Official Barry Harris Thread

[Christian Miller]

Isn't that an historic fact?

I believe so

and the melodic minor came out of that (with the nat minor descending!) because the "tone and a half interval was difficult to sing". I'm sure I was taught that in O level music in 1972. Perhaps it was an old wiives' tale!

Basically all standard modern classical music theory came out of Germany in the 1800s.

I certainly think the melodic minor as it usually presented is a bit of an old wive's tale. You see plenty of ascending form melodic minors descending in Bach and so on. Lies to children, maybe.

A more accurate way of describing the way Bach etc did it would be 'altering the minor mode according to the needs of the melody and prevailing harmony'

[Tal_175]

Why are we still talking about this HERE?

If you want to talk about minor keys, start another thread please.

I am not talking about minor keys, I am talking about BH approach to minor keys. If that's still not clear to you, I tried to make my point more specific in post #1744. If you think that's not relevant to a BH thread, you are under no obligation to reply. Though in that case, I guess, your internal thread relevance function is different than mine.

[garybaldy]

Secondary Dominant or 'Dominant of the Dominant'?

Thanks. On a lighthearted note! - to summarise, we could play arpeggios over any of the following:
Em7b9 A7b9,
E7b9 A7b9,
Bb7 A7b9 or
a whole bar of A7b9.
That means the only 2 notes I 'can't ' play are C and F#.
I'm sure I can fit them in somewhere - an enclosure may be.
As of today, for me, theory is going out the window! Thank you.

[Mick-7]

So change the Em7b5 to an E7b9? They are quite different chords.

Scale-wise, D harmonic minor would work for both sets of chords... no major third for the E7 chord though unless you make it D Hungarian minor = D-E-F-G#-A-Bb-C# (raised 4th).