Barry Harris 4 Scales Explained

[@geraldmarshall22]

Sadly Barry Harris passed away at ninety one going on ninety two yesterday December 12th 2021. Barry’s depth of insight into music was singular.

[@PeterGuyMyrand1]

Good lesson. I have been working g out the patterns up and down the neck for last couple days as you suggest is more enlightening then just reading (which I whole heartedly agree with).

[@1Ma9iN8tive]

Rest In Minor 3rds Mr Harris

[@Wyrdo999]

I loved this video Mikko. AS you're probably aware of, these 6th arpeggios are used SO much in gypsy jazz. These type of lines flow through the tunes because that 6th chord, and note is so common to the Gypsy sound, along with these hybrid lines connecting the minor, major and diminished with these 6 type sounds. Thx for this video series.

[@barnabascee1889]

I'm still paying on a college music education that didn't teach me this stuff. Mostly we were taught that people who had talent shouldn't have needed college. Now, thanks to KZbin and teachers like you, I totally agree with them. I wonder if I can get my money back.

[@Oscar_Dakota]

Couldn’t agree more! Although lucky for me Barry did visit McGill when I was there and I got to work with him. Thanks Miko!

[@mwicks1968]

The thing I like about your videos Mikko is your example songs - I go away and learn them too - which reinforces the best advice I was ever given: “Learn Songs” 👏👏👏

[@olagustafsson1264]

I’m so glad you’re getting into Barry’s stuff. I’ve already watched this twice. A video on ”playing with your brothers and sisters” would be an interesting follow up to this.

[@brothercaleb]

Exactly. Bebop rules the world

[@tadasuyamato930]

This is great lesson ‼Every Jazz musician must dig those 4 scales❣ Thanks.

[@ili626]

23:20 I agree completely.. Very refreshing to hear this. In the course of watching the YT music teaching thing grow over decades, I’ve been annoyed by spoon fed and gimmicky/marketing styles.. it has ruined the essential and joyful discovery process for many younger aspiring musicians who’ve never known a world without the internet. Quality over quantity all the way

[@Guitarmfig]

For an Am/blues scale rock guy like myself this can be daunting but if this helps anyone, I see the diminished starting at the major 7th, it sped up the process for me big time thinking like this, thanks Mikko for another really cool lesson

[@Chris_music_channel]

Great stuff mikko! Love seeing more Barry Harris concepts like this. I only made it thru 20 mins of this video. But I'll be sure to watch the rest later today. You nailed it when you said something about getting out of the box and moving harmony. Makes for endless new ways to practice.

[@cbolt4492]

Loving the sound of that guitar and your playing

[@RYAN-rq9ns]

i wish you were teaching in the guitar fac at humber when i was there. your lessons are great extensions and reminders put into practice

[@LarrySiden]

This is a really useful video. I have that book by Kingstone. I was about to give it away while I was clearing my shelves of all these "method" books I had collected over the years, each one promising to provide the missing ingredient to making me a better guitarist/musician, but ultimately disappointing. Either what they had to offer was a rehash of what I already knew and was just struggling to apply, or some, like Ted Green's books, tried to encompass every scale, arp, chord-voicing, cadence in every possible position and therefor was useless to me. I think that when I first got Kingstone's book, I was not yet ready for it. I was just learning to play over changes and was still struggling to learn all the "shapes" and positions. It just seemed to add another level of complexity and I didn't understand why I needed it. But your video (and a few other videos) make it really clear, that it's not really about playing over changes, but creating your own "changes" (movement) within a chord or cadence. So I kept that book, and I'm really glad I did. What I find even more intriguing in it that you could do a whole new video about it the concept of "borrowing". For example, Barry says that a maj7 chord is really a maj6 chord with the note, the major 7th, borrowed from the dim7 beginning on the lead-tone. Then he harmonizes it through the scale, so in each dim inversion, the same voice (say alto), will borrow a note from the maj6 chord. You get some really cool voicings that I would never think to associate with a maj7 chord. I saw Chris from Things I Learned From Barry Harris do an example where he treats a B7(#9) as consisting of two notes of a C-6 and two notes of a Bdim, then harmonizing them through the scale. That's still a bit advanced for me, but now I can appreciate the brilliance of it. ;). This cat gives a whirlwind tour of what you can do with these concepts on a guitar: kzbin.info/www/bejne/baPIgHSXq8p2n5I

[@Mikkokosmos]

Chris's videos are the best 😎👍

[@seriousoldman8997]

Terrific lesson! Thank you!

[@williamcobbs3606]

You go man’s, I just love your teaching.

