I finally understand how minor 6 chords can act as dominant, thank you! They are like another level of the try tone sub, where they keep the same try tone but a different chord quality
Fabulous Shan. This is helpful BUT…I’ve been playing for decades and make my living as a pianist/vocalist and I’m fascinated by the “new” approach from Mr. Harris, however, the thing missing from all the BH TH-cam videos I’ve found is “Here’s a review of the most useful things you can do with this material after practicing for a couples years.” You and others make excellent “small chunk” videos but I’m hesitant to spend years working this stuff thru all keys and permutations unless I feel confident the end result is more than me playing a slew of harmonic drills with no clear application beyond moving the upper two notes during an intro or turnaround. That’s nice, but what else? What I would love to see is a video that shows a half-dozen varied applications of the method with you calling them out along the way. Don’t worry about teaching them at the same time. This would be a “you won’t get this today, but trust me, this is the long term payoff” video. Thanks dude. Keep swinging.
Hi Gregg, I would recommend that you watch the free members webinar on www.JazzSkills.com so you can see applications of movements (the levels 2 and 3 parts) to a full tune. We do tons of that on Jazz Skills.
That’s super cool. One thing I noticed about the sound… if you use the Cmin6-diminished motion over B7, you get that #9->b9 sound. But if you use it over the F7, the #9 is there but the b9 isn’t. Curious how the Barry Harris way of thinking about things would address that. Would you just use the F#min6-diminished scale over the F7 if you wanted that #9->b9 motion on the Dominant?
Any examples/tips on how to apply this on slow tempos (e.g. 60bpm)? I'm trying to cover "Angel Eyes" with a bass and drums backing track but I just sound like a noob lol
Here are my other Barry Harris videos:
th-cam.com/play/PL2GT-F7_oAbkEGy3Sm5jjoowPJLGs6Zzd.html
I finally understand how minor 6 chords can act as dominant, thank you! They are like another level of the try tone sub, where they keep the same try tone but a different chord quality
Thank you so much for the lesson! It was brilliantly taught!
You're very welcome! I hope your playing is going well.
Those sounded great!
Wonderful lesson! So glad I found this!
Welcome aboard!
Beatiful lesson ! thanks sean
My pleasure!
Another good one Shan. You never disappoint! You always make me think. And as I always say- "Thinking is good! Thanks.
He is the man.
Good to see you :)
Absolutely awesome content! Thanks so much 👍👍
My pleasure! I wish you the best with your playing.
Thank you for sharing. I make beats and harmonizing melodies is becoming easier to understand with Lord Harris's 6th / dim techniques
Wonderful!
Excellent lesson, thank you!
That's real fun Shan! Thank You so much! Kind regards and best wishes!🎼
Glad you enjoyed that Arpad! Hope life is treating you well. Shan
@@JazzSkills thank you Shan, I'm fine (working hard :) ) Will be back soon on Jazzskills!!!
This was so great. Thank you! Left me inspired!
I'm so glad!
Great stuff!
thenk you so much that's fantastic!
Really enjoying your channel - great content!
Much appreciated. I think your youtube names describes me too!
Fabulous Shan. This is helpful BUT…I’ve been playing for decades and make my living as a pianist/vocalist and I’m fascinated by the “new” approach from Mr. Harris, however, the thing missing from all the BH TH-cam videos I’ve found is “Here’s a review of the most useful things you can do with this material after practicing for a couples years.” You and others make excellent “small chunk” videos but I’m hesitant to spend years working this stuff thru all keys and permutations unless I feel confident the end result is more than me playing a slew of harmonic drills with no clear application beyond moving the upper two notes during an intro or turnaround. That’s nice, but what else? What I would love to see is a video that shows a half-dozen varied applications of the method with you calling them out along the way. Don’t worry about teaching them at the same time. This would be a “you won’t get this today, but trust me, this is the long term payoff” video. Thanks dude. Keep swinging.
Hi Gregg, I would recommend that you watch the free members webinar on www.JazzSkills.com so you can see applications of movements (the levels 2 and 3 parts) to a full tune. We do tons of that on Jazz Skills.
@@JazzSkills much appreciated.
thank you!!!
You're welcome!
That’s super cool.
One thing I noticed about the sound… if you use the Cmin6-diminished motion over B7, you get that #9->b9 sound. But if you use it over the F7, the #9 is there but the b9 isn’t. Curious how the Barry Harris way of thinking about things would address that. Would you just use the F#min6-diminished scale over the F7 if you wanted that #9->b9 motion on the Dominant?
Yes. If you want the "altered" sound then it's F#m6dim over F7. It has some wonderful moves in there.
Love you vdo so much.
Thank you so much 😀
Great lesson again. I am currently trying to pick some movements from Barry's lesson while in the Hague.
Is there a video where barry harris explains the minor 6 on the 12345 of dominant chords?
Sorry, I didn't understand that.
Any examples/tips on how to apply this on slow tempos (e.g. 60bpm)? I'm trying to cover "Angel Eyes" with a bass and drums backing track but I just sound like a noob lol
In that case, check my new lesson on min I VI II Vs. There's a relationship with that tune.
it can be apply to the cm7 chord too ?
For those, we use the corresponding maj6 dim scale. I have videos on that on youtube.
Arg. TRITONE
Tritons minor!
And Tritons too. You mean what I know 😂