Barry Harris Movements + Voicings Overview - explained in detail with examples

In this lesson, I go through the Barry Harris movements (and voicings) from scratch, explaining how I organise them for myself and my students. We will see how they work and where to apply each movement with some examples. This is a big subject that goes beyond the scope of just one video but this overview will help you understand the structure I use when approaching them.
👉*Jazz skills membership & more free lessons*My site for members with hundreds of categorized tutorials, webinars, learning tools and individual support. Suitable for all levels.www.JazzSkills.com

[@JazzSkills]

Here are some of my other Barry Harris movement lessons kzbin.info/aero/PL2GT-F7_oAbmNf3Szot-P-NJIEtYWZeum

[@JAYDUBYAH29]

When I first started learning Barry’s system I felt like he had discovered a secret doorway into a domain of music beyond the entire canon of how it is studied, taught and thought about. It’s really staggering and so beautiful and simple in its mysterious and complex applications.

[@JazzSkills]

I agree with you Julian. Barry's movement system opens up entirely new sounds and directions. He was of course, the master of it.

[@kevinlampton]

I agree and feel the same way!

[@johnheav]

This is probably the most relevant jazz theory teaching I've ever witnessed. I'm a retired music teacher, but have never had the versatility of the Maj6 and Min6 revealed to me. This a powerful concept! Adapting this for vibraphone work! Thank you so much; you are a wonderful teacher.

[@JazzSkills]

Thank you so much John and I'm really pleased that you got so much from it. The movements are lovely and limitless once you get into them. I wish you well with your playing. Shan

[@alexrousedds]

I play the guitar. I have never been trained. I heard about Barry Harris and asked a couple of friends of mine that are in music school about the sixth diminished scale. They had no idea what I was talking about. I researched it on KZbin and felt like I could never comprehend it. Then I came across this video. This is the easiest and best teaching of an incredibly complex issue that I have ever seen. Thank you so much! At least I can say I know the basic principles now. You are an amazing teacher!

[@JazzSkills]

Thank you very much. I'm very pleased to hear that this lesson helped you to uncover the movement scales and wish you all the best with your playing.

[@SimpsonSound]

Really, really great lesson. Mr. Harris was not only a master instructor but, also a wonderful person who really loved & lived to share his knowledge & wisdom. Thank you for helping to keep his legacy alive.

[@JazzSkills]

Thank you so much James. I appreciate your kind comment. You're right regarding Barry's greatness. I miss him very much but hear his voice every time I touch the piano. Best wishes, Shan

[@back-seat-driver1355]

Shan is very nice as well!

[@LA-cy1zj]

thanks a lot for these videos you have genuinely inspired hours of experimenting specifically with the movements and I have some thoughts I'd like to share with this space to stimulate conversation and thought on this. I'll be using the Eb6 diminished scale as a reference. - I think mixing and matching of all tension and release notes is fair game EXCEPT playing the minor 7 and major 7 at the same time. for example, when playing Eb in the left hand and Eb6 chord in the right hand, I would avoid just moving the Eb note in the right hand down to a D whilst playing Eb in the left hand and still playing Db in the right hand. Either the Db or the Eb also has to move to avoid playing a minor7 and maj7 at the same time. - in my opinion based on how it sounds to me, I am internalising 3 levels of 'spice' to this movement way of thinking in barry harris paradigm. you could make movements such as (Eb in the left hand and Db, Eb, Gb, Bb in the right hand) to (D in the left hand and Db, F, Gb, Bb in the right hand) to (Db in the left hand and Eb, Gb, Bb, Db in the right hand). that transition chord with D in the left hand uses a right hand chord of Db, F, Gb, Bb which sounds cool and I would not usually reach for. I noticed alot of the 'transition' chords are in the B diminished scale (in this example of Eb6diminished scale). you could find yourself playing B6/D or B6/F or Bm6/F or Abm6/D. these chords I mentioned are in the B diminished family and the Ebmaj6diminished scale I then tried to use chords that were in the B diminished scale and NOT in the Ebmaj6diminished scale such as B7b5/D or Ab7/F. These chords fit so nicely and slightly more gospel sounding. if you're still following compare these for example... Eb6/Eb to B6/D to Eb6/Db compared to Eb6/Eb to D7/F to Eb6/Db do you hear the difference? using this in a practical sense I think it all depends on the melody. If it works you could sneak in a transitional chord from the diminished scale thats not in the scale you are currently working within and achieve a slightly more spicy sound. I'm also thinking from the perspective of us who play dont necessarily want a strict barry harris sound all the time and we may want more of a robert glasper, dilla, dwele, choppy hip hop sound rooted in the barry harris soulfulness hope this write up of my thoughts is useful to anyone out there

