TILF Barry Harris Ep 41 Creating lines and playing movement 1 to b3 diminished
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- čas přidán 26. 08. 2024
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This is the Forty First 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.
As an alternative to the dim (WTHT) scale for the b3 dim chord, I like the following two identical scale ideas (the second better than the first):
1) harm min on the III ( here: B harm minor), with added flat 7 (here A).
Especially if the Bb dim is interpreted as a rootless Gb7b9 = F#7b9 chord.
2) dom7 scale on the II (i.e. A7 mixo) with added b9 (here Bb). This can be thought of brother/sister of F#7b9 (min3 above) or coming from the family of four dominants of Bb dim (Bb dim also being rootless A7b9).
The second option is easier in my opinion, and opens up all possibilities of half-step rules and similar.
It also works great in the #IV dim chord in a blues. E.g. in a blues in F, #IV dim is B dim, and the scale to play would be Bb dom7 (Bb7 mixo) with added B. This lines up nicely in the progression IV7 #IVdim where Barry Harris advocates to play Bb7 dom scale down to B, which gives exactly the scale in option 2), and just the B is added to what is played anyway over the IV7 (Bb dom 7 scale).
Option 1 here would be to think C harm min with added flat 7 (Bb), again giving the same pitch collection.
There is also a very nice coverage on impro possibilities on a bIII diminished chord in the video "That's not a II V I!! The bIII diminished" by Jazz Guitar Scrapbook, including harmonic minor scale a half step higher, the dominant scale a half step lower than the root of the dim chord with raised 1, or using blues scale on the root of the key.
I used to go to those workshops (8th Ave and 28th St?) back in the 80's... Awesome! Like a $5. donation to get in.
Barry would make everybody in the room learn some bebop lines (detailed over changes) then... make everybody stand up and DANCE while we played the lick! Those Barry Harris workshops were incredible.
ps. Props for keeping this alive!
That was a little before my time. By the time I started studying with him, The Jazz Cultural Theater had been closed for a while. He was on 48th street in Rod Baltimore's woodwinds and brass store. It was 7 dollars then. Hes still teaching on 54th street. Its 15 dollars now. Just incredible.
Thanks for the videos man. You're doing a great justice.
Thank you. Barry gets all the credit. It's all his concept.
I just wanted to thank you 🙏🏻 for providing us , who were not lucky enough to study under Barry, with his teachings. You’ve really helped me to turn the corner with my playing.
You're welcome. The least I can do is pass it on as best as I can.
Please share with your musician friends.
O and me both
This is outstanding. The bIII diminished always gave me heartburn, until now. Thank you so much for being so generous with your time and knowledge.
Barry talks about this a lot. The lines he creates with it are so beautiful. Thanks for the kind words.
Please share with your musician friends.
@@thingsivelearnedfrombarryh2616 Will do.
What a great tutorial! I really appreciate that not only do you give great material to practice, but you also give suggestions on how to practice. The way you share Barry Harris' method is second to none!
Thank you James. Glad you're enjoying these videos.
Barry is awesome. Thanks for sharing his approach in such an easily applicable way.
He definitely is. Please share with your musician friends.
@@thingsivelearnedfrombarryh2616 will do!
Thank you so much, your videos are all Amazing, love them all. Barry would be so proud of you
Thanks Carlo. Barry is the greatest.
Thanks for breaking down more of the Barry Harris teachings and line use. Good job
You're welcome Jerry. More to come. Please share with your musician friends.
Thank you for demonstrating how Barry uses the diminished surrounding notes. I'm sure I've heard it played before but never explained clearly.
Glad you're enjoying these videos
Great video as always. I look forward to our next lesson. You’ve really helped me make strides in my playing in the last few months. Cheers.
-Johnny
Hope all is well brother.
Thank you for creating all these videos! so inspiring and helpful
jesus- right to the heart of it. that b3 diminished sound (which ive always though of as 1 diminished... which i guess is kinda dumb) is just pure butter. great videos, thank you
You can think of it as the 1 diminished also. That's fine. Not dumb at all.
Barry's method gets right to the heart of it, always.
Glad you're enjoying.
@@thingsivelearnedfrombarryh2616 when you talked about the 4 dominants that relate the the b3 dim- i realized those are all used in different songs as a tension to and from the 1 chord. 2 dominant on exactly like you, 4 dominant on dinette, 7 dominant on them there eyes, b6 dominant on out of nowhere for instance, though there are tons of em i realize. its cool to realize they are all kind of the same tension really, and that is the tension of the b3 diminished
@@handdancin nice call out
Man I hope you monetize this somehow. These videos are fantastic and you are really doing a great service in a country that doesn’t value music education.
Thanks Chris. Great, as always.
Thanks Bill
Hey Chris, or anyone- what would Barry play on “The Days of Wine & Roses”?
Specifically the b7 dominants chords.
I can think of a few ways but nothing sounded too solid.
Love it . Thanks : O
Thank you
b3 diminished often is used as a tonic diminished... A subdominant feel as it resolves to I.
b3 dim7th is used all over the place in 20s and 30s Jazz/Pop
Can anybody point out the video that say what a b3 diminished is ? Is it just flattening the 3rd on of the diminished to make it a dominant chord or just playing the minor 6 diminished scale over the Phrygian mode kind of ?
Very good lesson and great diminished line ideas. I especially like the Gb major arpeggio on the diminished. I assume you can do this on any dominant and/or diminished that are "family"?
Exactly right Pete!
@@thingsivelearnedfrombarryh2616 Cool! I've really been getting into using family soloing and chording. Thanks Chris!
Dear Chris, what scale of chords would fit over the b3 diminished chord to generate some voicings? like you did with the 6th diminished minor and minor over minor, major and dominants, so what would be the voicing option for this diminished in particular?
what amp is that? looks nice!
How much are Skype lessons?
60 dollars an hour.