2 GAME CHANGING Drop-2 Tips

[@thingsivelearnedfrombarryh2616]

Barry plays Eb6th diminished scale for C minor7, and plays F#minor6th diminished for F7 which gives you an F7 with a b9 and #5. Also, for Bb Major he not only plays Bb6 but also F6.

[@adammaness]

Comment level: EXPERT

[@SolomonDouglas]

Username checks out.

[@JohnHorneGuitar]

Love me some TILF Barry Harris!

[@craigmays3098]

My dude lettin em know that Barry still got hitters out here

[@iloverumi]

will try this. thank you! ...btw, where can one find out more about this?

[@Dman82499]

This is amazing, I’ve never seen such a wholistic covering of the drop 2 voicing. Thank you so much, looking forward to seeing more of you guys.

[@bluntonaut]

Adam looking like he was just robbing a piano store and stopped for a quick tutorial

[@pianopeter]

bluntonaut he actually robbed a liquor store

[@EliaGaitau]

@@pianopeter and THEN he gave this tutorial after drinkin all that liquor

[@adammaness]

I only steal from Herbie Hancock records.

[@urzathehappy72]

the camera pans out at the end and u realize ur on the back of a giant truck on the run from stienway

[@rachelsmename6]

This is an excellent video and well taught! I like how you went straight to teaching.

[@adammaness]

Thanks!

[@SolomonDouglas]

Great video, Adam! Gives me some stuff to think about and work on. Minor erratum: at 2:50, the voicing you are playing is A-Bb-C-Eb-A (which is a Cm13 voicing, and fits the pattern, and sounds good), but the graphic shows A-C-Eb-G-A (which is a Cm6 voicing, and also sounds good though it doesn't fit the pattern of alternating chord tones and tensions, and doesn't sound as compelling as what you played).

[@mayakronfeld4617]

👍

[@bennygblues]

This is great! Those m6 chords over the dominant sound awesome and then sound even hipper when in drop 2. Thanks so much for the clear instruction and inspiration Adam!

[@youttub7850]

Bro ur channel is like a freaking gold mine for classical jazz musicians! Thank you so much guys for your lessons

[@jpcman]

So in love with these voicings, chords... all. Reminds me a lot about Bill Evans. Maybe that's why I like the video...

[@michaelandrewnewell]

Those are some beautiful sounds!

[@AntKneeLeafEllipse]

Loved seeing this on Instagram, and it's actually super helpful to see the notation too!

[@matthewblahyj6322]

Insanely useful trick.

[@EliaGaitau]

Excellent demonstration Adam! Fantastic :) Thank you!

[@timwells6011]

so useful. I spent years looking for some advice on this!

[@andronikossotiriou2624]

Man this is probably the most useful tip on block chords! Well done

[@SimonWhitesideMusic]

I like your description as french sounding. In " How My Heart Sings" Peter Pettinger talks about how Bill Evans always played some Bach, Ravel and Debussy before moving on to practicing jazz each day. The stuff you were doing on the V chord there sounds very BE to me and the II chord stuff sounds straight out of Claire De Lune. GREAT VIDEO.

[@ExecutionSommaire]

@TacoTacoTacoTaco totally haha

[@kassemir]

very cool concept, and not too complicated. seems very applicable and like it's just gonna work and sound great!

[@JustTutupa]

Great concept. Thanks for sharing!

[@urzathehappy72]

that was incredible plz do more videos with this concept. this is the sound i want

[@FelixSunMusic]

Wow I gotta say...this changed my life. Gonna be practicing this for a long time. Thank you.

[@OpenStudioJazz]

Life changing. right on!

[@FelixSunMusic]

@@OpenStudioJazz yeeehaw

[@nhanmos]

Thanks!

[@luxolontamo4440]

Very very very very very very very very USEFUL

[@malcolmzackery3099]

Great stuff for people studying piano! Well taught Adam!!

[@Padrelio]

This is applicable on all scales.

[@RogerLato2]

Thank you !!!

[@cospeloide]

Hi Adam, thanks for the info. Just so you know I believe there is typo in the PDF’s Inversions Drop 2. 3rd chord.