[@chapinandersen]

Opened up a huge avenue for me. Thanks a lot. Ive always taken any sort of 6 chord for granted prior to now..!

[@thelonious-dx9vi]

Guitar player here, finding this extremely useful. Like, taking Cmaj6 on Am7 as ii in G moving to D7. Just working that piece, as a bite of this ... as opposed to peddling up and down the harmonized scales, again. It seems almost obvious now that you mention it 😉. Srsly, this is really good *applied* Barry, thanks very much.

[@ErGoyoTV]

Thank God you and others have taken Barry Harris material and teachings, present it as a system and pass it on to others. A few years ago there was only his videos which I watched and could learn some, mostly isolated things like a D7b5 is just a Fminor with D on the bass.. as you have shown. Thank you very much, yes this can be difficult if someone is watching this for the first time not familiar with Barry Harris fundamental Major and Minor 6th scales

[@gramophoneloopers]

Django used this method a lot on the guitar. He played many times m6 sound, for example over dom7 chords, sounding 9 chords. Or using only 3 notes from chord Am6, notes 1, 3, 6 (A,C,F#), then going down half step to E7/9b chord (G#,B,F) playing I-V in Am.

[@vanessalouzon]

This is so clear and so well explained, and also so encouraging! You're my new favourite jazz teacher!

[@DjembeJimbo]

INCREDIBLE. I cannot overstate how grateful I am to come across your channel. You have a member for life sir!

[@peterbrazier4370]

Excellent teacher a pleasure to learn with you

[@JazzSkills]

It's a pleasure to have you here and thank you.

[@tatin71]

Wooooooow... Increíble, profesor sabía construir la escala con los dos acordes, pero no sabía cómo aplicarlos... El uson de los acordes C6 y Cm6 sobre Am, F7, B7 uuufffff es lo máximo... Muchas gracias por tremenda clase, despues de este video habrá un ant s y después en mi manera se tocar... Likeeeeeeeeeee Nuevo suscriptor, saludos cordiales desde Lima-Perú 🇵🇪

[@aaron_852]

Very powerful, thank you for your teaching 🎉

[@vocalchords3609]

Terrific - crystal clear, capable and competent - and wonderfully equipping and capacious. Thank you.

[@JazzSkills]

Thank you very much and I wish you the best with your playing.

[@CHYPCAR]

More eye-opening info to complement your maj6 movement lesson. Just 7 chords! Leading to so many possibilities! Many thanks once again for demystifying the complications

[@JazzSkills]

Thank you for your kind comment and I hope you enjoy learning these movements :)

[@matyasmarek3173]

i am in a state of deep shock... WHAT A LESSON

[@JazzSkills]

Welcome aboard :)

[@danielayoo9376]

This blew my mind

[@barryo5158]

Excellent! I followed Barry’s teaching for years, but it took me a little time before I understood what you put in a nutshell here. Another cool thing I realized later was how pentatonics can be tied into this since they are basically a sixth chord with an extra note. It’s endless and as Barry would say “Small chords rule the world! (big smile)”.

[@JazzSkills]

Glad it was helpful! You share your name with the master. That's gotta count for something :)

[@jameserenberger3425]

This lesson helped m3 glue a lot of these Barry Harris concepts together. Thank you!

[@JazzSkills]

That's great James! I wish you well with your playing.

