Things I've Learned from Barry Harris Episode 6 Barry's 4 Scales of Chords

/ tilfbarryharris
This is the sixth in several episodes discussing the things i've learned from Barry Harris I started studying with Barry in 1993 and still learn from his teaching every day. I hope I can use this channel to help other musicians who are interested in Jazz but find it a little too cerebral. I think Barry's method, while being cerebral, is also direct and most important beautiful. Please Subscribe and feel free to comment below on how I can improve this channel I'm available for skype lessons if you prefer.

[@galtun]

This was probably the most educative 10 mins I spent on my entire life in learning music.

[@pawlowski6132]

Weird

[@antonellomascarello4698]

0:23 : Scales of chords 0:58 : major 6th diminished 2:31 : minor 6th diminished 3:17 : dominant 7th diminished 4:02 : dominant 7 b5 diminished 5:22 : "single note" wise 5:38 : scale up/down 6:30 : thirds 7:07 : triads 7:58 : chords 8:53 : chords / up the first, down the second 9:20 : practice all four scale of chords

[@kormosjano64]

Finally someone shows all four scales! Thanks

[@edkriegepiano]

just great stuff. hope i got it right, as follows... • Major 6th diminished (key of G) o Chords: G6, A diminished, G6 inversion, inversion of diminished, another G6, another inversion of dim., another G6, another dim., back to G6 • Minor 6th diminished o Same as above, just flat the 3rd. Gm6, dim, Gm6, dim, etc. • Dominant 7th diminished o G7, dim, G7, dim, G7, dim, G7, dim, G7 • Dominant 7th b5 diminished o G7b5, dim, G7b5, dim, G7b5, dim, G7b5, dim, G7b5 • Major and minor usually get the most work, but the Doms are important also • There’s also a lot you can practice on the single notes o Play these 8-note 6th diminished scales up to the tonic o Play up and down o Play in 3rds (play a note, skip a note): 1-3, 2-4, 3-5, 4-b6, 5-6 (2nd), b6-#7, 6-8, #7-9, 8-10 o Play in triads (e.g. Gm6): 1-b3-5-b3 (Gm6), 2-4-b6-2 (dim), b3-5-6-5 (Gm6), 4-b6-#7-b6 (dim), etc. o Play in chords (4 notes, e.g. Gm6): 1-3-5-6 (Gm6), 2-4-b6-#7 (dim), etc.  Pretty coming down as well. Go up the first one and down the second one. Then down and up. • This stuff works for any tune in a minor key

[@yusefandersen]

the essence of things always brings joy and delight!

[@andycollenette2464]

You explain it better than Barry does 👍🎸

[@boboscurse4130]

How awesome that I get to study with this guy 3 times a week!

[@TheDave292]

Have to admit the dominant 7th diminished scale stayed in the background UNTIL I learned that the diminished on the fourth of the dominant 7 dim scale (and all these have dims on the fourth degree) was an excelent TONIC sub! Thanks Chris.

[@thingsivelearnedfrombarryh2616]

I have to admit, I'm more familiar with the major sixth diminished and minor sixth diminished. Since starting this channel ive been practicing the dominant 7 diminished and the dominant 7 b5 diminished a lot more. They are really beautiful. Keep working on it David. I'm really happy we connected again.

[@TheDave292]

I can’t tell you how greatful I am that you are doing this. I was wandering in bad directions and there are a lot of cowboys out there. P.S. I really like the dim on the 4 with a borrowed tone for the first bar of Misty and it’s thanks to people like you.

[@thingsivelearnedfrombarryh2616]

Yeah Man. Barry's method is so beautiful and limitless. Once i discovered it, I never needed to look elsewhere.

[@ericboberic]

Man, this is all golden. Thanks so much for taking the time to make these videos.

[@eduardoalvarez404]

Lots to do! lots to do! Thank you, maestro.

[@JeithKarrett]

Oh man I can't believe I've been playing the Dominant 7th scale wrong for at least 3 years. I always just played the Dominant 7th scale with an added flat 7th and just added another diminished chord whenever I got to the 6th, all because I saw it written like that in a book. The way that it sounds here is way prettier.

