those chords you played in 6:00 are literally the chord progression for There Will Never Be Another You, goes to show you how much modern jazz was influenced by the locked hands technique and the diminished 6th scale, love the video!!
@@sonnyobrien it's another name for closed voiced chords (where all voices beyond the root are present in the right hand and none are "dropped" into the left hand.
first time i've heard that intro about why we practice...wow...so good, got a lump in my throat listening to that....totally unexpected emotional wave...
Wow that is amazing, thanks for sharing, side note I saw Barry play at the Lionel Hampton Jazz Festival in Moscow probably 15 years ago him and Ray Brown accompanied most everyone.
Regarding Bbm7 - Eb7 - AbMaj7...you could apply the Bb Minor 6 diminished for the ii and V. Barry considers major ii-Vs to just be V. In this case the Bb minor 6th is a rootless Eb9 chord
this and the prior lesson appears to my ear to be a successor to Bach's two handed , sometimes contrary motion, chords with contrapuntal chord voicings....I have heard many people and some great jazz pianists say Bach was the father of Jazz chord structure ( but in the typically ' straight ' rhythms of his time ) is the term in classical music ''contrapuntal '' similar to contrary motion ? In any event, I am old, not very good and play straight sort of stuff, cos melodies rule the roost with me every time...however what I can take and apply from Adam's teachings is awesome. I just tried that in G major cos I work when I do with guitarists who are not fans of flat keys in the league I have played in ( pub and club pop , rock and country bands ) . You sir are a great tea her and have a very genuine expression and an obviously caring passionate nature about life and your music. When I taught beginner to intermediate, my main goal was not to damage the love of music that brought the students to me. Your teaching is like that and very easy- going though often difficult material, with that relaxed, good humoured manner you always have. Molto, MOLTO bravissimo mate....this lesson is immediately applicable and I would suggest students work it out by knowledge, sound and listening ...so as to make it ingrained in the ear part of the learning curve, not the visual or ''academic '' ( simply fun not boring and dry ! ) thank you very much indeed.
Pretty clear. Goes back between 4 note Eb-7 and F7Dim7. Reminds of arpeggios Dmin7-5 followed by C6 arpeggios.. back in 72 through 76. It was good practice. Even thought it is is not the exact notes..I still find it usable all the time.
If often listen a capella stuff, cause you can hear the parts very well. F.i. the Four Freshmen arrangement of the 'there will never..' song, there are so many renditions of it.
Kudos to you, Adam. Finally somebody punctures the “6th Diminished” voodoo confusion (given the ambiguous name) of this sublime harmonic invention technique. Not that Barry didn’t know what he was doing. But the short hand threw just about everybody off. It’s a simple octatonic scale
Maybe i didnt get it right. But what if the melody has a note that isnt in the 6th diminisched scale. Like if u got a line similar to "there will never be another you" but on there would be something like a Gb in the melody?
very nice... I've been struggling with this on guitar for many years. This really makes sense finally. Also I'm wondering if all those old sheet music changes weren't based off old player piano rolls.
Thank you for brilliant knowledge you have shared with us !! I have some question, hope you explain can we use 6th diminished in vary situation, such as : 1. minor 6th diminished? 2. Major 6th diminished in IV maj? 3. every 5-1? 4. every 2-5?
I'll try to answer tour questions: 1. The minor 6th diminished has the same concept. Actually it' the same scale exept for the third wich Is flat. Ex: c-d-eb- f-g-ab-a- b- c (cmin6 dim) 2. With the second question i'll answer to the 3 and 4 as well. You got tò know wich scale use for every chord in the Song For every Major chord you use his Major 6 dim For the pure minor chord ( so not the minor that you find in a 2-5 ) you use his minor 6 diminished. For the 2 that you find in a 2 5 that resolve on a Major Key or that It ment to,u use the Major 6 dim of his relative minor ex C-7 = Eb maj6 dim For the 2 that you find in a 2 5 minor you use the minor 6 dim found a 3rd above ex A7b5= cmin6 dim For the 5 chord u use dominant 6 dim wich Is in a case of G7 for instance: G A B C D Eb F F# G. The concept Is the same if u harmonize It It has G7 and A dim. So you have to think chord by chord and knowing wich scale fits on each chord. Brillant Barry Harris
@@hsgs708Would you also be able to help me know what scales to use over m7b5, and diminished chords (especially when they are used in various contexts)?