[@THEItchybruddah]

Breeliant stuff Maestro. I’ve been down the Barry rabbit hole now a few months and I’m currently re-thinking EVERYTHING I know. This helped!

[@JazzSkills]

Keep re-thinking and working my friend. It will be worth it 🙂 Thanks a lot and welcome aboard!

[@mattnewman6049]

I'm glad Barry Harris got alot of content on KZbin before he passed away. Now after a few years of study we're seeing alot if his students like this gentleman mastering and passing on his teachings. Fantastic.

[@JazzSkills]

I went to the Barry Harris school, not the KZbin school. Ours was scarier 😂

[@tedzkeys8590]

Thanks for making it clearer... yeah, absolutely learnable.

[@JazzSkills]

Glad it was helpful!

[@goansongo]

Learning the 6th diminished scale has helped me play using my ears instead of relying on labeling chords as b9, #11, b6 etc. I get the Barry Harris and Bud Powell sound without having to think about the technical chord names. And you can easily create improvised movements by mashing and "borrowing" 6th and dimished chords.

[@JazzSkills]

Yes I agree with you. It really opens up your playing and gives you an authentic sound. Glad to hear that you're making use of them in your playing 🙂

[@edzielinski]

Wow - This is eye opening. I found your channel after watching a Barry Harris class, and now it is starting to make sense. Thanks for this great content. Subscribed!

[@JazzSkills]

You're very welcome and I hope these find their way into your playing.

[@tammybennett1010]

This is exciting and mind opening. This will help my son and I learn to play more what’s in our heads because what we hear in our heads is movement. Love it! Thank you!

[@JazzSkills]

Thank you Tammy. I wish you both well with your playing! Shan

[@jaredini]

I found and used maj6 chords from a young age when playing basic music. It sweeten up the chord and makes it brighter.

[@JazzSkills]

Indeed Andy 🙂

[@dexmagedan5530]

I was super lazy and checked this out and learned a lot ty for helping me visialise it better.

[@JazzSkills]

Happy to help 😃

[@harvestnutrition]

Incredible breakdown!

[@Gminor7]

Fantastic! RIP Barry Harris.

[@corradolentinello6297]

Super lesson Ciao from Italy

[@JazzSkills]

Ciao! Grazie.

[@Bennymoth]

This is a massively helpful video! Thanks for your time and attention to bring these movements for us to experience. Cheers m8!

[@hendricksam]

Mind. Blown. I knew the scale and basic movement. But APPLICATION, where it matters... Wow.

[@JazzSkills]

Great that it helped you Hendrick! Thanks for your comment and I wish you good jazz.

[@hendricksam]

@@JazzSkills Sure thing! One more thing. I dunno if you've covered this in any video, but the possibility of movement from one diminished chord into four different M6 chords. It's just hit me right now.

[@JazzSkills]

@@hendricksam I know what you're talking about but I don't have a video about it at the moment. Sounds like you've been researching though. Well done!

[@Sandemose]

This is fantastic. Thank you from the bottom of my heart.

[@tedturner03]

Every time I watch this I am stunned. Got to master this - so powerful.

[@JazzSkills]

It is powerful indeed my friend. Just start (if it's the right time in your playing), the rest will follow.

[@joeallen9420]

Love this way of thinking!!

[@JazzSkills]

It really does change everything.

[@edcasepro]

great explanation..im so happy i found this

[@JazzSkills]

Thanks and stay tuned!

[@sandrocavali9810]

Brilliant! Thank you

[@mianfeng4406]

Wow!!!! I didn't learn this Jazz School. Gorgeous!!!!

[@JazzSkills]

Thank you and I'm pleased that this opened up some new possibilities for you. 🙂

[@teach-learn4078]

Nice! As country songwriter Harlen Howard put it, "three chords and the truth." With a little diminished thrown in for good luck.

[@ivandacosta9339]

Great, nice to meet you.

[@JazzSkills]

Same here :)

[@meninatym435]

A great explainer of Barry Harris. Thanks

[@hakeemfayomi7776]

This is another great definition of piano music. This can work in any meladic movement. Thanks for the expose. Masterfillz from Nigeria.

