Blues improv - 1 section. Barry Harris style

Here are several tips for playing the Am7b5 D7 section of Blues in F. Some of the explanation uses the harmonic minor scale and some uses tips I learned from Barry Harris to see it differently.
I show you:
- How to run the harmonic minor scale rhythmically
- Common mistakes to avoid
- Thinking of it as an F7 scale descending to the 3rd of D7
- Using Barry's tip of seeing it as a chromatic scale between the 2 and 7 of F7
Hope you find it helpful!
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[@Osnosis]

A-7b5 is just the upper structure of the F7/9 without the root. You move from G natural minor to G harmonic minor (one note different). Sometimes Barry’s stuff is presented in a “woowoo” complex manner, but you are 100% correct that chords come from scales (and thus a particular tonality, at least in functional harmony).

[@joyfulfrequencies5391]

The Harmonic minor scale is a whole passion..
Thank you! A very interesting episode..

[@JazzSkills]

Thank you so much! Hope your playing is going well.

[@joyfulfrequencies5391]

@@JazzSkills
I'm a guitarist, but I love Jazz piano, and I like your inspiring teaching very much.. I'm willing to buy an ideal keyboard soon..

[@arpadternei6991]

Very important lesson, like all of your lessons Shan, thank You!

[@humblemai2211]

Great teacher always

[@Mralexandremm]

Hi,
I discover your channel. I discover your way of explaining chords and scales, taking time to play and annotate. Very nice. For the French speaking jazz beginner that I am, your channel is a gift !
Thank you !

[@TheRealSandleford]

thats whats cool about the minor 6 diminished scale with melodic and harmonic in one ... could also think major with sharp 5 for harmonic or major with sharp 5th and 4th for melodic or add regular 4th to that for minor 6 diminished

[@parkerpolen]

Thank you for the helpful insight, Shan! I am interested in your thoughts about the ii V to ii from a harmonic perspective. In iReal pro, the stock changes in the jazz blues include the iii-7, thus incorporating the diatonic major 7. That natural 5th offers a brighter quality, and a brief alteration in sound. However, the minor ii V to ii is a stronger cadence, thus they both offer their own attributable qualities. Which do you prefer to play?

[@blow-by-blow-trumpet]

I do really enjoy these kinds of lessons Shan. I love the way that great lines just pop out when you apply Barry's principles. I practice like this a lot these days. One question: In one of Barry's workshop videos he demonstrates the scales for the blues and in bars 7-8 he plays up the tonic scale to the major 7th then back down to land on the 3rd of the V of ii. It sounds great but I've never really understood the theory behind it. I noticed that here you go up to the minor 7th rather than the major 7th. My question, I suppose, is which one when and why? Does the major 7th imply the melodic instead of the harmonic minor?

[@JazzSkills]

In bar 7, if you have Am7 then it's the 3rd chord of F so the F Major up and down to the 3rd of D works there.
If it's Am7b5 then it's the G harmonic min (or can be thought of as F7 up and down to the 3rd of D).

[@blow-by-blow-trumpet]

Boom! Got it. I've been wondering that for about 3 years! I knew there would be a simple logical reason. Thank you.@@JazzSkills

[@maximilianocastiglioni9679]

Hi. Could you explain where the F7 is in the G harmonic minor? Thank you. Great channel

[@karlmccreight8172]

4

[@humblemai2211]

Bill Evans please

[@danieldillon6436]

This lesson is really about how to use a harmonic minor scale over a minor ii-V. It has little to do with how to play a Blues. An important part of playing a Blues is it's a down home funky kind of rootsy music and to be so concerned with the theoretical kind of loses the point so in the end, this episode sounds little like a Blues.