[@thomaswagner1761]

Hi Mikko, I love these videos. Jamey Abersold is selling Kingstone's Barry Harris Method for guitar. Apologies if this has already been addressed. Thank you for your efforts keeping the interest in jazz guitar alive.

[@AFUK]

Thanks man. Clear and easy understand the method!

[@cbnewman]

Great tutorial and explanation. Thanks!,

[@CharlesAustin]

Great stuff and it reflects a lot of the effectiveness of Barry’s revelations and the how to’s ..and thoughts on potential challenges and solutions..Thanks !!

[@jkaznosky]

Your statement of going through the material yourself is completely right on. I went on a journey of exploring of Barry Harris's teachings, first through Chris Parks and then through the direct source. Chord scale theory never grabbed me (or more accurately overwhelmed me). While going through this material, in particular what others refer to as the ABCs, is challenging, it opens a lot of things up on the instrument and then harmonically. Every other method I've tried had me either going through someone's prewritten materials, diagrams, and whatnot. Figuring all of this out for myself (starting with one concept) is slowly eliminating my blind spots and making me think a bit more widerange. For those on the fence, commit to at least running dominant scales in Barry fashion through the whole ABCs thing for a month.

[@sharadsemilo]

What do you mean by the ABCs? Please elaborate if you don't mind

[@frankvaleron]

Great explanation of these concepts Mikko. It's giving me a better understanding of these ideas, which I haven't really grasped up to now. Will watch this in a few chunks

[@Mikkokosmos]

Glad you like it

[@herrsitar]

Äntligen trillade sista poletten ner, stort tack!

[@stakolachook2581]

Thanks! I’m more interested in single notes soloing using Barry Harris method.

Suveränt!! Stort tack, dags att ta i bruk på pianot.

[@kevinsavo718]

Barry is great

[@kevinbazarek]

new to the channel. what a great resource

[@Mikkokosmos]

Glad you like it 😃👍

[@eternalrainbow-cj3iu]

The 2nd Best for me is GMC I & Ii..the 1st Best thing for ne is Smoke Gets in your Ears by Barry Harris...JS Bach in.Jazz...Wow I have to Cry each time....I am going to pray Once I will turn in to a Harmony Nerd....

[@outjazzer]

Always great to check out your posts man. Theres 2 books by Roni Ben Hur, definitely worth checking out imo theyre both called Talk Jazz

[@bobryan8793]

So friggin awesome...thx sir...

[@tomculhane6648]

Thanks, Mikko. You're definitely putting out "quality" videos.

Wow! Thank you, Mikko!

[@Mikkokosmos]

Thanks for watching 😃👍

[@GlennMichaelThompson]

Another great video with approaches and concepts well worth putting time into. I just moved and got a lot of stuff out of storage and discovered I have a copy of the Barry Harris Guitar book (by Kingstone). I just found it during the move yesterday, so the timing of you putting out this video is perfect. Thanks for always having something to keep me busy at being the eternal student! Take care you big guitar geek!!!🤓 🎸and THANK YOU SO VERY MUCH, as usual!!!

[@Mikkokosmos]

Nice! You have a copy!! 😃👍

[@GlennMichaelThompson]

@@Mikkokosmos Yup! I forgot that I even bought it. It was slightly damaged by the guy who put it in storage for me, but perfectly usable. 🎼🎶😅

[@MrWilbo123]

Mikko, I need a video of all your favourite Benson licks!!!

[@Mikkokosmos]

I'm on it

[@raefblack7906]

I have a copy that book. I bought it off Alan .

[@Mikkokosmos]

Nice! 😎👍

[@oldreddragon1579]

I got that book had to import it. You should definitely do a series on it. One of your best thanks

[@Mikkokosmos]

Oh you got a copy! Nice! 😃👍

[@oldreddragon1579]

@@Mikkokosmos Cost about £45

[@andresmarino2788]

14:57 “ sorry “. (… it still sounds super cool )

[@MD-bc3wb]

thx

[@pansabdelkader]

you're the great ....

[@azomyte]

23:54 great advice for anything to do with playing guitar

[@Mikkokosmos]

Glad you understand 😎👍

[@frankvaleron]

@@Mikkokosmos just arrived at this point of the video myself and it does indeed make sense, and is really one of the pleasures of music. Having said that, I also got a copy of that Kingstone book recently on pdf somehow, and your analysis is helping my own, as I mentioned earlier. Absorbing the perspective of others can help clarify your own, kind of thing

[@neverdiminished]

I know the point of theory is that it explains the magic, but when you do some simple variations on the c maj6 dim scale at about 15:00 it suddenly just becomes jazz! Magic is real!