[@Fitzliputzli23]

Ok, this one youtube video contains the stuff of at least half a year regular guitar lessons. If you master these 4 scales including the triad arps up and down, each in 5 different positions plus their harmonisations (8 chords times 4 scales) and finally enable yourself to transpose all of this into any key within less than half a year, you are a REAL fast learner!

[@PowMusic]

These lessons are so valuable! Thanks For posting. I look forward to watching and rewatching these. Also, thanks for your comment :)

[@thingsivelearnedfrombarryh2616]

Thanks Gary! I appreciate it brother.

[@ThePmfan]

If you want some reference work for guitar to help follow along with these great vids, I highly recommend getting Ron Ben Hur's book called Talk Jazz Guitar. Available from Roni's website. Roni was also a student of Barry's.

[@thingsivelearnedfrombarryh2616]

I agree Joe. Roni was my first Jazz teacher and he immediately told me I should go to Barry's class. Roni was not only a student of Barry's he also was in his sextet. Roni also played a lot with the late Chris Anderson who Barry called the greatest pianist.

[@Zacchus]

This is why KZbin comments can be like finding gold. Thanks!

[@malfisher4326]

Another excellent lesson, Chris. Thank you so much for sharing what you have learned from the master.

[@thingsivelearnedfrombarryh2616]

Thank you Mal. Glad you're enjoying this series.

[@jfender8023]

thank you !

[@threetorches100]

The dichotomy of this pitch collection is endlessly fascinating. The tonal variety it procures is very satisfying to my ear. Thanks for putting it on the fretboard because transcribing from Piano can be a little overwhelming.

[@thingsivelearnedfrombarryh2616]

Thank you. Barry's scales of chords are the most beautiful thing I've ever studied.

[@menkeroriental]

Awesome! Thanks for sharing!

[@paulyberry]

This is amazing! thank you so much for sharing this.

[@mclorenzen6284]

Good stuff I would just add as far as moving the teaching part along faster just say the two four and six chords are all diminished but all four types of scales. Learning a hell of a lot thank you sir

[@adamchilvers50]

Thank you so much for these lessons. I've just discovered the teachings of B.H this year and, after over 20 years of floundering around with scales and modes etc as well as many random scraps of jazz "theory", I have finally found a coherent approach to get to right the heart of this language. Your videos really tie it all together in a way I have not found anywhere else. I have one question on this video. As you mention, many others talk only of the Major and Minor Sixth Diminished harmonised scales and this is the first I have heard of the other two. I had been led to believe that the Min scale would be the one to use for the dominant (as a ii for the v). Does Barry consider them both as options for creating dominant chord sounds? In other words, as with the previous episode, if he lumps the ii and the v together as being the same thing, when comping a v or a ii,v chord, would he approach that as a ii or a v? or is the answer, as I suspect, both? Apologies, If this is something you have already covered in another video.

[@thingsivelearnedfrombarryh2616]

Thanks for the kind words Adam. I think you can look at it in 2 ways. Single notes or Chording. When soloing, Barry considers a 2 5 just a 5. For example D minor to G7 you can think just G7 scale. ( Other scales too of course but G7 is what you should think of first.) When playing chords and playing D minor to G7 you can think Fmajor 6th diminished into G7. For G7 you can use G7 diminished scale, G7b5 diminished scale, or Ab minor sixth diminished scale. I hope this helps. Please share with your musician friends.

[@adamchilvers50]

I see, thank you. That makes perfect sense and clears up something I had been a little confused about. So I take it that a harmonised Min 6th diminished is not appropriate for a dorian situation chording? How about comping for So What. Would one chose Dmin6/dim or Fmaj6/dim? Thanks again.

[@thingsivelearnedfrombarryh2616]

You tell me. Try them both and see if you like the sound. I bet you could come up with pretty things to play for either one. Let me know.

[@yusefandersen]

riiiight on!

[@hsgs708]

​@@adamchilvers50 i think taht for Dorian situation you can use the dominant chord a 4th above for exaple d minor Dorian you can use G7 They share the same notes

[@jointcustody2370]

Thank you for translating all this magical information to guitar. I really like your humble approach to teaching, i’m a guitar teacher myself and you are really inspiring me in the same way that Barry Harris has.

