Ive been planing guitar for about 18 years, and once I started learning piano, being able to visualize Barry concepts from his point of view is just life changing. Sure you can apply his ideas to guitar but to fully grasp his way of thinking I think everyone should take some time on piano, it will make you a better guitar player for sure.
Most chord progressions do not allow time for an entire scale to be played- therefore leaps out of the scale, to important or "guide tones" are necessary to convey the harmony to the listener. For that reason, scales are not functional- undoubtedly you are going to break from a scale pattern- however leaping to notes critical to the chord progression is always useful. In the key of C, if you have E 7 coming up, you know that the G sharp is the most critical note- chances are you are going to A minor, and the G sharp is the leading tone- you do not necessarily have time to run a complete scale, so knowing the purpose of the G sharp is important. In the key of C, the A flat, or G sharp may also appear as the F minor chord (with an E natural)- you must know how to leap to it. As a melodic tone, the A flat can resolve up to A, or down to G.
Hi there, thanks for sharing this information. just noticed @1:43 you say that C6 is the same as an A diminished 7 and I wonder why... according to what I see and hear when I play C6 is the same as an A minor 7. Could you please explain some more here..
Great stuff! 👍 l’ve been following closely. I did find a small typo in the tab; at around 2:10 the Bdim7 should be at frets 9 and 10 (not 8 and 9 as notated), but example is played correctly.
Thanks man- Yes the tab is somewhat labor intensive for me since I haven't figured out a good way to automate it. I do have a Fishman MIDI pick up I could probably utilize to make the tab. I have another job as an MD that takes up quite a bit of my time unfortunately LOL
I think there’s an error on the a minor 6 diminished chord diagram. The fourth chord, harmonizing the 4th degree, should be 9/10/9/10, not 8/9/8/9, I believe.
Awesome stuff! Quick question. How would you treat a 5dom9sus? Like a 4/5 or 4 over 5. Like Fmaj over G in the key of C. Would you treat it with the Barry Harris‘s rules for a 4 chord or a 5 chord? Or either one maybe?
C Harmonic Major Scale 1 2 3 4 5 b6 7 C D E F G Ab B + C Major Scale 1 2 3 4 5 6 7 = C Major Bebop Scale 8 note 1 2 3 4 5 b6 6 7 1/8 ( C Diminished 6th Scale )
As I mention in the video each diminished 7 chord in the harmonized scale serves as a dominant flat 9 to the major or minor 6 inversions. Also the minor 6 chord can be seen as a dominant (for example, Gm6 can be used as a C9 and Dbm6 can be seen as a Calt). The Maj6 chords can also be used as dominants (Bb6 is essentially a rootless C7sus).
You need to be very clear in your explanation that the concepts are not yours and that these were initially explained by Barry Harris. Just putting his name in between 2 brackets does not mean that you are acknowledging that
Ive been planing guitar for about 18 years, and once I started learning piano, being able to visualize Barry concepts from his point of view is just life changing. Sure you can apply his ideas to guitar but to fully grasp his way of thinking I think everyone should take some time on piano, it will make you a better guitar player for sure.
Finally! A video on the subject that is immediately graspable, first five minutes, absolutely revolutionary for me
Dr.Josh
Thank you for sharing your knowledge and this great breakdown of the diminished 6
The chord purgression is priceless
Antonio
Hallelujah! I’ve watched quite a few Barry Harris for guitar videos. For my brain your’s is the easiest to grasp and apply. 🙏
Thanks for including the minor 6th chords, been looking for these for ages!
Diminished act as dominants with a flatted 9th creating a handy chain of V-I's here
Most chord progressions do not allow time for an entire scale to be played- therefore leaps out of the scale, to important or "guide tones" are necessary to convey the harmony to the listener. For that reason, scales are not functional- undoubtedly you are going to break from a scale pattern- however leaping to notes critical to the chord progression is always useful. In the key of C, if you have E 7 coming up, you know that the G sharp is the most critical note- chances are you are going to A minor, and the G sharp is the leading tone- you do not necessarily have time to run a complete scale, so knowing the purpose of the G sharp is important. In the key of C, the A flat, or G sharp may also appear as the F minor chord (with an E natural)- you must know how to leap to it. As a melodic tone, the A flat can resolve up to A, or down to G.