This scale’s harmonisation method doesn’t really work when the changes kick in. For example, if the changes become Bbm7, it no longer sounds good because many of the notes aren’t chord tones anymore. How do you adapt this scale to work over different changes?
Bbmin7 is just a Db6/Bb, so you can treat it as the I and play Db 6 diminished over or treat it as the IV and play Ab 6 diminished, or treat it as the iii in Gb. Also can treat it as Eb7 and play a modified Eb 6dim scale, with a C# instead of natural.
great vid great channel although i dont play piano, i sit here and do these lessons (as best as i am able) on guitar my favorite parts of these lessons is the "whoo!!! how great is that!!!" parts its like a little bit of rick flair, lol good work be safe, be happy, work hard peace \m/
I hear people asking questions about that Bb minor in Db or Ab. I assume because it’s diatonic to those two keys. It’s also diatonic to Gb major as well. Could the Gb 6 dim scale be used on that Bb minor?
Man, I'm such a moron. I was always like, bro failing music theory calling it "6th diminished" scale. What's that even mean? Yeah, cuz it's 6th chord - diminished chord - 6th chord - diminished chord. Derp 🤦♂️ Now I get it 😅
One important element of the 6th Diminished you didn't cover(though perhaps you will later) is the use of BORROWING which characterizes the 6th Diminished scale. In this case, you could have the Eb in the bass as a single note played simultaneously with the F Diminished in the right hand which provides an excellent tension sounding chord. THAT was what fascinated me when I discovered it in "the Jazz Harmony Book."
I've asked several times in the OSP chat how to use these and never got an answer I understood. This video changed my life.
those chords you played in 6:00 are literally the chord progression for There Will Never Be Another You, goes to show you how much modern jazz was influenced by the locked hands technique and the diminished 6th scale, love the video!!
What is locked hands technique
@@sonnyobrien it's another name for closed voiced chords (where all voices beyond the root are present in the right hand and none are "dropped" into the left hand.
@@sonnyobrien So named because the hands are "handcuffed", as the LH is duplicating the melody note in the RH.
So glad I ran across this channel. Their old stuff is just as good as the new stuff! So much to learn.
And what an extraordinary teacher!
Thank you Barry Harris!! ❤
first time i've heard that intro about why we practice...wow...so good, got a lump in my throat listening to that....totally unexpected emotional wave...
Me too!
Same here
you're delusional.
Wow that is amazing, thanks for sharing, side note I saw Barry play at the Lionel Hampton Jazz Festival in Moscow probably 15 years ago him and Ray Brown accompanied most everyone.
Thank you ! First time I really understood what the 6 diminisch is.
great lesson, Mr. Maness!
Yea man you gave me some clarity...
Adam, I love your opening comment/sentiment. Such a great way to encompass the essence of playing music..
I've used this strategy for years to write section soli. I never gave it name, but now I have one. Thanks Maestro Harris!
P
Awesome video! I kept waiting for you to reference “Bluesette” when you mentioned the blue set!
Thanks for the stellar content!
Adam you are Crystal clear for I can see it seens you explane 6 din.
Regarding Bbm7 - Eb7 - AbMaj7...you could apply the Bb Minor 6 diminished for the ii and V. Barry considers major ii-Vs to just be V. In this case the Bb minor 6th is a rootless Eb9 chord
Excelent job master Adam, aweson video. Saludo cordial desde Buenos Aires - Argentina
Such an eye opener👀. Highly insightful.