[@nikolausreinke9966]

Very interesting. Quick question (as a piano player): doesn’t this concept clearly assemble the Ellington principle? Like everything „off“ the main triad in the melody can be harmonized with a dim7 chord? Looks familiar to me. Since the dim7 never changes in all four scales. Only the root triad plus its 6th is different, depending on major, minor, dominant or half diminished.

[@Jazzmaster58]

Tonal axes notion is what's missing in your approach. It has to do with the three diminished scales where C7, for example, can be a part of four scales (F, G and C# melodic minor, g. up and A diminished), within the diminished scale it belongs to the family that includes A7, F#7 and Eb7. This is just to show that the same chord can be part of multiple scales and when playing standards people tend to ignore the exact tonal axe, to which, each chord belongs. Old pianists didn't learn harmony in Jazz "schools", so, their chords rarely sound wrong.

[@theredstash]

little bit of Lullaby of Birdland in there maybe thats the first thing i heard at least

[@donmilland7606]

Minor 6th dim frequent vehicle used by Charlie Parker over chord with minor progessions

[@champanachampana4881]

Hi Miko, I subscribe to Scribd. It’s there as other of Barry’s stuff.

[@Mikkokosmos]

Yes I think that's where I found it too 😎👍

[@jesse100992]

Awesome video, thank you very much for the content. I have a question about applying the scales - it’s about applying the m7b5 scale in context of a song - Let’s take there will never be another you for example. The first two bars of the tune are Eb6 then the third bar has dm7b5 to G7 - so my question is for the dm7b5 chord would you construct the scale based off the note d, or would you just use the m7b5 scale based off the home key of the song? Which is Eb - So I’m trying to say would the scale for dm7b5 be spelled - d e f g Ab Bb C C# d Or would it be based off the home key of Eb, which would be spelled - Eb f g Ab Bbb Cb Db D Eb-

[@tadasuyamato930]

You should check out Barry Harris s scale out line . Dm7b5-G7 Barry uses Bb7 scale going to 3rd of G7, which is Bb C D Eb F G Ab G F Eb D C B .The last note B is 3rd of G7. Barry think Dm7b5 =Fm6= G9.

[@bishalghimirey2993]

Could you look into the book Improvisation by melbay publication author is Vincent Bredice......

[@Mikkokosmos]

Hmm not familiar with it. I will look into it 🤓👍

[@bishalghimirey2993]

@@Mikkokosmos ok thank u

[@orlandobarboza8246]

❤🎉

[@MrMewsique]

What page in the book does this come from? I just got the book and I don't find what you're doing in the book per se.

[@Mikkokosmos]

the scales are on page 3 and 4

[@j.r.goldman3279]

Mikko you are such a tease lol .

[@Mikkokosmos]

😎😎😎

[@donmilland7606]

Gypsy jazz in the house

[@Mikkokosmos]

Yup 😎👍

[@Lopfff]

Dude Lenny Breau was from Oklahoma. I am from Oklahoma, and it is NOT Toronto! :D

[@Mikkokosmos]

Ok then his Wikipedia page is way off. And I don't think I said he was from Toronto? But he lived there for a while

[@Lopfff]

@@Mikkokosmos Maybe I’m wrong. Maybe he died in Oklahoma. I remember him having some connection to that godforsaken land. Anyway I was just messing with you. You were talking about jazz guitarists from Toronto, said “Maybe Lenny Breau.” Something like that. Anyway, great video and thank you

[@Lopfff]

@@Mikkokosmos Jesus. After taking ten seconds to look into it, he had no connection. I don’t know where I got that idea. Anyway, thanks again for the great vids

[@Mikkokosmos]

@@Lopfff Well you're right that Oklahoma is not Toronto

[@Lopfff]

@@Mikkokosmos At least I got one thing right

[@mwicks1968]

“If we play in G as we play Guitar not Horns … “ 😂😂😂

[@mwicks1968]

Kwality not Kwantity!!!

[@h0tsex0r]

Wonderful, thank you 🤟🎸 I am interested in your digression at 21:00 of how a m7b5 could function as tonic in a major key? I understand applied to minor key, but major i don’t quite follow?

[@Mikkokosmos]

Ya that was a bit unclear 😃 I meant that in for example C major you can use a Dmin7(b5) as a subdominant sound.

[@h0tsex0r]

@@Mikkokosmos got it, gracias 👍

[@Mikkokosmos]

@@h0tsex0r 👍

[@guidemeChrist]

F#m7b5 is just Am6 which is the relative minor tonic in C major