Nice

THANKS, CP!

Unrelated question that I think viewers here (or Chris) could answer. When a song in Bm has a F#m7 functioning as its v chord, is there a 6/dim flavor that fits over that? The typical answer would be A6/dim. But the diminished in between chords sound wrong. It should have a g natural (b2) involved. I can just run a B minor scale over it but I would love to find a Barry Harris style 6/dim option

You obviously know your stuff…. but I’ve only watched less than half and I have a headache 🤣🤣

THANKS!

practice notes: • Key of Bb: 5 is F, which triggers this phrase after you hit 5 (F), then maj7 (A), tonic (Bb), 4 (Eb), then 3 (D) • 4: start on 5 again, then 4 (Eb), then chromatically up to 3 (C-Db-D) • 3: start on 5, chromatic down to 3, then triad up from low 5 (F-A-C) • 2: 5 scale down to 2 (C), then 7 (A) chromatically to the 2 (C) triplet • Then put them all together. • Pick & choose whichever one you want. • Start on tonic (Bb) and descending put a half-step to 5, then do any of them. • Little “pivots” that lead to other interesting ideas. • Practice moving in 4ths, e.g. Bb, Eb, Ab, Db, Gb, etc. • Play these over any major chord.

practice notes: • Scales: Bbmaj7, F7, Bb7, Eb7. o For the bridge: D7, G7, C7, F7 • AABA form • First 8 bars (A section) scales: Bbmaj7 up, F7 up, repeat. Then Bb7 up, Eb7 up, Bb7 up Eb7 up. • Second 8 bars: identical to first 8 except last two scales are Bbmaj7 up & down. • Bridge: D7 scale up and down, G7 up and down, C7 up and down, F7 up and down. • Last A section: same as first A

practice notes: • Blues in C major • Running a scale up: C7, tonic up to b7 • Up & down: Cmaj7, tonic up to 7 then back down to C# (3rd of A) • G7 up & down: G to F and back down to G • Play rhythmically correctly - very important • Metronome on 2 & 4 • C7 up, F7 up, then C7 up & down. Then F7 up & down, Cmaj7 up & down. Then G7 up & down, Cmaj7 up, G7 up. • In a ii-V, only think of V7 (G7 in this example). • Other common keys: F, Bb

practice notes: • Key of Bb, play scale 1-3-2-4 etc. Backward start on 3rd then tonic, etc. • Triads: play a note, skip a note - 1-3-5, 2-4-6, etc. Repeat 2nd note going up the scale. Then down, 5-3-1-3-4-2-7-2 etc. • Then 4-note chords, 1-3-5-7, 2-4-6-8, then down. • Half-step below first notes (approach note), up and down, on all of the above • Practice in every key, also on dominant (mixolydian) scales o Practice on Rhythm Changes • Barry’s chromatic scale o In the major (and dominant) scale, there are two places where there aren’t half steps between the scale notes. Play the next scale note and then back to previous scale note, e.g. in the key of C, play C-C#-D-D#E-G-F-F#-G-G#-A-A#-B-D-C. Coming down same idea. o Do in thirds, up and down, same thing. o Then triads up and down. o Then chords up and down. o Can use ‘jump notes’ other than the scale note from above, so long as the number of scale notes comes out right (keep it rhythmically accurate).

THANKS, H!

What about a longer triplet? Like 1/4 or 1/2 or even whole note triplets?

love how you break these down into bite-size pieces. looking forward to hitting the keyboard and practicing episodes 1 and 2. thanks!

Thanks for the 1 6 2 5 in minor ....and everything... method very cool .... I like major with sharp five for major diminished scale ... and major no 5 but flat and sharp 5 for minor diminished scale ... I think good for if you have your major scale down ... now need to see what the dominant and b5 dom are altering in it.... seems to me for guitar players with so many possible fingerings, to keep it simple just one scale the major with alterations. Granted they will be different but if you want to stick to 5 positions and relate them to the major you can

I tried a reverse pivot and I forget now why but found it unremarkable

Yes,this was useful, ty,I'll catch u on the next one

Pls. Tell why F7 work for resolve to Gm. Thank you!

So happy I've found your channel Chris, thank you for sharing the love. The only issue is I've only just found it, this is already 5 months old as episode 137 and I'm still scooping up my brain after watching EP4 a couple of times, eek!