[@JazzSkills]

Glad you like it and thank you for your comment. Happy playing!

[@dmishramusic4409]

You explain beautifully - nice one

[@JazzSkills]

Thanks a lot 😊

[@davidwallis7863]

Absolutely brilliant.

[@JazzSkills]

Thank you David.

Great video. Greetings from Madrid.

[@JazzSkills]

Hola Madrid! Thanks Victor. I appreciate your comment.

[@fabiojegher2360]

Very well explained

[@JazzSkills]

Glad it was helpful!

[@faqtum]

I am in. Thank you Shan you opened a big door to an incredible path.

[@JazzSkills]

Thank you Armando. I appreciate your kind comment and I hope you're enjoying your playing.

[@burnsbros7637]

Interesting and well presented....thank you.

[@JazzSkills]

Thanks for your kind comment and I wish you good jazz!

[@burnsbros7637]

@@JazzSkills Do you do session work? play on song demos?

[@downpatmusic]

Interesting approach here. What you are doing is using the 7 dim 7 chord in its inversions resolving to its target chords. So your D dim 7 chord to C comes from B dim 7 (The 7 dim 7 of C in classical harmony voice leading. your d dim 7 would then resolve to an e flat chord of some type) This dim 7 function is a sub for Dominant 7 and is why it is so satisfying as Dominant 7 wants to resolve. It's important to realize the proper chord spellings to recognize the dim7 chords function since there are other types of dim 7 chord functions as well in composition. (The raised 2 dim7 and the raised 6 dim 7 for example. (I used to call these Barry Harris chords the "Sheering Chords" from the late George Sheering who was famous for blocked chord voicing movements exactly like this.

[@JazzSkills]

That's right - the block chord guys would play these as blocks whereas Barry would also just move a couple of notes to add dim tensions.

[@rolandguilford8301]

Wow! This is wonderful. Many thanks for sharing this! All the best to you.

[@JazzSkills]

Thanks Roland. I wish you good jazz!

[@michael.lentsman]

Beauty! Thanks!

[@PabloVestory]

Great video, thank you!

[@JazzSkills]

Glad you liked it! Thanks for your comment.

[@rgraham9792]

Wonderful explanation! Thank you so much for sharing this! Subscribed!

[@JazzSkills]

Thanks for the sub and welcome!

[@davidpauker]

Fantastic sir!How very insightful to come to know this! I would love to be a student of yours!

[@hernannieto1]

Hey thanks a lot for this info !! is really good stuff, please keep making videos like this

[@JazzSkills]

My pleasure and thank you for your comment. I'm sure there will be more in the future.

[@josephinebrown6631]

Thank you kindly.

[@JazzSkills]

Very welcome

[@davidwallis7863]

This is perhaps the most enlightening jazz piano lesson I have seen, and I can perhaps now see the big picture on the far distant horizon. Would the next step from this tutorial be to think of chord progressions using major and minor chord voicings? Do you have a lesson that shows the major and minor 6th voicings over I vi ii V and Autumn Leaves progressions? Would I be right in thinking that this would then suggest the movements and 6th/diminished scales you would use for each chord? So perhaps for a I vi ii V you would use For the I chord: G6 over C for the Cmaj7, and use the G6 diminished scale for movements. For the vi chord C6 (which is Am7) with A in the bass and the C6 diminished scale And so on for the dm and G7

[@JazzSkills]

On I VI II V, I'd use: C6dim (or maybe G6dim in rarer circumstances). You'll see a new video on when to use each as you're a Jazz Skills member, in the Jazz Skills community. Am7 - C6dim Dm7 - F6dim G7 - C6dim (and other choices). Hope this helps!

[@rickwashbrook4926]

Thank you! I find it all so interesting an been working on it and it helps. I hope you make more videos . I like the way Barry Harris takes the diminished chord and drops two notes from it down or up ect and you get more!!!!. It is a deep study I agree, but so much can happen over night if you have some basic experience with jazz chords and all those ugly holes I once had and seeked to fill are there>>>>>>>!!!!!!!!! I subscribes to you and hope to see more videos

[@JazzSkills]

Thank you Rick. I'm working on more as we speak. There is a deep logic and authenticity in the moves and it really improves your playing. All the best with your playing. Shan

[@MRMOTOFOTO]

Great stuff....as someone who knows a little about BH method, it seems a lot of this is really great for piano, but can be a little tricky on the guitar especially when borrowing notes.