[@luismarino9057]

GENUINE COOL MAN

[@jansestak954]

This was what I needed. Thank you

[@NikhilHoganShow]

Great! Keep posting, I am really enjoying these 👏

[@thingsivelearnedfrombarryh2616]

The Nikhil Hogan Show Thanks brother

[@alinday]

Great lesson! Do your previous lessons's (Half Step Rules for Dominant) apply to all the 4 scales when soloing?

[@TheRealSandleford]

Cool one.... any note in the maj6 dim scale, play down 1/2 step below the 6th interval below it then the 6th then a third up then the next note down from the one you started and ETC doing the same with that note... cool

[@74thstreet]

Awesome video

[@drunkenmandolin]

This concept has really helped me see the fretboard differently. It’s not really the “point” of this video, but it’s definitely a nice coincidence/consequence. Full disclosure: I’m a recovering bass player. Don’t judge me. ;)

[@thingsivelearnedfrombarryh2616]

Haha. I happen to hold Bass players in very high regard. It's great to eliminate any "grey areas" on the fretboard. Glad you're enjoying these videos.

[@drunkenmandolin]

As you’ve mentioned, this is a very practical approach to learning music. Once I spent a little time with it, it went from “unfathomable” to “extremely useful”. Truly profound stuff and very well presented.

[@thingsivelearnedfrombarryh2616]

@@drunkenmandolin Barry is the greatest. He is not just a Master, he's probably the greatest teacher as well.

[@TheRealSandleford]

Hi Chris, Thanks again. It's Just a cool thing. Had learned the major sixth one from a piano person. Now have 3 more! Love the sound of the 7thb5 one! Also the reminder for doing 3rds, triads and 7ths. Will have to work with the 6ths and see how that does. Trying the 6ths a little tricky so far ..should not be... just 1 to 3 then the next octave of the 1 ... just have to slow the roll... ok an octave up from the 1st note of the third, on the maj6 scale means that second interval part becomes a flat7th when the note comes to the sixth degree of the scale. It sounds cool with 6ths

[@eddieduarte]

Man, that's awesome! thanks again!

[@davidgerber9317]

I just stumbled across your channel, and I love it! I see that you have hours of material posted. Looks like I've got some binge-watching to do. I really appreciate your straight to the point, no BS approach. Thanks from your newest subscriber!

[@thingsivelearnedfrombarryh2616]

Thanks David. Glad you're enjoying the channel. Please share with your musician friends.

[@djekse]

Excellent Chris, I'll get started on it asap.

[@orbo4438]

fantastic, really valuable informations! Just a little thing, one time I heard dr Barry calling that major second a diminished third: so it's still all thirds, brilliant! thanks for the videos.

[@olebirgerpedersen]

Even I am saxplayer I transcribe with plesure to your channel.

[@OTIStheREALcarlos]

Fantastic lesson this was. Thank you

[@uhoh007]

Great clarification on BH "chords" in context of 8 note 6DIm scales. Crystal. I wonder about lead sheet "translation" LOL, but I'm sure that's coming.

[@brad724p]

These lessons are great; thanks.

[@DrJoshGuitar]

This is great. Just started learning Barry Harris' approach and you are very clear in your presentation here. Interestingly, Wes Montgomery seemed to use this 8 note chord scale approach in his chord solos too. Anyway I subscribed to your channel. Nice work.

[@taylorfusion]

Well done.

[@guitarforfree]

Lemme re word this. Once I learn all the Chords the diminished Is In the same spot................. So Its a matter of learning the chord Inversions and connection them with the diminished?

[@mirekpatek]

Speaking about these four eight-note scales alternating the notes of diminished chord and some other chord, one may think whether there are yet another eight-note scales of this kind. And the result is - with the exception of the diminished scale that alternates one diminished chord with the other diminished chord (either half-whole or whole-half scale) there is no other scale. Barry Harris caught them all. Thanks a lot for your videos.

[@PowMusic]

That tele sounds POWERFUL Btw. What amp are you using?

[@thingsivelearnedfrombarryh2616]

It's an acoustic image ten2

[@1952TeleDude]

This is great stuff and presented nicely. You do realize that I’m stealing so much material from Barry Harris through you I should Be in prison. Great lesson.

[@thingsivelearnedfrombarryh2616]

Steal away Brother. Barry has been giving this information away since the 50's. No secrets with him. He tells you every little thing that he's discovered. That's why he's the greatest. I appreciate the kind words. Keep working on it !

