer. I have heard the answer of Barry Harris himself to that question. Also, secondary dominants are irrelevant here.
This is the very best lesson on the Barry Harris system I have ever watched, and believe me I have watched many. Thank you!
Same here, this is the most straightforward and logical explanation I’ve seen
Same here. Absolute clearest and most practical presentation of this approach. Never really clicked before for me or else I didn't see what it could offer or I was simply too bored after 10min of "omg barry harris" hagiography to continue on with the instruction. This however was great.
Thanks, this is much appreciated. I actually myself didn't think about the Barry Harris method too deeply for a long time until it all "clicked" for me.
Agree completely. I’ve been studying Barry Harris techniques for about a year now and have seen just about every TH-cam tutorial under the sun. This filled in so many holes in my understanding of his diminished chord theories. It’s that modulation of each chord that changed the game for me. Simply use the notes of the chord you are leading into! Bam!So simple. Thank you endlessly Mangold project!
Agree !
I’ve seen many tutorials of Barry Harris 6th dimension system, drop 2, locked hands, dominant families, the corresponding scales, applications, and more that have helped, but your presentation, organization, delivery, and instruction makes this jazz piano tutorial one of the best in all of TH-cam. There are some content we come into the video being familiar with like puzzle pieces but this instruction helped fill in a lot of missing puzzle pieces.
Wow - that blew my mind! I’m gonna start playing the piano like it’s a harmonica!
You know, I never thought of that analogy :)
You just blew my mind.
You are an amazing teacher. After watching many videos on the Barry Harris system, your video finally made it click. Thanks
Glad it helped!
Barry Harris chords have never quite clicked for me, but this feels like it gets me one step closer. I appreciate the reframing in terms of "even scales", as it really gets to the crux of the matter, and the variety of different scales you present (like "Aeolian dominant bebop" over dom7 chords, not just the usual major and minor 6th-diminished scales) helps clarify the core ideas!
Way better than every over explanation. Like its so good it makes all others look bad or confused
‘Over’????
This is a crystal-clear and easy-to-understand introduction to the Barry Harris system. Thanks.
But he nearly totally dismisses that it is the system that Barry Harris developed and taught.
@@michaelfoxbrass Codswallop. He does nothing of the sort.
@@michaelfoxbrassSomeone didn’t watch the entire video!
Thank you for sharing Sir! Definitely a university of music in one video! Keep up!
Feel very lucky to find this video ! I will watch it over and over! Thank you so much!
I have students ask "where do you go to learn 'jazz' piano (?)". Your typical piano teacher may think Chopin is your direction to advanced lessons. This is so clear and rare to find. Many thanks!!
A first class exposition of the Barry Harris idea. Really clear . Huge amount of info possibly could have been spread over 2 videos but super video , well done .
This is the most straightforward prescription to jazzy sound, without any bullshit! 👍
Thanks for you terrific class! This class should be watched by more people!
You're very welcome!
Wow on your presentation. Wow and Thank you.
You leave me wondering why on earth every scale I learned uptil now wasnt 8 notes!
I learned all these thing but on guitar. Its so much easier to wrap my head around watching on piano. Thanks you for sharing this. ❤😊❤
Well done. A lot to study here. My brain boiled half way thru, and from there it exploded. A lot to digest here, and to learn.
My mind just exploded! I'm an almost-intermediate self-thaught pianist and this video very well be the next step I needed in my learnimg experience. Thank you!
Thank you for this comprehensive explanation is the application of the 6/7th-diminished concepts. I concur with some of the other commenters that this is the best lesson I've seen on the topic.
Finally understood the Barry Harris method. Thanks for making the best video on the subject. 🎉
watched the video today and practiced the C bebop scale with associated chords and thought ugh this is kinda tricky with the fingers but after 2 hours I have it much better, and it sounds amazing. I can't wait to use this but need to learn how to play piano much better since my main instrument is trumpet. This is how I will replace melody with chords in songs, always wanted to learn how to do it, stopped because of trumpet, tastes evolved to 30's and 40's sound and really loved diminished chords. Love how it all comes in full circle with more exploration. Thank you! Great video.
mangold channel with some golden advice thank you sir God bless you 🌱
This is wonderfully eye opening and VERY helpful. THANK YOU!
