How to create Minor Lines EP 65 TILF Barry Harris

[@rayalle4]

This is the best channel breaking down BH stuff. Keep doing the lords work.

[@TheLabyrinthofLimitations]

So good! I love the minor 5-4-3-2 -I gotta practice that one more. Beautiful examples around 8:00 around the chromatic approach (kinda sounds like you got it down;)

[@JazzGitarDersiSamiGundogdu]

Perfect, thanks a lot for this beatifull lesson 👍🏻

[@jameserenberger3425]

This is definitely one of my favorite episodes! I love the minor sound. It's so versatile. Can you please do an episode, like episode one, going over the changes to a minor blues? Django Reinhardt has a tune called "Blues Minor" and Coltrane has a tune called "Equinox". Either one works. Thanks!

[@MC-mi4ck]

Excellent. So much to work on. Here’s a request. Could you do a lesson on seventh flat 5 dim and seventh diminished scalar chords and how to use them in a song? I’m interested in single note and chords. I know you’ve touched on these, but it would be great to see an in depth lesson. Thanks so much!

[@Jose.LP.]

Thank you for uploading such a really high quality lessons. I love your channel

[@gabrielvladimirdavis]

Thank you, thank you, thank you! Your videos are changing my life! If I haven't worked through all your lessons yet would it make sense to contact you for lessons?

[@8thouseson]

What are the half step rules for this particular scale? Thank you for the excellent tutorial 🙏👍

[@fran6b]

I think that's the code the crack Gypsy Jazz ! Very cool scale. Great vid, thanks ^^

[@tadasuyamato930]

Great ! Minor version of 5432 rules you talking about EP3. It will be nice you make link about same topics future.

[@stangetz534]

So on Summertime in concert A- you can play this scale over the whole thing? Or on Autumn Leave in concert G- you can play this scale over the whole tune? OR, in Softly as morning sunrise in concert C-, you can use this scale over the whole A section?

[@javierjbara6198]

How would Barry analyze the harmony of Lady Bird? I’m really only able to relate the changes to “modal interchange” but I know that Barry doesn’t use modes in his system.

[@TamirGal]

lucky we have it on Barry's workshop book. Here's a snippets, enjoy it - drive.google.com/file/d/1ZOw9Ybal8hpLIZHIXOCJ6pmMacy4xGWR/view?usp=sharing

[@stangetz534]

@@TamirGal What is this book and how can we get it? Is it from Barry harris? I know he has some videos, but not sure if I should get them at some point as I play saxophone.

[@TamirGal]

@@stangetz534 , yes, Barry and Haward Rees has two sets of workshop DVDs with accompanied book. See here - jazzworkshops.com/the-barry-harris-workshop-video/ and here: jazzworkshops.com/the-barry-harris-workshop-video-part-2/ . The snippets above is from part2.

[@Sandeep12328]

Wonderful... My question is whether I can apply it in any minor chord sound ? I mean 2 minor, 6 minor , tonic minor etc...

[@evelyncharlottejoe4238]

id love to hear chris' and others thoughts on this but for me it depends on where its going! 2- is actually 4 in barry's world (he calls it 4 with a 6 in the bass) so for a 2/5 in C you'd have D-7 (F6 diminished) going to G7. in the key of F, 1 going to 6 is the same chord (unless it becomes dominant). if the tune is in the key of D-, the D-6dim scale sounds way more tonicizing to me than dorian ever will with the chordscale approach. D-6 is also the same sound as B-7b5 in the key of A-. The minor third relationship of the families start to make this interesting too (F6dim and D-6dim share the same diminished and only have one different note).

[@LuisFlores-xr5bu]

Hello, what do you think of the current zoom webinars Barry is teaching? I don't know if I should continue with that or getting a personal master. I can't do both. And I start to feel that all of the his webinars are the same, the info it is on many books and part of me thinks there is no better than getting personal couching.

[@thingsivelearnedfrombarryh2616]

I love the Barry Zoom webinars. I've signed up for almost all of them. I miss being in the room with him. A private teacher is always a good idea. Just depends on who the teacher is.

[@iloverumi]

how do you incorporate the blues scale into all this material? great lessons- thank you!

[@evelyncharlottejoe4238]

i dont wanna take up too much space on here but u can find the blues scale on the second degree of the maj6dim and -6dim scale. not exactly sure what that means yet, except that you can get some fun sounds playing Gmaj6dim or G-6dim over A7. might be breaking a barry rule or two but it sounds cool.

[@brothercaleb]

The blues scale? Is that an attempt to sound “bluesy”?

[@kongoloh]

Cool

[@johnrothfield6126]

Why not another scale: m7b5 diminished? C D Eb F F# Ab B B We already have Dom7b5 dimished.

[@thingsivelearnedfrombarryh2616]

That's Eb minor6th diminished

[@oldreddragon1579]

I love the minor 6th chord and scale, definitely my favourite. I don't know if it's a thing but I use it from the 5th of a Dominant chord especially on a Blues. Great video again thanks.

[@evelyncharlottejoe4238]

its definitely a thing! in barry's model its called the dominant's important minor (C7s important minor is G-6). he'll do a thing where you use G-6 diminished as the sound and function of C7. (a great way to work on hearing this is doing enclosures over a pedal. so like get a lowish C drone going and play F#-A-G, Eb-F#-E, C-Eb-D, A-C-Bb). the tonic dim (C Eb F# A) becomes the tension notes and the notes in G-6 become the resolutions. super neat approach packed with so many beautiful sounds

[@oldreddragon1579]

@@evelyncharlottejoe4238 I think you can also use it on the flat 9 of a Dominant as alternative to the tritone. I try things like that more on ballad type tunes.

[@evelyncharlottejoe4238]

@@oldreddragon1579 totally its the tritones minor! Gb7's minor is Db-6 so you use Db-6 over C7 instead of G-6. (enclosures would be F#-A-Ab, Eb-F#-E, C-Eb-Db, A-C-Bb) same tension notes C Eb F# A

[@evelyncharlottejoe4238]

sorry im such a nerd about this cos barry's stuff and how chris has taken the time to zero in on his ideas is incredible and has totally changed how i hear and respond. whats wild about the chord superimposition thingy is that all the lines he's playing in this vid (scale, in 3rds, triads, arpeggios, chromatic, 54321) work over G-6, E-7b5, C7 and F#7/Gb7. so one way ive been working on these is coming up with a phrase and resolving it in different ways by using it as its own sound (G-), resolving to A7 (if its Esplit), Resolving to Fmajor (if its C7) and resolving it to B (if its F#7). All those harmonies can be the same movement with a different bass note/different function. opens up a whole world of freedom and interesting ways to "get out of trouble". everyday i am overjoyed by these little mysteries and adventures thank u barry and thank u chris ~~~

[@oldreddragon1579]

@@evelyncharlottejoe4238 Nerd away as much as you like. When I just started on this guitar thing I was advised to play off chord shapes the way Charlie Christian did. When the concept that a II-Minor V-7 I-Major could also be viewed as a IV-Major 6

[@gerardosuarez7086]

Do you practice 4ths and sevenths on these scales?

[@evelyncharlottejoe4238]

7ths is bonkers. sounds so cool G-maj7 A-7b5 Bbmaj7b5 C-7b5 Cmaj/D Dmaj/Eb Ebmaj/E F#-7b5