[@mr.z9609]

You could also play Bdim on melody notes B, F, and D.

[@최민홍-h2h]

How did the last f7 drop 2 voice come out? 6:24 i understood f7 could have Ebm6 , Cm6, Am6 , and Gbm6 but I don't know what chords each of the drop 2 voicing came from.

[@digsjazzalot]

Dope. Totally.

[@_sonicfive]

Gold

[@ryanmelvey8764]

OMG. love this sound! thank you! always great when a practice exercise sounds wonderful

[@deddypriambodo]

Finally get this crystal clear clear explanation. Thank youuu...

[@ev.mccord6095]

Respect. Have almost zip idea of what you’re saying (not your fault!) but am a huge fan of all of your guy’s videos. Any chance of reducing the level about a thousand steps or so? Nah. If I were you guys, I wouldn’t either. Well...back to my elementary theory book...

[@adammaness]

I'm in the process of making a Beginner Jazz Chords course right now. Stay tuned...

[@bobtaylor170]

@@adammaness, I'm a probable customer.

[@robertgloverjr]

This is brilliant. You have omitted the theory, but what in fact you have done with the "F7alt" locked hand and the "F7alt" Drop-2 is to reverse engineer Barry Harris' system of "borrowing". It's easier to recognize this "borrowing" if in the "F7alt" locked hand you replace the chords on the scale notes F, Ab, B, and D with inversions of a four note "F dim 7 " chord. This results in: Ebmin6 (with Root doubled), "Fdim7", F#min6 (with root doubled), "Fdim7", Amin6 (with root doubled), "Fdim7", "Cmin6" (with root doubled), and Fdim7. Notice the root of those four min6 chords together form the notes of an "F#dim7" chord. Finally, notice that when you merge the notes of the F#dim7 chord with the notes of the Fdim7 chord you get all 8 notes of the F half/whole diminished scale. You truly have created "game changing drop-2 hints". I have imported your PDF into the iPad "forScore" App and will master this in all keys as a regular part of my practice. Thank you !!!

[@raphaelmayer5670]

Can you explain a little more please? Where does the Ebm6 chord come from in the first place?

[@robertgloverjr]

​@@raphaelmayer5670 Remembering back to my years in Barry's NYC piano classes, I remember Barry telling us to start with an Ebmaj6 chord (in class he would use a Cmaj6 chord, but it's the same concept) and notice that the EbMaj6 chord consists of two notes from one diminished chord (Eb and C are from F#dim7) and two notes from another diminished chord (G and Bb are from Gdim7). Next, Barry would show us that if you lower the G of the Ebmaj6 to Gb you get a chord (Ebmin6, which is same as Cm7b5) that has three notes from one diminished scale (Eb and Gb and C are from F#dim7). Alternatively, if you lower the Bb of the Ebmaj6 to '"A" you get a chord (Cmin6 which is same as Abm7b5) that also has three notes from a F#dim7 chord (i.e. the Eb and A and C are from F#dim7). Barry would show us that if you start with an F#dim7 chord, you can create four different dominant chords by lowering any one of the four notes of the F#din7 chord. Specifically, if you lower the "F#" of F#dim7 you get an F7 chord. If you instead lower the "A" of " F#dim7 you get an Ab7 chord. If you lower the 'C" of F#dim7 you get B7 chord. If you lower the Eb of F#dim7 chord you get a D7 chord. The roots of those four resultant dominant chords create a diminished chord (in this case Fdim7). Importantly, notice that when you combine the original F#dim7 chord with that Fdim7 chord, you end up with the F half/whole diminished scale, which has exactly the same notes as the Ab half/whole dim scale, the B half/whole dim scale, and the D half/whole dim scale. Barry could not show us every permutation, but what he did show us was his way of thinking, which the above demonstrates. Barry told us he was increasingly using this way of thinking about harmony instead of thinking in terms of traditional chords. Finally, notice that on the PDF that Adam Maness provided, the "Lock-hands F7alt" that he shows will also work perfectly for not only that F7alt, but also for Ab7alt, B7alt,and D7alt.