This video filled in the blanks better than any other. Whenever trying to plod through sheet music I always wondered how do they decide on what other notes to put in the chord beyond the melody note.
Yes. The Harris system certainly is one of the tools to “enhance sonority” of your overall playing. This video explains in depth not only the concept itself (there are plethora of videos around explaining the basic principles in good or not-so-good ways), but most importantly - the application of the concept itself to actual playing. Any system has a tangible benefit to us - gigging musicians only after you can creatively adapt it to your own soloing. This video tackles that very important aspect in depth 😊
"Traditional" jazz doesn't really "jump around" by assigning a different chord to each note. The Barry Harris system encourages a lot of motion (which is, as the saying goes, "a feature, not a bug").
@@MangoldProjectExactly ! Myself- I use Harris concept only occasionally, and usually during “block soloing” at certain spots, but mostly during solo piano gigs, or with the band for intros (before the rhythm section kicks in) or at the very end when left alone for piano cadenza before the last chord 😊
This is fantastic teaching! Thank you!
Finally a video that explains this well-known concept clear and concise. Very well done, thank you!
What a great video, and excellent lesson. My compliments. I will seek your insights actively from now on. Thanks for your inspiring generosity in sharing these wonderful concepts 🙏🏼💝👍🏼
Welcome aboard the Mangold train.
It would be best to maintain that - in a C scale, - A is step VI and B is VII. You can call the V+ step 5x or 5mark, anything, and still have people understand generic chord-schemes like I - VI - IV6 - V7.
The other objection is that actually is the scale with 4+ common also, in improvization, anywhere from Classic to Jazz and blues: C D E F - F# or Gb - G A B C.
The idea of even scales is very helpful! ❤
What an excellent lesson, but it's out of my pay grade.. for now. Except for practicing the scales. So that's what I'm going to do.
My piano teacher made a comment this week that warmed my heart. I'm frustrated that my ear training isn't up to the level of my music theory Geekness, and I'm still working on my keyboard technique. I'm transposing Bach C Major Prélude, Moulin de Ville La Candeur, Arabesque and La Petite Réunion into other keys. He's happy, and he said that my knowledge of scales is helping me. We talked for a brief moment about seventh chords, but that will be coming later. I want to master triads first. I'm looking forward to rewatching many of your videos once I've fattened up my chops.
You should check out his Jazz Piano for beginners playlist, my chops were fattened quickly
Come back in a few months, it will still be here :)
Wow, as a beginner, this was such a good demonstration of how to use music theory to elevate playing jazz standards. Well done and thank you!
I've been told that bebop was an ugly, angry music lol, ...but this "C Major Bebop Scale" forms such beautiful chords.
Thanks Bird, Gillespie, Monk, Powell, Roach and Mingus, for burning down the genre for decades until it had to be re-discovered from scratch ;) Although Gillespie had some sweet stuff in there every once in a while and I don't really know much about the others.
Thank you so much for this break down, I remember how excited I was when I learned the sixth diminished (maj bebop) tricks but I didn’t know about how to get to these options you’ve laid out. I really appreciate this knowledge 🙏🏼
Man this video really clarified my understanding of playing jazz. This made me find fun again in playing
Really great practical explanation with example of the sixth diminished system. I've seen a lot of others but this one really gives the most no-nonsense way of actually integrating it into your playing.
I can't believe your content is free! Thanks so much!
I was always taught in music lessons that when you have three notes on a stem, you have a Chord and you can have a Dis-Chord as well. A very good video. Thanks for sharing.
you've taught the right thing, any cluster of notes player together can be analyze as a chord.