[@JazzSkills]

Thank you Richard. I am in awe of guitarists who use this stuff. I wish you the best with your playing. Shan

[@MRMOTOFOTO]

@@johnrothfield6126 yea I tend to do exactly what you say...more of a framework for what is available to use with 3 note voicings

[@celieholmes3432]

This was super enlightening! Thank you.

[@JazzSkills]

Glad it was helpful! All the best with your playing.

[@celieholmes3432]

@@JazzSkills Thanks! I'm in the early stages ... Thinking about jumping into your coursework very soon. I've watched lots of others and so far I've gained the most useful knowledge from you. Thanks for doing what you do!

[@julianj352]

Truly inspirational lesson. Thank you so much

[@JazzSkills]

Bless you and I wish you the best with your playing. Shan

[@gerrycappuccio4186]

Great lesson ! Thanks for sharing!

[@JazzSkills]

Glad you liked it and hope it helps your playing Gerry.

[@NizJazzBTC]

@JazzSkills Wow. Just found your channel. These lessons are brilliant. Your explanations are simple which tells me you know the subject! I'm a guitarist and love the Barry Harris method. I wonder if I could take private instruction from you over Skype and learn the Barry Harris stuff from you but as a guitarist. I think he was a genius. Cheers

[@JazzSkills]

Welcome aboard! Please get in touch with me through www.JazzSkills.com and I'll see what I can do to help.

[@ddjjuull]

Wonderful lesson thank you.

[@JazzSkills]

You're very welcome! I wish you all the best with your playing.

[@isamusika]

Gold❤ Thank you!

[@babydiminished]

Thank you!

[@guitariste47]

Amazing.

[@JazzSkills]

Thanks!

[@OlivvYeah]

Very interesting, thank you a lot!

[@JazzSkills]

Glad you liked it! Be inspired my friend!

[@producerdonpaul5979]

So good!!!

[@delalifiagbe6465]

The day I discovered Barry Harris's scale and movement....it literally changed my approach. I see a semblance of pentatonic major/minor changes at play, how do we marry them? Thanks for the exposė

[@JazzSkills]

The day I discovered Barry's approach changed everything for me too. I'm really sorry I didn't understand your question but feel free to try again.

[@vivingeorge8417]

Beautifully explained!! Simplified so many things! thank you sir!. As I was going through the chord types, I was wondering if the augmented chord type had any role in jazz?

[@JazzSkills]

Thank you very much and I'm pleased it helped. Sure, augmented chords are useful but are a variation on the dominant. Also, you'll see in the lesson that augmented (dominant 7th sharp 5 chords) are covered by using the min6 a half step above the dominant. e.g. Dbm6 over C7. Hope this helps! Shan

[@vivingeorge8417]

@@JazzSkills Awesome!! Thanks a ton! 😃

[@johannesm8137]

thanks! what a lovely and useful overview. It helped me a lot :)

[@JazzSkills]

You're very welcome! I appreciate your comment and wish you good jazz! Greetings from London :)

[@LonzCantiLife]

this makes so much sense wow .. thank you!!!

[@JazzSkills]

You are very welcome and I wish you well playing them! 🙂

[@rodelf.colmenar191]

Thank you so much! I learned a lot from this. 😊🙏🏻

[@JazzSkills]

You're so welcome! I wish you good jazz 🙂

[@MingusDynastyy]

Ay bless up, so helpful!

[@EduardoSposito-e4y]

Thanks a lot 😊

[@tuulymusic3856]

Absolute legend

[@JazzSkills]

Too kind but thank you for your support.

[@JeffKashiwasax]

Great explanation and demonstration of lines and harmony! What is the name of the keyboard visualizer software used to display the keyboard and note names? Great tool.

