anyway starting to play around with the chord scale: 6th dim, minor 6th dim and dom 7 dim (may look at the dom 7 b5 later)
So I see how using the 6th dim chord scale, once I get it under my fingers, offers some great options for arranging tunes for fingerstyle (this is the extent of my jazz playing). So if I have, say, a I vi ii V I in C, the C 6th dim, voiced as maj 6 and dim 7 chords can harmonize the tune over I and vi, similarly for the G dom 7 dim for the V - question is what do I do with the ii? For soloing the BH answer would be to treat it like the V, correct? But you cant really do that with harmony - so here you use the F 6th dim, which gives you d-7 and Fmaj7?
second question is in regards to minor - here ii is the minor 6 diminished a third up, so in Cm, use F minor 6th dim, but the G dom 7 diminished lacks the Ab, and adds an F#, so what do do here?
For dominants I tend to use the min6 on the 5th, or on a half-step up for dominant altered sounds. So for G7 I use Dm6/dim, or Abmin6/dim. (I find the dom7/dim a bit bland, to be honest.)
Having said that, I don’t always like the effect of the dim chords in those scales, in that dominant context. So for harmonising a tune, I sometimes just use a diminished chord for the G7 (i.e. Fdim and its 3 diminished equivalents).
You can always tweak the top note of any of these chords to get the melody note you want. Barry calls this ‘borrowing’ a note (from either side in the scale), but I just think of it as adjusting the top note however I want to.
As you say, the 6/dim stuff is very useful as a template for quickly putting together ‘chord-melody’ type arrangements, I find it invaluable for this. I always use it as a starting point, although I will then add in any other chord moves I like, e.g. stuff I’ve nicked off Joe Pass, or quartal chord ideas.
It’s also useful conceptually to see that the 6/dim scales are really just going ‘tonic-dominant-tonic-dominant’ all the way up and down. So in the scales, the 6th chords are tonic, the diminished chords are dominants. This is a lot easier for harmonising a melody line than trying to fit each diatonic chord to each note in the melody.
Of course when the ‘underlying’ chord changes, you usually have to move to another 6/dim scale.
I’m not sure what Barry says about that, I am not an expert in his stuff, I’ve just taken what I found useful. Mostly from Alan Kingstone’s book (Barry Harris Harmonic Method for guitar).
I stumbled upon this video the other day. The author does a great job providing a high level summary of Barry's approach, and walks through an example using "Every Time I Say Goodbye":
He has other videos covering Barry's teachings, too.
I like the way you think :cool: Thinking outside the box like this will give you a point of difference for sure. Totally valid approach to just be guided by your ear, and only introduce theory when...
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thx man !
Scott
Lovely! I'm a big fan of the hardtail strat. It really sits nicely in the space between a typical trem-equipped strat and a tele. I've put together a few for myself over the past few years.
Constructing chord scales can lead one to a similar conclusion, and it's a good way to organize them. How do you organize them mentally, by their shape?
The last chord you posted is a Emaj7 chord...
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Fender CS Stratocaster
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