Three pitches (with no octaves among them) are a triad. Yes, triads are chords, but some triads are discords. F B E is a discordant triad. But there are chords with four or more different pitches, too. I find it hard to believe that someone who purports to teach jazz would claim that four or more different pitches can't make a chord.
I have seen so many Barry Harris “6th diminished scale” lessons and this is the first one that makes sense to me. Thank you!
Glad to be of help!
Oh my god the title is not clickbait.... Why is the title not clickbait!?!?!? Where has this scale been all my life!
I am loving this video! I’m halfway through and taking great notes. I’m looking forward to what you’ll be teaching in your next video and if there is a way to build on this topic some way. Thank you for really thinking through this topic on how to clearly demonstrate its use.
This video is so good!! The way you explain this system just makes it so easy to understand! Will be trying this out for sure!
In case any of you were thinking you recognise this song but can’t place how you know it, it’s the Disney signature theme tune used over the logos during the opening credits. It was originally written for Pinocchio in 1940.
Indeed. That's where I heard it first as a kid! It has since become a jazz standard and I've heard it performed by many talented pianists.
Wonderful explanation, helps explain where some of the great sounds are generated. Thanks!
Great lesson!! Beautiful sound
At 10:20 I was waiting for an explanation that the F actually is intended to clash with a C major harmony. Also, spreading the C major C G E G - G // E (spread) G C F - (E)
I think the original intention of this tune is not to be played with block chords. Block chords are good for demonstration but does not explain what the overtone-scale is and what the overtone scale helps creating.
I once found out what the original harmonization of "When You Wish" is but I have never posted it and never found any written down arrangement. Should I post it? It is great work you have done, easy to follow and it takes time. Your help here is so good for thousands of piano-students! ❤
Sure, go ahead and post it.
That scale for a dominant makes sense. In the C bebop scale you can get the G7 chord by making the Ab of the dim chord an A natural, “borrowing” the note from the Cmaj 6 chord, but then you’re alternating with Cmaj 7 instead of D# diminished, which sounds a lot better when you’re on G7. That was great to see. I wouldn’t think of that an Aeolian chord though, because it doesn’t have a minor third (the E is E, not Eb), but seems you can just think of it as a C bebop with raised 6th (or 7th, however you want to think of the A).
I wonder what other “even” scales you can come up with using this idea. If you raise the C, so you have a b9 voicing, that’s just the whole/half tone scale. I guess F# might work, so you have CEF#A alternating with DFAbB. Maybe C#EF#A. Interesting ideas to play around with!
Wonderful concept-great teacher!
Again, some people here seem to be upset I wasn't clear enough on this, so just to make it clear: the concept of passing notes is central to bebop, and made popular by players like Charlie Parker. Barry Harris took these ideas and extended them to a wider framework for playing jazz piano.
This is a very good video, opening a door into the magic realm of jazz, also honoring Barry Harris. We should go back to tension and resolution, and maybe revise the all too common 7-note scale. Maybe also take another look at the harmonic series and its 'layers' containing 1, 2, 4 and 8 notes, resulting scale C, D, E, F#, G, G#, A#, B. I've studied only the first two bars, but already sees a pattern of scales built on roots I, IV and V. I'd have to check on 8-note (octatonic) harmony, but this might be it, rather than combining two dim7 chords. Sorry if I got too carried away.
Very good lesson, Long time announced and eagerly expected,.
Thank you Assaf I enjoyed it very much
Glad to hear that!
Wonderful teaching
Thanks for your amazing chanel
Thanks for stopping by!
I love your use of the word "friction" sometimes I call it crunch when referring to notes closer together.
I don't read from a script so sometimes I spontaneously use unusual words to describe stuff :)
@@MangoldProject I think it was a great word choice and we have to be creative when we describe sounds with words like "bubble" or "scratchy."
Thank you Barry Harris!
Mangold is truly an angel👐
It absolutely is.
Just read the description.