[@JeffKashiwasax]

Hi JazzSkills, Your tutorials are excellent. May I ask what piano keyboard software you are using? The graphic says "Sustain" but I cannot seem to find that software. Thank you!

[@beans802]

Love it!

[@JazzSkills]

Thanks!!

[@lehinmusic]

thanks for clear explanations across your may videos. how much do you use other chords in the dim6scale? Such as major 7 on the 6th degree of the minordim6 scale or augmented chord on the 3rd, 5th or 8th degree of the minordim6m scale?

[@JazzSkills]

Thanks for your kind comment. To be honest, I don't really think of them that way. I've got so many options from what's included in this video, plus a few more of course.

[@music_works]

Thank you

[@nickrees4706]

Love this kind of content. Please do more! 🙏🏻

[@JazzSkills]

I may just do that Nick. Thanks for the comment.

[@scottfoster3643]

Thank you good sir!

[@JazzSkills]

Very welcome!🙂I hope your playing is going well.

[@ClaudioPallone]

Hi Shaun, thanks for the tutorail. How many songs do you teach in the site using Barry's movements?

[@JazzSkills]

Hi Claudio, I teach these principles on several tunes. I can't put a number on it but recently, we've had several tune based webinars as well where I teach those principles. Put it this way, the members aren't craving more info or demos. They can always ask questions in the Jazz Skills community which I answer about movements and voicings too :)

[@kaptnkirk2740]

I am wondering, how the movement works on Dm7, if the melody goes a-b-c in the main key of C. The 6-deminished Scale of Dm7 (F6) doesn't contain b, but b-flat!

[@philb4462]

I'm curious to know how this gets written on a lead sheet and if there are any books with lead sheets that use this system? I also wanted to ask why you say "diminished" for diminished 7th chords. What you say implies a triad, just as major and minor do. Those are extended with sixths and sevenths just as a diminished triad can be. Am I just being pedantic? I presume this is just shorthand.

[@JazzSkills]

We don't write the voicings on a lead sheet Phil. They are created by the musician on the fly. However, I have developed rules for application that make life easier. For a jazz musician, diminished means the same as diminished 7th. This is because there's never a time when a diminished 7th hurts, even if a dim triad is written. In jazz, we'd always want a dim 7th as we don't normally play triads.

[@skellez83]

It’s cool but isn’t this connecting inversions via diminished chords, but with an extra step finding what 6th chord to use? I’d be interested in seeing more.

[@JazzSkills]

I have several lessons on these types of moves with more examples and explanation. I think they'll help you.

[@lisaamusic]

THANKS

[@nicholasburch2122]

God bless your heart

[@JazzSkills]

Thank you and I'm glad it helped.

[@ClaudioPallone]

Hi Shawn, what's the name of the song you are playing at the introduction of the video?

[@JazzSkills]

It's not a tune. I was just messing around 🙂

[@gugelhupf8955]

Do I understand right, that in this system it is *NOT* possible, to play a Maj7 on the first scale degree? Example C-Major: ============== 1st scale degree: C-maj7 Bass: C voicing right: G6 so the "movement chord" would be: f#-a-c-eb. ============== But that means, I can't move through a melody line containing *f.* That's only possible playing C6.

[@JazzSkills]

Yes - for an F melody note on a Cmaj chord, CMajdim works well because of the dim chord containing F.

[@corradolentinello6297]

Fantastico

[@kinxzeye]

I want to understand the movements more

[@MrCJ-lc9ru]

I always wondered why, even though I can play advance chords, that I struggled with personal expression using them. The movement issue addressed here with knowing the C6 chord was the missing link.

[@pitullo70]

pure gold

[@JazzSkills]

Thank you Michele. I wish you well with your playing. Shan

[@jaredini]

Hmm I've been doing this without realising it when using Fmaj7 over D in the bass.

[@JazzSkills]

Sometimes, learning why we do things is the next step. I love those moments.

[@kinxzeye]

Wooooow...

[@producerdonpaul5979]

I desperately need to learn movement between my chords