[@raphaelmayer5670]

@rdgjr619 Brilliant, thank you for your response, this is quite eye opening. I hadn't thought of a major six chord as being so similar to a fully diminished chord, that is, two minor thirds on top of each other. I can only imagine what studying with Barry Harris was like. Perhaps I've been so deeply steeped in traditional CST that these upper structure triads without correlation to "acceptable" upper extensions seem so foreign and incomprehensible. Amazing how the Bebop language stays so new and exciting even seventy years later.

[@robertgloverjr]

@@raphaelmayer5670 Honestly, studying with Barry Harry in the late 1990's and very early 2000's was very inefficient. A tremendous amount of time had to be invested for a payout that many would say was not worth the effort. Tuesday classes started at 6:30pm and ran until 12:30am, at which time a slow subway and a train was needed to get home to get ready to go to work sleepy the next day. There were no iPhones, so it was impossible to video tape. Listening to audio-only recordings of the lessons was frustrating. There were so many piano players crowded around Barry at the piano that I had to stand on a chair to see over the crowd and catch a glimpse of Barry's hands on the keyboard. Plus, Barry was very soft spoken and it was hard to hear him. I think using first class teachers who use state of the art video and audio equipment and computer technology, specifically in this context Adam Maness and Peter Martin, is a much more effective and efficient way to learn jazz piano in this new world of fast internet.

[@themidger1]

RdgJr619 there is an even more arcane way to explain it using Barry’s family concept. The family of F dominant are the chord tones of C dim. Which is why these min6s still sound good, and then they’re just borrowing a note from each one’s respective dim pair as a tension note to move with.

[@carlitoz450]

small question: maybe this is obvious, but even after a couple of watches : @ 4:07 why is some of the chords (V and VI) in the scale got four notes instead of 3 ?

[@adammaness]

Just a a chart error. I’ll have it fixed in the download. Thanks for the head’s up.

[@tomkirvin4571]

Wow! Great lesson. You rock . . . Sorry, you jazz!

[@MrHilight2012]

I never received the PDF

[@allourep]

I don’t understand where the use of the Eb minor 6th chord comes from when he begins to play over the F7.

[@imalamboman12]

Eb minor flat 5 is inside B7, the tritone substitution of F7.

[@raphaelmayer5670]

Why the Ebm6 over the F7?

[@adammaness]

Great question, Raphael. It's part of a pattern of min6 chords. It might be easier to think of it from the Gbmin6 because the notes are part of the F Altered scale: Gb-A-Db-Eb-Gb going to Ab-A-Db-Eb-Ab. This pattern can then be moved up or down in minor 3rds: Ebmin6 Cmin6 Amin6 Gbmin6 The outer notes make up the F Half-Whole Diminished scale.

[@LasseBoogieJensen]

@@adammanesswell that Ebm6 would make an F phrygian, but I get that that's more isolated.

[@adammaness]

​@@LasseBoogieJensen That's what make this pattern so cool - you go through notes from the Phrygian (Ebmin6), Altered (Gbmin6), Phrygian from a tritone away??? lol (Amin6), and good old Mixolydian (Cmin6).

[@antoniog2854]

Raphael Mayer Im confused as well. When I see F7alt., I think B natural, so the Bb in the first chord of the first bar threw me off.

[@raphaelmayer5670]

@adammannes Thank you for your response! I still don't understand where the Ebm6 comes from. I get the diminished octotonic octave motion, but I'm confused about where the not Gb comes from in the first place. Is it from the sixth diminished? If you play sixth diminished over a 2-5-1 in Bb the 2 has Gb in it, but it's fully diminished as opposed to that m7b5 sound or the minor sixth chord. Thanks!

[@jackr4861]

3:45

[@juwonnnnn]

👍

[@nixonkutz3018]

Good lesson, but why did your piano sound so tinny?

[@elmelody7442]

Much easier to look at it as 6dimished scale with borrowed notes on the left and right hand.. no need for Dorian scale..

[@henriquealejandro7247]

I hear this and all I can think is... Pavane pour infante defunte.

[@thunder2269]

Scheiss di wond u geil