@@MangoldProject just fix your clickbait!
Nah, I'm good. And read the description, really.
About your Aeolian Dominant Bebop scale. I love it. Ian Ring calls it Stogyllic, which is the Zeitler name for the scale, but I think the best name would be Bebop Harmonic Major. This is because there is a Bebop Harmonic Minor - just Harmonic Minor with the added minor 7th - and it differs from your scale only in that the 3rd is a minor third, not major. But, if we change the minor 3rd to major in the Harmonic Minor scale, we get the Harmonic Major scale. So if we change the minor 3rd to major in the Bebop Harmonic Minor scale, we should get the Bebop Harmonic Major scale. It makes so much sense that I can't believe this term isn't already in use. Have you seen Ian Ring's site and his Scale Finder? If not, google it. It is very useful.
Bravo sir. This was excellent.
Regarding the min6 chord, another thing you can use it for is an altered dominant. For example, C#mn6 has the notes for a C alt chord as a rootless voicing, so you could use the C#mn bebop scale to create motion for it.
Brilliant! Thank you!
Great teaching!! 👍
Regarding the C dom scale, I was thinking about this some more and realized another way of thinking about this. If you consider the C bebop scale, what are the missing notes, the ones not covered from the 12 note scale? It’s Db Eb Gb and Bb, which make a Db Maj 6 chord, the major6 chord which is a tritone away from the Cmaj 6 chord.You could crest even scales by borrowing from the maj6 chord a tritone away, still using the diminished chord as the other chord. For example, if you borrow the Bb in place of the A, you get the dom scale discussed in the video. If you borrowed the F# instead of the G, you get an Amn bebop scale, the relative minor. The other two possible one not borrowing result in an A dom bebop scale and a C mn bebop scale, nice symmetry! If you try two note borrowings you either get a whole/half scale, or a dom #11 as one of the “even” chords, e.g. C E F# B, always for both A and C. So all the even scales discussed can be thought of as borrowing from the maj6 chord a tritone away. The other “even” chord always stays the same - the d diminished chord.
Excellent. This continuous thinking about an idea is what pushes the field forward and also cements our own understanding. Every musician develops some portion which is his or her "own" theory. Keep on thinking!
best explanation
Hi, Mr. Mangold, nice to see you back making videos again. Been awhile. The "bebop" scale I'm familiar with is a major scale with a flatted 7th in addition to the natural 7th, at least ascending. In descending, it sometimes switches over to the flatted 6th in addtion to the nat. 6th - according to some. The 'major' Barry Harris scale adds a flattened 6th to a major scale, both ascending and decending. Which he called a "major diminished 6th" scale. In the minor variant, the 3rd is flattened.
We are both correct:
en.m.wikipedia.org/wiki/Bebop_scale
Basically "the" bebop scale comes to solve a problem of emphasis in running up or down the scale.
Very clear. As a dumb guitar bloke I need clarity
Very nice! Thank you!
So clear. More More more! :)
my god it's actually that simple
Great explanation
Thank you so much,really great!
Glad it helped!
Very easy to understand. Was it explained how you decided which 8-note scale to use when harmonizing a given passage?
I give suggestions for scales for different chord types (non comprehensive).
Thank you for a fantastic lesson. Can I ask, around 4:50, why did you play C Aeolean~dom bebop with an E instead of an Eb? Doesn’t Aeolean flatten the third?
Yes, but Aeolian Dominant unflattens it.
This is awesome, thanks bro
Very interesting, thanks!
Another great video. Someone already mentioned this, but can you please explain why you call a scale with a major 3rd "Aeolian" (Aeolian Dominant Bebop scale).
Ok, many people have asked this ... The "Dominant" in "Aeolian Dominant" means that you're playing an Aeolian scale, BUT such that the chord formed on the 1st degree is dominant. This requires you to replace the flattened 3rd by the unflattened 3rd, so you go from (say, for C):
C D Eb F G Ab Bb C (7th chord on 1st degree = C, Eb, G, Bb = Cm7)
to
C D E F G Ab Bb C (7th chord on 1st degree = C, E, G, Bb = C7 = C dominant 7th chord)
That's all there is to it!