Was checking out Ron Eschete he was doing some barry like things.... but also did minors as 5s for scale which sounded pretty cool... ive not heard anything like that from barry

Respect! Of all the learning methods out there this page has to be the holy grail of jazz learning. You’ve done a huge service to the jazz guitar community. You’ve made the beauty of jazz piano available to those willing to to the work on the guitar. Invaluable!

This channel is the best jazz guitar channel in my opinion, I have recommended to my friends who try to learn jazz. Chris you are amazing

Great vid! I have thought of that turn-around as a VI II V I except with b5 subs o VI and V to make it chromatic for a long while now but never thought of it like that. Cool. Both ways i think are good but this way is sweeter.

Wowww❤ sir, do you have the same lessons on Blues with this type of scales.its amazing.pure Gold.❤ Your tele sound like archtop.

Beautiful thanks for sharing your knowledge with us!

THANKS!

Chris, this is super cool. It sounds like what you are saying is when you are playing a 5 chord (or a dominant) you can play the sub dominant over it. So in the key of C when you have a G7, you can play F maj and D minor triads over it. Would the B half diminished also work since it too can work like a sub dominant? I imagine it would. I also wonder if this trick works on secondary dominants too, like when E7, A7, D7, Db7 and Bb7 show up in the key of C? I imagine there it gets a little more complicated. For example if an E7 shows up in the key of C, i imagine i could treat it like its the key of A and play Bm and D over it, but i could also treat it like its functioning as a dominant in the key of C too, right, because its probably resolving into a tonic chord in the key of C. So i could also play Dm, F and Bhalf dim over that E7 chord too?

probably my favorite from the chord melodies playlist! it´s such a beautiful song

Thank you for your videos and immense gold mine of information! really great. One thing that came to my mind as an instructor myself, I'd be curious to read your thoughts on how to incorporate all of these informations into ones playing, without "thinking" about it while improvising?

How’s the amp for jazz I’m thinking of getting one. Nice playing

It's people like you who make KZbin enjoyable. Fantastic lessons, Chris. Thank you for honoring Barry Harris by sharing his legacy through your apprenticeship with him.

Excuse me one question. Often in the third bar Parker uses the 13b (check out standard"Celerity") how do you justify in terms of Barry's movements? Thank you

Siempre interesante e inquisición.Gracias

I love the along came betty lick in 8.17

Well thought out and presented. Greatly appreciated.

Wow. Thanks for this.

Sounds great, Chris!

Oh man I can't believe I've been playing the Dominant 7th scale wrong for at least 3 years. I always just played the Dominant 7th scale with an added flat 7th and just added another diminished chord whenever I got to the 6th, all because I saw it written like that in a book. The way that it sounds here is way prettier.

Gotta put the 11s on the jazz box here not playing it with lighter strings

Thank you for the knowledge Chris. My 25 year old son introduced my to Barry Harris. My Son took a couple of lessons in Brooklyn, with a Lady that taught Barry Harris method. I play electric bass and want to apply these principle to the bass, I don't want to do the regular Pentatonic runs. I have decided to by into Barry. Thank you for giving these lessons for free. My Son is a hip hop producer, he said that he found Barry on youtube. His method thru you teaches originality. How to find your own sound.

Men, you save me! You save knowledge!!

You are a brilliant teacher and a magnificent guitarist. Thank you.

Can anybody point out the video that say what a b3 diminished is ? Is it just flattening the 3rd on of the diminished to make it a dominant chord or just playing the minor 6 diminished scale over the Phrygian mode kind of ?

You are a blessing of knowledge from Barry. Crazy that this information is there now for the earth, and on KZbin...forever. Maybe there will be a resurgence of beautiful harmony

Is the 6 on the 5th a dominant with the 13th or a major 6 chord?

Wow Chris. We can all get so much out of transcribing all of your little turns in this video alone. These are concepts that 10 years ago would be next to impossible to pick up at this depth unless you attended Barry's clinics and worked all of this out yourself on the fretboard... Which you amazingly did. Thank you for sharing this material freely to the public. It's invaluable. The bar has been raised.

The biggest limitation I’ve come up against in integrating BH into my playing is that while it makes the strong and common V<->I movement easy, I’ve seen little about the equally crucial I<->IV or I<->II movements. Have you discussd those movements elsewhere?

Whats wrong with our guitar ¿? Never noticed that before now . Why is the freets like that? Anyway thanks for all the great lessons, you are a really great teacher. Thanks 🫵👏

Great lesson as always! A pleasure to watch 😊

Great Lesson. Thanks Chris!

You're doing us all a huge favor here. Thanks!

Just Beautiful... and opens up a universe of possibilities