[@1952TeleDude]

Things I've Learned From Barry Harris Thanks so much. I’m in my 60’s and I’m a good Player but I felt stagnant. This material has inspired me. Thanks

[@thingsivelearnedfrombarryh2616]

@@1952TeleDude Great to hear. Keep it up Brother!

[@marceli155]

this takes 10 years to learn !!!! to difficult !

[@JoePariseauMusic]

Thanks in advance @Chris Parker. You are doing us ALL an important service with this channel. 👏 I'm trying to understand how I could use the 4 Scale of Chords on a modal tune like So What, Impressions, Footprints or Cantaloupe Island. I get that barry would treat the iim7 as V7 but what if it stays on the iim7 for 16 bars like in So What? Should I use G7dim, F6dim, C6dim, other? If this is too much to address here, how might I book a lesson with you? I play professionally btw.

[@thingsivelearnedfrombarryh2616]

You can email me [e-mail]

[@JoePariseauMusic]

@@thingsivelearnedfrombarryh2616 Thank you Chris! Ttys

[@frederic1000001]

Dominant 7b5 is not a chord we see often in music.

[@PeteMartinMandolin]

Hi Chris, good lesson! Is the G dominant diminished scale G A B C D D# F F# G?

[@thingsivelearnedfrombarryh2616]

Yep

[@tal_175]

Thanks super helpful. Can you also make a video showing examples of how these scales are applied to tunes. Or have you made already? There are videos showing how Dominant and Major scales are applied to songs, but I didn't see one with 6th and 7th diminished scales. Thanks again.

[@thingsivelearnedfrombarryh2616]

I'm glad you're enjoying the videos. Maybe these will help. kzbin.info/www/bejne/iqCpZIKIotOBftU kzbin.info/www/bejne/iGGboaqrht1gf7c

[@thingsivelearnedfrombarryh2616]

kzbin.info/www/bejne/m2iuf6Okq6iHatU

[@tal_175]

Thanks a lot.

[@thingsivelearnedfrombarryh2616]

I misunderstood. I thought you meant chording. The episode on soloing for night in tunisia has some.

[@thingsivelearnedfrombarryh2616]

Youre welcome. Please share with your musician friends.

[@kidpoker007]

In the Alan Kingstone book on Barry Harris all I see is Major6 and Minor6 Still confused how to apply but from what I understand in the key of Cmaj you would use F6 for the dm7 and for G7 you would use Abm6 would be one option or Bm7b5 and for the Cmaj 7 chord use A Major6?

[@frederic1000001]

Hello Chris and thank you for the great videos. Could you please give the notes of the 2 dominant scales ?

[@fangchudan]

wow！

[@ericbeil3912]

I love these videos but the excessive commercials make it really annoying

[@PeteMartinMandolin]

All your lessons are great Chris. Thanks for doing them! I bet I am not alone in asking: Once a player knows the chord scales in every key and every voicing, how does Barry (or you) say to begin applying to musical situations? Or maybe I should ask how do you practice to get this stuff in to pieces?

[@stringitydigity1]

I struggle with this too, Pete. I fall into that trap of spending a whole session on scales and chords, but I’ve been focusing on applying these to tunes that I’m familiar with, and trying to get really comfortable with these techniques in a few keys first.

[@JoeAhmadGuitar]

Is there an example you could provide of using the Dominant 7 flat 5 diminished chord scale on a tune? I don't see the point of that particular chord scale yet. Thanks.

[@thingsivelearnedfrombarryh2616]

kzbin.info/www/bejne/oGTdlYqNoauFjs0

[@JoeAhmadGuitar]

@@thingsivelearnedfrombarryh2616 Those contrary moves are for resolving into a Minor 7, Major 7, Minor7b5 and Minor. I don’t see how the Dominant7flat5 diminished chord scale relates to that. Any help please?

[@shitmandood]

I skipped ahead a little bit, but I wanted to ask why the higher strings aren't being factored into the practice? Also, which episode shows how to transcribe existing lead sheets into Barry Harris method? Is there a conversion episode coming up or already released? Or is that just something that unlocks when going through all of the work you've provided here? Thanks for these videos.