I've always called that scale Mixolydian b6, but I've heard aeolian dominant as many times or more@@MangoldProject
Thank you!
Very Bill Evans, to my ears
This is an excellent topic on how to VOICE harmonies for a section in a band but IMO does not cover be-bop improvisation!
22:15 Some aspect of the "brothers and sisters" idea really clicked for me in this moment. I'm not sure what to call F Bb Db E... but it's not too important, they "play together." Thank you!
P.S. I was slightly confused around 7:03, when your software interprets C6 as "A7(no3) / C." It's one of the best piano visualization tools I've seen, I hope you'll consider emailing the authors about this bug. :)
Thanks! I'll email the guy.
26:50 Good suggestion, although I always "visualized" this pattern during piano soloing on the gigs as subdominant Maj7.
I.E. For CMaj7 (treating it as a "subdominant" you're automatically, mentally in G). Then logically you apply Harris pattern of G Maj for either soloing or "block chording" in C. Stack of CMaj7 with Cdim-Ebdim-Gbdim-Adim chain sounds good as block "passing chords". Having F# note you can also apply entire Lydian Chromatic concept (Russell). Having Eb (D#) as a passing note - that automatically expands sonic options in C. Possibilities are "endless"... Great lesson on adapting Harris - I will definitely pass it onto my students to watch 🙂
Wow. I didn't think I could learn everything new at 70 years old. Should have done this 65 years ago. Of course it would not have been on the 2 networks we had.
65 years ago you were 5 years old! That's kind of hard core to learn jazz theory at :D
@@MangoldProject My dad had a George Shearing book. I took it upon myself to learn "I'm in the Mood for Love" with my poor tiny hands. I think I was actually 6.
Okay, this blew my mind.
Thank you 🙏
Yes it is. Listen to Willow Smiths - Symptom of life. First 4 chords are chromatic.
Read the video description.
i feel like i just leveled up by only watching this once
videazo 👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿👏🏿
Would this explain the Ebo7 in the turn around (last bar) of All Of Me? C6 Eb07 Dm7 G7 - (Eb would be the raised 6 of G7)
No - because the Dm7 = F6 uses the Edim7, and C6 uses Ddim7. If you wanted to "explain" the Ebdim7 you'd have to maybe postulate a progression such as Cmaj7, Dbmaj7, Dm7, G7. However, not everything should be explained using just one system, no matter how sophisticated. Sometimes, a turnaround is just a turnaround.
Great 😊
Why did you call it a C Aeolean-Dom bebop scale? Doesn’t Aeolean require a minor third? This just looks like a major (Ionian) scale with a bebop G# and a dominant/mixolydian Bb on it. I don’t see where Aeolean plays into it.
I was about to ask the very same question! I suspect he really meant Ionian.
Hey, I don't make the names ...
en.m.wikipedia.org/wiki/Aeolian_dominant_scale
I have a question: couldn’t you do what you’re doing here by adding in the G# with any chromatic note in the major scale! Say if I made a scale by adding F# instead of G#?
You could (remember: even scales). HOWEVER, the scale I've used has the ADDITIONAL useful property, which is that the passing chord is a dim7 which creates a nice amount of tension.
@@MangoldProject is this a common practice to use notes other than G#? or do people mostly stick to the Barry Harris one?
@@ZCBeats1 Not very common but certainly possible (we use the Aeolian Dominant in this video as one example). Basically the "standard" scale with G# offers both a strong resolution (C6) and strong tension (Ddim7) - if you can find these two properties in some other scale, go for it! And let the rest of us know :)
Hi! What’s the software you use to get the notes to appear in live time?
Love your videos 🎶❤️
ChordieApp.
this is like the jazz version of the Rule of the Octave
How can you think about all this on the fly when a tune gets called?
