Far be it from me to suggest anything more interesting than what you'll inevitably come up with, but I bet working this half-step below concept into your contrary motion sequences would be interesting (yet undoubtedly tricky).
This obviously is genius...but me being a country swing player....I can't get enough of 6ths...my true love ...so this is ...huge....in your dept sir....
From my Berklee School of Music arranging syllabus circa 1960's: "Diminished Approach" in major 1. Must be 2, 4 , (#5), or major 7 of the major scale of the chord you are approaching. 2. Must approach a chord tone. 3. No diminished approach to a diminished chord. 4. Harmonization: build a diminished chord from the melody note. "Chromatic Approach" 1. May approach anything. 2. Harmonization: First harmonize the note being approached, then go back and use chromatic movement in all the parts in the same direction as the melody. (They also had rules for a "Double chromatic approach")
There are so many great ideas in this one video! After experimenting, I realize that I've used some of this before, but not in any organized way. Thanks for continuing to share your work with Barry's concepts!
I like to look at the other half steps from the point of view of the family around the G6 over C6 for instance the Eb and Gb come from c°7 which at that point that's from the G6 family then you can continue to do the half steps from there as you were! As always great stuff man!
@@thingsivelearnedfrombarryh2616 now with the dominant 7th I've noticed that I like to intersperse the half diminished seven rather than the fully diminished seven. I also have to say thank you so much for creating this channel. I wouldn't be where I am today without it! There are so many variations. Like you said before in your other videos that all of us while pulling from the same information will almost never sound the same.
Remember that Barry also uses scale of chords from G while in C. Like when someone plays C6 to Cdim7 back to C. Like you did at the beginning of your examples applying it.
Man, I can't get enough of this stuff. What an amazing resource this channel is (and the Labyrinth, of course). Thank you.
Thanks Matt. More to come.
Barry Harris has just made guitar so much fun for me again. I thought I knew enough and got bored with theory. I love this stuff.
You are incredibly generous sharing your epiphanies like this.
Many thanks.
Barry is the generous one. This is all his stuff.
Beautiful indeed!
Every note has a "leading tone" a half step below, so we are literally leading the listener into the chord tones.
Nice way to look at it Joshua.
In C, Eb to E is the archetypical move from minstrelsy onward...
So great the way you focus on a seemingly simple idea & build it into a wide range of possible applications!
The world needs a collaborative livestream with you and Thomas Echols.
We might have to do that at some point.
hahah throwing that gauntlet, buddy. challenge ACCEPTED!
*beautiful examples. Stealing that G flat on the drop 3 C 6
Far be it from me to suggest anything more interesting than what you'll inevitably come up with, but I bet working this half-step below concept into your contrary motion sequences would be interesting (yet undoubtedly tricky).
@@mattfox762 it's a great suggestion. i'm looking at it!
Fantastic video as ever - beautiful art on the wall behind too! 👏👏👏
Love the artwork.
This obviously is genius...but me being a country swing player....I can't get enough of 6ths...my true love ...so this is ...huge....in your dept sir....
Thx Chris . Always great stuff. and I see Barry,s Art coarse behind you on the wall ! Its Awsome to .. happy Holiday !!
Haha. Thanks Dan. Happy Holidays.
I can't wait to sink my teeth into this tutorial! This is incredibly inspiring!
Yeah James. You never run out of things to check out with Barry's method.
@@thingsivelearnedfrombarryh2616 I completely agree, Chris! Thank you and happy holidays!
From my Berklee School of Music arranging syllabus circa 1960's:
"Diminished Approach" in major
1. Must be 2, 4 , (#5), or major 7 of the major scale of the chord you are approaching.
2. Must approach a chord tone.
3. No diminished approach to a diminished chord.
4. Harmonization: build a diminished chord from the melody note.
"Chromatic Approach"
1. May approach anything.
2. Harmonization: First harmonize the note being approached, then go back and use chromatic movement in all the parts in the same direction as the melody.
(They also had rules for a "Double chromatic approach")
ok lets try double
Hello from France
Thank you !
You're welcome.
Great stuff. Thanks for going through all this and sharing.
Thank you, Chris. I really dig this.
Appreciate it Alec. I'll be there on Saturday trying to learn more from the Master.
There are so many great ideas in this one video! After experimenting, I realize that I've used some of this before, but not in any organized way. Thanks for continuing to share your work with Barry's concepts!
Cool....Jerry Bergonzi talks a bit about this approach, but applied to single note lines....especially on V7.
Thanks to both of you gents, Thomas and Chris, for this deep dive! It's really fascinating. I'll cc this on Labyrinth.
Shit man you blew my mind when you broke the drop two into all those intervals.
"Blue Monk" played in 3rds covers a lot of these chromatic movements.
I'm hooked on TILF pr0n!
The cool thing about this concept is it can also be applied to Half Steps above as well.
bro i love you, thank you for this!!!
Are you keeping a pick in your beard? Brilliant
Haha.
I like to look at the other half steps from the point of view of the family around the G6 over C6 for instance the Eb and Gb come from c°7 which at that point that's from the G6 family then you can continue to do the half steps from there as you were! As always great stuff man!
True K C. Next though you have to check out Minor 6th, Dominant 7th, and Dominant 7thb5.
@@thingsivelearnedfrombarryh2616 now with the dominant 7th I've noticed that I like to intersperse the half diminished seven rather than the fully diminished seven. I also have to say thank you so much for creating this channel. I wouldn't be where I am today without it!
There are so many variations. Like you said before in your other videos that all of us while pulling from the same information will almost never sound the same.
The word “Beautiful” is your *Trademark
Studying with Barry since 1993, I've heard several lifetimes of beautiful things. I've been lucky.
Half step above on a diminished is the sus4 note from one of the dominant siblings
Brilliant Chris!
Remember that Barry also uses scale of chords from G while in C. Like when someone plays C6 to Cdim7 back to C. Like you did at the beginning of your examples applying it.
Yes sir.
What standards are good ones to practice Drop 2, 3, and 2+4 major and minor chords on?
The Labyrinth of Limitations Response
th-cam.com/video/A4fdeUhle90/w-d-xo.html
You guys should get together! Id love to hear u guys just jamming together, would be beautiful to hear
Half step above is cool to be when I then go half step below after like a three step process.
I have to try that Thom.
There a bit like passing notes.
Half step below maj6th Sounds like tonic diminished.. Also wouldn't half step below the dim chord be an octatonic move?
Yes John.