This is fantastic, I'm gonna start working on it right away.
Mind blowing stuff but really nicely explained. I’ll be watching it several times more to fully understand it 👍👍🎸
I’ve been tryin to understand this stuff for a while now thanks for going slow 😂❤
th-cam.com/video/c6xnXsMlNec/w-d-xo.html
Love those sounds thank you
Excellent, just what I was looking for, thank you.
Very practical and excellent job explaining this thanks for sharing!
Great video as usual, thanks so much for sharing! Love your channel
Thanks so much! We’re all learning :)
th-cam.com/video/c6xnXsMlNec/w-d-xo.html
Hi there, thanks for sharing this information. just noticed @1:43 you say that C6 is the same as an A diminished 7 and I wonder why... according to what I see and hear when I play C6 is the same as an A minor 7. Could you please explain some more here..
You are correct C6=Am7. I think I meant all the dim chords are the same.
@@DrJoshGuitar I am really enjoying your content. Again, Thanks for sharing
Thanx! Great vid but I just wanted to be sure that I'm thinkin' right and obviously all those chord arps also fit for soloing
You bet!
may I ask for some real examples of how you would do it?@@DrJoshGuitar
Great stuff! 👍 l’ve been following closely.
I did find a small typo in the tab; at around 2:10 the Bdim7 should be at frets 9 and 10 (not 8 and 9 as notated), but example is played correctly.
Thanks man- Yes the tab is somewhat labor intensive for me since I haven't figured out a good way to automate it. I do have a Fishman MIDI pick up I could probably utilize to make the tab. I have another job as an MD that takes up quite a bit of my time unfortunately LOL
@@DrJoshGuitar MD as in music director? Or medical doctor?
Question. Why did you choose to play the C6 diminished (key of C), and not the Am6 diminished (key of G) over this? Do they both work?
I think there’s an error on the a minor 6 diminished chord diagram. The fourth chord, harmonizing the 4th degree, should be 9/10/9/10, not 8/9/8/9, I believe.
Do you use the Dom 7 5b chords scale Barry Harris and if you do how would you or could you show us ?
I don’t think I use that one
dude this is great thanks
Glad you found it useful!
Great vid! Very useful info. Thank you.
Thanks man!
Excellent.
Awesome stuff! Quick question. How would you treat a 5dom9sus? Like a 4/5 or 4 over 5. Like Fmaj over G in the key of C. Would you treat it with the Barry Harris‘s rules for a 4 chord or a 5 chord? Or either one maybe?
I would probably treat it as a IVmaj6. So in the key of C, the chord you are referring to would be F/G and I would play it exactly like an F maj6.
Thank you sir
C Harmonic Major Scale
1 2 3 4 5 b6 7
C D E F G Ab B
+ C Major Scale
1 2 3 4 5 6 7
= C Major Bebop Scale 8 note
1 2 3 4 5 b6 6 7 1/8
( C Diminished 6th Scale )
Exactly 👍🏼
Great work. +1
Thanks!
So theres no chord for the Dominant 7th chord?
As I mention in the video each diminished 7 chord in the harmonized scale serves as a dominant flat 9 to the major or minor 6 inversions. Also the minor 6 chord can be seen as a dominant (for example, Gm6 can be used as a C9 and Dbm6 can be seen as a Calt). The Maj6 chords can also be used as dominants (Bb6 is essentially a rootless C7sus).
@@DrJoshGuitar I figured out you can use F#m7b5 for the D7
@@kidpoker007 yes F#m7b5 is the same as Am6. I usually think of it that way, but whatever works for you!
@@DrJoshGuitar thanks for the video
1:30
I think I should give up playing the guitar.
Please don't :D
You need to be very clear in your explanation that the concepts are not yours and that these were initially explained by Barry Harris. Just putting his name in between 2 brackets does not mean that you are acknowledging that