Thanks
this and the prior lesson appears to my ear to be a successor to Bach's two handed , sometimes contrary motion, chords with contrapuntal chord voicings....I have heard many people and some great jazz pianists say Bach was the father of Jazz chord structure ( but in the typically ' straight ' rhythms of his time ) is the term in classical music ''contrapuntal '' similar to contrary motion ? In any event, I am old, not very good and play straight sort of stuff, cos melodies rule the roost with me every time...however what I can take and apply from Adam's teachings is awesome. I just tried that in G major cos I work when I do with guitarists who are not fans of flat keys in the league I have played in ( pub and club pop , rock and country bands ) . You sir are a great tea her and have a very genuine expression and an obviously caring passionate nature about life and your music. When I taught beginner to intermediate, my main goal was not to damage the love of music that brought the students to me. Your teaching is like that and very easy- going though often difficult material, with that relaxed, good humoured manner you always have. Molto, MOLTO bravissimo mate....this lesson is immediately applicable and I would suggest students work it out by knowledge, sound and listening ...so as to make it ingrained in the ear part of the learning curve, not the visual or ''academic '' ( simply fun not boring and dry ! ) thank you very much indeed.
You were talking about improvisation using the 6 dlminist scale. I would very much hear a couple of exampels.
Pretty clear. Goes back between 4 note Eb-7 and F7Dim7. Reminds of arpeggios Dmin7-5 followed by C6 arpeggios.. back in 72 through 76. It was good practice. Even thought it is is not the exact notes..I still find it usable all the time.
Your Margo proves that hearing jazz makes your life longer. And better ! 😊
Perfect tune to use as dim 6 example.
That’s a great explanation, cheers.
Amazing!!
Awesome! I loved the color charts helps for those of us with visual issues!!
Very cool stuff.
If often listen a capella stuff, cause you can hear the parts very well. F.i. the Four Freshmen arrangement of the 'there will never..' song, there are so many renditions of it.
Is there a resource/pdf that has the 6th diminished chords in every key? I searched online for one and can't seem to find anywhere.
Isn't this type of playing (using the chords for each melody note) also called "locked hands" or "saxophone section voicings?" Thanks.
Great video! 💯 I learned something today. 💯
Kudos to you, Adam.
Finally somebody punctures the “6th Diminished” voodoo confusion (given the ambiguous name) of this sublime harmonic invention technique.
Not that Barry didn’t know what he was doing.
But the short hand threw just about everybody off.
It’s a simple octatonic scale
awesome stuff, taught me a lot
Maybe i didnt get it right. But what if the melody has a note that isnt in the 6th diminisched scale. Like if u got a line similar to "there will never be another you" but on there would be something like a Gb in the melody?
great man
very nice... I've been struggling with this on guitar for many years. This really makes sense finally. Also I'm wondering if all those old sheet music changes weren't based off old player piano rolls.
Thank you for brilliant knowledge you have shared with us !! I have some question, hope you explain can we use 6th diminished in vary situation, such as :
1. minor 6th diminished?
2. Major 6th diminished in IV maj?
3. every 5-1?
4. every 2-5?
I'll try to answer tour questions:
1. The minor 6th diminished has the same concept. Actually it' the same scale exept for the third wich Is flat. Ex: c-d-eb- f-g-ab-a- b- c (cmin6 dim)
2. With the second question i'll answer to the 3 and 4 as well.
You got tò know wich scale use for every chord in the Song
For every Major chord you use his Major 6 dim
For the pure minor chord ( so not the minor that you find in a 2-5 ) you use his minor 6 diminished.
For the 2 that you find in a 2 5 that resolve on a Major Key or that It ment to,u use the Major 6 dim of his relative minor ex C-7 = Eb maj6 dim
For the 2 that you find in a 2 5 minor you use the minor 6 dim found a 3rd above ex A7b5= cmin6 dim
For the 5 chord u use dominant 6 dim wich Is in a case of G7 for instance: G A B C D Eb F F# G.