[@PeterGuyMyrand1]

Dominant b5: When you played the G7b5 scale at start of that section, you played the natural 7. So I take it that it is a given that that 7 will be flatted when playing the chords (as they are dom 7).?

[@MrJonahWhaler]

Hi, thank you. Do you understand correctly that the scale is harmonized not through 3rds as in classical but just by 'skip one note' principle? Because when 8th note is added it does not change anything if we stick to 3rds. Thank you

[@thingsivelearnedfrombarryh2616]

You're right Yury. That's what makes these 4 scales so beautiful.

[@jatten2514]

Hey Chris, when do you use normal major and dominant 7 scales and when do you use the sixth diminished scales of chords?

[@FlaxeMusic]

How do I harmonize this in thirds though? Let's say I've got D major 6th diminished, D-E-F#-G-A-Bb-B-C#, after the G-Bb m3rd interval does the Bb just move up chromatically to become the regular 3rd of G while G remains in place? My brain hurts in all the good ways but this has just got me.

[@hsgs708]

Wich scale di you use for dominant that goes to a minor chord?

[@richardruckert7954]

Hi…For tonality, is it reasonable to translate this to the scale of chords developed from G6, Em6, D dom7 b5, and F# diminished?

[@laurabolden161]

I have been trying to Understand His 6th diminished scale . So If done In C major? It looks like C6 D Dim ( Inverted C6 ) D dim again ) and Invert and then diminished. So forth is that correct ?

[@yusefandersen]

This stuff makes me feel as secure as a babe in the arms of his Mommy.... Thanks!

[@mwicks1968]

What a BRILLIANT channel!! I’m learning so much about a subject I found very mysterious before - THANK YOU and WELL DONE! (Suggestion: can you smile a bit more please!!!)

[@louchesimon]

Hey, thx so much! I got a question : In wich chords I can use the 4 diminished scales ? m7b5/ m6 - minor 6th diminished scales ? m7/ 6 - Major 6th diminished scales ? 7 - 7th diminished scales ? 7b5 - 7b5 diminished scales ? I'm little lost, sorry for my english, I'm French, Thanks uuuuuuu

[@JuanHernandez-uq5ld]

Do you have a lesson showing more examples of where you’d use the 7 and 7b5 chords/scales? I’m working on having them handy but don’t have a strong sense of where to insert them.

[@louchesimon]

Hey, i'm searchin for too, do you find ?? also for m6/M6 diminished scales

[@Sandeep12328]

Me too

[@garyleemusic]

Generally speaking.... Use the 7th dim scale over a dom chord that functions as a V7 chord (usually preceded by a ii and moves to minor or major I) Use the 7b5 dim scale over a Dom chord that is functioning as a “back door” dom (such as ii bII7 to Imaj7 OR when you see a bVII7).

[@miochemannetje7801]

Wait a minute at 3:25! The 'dominant 7 diminished' scale? You don't give it much explanation. The scale you play sounds really weird. I had expected something like a major scale from G with flattened 7th and added minor 6th.

[@louisgriffin5984]

Hi Chris! I love these videos! I have a question though, if you play dominant diminished scale and you play a chord one note then skip a note, do you have a major 6th chord on the beginning of the dominant diminished scale?

[@louisgriffin5984]

That's okay. I figured it out.

[@joenathanweber]

Great videos! You’ve posted videos for major and minor 6th dim chord scales but none for dominant dim scales. Any reason for that? It seems like you don’t really need them and while you say they’re important in this video, (correct me if I’m wrong) don’t seem to use them in others. You can clearly get by without them so just curious about that. Thanks!!!!

[@thingsivelearnedfrombarryh2616]

You're right. I haven't worked on them as close to as much as the minor and major sixth diminished but that is because of my own laziness. They are just as beautiful as the Major and Minor sixth . Don't let my laziness influence your working on them.

[@joenathanweber]

Things I've Learned From Barry Harris alright, I truly appreciate your response and taking the time to make these videos. While knowing theory, bebop had always seemed a step away from me but these little ideas you show us give me hope that I can try and make such beautiful lines with continued practice. Thanks again!

[@rodolfoamaralguitar]

Great video! I read that Barry Harris teach that we have to put chordtones on downbeats and tensions on upbeats. Is it correct? Any video on that?

