Barry Harris Method: Scale Outline (Blues) (#7)

[@evanp531]

only 7 videos into your video series and you've already demystified so much for me!

[@consistentche3979]

Thanks so much for sharing this treasure! all the best.

[@ManuelhobiCh]

Thank you! How would you outline out of nowhere? Specialy bars 9-12!? Thank you

[@ConnorJazz]

For bars 9-12, I would do the following: 9: Am6 up (A-B-C-D-E-F-F#) 10: G7 down from the 7th to the 3rd of E7 11-12: Am6 up and down Does that help?

[@ManuelhobiCh]

@@ConnorJazz yes...thank you! Merry xmas

[@ConnorJazz]

@@ManuelhobiCh no problem, Merry Christmas!

[@adaarraya6839]

Connor thank you very much, you are amazing :), help me with the chord map of "Beautiful Love" bill evans and what scales can I simplify, help me

[@SamuelShelton29]

Hey Connor, thanks for the video. Because this is described as a fundamental practice, can you please provide some guidance on the left hand walking bass?

[@andyquinn1125]

Connor, How to you outline dominants leading to tonic minor? C7 to Fminor. Thanks! You're doing very nice work.

[@RishabThakur-p6g]

How does Barry count the 3rd and 4th bars of Bb7 going up and down ? 1 & 2 & 3 & 4 & 1 & 2 & 3? What about the & 4 of Bar 4?

[@ConnorJazz]

Just like that, you got it. For the scale outline, that's how you would do it.

[@RishabThakur-p6g]

Why Bbmaj7 instead of Bb7 for bar 11? For Bar 7, i understood its kinda like a 1 6 2 5

[@ConnorJazz]

@user-rd4cv9hw2w I think it mostly stems from Barry's preference toward Parker and Bud playing major there. It is true that the b7 has that core blues sorority in terms of sound, but the major makes it sound "sweeter". Not sure how else to describe it.

[@RishabThakur-p6g]

@@ConnorJazz does the person comping have to play a Bbmaj7 chord behind to use this?

[@ConnorJazz]

@@RishabThakur-p6g ideally, yes.

[@joescartwright]

A bit late to the party but why keep the Bmaj scale over the G7? This puts the b6 in the G7 scale.

[@joescartwright]

(I meant Bbmaj)

[@joescartwright]

Sure, I think it’s a great sound I just wondered if there was a reason for not using the G7 scale (as with all the other dominant 7 chords). Using The F7 scale over the Cmin7-F7 makes perfect sense as both chords fit with the same tonality but Bmaj and G7 don’t. Obviously you’re only changing one note from the original Gmin7 to G7 and that’s the same with the scale so maybe that’s explanation enough. Thanks for getting back to me, this video series has been great!

[@lukasfa95]

I would also like to know that

[@lukasfa95]

Why can we play the Bb major scale over G7 ? It has the flat 6 of G7 in it, why does that work ?

[@ConnorJazz]

The chord change that this used is when it's Bb major into G7, so think of the Bb major scale as something to play leading INTO G7 rather than right on it, if that makes sense.

[@lukasfa95]

@@ConnorJazz Thank you very much! Greetings from Germany!

[@ConnorJazz]

@@lukasfa95 you are most welcome! Check out my other videos if you enjoy!

[@uhoh007]

I'm doin it, thank you.

[@kentaro109]

I enjoy your video. Where is the video #8?

[@Karsten_Kramer]

They are not in continuous order in the video-overview. Here is #8: kzbin.info/www/bejne/oXS2c5Kfirxoi80

[@joshuamarks1129]

I'm enjoying watching your videos (and am in awe of Barry Harris) but I wonder if you should at least acknowledge that hearing an A on a downbeat of a Cm7 chord can be tough for beginners to appreciate: Cm13 is a very specific tension that is not immediately palatable to novice ears. This is likely why the standard pedagogy tends to place a lot of emphasis upon Chord tones on the downbeats

[@mattf9076]

Bb7 Eb7 Bb7 Bb7 Eb7 Eb7 Bbmaj7 G7 Cm7 F7 Bbmaj7 F7