Your Questions Answered: Applying my Barry Harris 10-Chord Routine to songs

[@harrypalmer3481]

Revisiting this video. Love your videos Mr. Raz, thanks.

[@abath07]

Applying the movements to standard tunes is great. More on the same topic would be appreciated.

[@isaacraz]

You got it... Glad to hear it's hitting the mark, and appreciate the most useful feedback. Thanks!

[@MC-mi4ck]

Thank you so much. Very helpful

[@isaacraz]

You're very welcome!

[@markeliasof1830]

really good stuff!

[@isaacraz]

Appreciate it!

[@willydelarosa1927]

Awesome!! Thanks

[@isaacraz]

Thanks Willy!

[@charlieherbert7716]

Brilliant video! Many thanks

[@isaacraz]

Thanks Charlie!

[@kirkkrek]

Great video. In your 10 chord routine for practicing 6th chords. I was wondering why you included a standard dominant 7th chord. As you said earlier in the video, you can play a minor 6th chord on the fifth, which gives you a dominant 7th already (playing Gm6 with C in the bass gives you a C7 voicing). You also include a C7b5 as one of your practice chords, which I guess makes sense since there doesn’t seem to be 6th chord to use in its place. I purchased the Barry Harris DVDs, but your explanations really help. Thank you.

[@isaacraz]

The “x-diminished” idea has four chord scales associated with it: 6th, minor 6th, dominant 7th, and dominant 7b5. My 10-chord routine combines all the 6-chord rules (8 of them), AND the two dominant seventh diminished scales - hence 10 chords. Check out the vid on 6-chord rules for the distinction-

[@LongevityReportET]

The other thing I see with that is that the C7dim vs just the Bb6 dim (or Gm6 dim) over C is that you're really running through scale of chords that gives you inversions of each color. Bb6 being similar to C9,11 no3, and Gm6 similar to a little more resolved C9 with the 3rd.

[@markbra]

Could you please break down the long short you did on Meditation.

[@isaacraz]

Sure can! Thanks

[@marcavice7505]

I am a bit confused regarding the example on "Cry me a river": the F#7 (that you added before II-V-I in Eb) relates to a C#-7 but you mention a C-6 dim scale for this chord? Shouldn't it be a minor third above i.e. E6 dim? Thanks for providing these very instructive videos!

[@isaacraz]

Thanks Mark, I actually misspoke I meant to say C# minor six. (I played C#m6 but said Cm6- C#m6 six is the important minor of F#7) I should add one of those banner things to clarify that! As soon as I figure out how to do that. It’s good to know someone’s paying attention!

[@marcavice7505]

Isaac Raz ok, got it. By playing a C#m6 over F#7 you will get a F#7#11 sound as there is a C in the C#m6 scale (no B). This is logical as you are “approaching” F-7 with this “added” F#7. I really need to practice all these 6dim scales!

[@michaeldent5733]

Thx. On what beat do prepare the next chord using the diminished when one measure per chord? Do you use the next chord's diminished on the preceding beat 4 with ballads (eg ii > ii-diminished > ii > V7-dimished > V7)? If not preparing, is beat 4 the diminshed of the current chord then straight to the next chord (eg ii > ii-diminished > ii > ii-diminished > V7)?