[@thingsivelearnedfrombarryh2616]

kzbin.info/www/bejne/d2K3lISfjNJrbpo

[@rodolfoamaralguitar]

Thank you

[@frederic1000001]

Hello Chris, I don't understand how the diminished can fit in the dominant scale? Do we have the Major seven in this dominant scale ?

[@garyleemusic]

That’s a good question because there’s No major 7 in the scale... 1 2 3 4 5 b6 6 b7 But he played the 2nd chord as Adim7 which has the F# in it.

[@pauloyo3648]

do u give private lessons online ????

[@mucha766]

Love the lessons, Very cool stuff. But can you use it for shredding?

[@Steakfinger]

No. This is strictly for making music. Non-musical athletics is something else. This is for the basketball game. You’re talking about a slam dunk contest.

[@guitarforfree]

It's the same Interval at the end of the day right? I realize they change when you change the chord but the Interval are the same In G. As far as the Diminished goes correct ? Does that make sense?

[@JavierTijuana]

The difference with the regular dominant diminished is just the natural 5 vs b5 (7th b5 diminished) , the intervals between chord tones are the same.

[@jbowerman50]

Out of curiosity, I would really like to find this info on paper. Any ideas? Can't seem to locate his book, perhaps it's out of print? Will keep looking

[@archerparks4617]

drive.google.com/drive/u/0/search?q=barry%20harris%20method

[@ThaiNitai]

I'm working on writing this all down

[@Semaphoront]

The fourth scale has a Messiaen flavour to it... (modes of limited transposition). Did not expect this from "traditionalist" Barry Harris!

[@serkangunturk6273]

I take the major scale with the flat sixth and find my 7 chords but I start with the major 7 chord instead of the major sixth. Is it not useful in Barry Harris method? It sounds cool though :)

[@serkangunturk6273]

meant my *8 chords

[@henrymelbourne2265]

I was going to ask why don’t you have a fifth scale of chords, based on the half diminished chord (minor 3rd, b5, b7) then i realised that’s just another key (G half diminished scale of chords = Bb minor 6 scale of chords. Fuq

[@BlueJeanes]

So I'm confused on the dominant diminshed scale. If I have G7, from the Bo7 family, the diminished for g7 comes from Co7 or Dbo7, not Bo7. So to create the dominant diminished scale, one must "borrow from the neighbors"?

[@infinitypiano9170]

Can you tell us the notes of the scale? I can't tell from your fretting and you are not telling us the notes.

[@graffitiabcd]

Some day I will start a KZbin channel called Things I've Learned from Things I've Learned from Barry Harris (TILFTILFBH).

[@tradingwithwill7214]

How to actually use this in tunes...I’ll see if other videos mention this

[@ATLS702]

Isaac Raz has a channel where he often demonstrates tunes with Barry’s method :-)

[@whistlemusic8572]

So dominant scale has both a B7 and a ^7 ??

[@Zacchus]

Someone else asked this too. I think that's correct. If I remember correctly this is also known as the bebop dominant scale.

[@thingsivelearnedfrombarryh2616]

I'm available for skype lessons. Email me at [e-mail]

[@kidpoker007]

How come you didn’t say what the notes are for the G7 scale

[@innocentoctave]

Maybe he thought it was obvious, but it's the same as the major 6 diminished scale with the 7th lowered. In G, that's G A B C# D D# E F G. Or you can think of it as G mixolydian with the b6 added.

[@dizzyspell]

It's G A B C D D# F F# G (it took me while to figure that out too)

[@ugajin7348]

@@dizzyspell it's a challenge

[@laurentpradeauofficiel282]

Ok. I have to admit: I'm back to school…

[@matthewlee6187]

So melodic minor?

[@thingsivelearnedfrombarryh2616]

What about melodic minor?

[@ugajin7348]

@@thingsivelearnedfrombarryh2616 I think he is referring to the m6/° scale, which is a G melodic minor scale with added ♭6.

[@kidpoker007]

I have the Barry Harris Harmonic method for guitar and it’s so poorly explained and doesn’t give you real examples against a lead sheet

[@alexmcdowell5492]

You should say the notes while you are playing the scales and the chords to help

[@marceli155]

how to use iT????????