Little Labyrinth 64: Chromatic Movement Through the Family (Barry Harris Harmonic Concepts)

Patreon:
/ labyrinthoflimitations
Get the Labyrinth of Limitations app here:
www.thomasecho...
PDFs for other Labyrinth Episodes here:
www.thomasecho...
For zoom lessons:
[e-mail]

[@thingsivelearnedfrombarryh2616]

You're getting into something really special in this one.

[@TheLabyrinthofLimitations]

Thanks brother. Gonna have to do a follow up in the next one haha

[@JAYDUBYAH29]

Never stop, dude. There is a body of work emerging here that builds on Barry’s, but for guitar and with your own pathways through this universe of alternate harmony. I hope you’re getting paid something close to what you need, even if not yet what you deserve, for sharing the fruits of your research. I hope there is a book and a school (whether online or brick and mortar) in your future.

[@TheLabyrinthofLimitations]

Thanks so much, Julian! ☺️

[@Shaydiggity]

Awesome. Thank you, again. To piggyback on your “movement” statements and reference to Barry’s quoting Coleman Hawkins’ statement, I’ve heard chords described as being analogous to a static photo, while movement is more like video footage. Always informative and inspiring. Thanks!

[@GoGetFletch]

I love these videos even though I haven’t got a clue what you are talking about🤔

[@jakelee7639]

Awesome lesson as always...great knowledge generously shared....here is something I found,.just like the Am6 and F#m6 having two notes in common with one note moving up and and one down, so also does a Cm6 with two notes in common then one note going up and one down from an Am6

[@TheLabyrinthofLimitations]

Thanks Jake! Yes that’s what I refer to as the “minor 4” in this episode (and others). There are 4 chords in any family relationship of dominants. With 6 chords on D7, it’s the 6 on the 5 (Aminor6), the tritone’s minor (Eb Minor 6), the Minor 4 ( Cminor 6), and the ugliest duckling (F# minor 6). Maybe I wasn’t clear but I was trying to be! Ha

[@jakelee7639]

@@TheLabyrinthofLimitations thanks,...it appears that from A to C to Eb to F# are all min 3rds making diminished chord,..so the application Is use a min6 on each of the notes of dim chord?.....then through Barry Harris dim 6th scale the dim chords can be subbed with these min6 chords?....super cool and now more harmonic options,...you rock!!

[@TheLabyrinthofLimitations]

@@jakelee7639 essentially, yes, but there's a better way to think about it that Barry taught when thinking of the family concept. Takes some time to explain though! I always recommend going back to the beginning and working through the material from there:) lot's of good details along the way

[@jakelee7639]

@@TheLabyrinthofLimitations thanks again...your content is amazing and inspiring......

[@felixlalanne]

Thanks so much for these lessons..!!Beautifully exploring and cataloguing Barry’s ideas

[@MC-mi4ck]

Great lesson Thomas. I had to review the Ugliest Duckling video. Fascinating stuff. Still trying to get that under my fingers.

[@MuñozFerreyro]

Oh, my. Nice stuff going on here, Thomas. Must check on the Ugliest Duckling one. I totally agree this thinking, which develops in a philosophy of playing, is freeing and drives your attention to perceive music as a landscape filled with nuances and picturesque contrasts rather than seeing it as stacked lumps of chords, most of which sometimes don't tell you a thing. Cheers and greetings from Mexico! That Granados is kicking.

[@douglasscharnberg3883]

I've been practicing All The Things You Are for 30 years. How about you? Have you really mapped out the basic 2 note changes as the progression descends in fifths? This is called voice leading. Although I appreciate the fact that you are on the Path, I have serious doubts if at your age, you really have much insight to share. There are guitarists out there who can watch you or listen (perhaps) to you a few moments and instantly assess just how far along you are on the guitar because we already went through your level of musicianship and progressed a long ways past it. Good luck. Maybe instead of trying to teach something you have not yet mastered and present yourself as someone who knows you might seek professional help in the form of lessons. Joe Diorio said the first 20 years is a warm up. You're maybe halfway through the warmup if that's the case.

[@jamesmason2222]

😂

[@guitarsecretsrevealed]

Love to listen to you play, I expect it will be as clueless as this comment, dingbat

[@jn7457]

Thanks Thomas!

[@diminishedguitar748]

When harmonizing the chromatic scale with minor6 family members, I noticed this pattern: (starting with D): D dim, {not Am6}, Am6, D dim, {not Cm6}, Cm6, D dim, {not Ebm6}, Ebm6, D dim, {not F# m6}, F# m6, D dim. Where {not Am6} means any of {Cm6, Ebm6, F# m6}. So you have three options on the notes that come from A diminished, and the other 8 notes only have one collection of notes that work. Cool to see that for the minor 6 chords, you always have to switch.

[@TheLabyrinthofLimitations]

Good thoughts, Joseph. All fun to see patterns. Here are the essential relationships among the minor 6 family: The 4 notes of the off diminished chord The 4 notes that are the 5ths of the minor 6 chords The 4 roots of the minor 6 chords That gives the 12 note chromatic then: Each minor 6 has every root except for the one from its tritone transpostion. That one is replaced by the 5th. Besides the root and 5th pair, any two notes in a minor 6 are shared by a family member. Root and 3rd are in the one a minor 3rd up. Root and 6 is a third down. The tritone between 3rd and 6 is in the tritone. That’s the theoretical layout, but I find the most productive/empowering thing is to practice in the way i described in the vid: “ if im on a minor 6 on the 5 and I want the 6th of the chord to move up chromatically, what would I need to do? Transform the chord into the minor 4 chord, moving the 5th down (if I’m holding it) and the 6th up.” This way it connects into the variety of elevator motion, borrowing, and single note playing as I connect the 6 on the 5 to the dom 7 scale. This sort of practice makes it fluid and natural, I think, and takes advantage of the powerful algorithmic layout of the guitar.

[@diminishedguitar748]

@@TheLabyrinthofLimitations Yeah! working out which pairs of notes are shared by which minor 6s is powerful, thanks, I hadn't thought about it that way! And I have a long way to go to connect the theory to practice as nicely as you demonstrated here