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Ok, but i suppose you know that the maj6-dim and min6-dim is for harmonizing, not single line improvising?
Originally Posted by M2AX
No rule that you can’t use it for improvising, but that is not how BH teaches it.
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10-18-2018 12:19 AM
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Everyone says the m6dim from the 5th of dominant, but what about the Dom7dim itself? I.e a dominant chord with a diminished running alongside it from the second? I think it's in the Kingstone book, I'll have to go look for it again.
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Yes that is in the book. There is also a Dom7b5 / dim. Originally Posted by JustMac
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Yes, as also the diminished chord itself (with or without borrowed notes), but the m6 on the fifth and the tritone's minor (m6 a half step above the root of the dominant) are the ones Barry and Howard Rees stress in their teaching. Originally Posted by grahambop
For soloing, on the other hand, the stress is on extra note rules and on the family of dominants, building on the usual 7-note "mixolydian" scale (called the dominant scale, modal names are not popular in this company!)
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I don’t think anyone seems crazy about that scale Originally Posted by JustMac
Barry likes 7b5-dim a lot
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of course
-Max
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Does Barry show scales over All The Things You Are?
does he have another set after 5432 phrases?
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I worked out some scales on ATTYA the other day. It’s not that hard, just follow the examples given by Chris in his ‘things i’ve learned from Barry harris’ YouTube channel. He gives examples from several standards, from these you can deduce the scale ‘rules’ quite easily for most tunes.
If you’re talking about Barry’s sixth/dim chord/harmonic approach, also check out Chris’s channel as one of his videos looks at that in terms of ATTYA.
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i like it the more each time i practice it. where ot starts sounding really cool is when you play the related dom dim scales Originally Posted by christianm77
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ATTYA... think Bb7 scale for Bdim, really? I think Bb7 b9 scale is more it for B dim (Bb half whole dim scale)
and for the C7alt coming out of the bridge think Eb7 scale? I would think C#-maj7Last edited by rintincop; 10-19-2018 at 01:04 PM.
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Do we really like a Gb note in our scale for the Dbma7 IV chord in ATTYA bar 5? I like the G natural (#4) instead.
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Here, curtesy of Christian, taken from older page of this Barry Harris thread:
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Not sure why I can’t post the link above. Hope this will go ok: Originally Posted by tamirgal
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I could be wrong but given that Barry makes a point of distinguishing the 3 types of minor 7ths (II, III and VI),
I assume he would do the same between the 2 types of major 7th chords (I and IV).
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I tend to agree. G natural would fit better on that Dbmaj
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I notice his C7 b9 scale is also the equivalent of a F Harmonic Minor Scale. It's easier for me to think C#minor major scale over C7b9 or to play the half-whole symmetrical dim type scale
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On the the C7, you should read it as Eb7 down to the 3rd of C7.
You don’t want to change it, that’s a fundamental Part of Barry’s teaching
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I understand the connection of Eb7 scale over C7b9 .But why that approach? I would guess because it ties it back to his scale association for G-7b5 to C7b9. I think I answered my question.
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Yes he does - Check this out, he specifically talks about the ending Cm7 (III in Abmaj) in AtTyA....well, actually he goes off on quite a tangent!
Admittedly I think this is far more difficult to grasp than the typical guitar-centric way of learning different types of chords...modes, right? I'm not a modal player at all but for some reason they really stuck with me as a reference point... eg here knowing that because I'm on the III/phrygian that Db/flat second is there, not D natural/second.
Do piano players learn just major/minor and not the harmonised scale? I mean, I'm guessing these people are competent players because they're even at a BH class, but I honestly don't get how the players there are confused as to why the Cm7 has a Db there. Not saying that from place of arrogance, I'm genuinely curious!
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My sheet isn't what Barry did in the workshop, so don't take it too seriously. I did it a while back before I got the opportunity to study the tune in class.
IIRC he ran the scales from the roots of the chord, and specified to use an G in the Db scale (don't call it Lydian lol.)Last edited by christianm77; 10-20-2018 at 06:27 PM.
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“Monk is as relevant in 2018 as he was in 1942, as he was in 1967…because he embodies the spirit of jazz.” -Russell Hall
Celebrate The Onliest with us on Oct 26–27, jazz.org/monksdream
Looks good! Joined by a Londoner on tenor, Ruben fox great player.
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I spy more great material coming soon from Roni Ben-Hur and My Music Masterclass:
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I am enjoying the Harris V7b9 scale (it also has a #9 and a b13)
It gives me 8 tones, a balanced "bebop" type scale (since it's balanced it aligns the chord tones on beats)
1 b9 #9 3 4 5 b13 b7
Practice descending from b9
then from 3rd
then from 5th
then from 7th
(these chord tones also spell a diminished 7th chord)
Tip: Looking at this scale's shape on the piano, for C7b9 for example, we see the first four notes form the familiar diminished scale shape (half-whole-half). The top four notes of the scale happen to look like the F minor scale. Of course C7b9 is strongly associated with a F minor.
For decades I have been running diminished scales over V7b9 or alt scales. I am liking hows this Harris V7b9 lays, it's smoother and hand friendly.
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no need to rename it really, is there? Originally Posted by rintincop
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It’s Reg minor. Look this was Discussed
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