The concept Is the same if u harmonize It It has G7 and A dim.
So you have to think chord by chord and knowing wich scale fits on each chord.
Brillant Barry Harris
P.s. on a dominant chord for instance G7 you can use ab minor6 dim as well.
Basically you have to learn 3 scale and know where to use them.
@@hsgs708Thanks for this explanation. This has been missing from so many people’s explanation of using Barry Harris’ scale.
@@hsgs708Would you also be able to help me know what scales to use over m7b5, and diminished chords (especially when they are used in various contexts)?
Hi! What is the scales workbook featured at 0:17? It looks great
+1
This scale’s harmonisation method doesn’t really work when the changes kick in. For example, if the changes become Bbm7, it no longer sounds good because many of the notes aren’t chord tones anymore. How do you adapt this scale to work over different changes?
Bbmin7 is just a Db6/Bb, so you can treat it as the I and play Db 6 diminished over or treat it as the IV and play Ab 6 diminished, or treat it as the iii in Gb.
Also can treat it as Eb7 and play a modified Eb 6dim scale, with a C# instead of natural.
Is the scale derived from the key signature or the chord? And if it’s the key signature do you still play the chords in the music?
great vid
great channel
although i dont play piano,
i sit here and do these lessons (as best as i am able) on guitar
my favorite parts of these lessons is the "whoo!!! how great is that!!!" parts
its like a little bit of rick flair, lol
good work
be safe, be happy, work hard
peace \m/
I hear people asking questions about that Bb minor in Db or Ab. I assume because it’s diatonic to those two keys. It’s also diatonic to Gb major as well. Could the Gb 6 dim scale be used on that Bb minor?
i love this stuff. you can do so much too. lik say C6 Bdim well it can be C6 Db6 or C6 Bbmin6 or Abmin6 C6 ITS NUTS
it can be Fmin7b5 C6 Gmin7b5 also
Steve from NJ
Hi thanks. Could you show us how to play a sequence of chords using this scale to create counter points?
So is this two four not scales? Or are you substituting the 6 for the flat 6?
Are ther any Barry Harris piano practice or method books out there?
Was he ever published?
I thought it's the b13 not the b9 ?
Hi, just found this, isn't this known as the Be-Bop scale please?
Yup. The Major 6th Diminished is the same as the Ionian bebop scale.
Us guitar players are watching this and thinking: "There's an E flat now?"
What about The Minor Sixth Diminished scale??
Hi from Soweto
How about The Big Dipper???!
Anchorage, Alaska
Yes!!! Thank you!!!! 1Nation4Life
How much of your playing utilizes this concept?
Man, I'm such a moron. I was always like, bro failing music theory calling it "6th diminished" scale. What's that even mean? Yeah, cuz it's 6th chord - diminished chord - 6th chord - diminished chord. Derp 🤦♂️ Now I get it 😅
There is mountain lion walking around in the background.
Whenever I hear people say Adam’s name, it sounds like “Adam Madness.”
Seeing Philipp's Independence of the Fingers in the intro of this vid really brought me back!
metal😎
One important element of the 6th Diminished you didn't cover(though perhaps you will later) is the use of BORROWING which characterizes the 6th Diminished scale. In this case, you could have the Eb in the bass as a single note played simultaneously with the F Diminished in the right hand which provides an excellent tension sounding chord. THAT was what fascinated me when I discovered it in "the Jazz Harmony Book."
2:55 Adam's dog peed on the wall
oops just listened a bit further on
DOGGY!
Just a little confused, as you speak of technique separate from practice.
Skip to 9 min
For you first lesson
This guy blows hard, jus get on with it already
This guy talks too much.
You're right, he should teach his lessons telepathically 👍🏻