How does a hip hop dancer make moves up on the fly? Practice. You work things out slowly initially. Do it daily for an hour or two. After several months these things will be ingrained into your mind.
Toda!
Progression remains the same but they're offset slightly by small changes in variations of the major scale?
And you go back and forth between the scales regularly?
I'm just guessing at the punchline of the tutorial because all I could think of 7 min into this is how much shorter it'd be were the notes lined up in a piano roll. You could probably illustrate that idea in a minute. I wonder if there's some music theory secret that substantially improves the sound of music as much as; call/response, syncopation and sticking to only scale notes does.
I suspect the secret hides somewhere in between genres, when you combine rock and classical for example and you find out how they're able to compliment each other. That there's some knowledge there untapped that you could apply to anything. Same with folk music and country. I think at some point veteran composers figured it out, but didn't write it down because the secret is what makes people appreciate their work. John Williams talks about motifs, Nobuo Uematsu talks about doubling the length of melody notes and using them as a foundation for the harmony. But they've only hinted at these things, nothing substantial. Maybe there's some old composer book from the 19th century that talks about their "method". (That's not 500 pages long but gets to the point) Or maybe call/response, syncopation, intervals, scales and chords is all there is.
Which would be kind of lame, because then music theory can be taught in an hour to anyone.
(Un)fortunately, it cannot be taught in an hour. The devil is in the details.
@@MangoldProject What details? How you harmonize a melody line? Isn't sticking to the chord/scale and rhythm enough? You emphasize the syncopated/polyrhythm notes or you don't.
Then it's just call, response and repetition as well as making sure the instruments got their own range and aren't fighting over attention. Drum loops, riffs and ostinato are just patterns of repeating notes that usually change slightly before a new section to prepare the listener for a new section. Ornamentation that's slightly dissonant but inside the scale could compliment the sound as well.
You're right 1 hour would require the examples to be short, 2 hours should be enough. Unless the (details) refer to something I'm unaware of. What are the details?
G# B D F makes a diminished chord, No ?
Yes. Did I mis-speak somewhere?
I can't hear this sound without getting the one-acre-per, late 50's early 60's, American Dream suburb. "Hi, honey, I'm home!"
What is the name of the software showing the notes please?
ChordieApp.
🌟
G#°7 is indeed a chord…
Yes, yes ... this is of course a tongue-in-cheek title, and a play on Magritte's "The Treachery of Images".
Abo7
Plan Abo7 from outer space.
The consequence of this system is that it doesn't make any sense anymore to speak about "the key of C" because the concept of tonality of which it is a part is destroyed. Speaking of tension-resolution also gets a very different, weak and ill defined meaning. The consequences are far reaching. You may like it or not, but you should be aware of where you're going and that the result will miss a lot of the beauty, expressiveness and sophistication of tonality.
Of course it still makes sense. The tonal system is exactly why these scales work in the first place. Everything that is described by these scales can already be described in other terms using the tonal system. C6 + Ddim is just C6 + G7b9 rootless, at the same time being Amin7 + E7b9 rootless. It's just I and V. When used over a different chord, for example Dmin7 + Edim as a ii chord, the Edim is just functioning as a rootless A7b9. So the passing chords are just secondary dominants. Tension and resolution is not different or ill-defined, it's just a different perspective and application of standard tonal harmony. It's just another tool, not an alternative, and so you won't "miss out" on any of the beauty of the tonal system. Quite the opposite in fact.
@@Ambidextroid Ask yourself: what is the tonic of the C major Bebop scale (also called the Barry Harris' 6th Diminished scale). A tonal system has some fundamental properties. Use them as a checklist to verify your answer. I have heard the answer of Barry Harris himself to that question. Also, secondary dominants are irrelevant here.
Don't confuse the notions of chord and triad. There are perfectly good chords made up of 4 or more pitches.
Are you talking to me?