Barry Harris: 6th Diminished Diatonic Voicings and Comping Examples 

Thanks Tim!

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Thanks Sam! I am a big fan of your playing. First heard you on "In The Blink Of An Eye". Made my day to get a comment from you! I was thinking of the Dm7b5 as a G7sus(b9) and that is how I was using it in the examples, but maybe I shouldn't have labeled it as dominant in the context of just the harmonized scale. I appreciate the feedback. Thanks

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Thanks David, and yes, the melodic minor voicings are great!

@@ChrisWhitemanGuitar can you do a video on the melodic minor voicings and some comping examples of them please?

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@@ChrisWhitemanGuitar Thank you ! excellent explaint ! ,Otherwise I had had no really chance to find it on my owne !

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Many thanks!

@@ChrisWhitemanGuitar Thank you for sharing your knowledge. I am a subscriber to your Patreon and greatly appreciate your teaching!

The Barry Harris 6th diminished scale is the traditional major scale with one additional note added, the flat (or diminished) 6. In a C scale, you would now have C, D, E, F, G, Ab, A, B. When you harmonize this scale by skipping notes, you have only two chords, a Cmajor6 and a Ddiminished7. They are just in different inversions. Cmajor6 is C, E, G, A. Ddiminished7 is D, F, Ab, B.

You are doing it with closed voicings and I am starting with drop 2 C Major 7th: C,G,B,E. Continue by moving each voice up one scale degree= D,Ab,C,F and continue on. E,A,D,G etc..

@@ChrisWhitemanGuitar thanks for the response. :) so we were not even starting with the same group of notes i guess. ha i assumed the chords were being built as a series of stacked thirds. i didn't realize you were using a third, a third above that then a fourth above that to build your diatonic set of chords. never heard of that, no wonder i was confused. ha. have all the combinations of thirds and fourths been investigated as possible combinations for building four note chords? like a third then a fourth and then a third? or a fourth, a third and then another third...etc? this is all new to me. and what is the metric being used to decide legitimacy? is it simply that it's possible or is it sound and or voice leading or personal preference, maybe? thanks again.

@@ChrisWhitemanGuitaram i correct that if we take your same notes and flat the 3rd (Eb) we then have the voicings for the melodic minor 6th diminished scale?

@@ChrisWhitemanGuitar Hi Chris, I thought the whole point of the Barry Harris theory was to eliminate the I major7 and play a major6 instead. You are playing a I major7 when you play C, G, B, E. I am no expert, but the Barris Harris theory seems to have only two chords when harmonizing the scale, the major6 and the diminished7. But then there would not be a half-diminished chord, only a fully diminished seven. Help! I'm sinking!

@@KlevonOfPearlandcmajor7( ceg) comes from b diminished. Barry Harris calls this borrowing from the diminished. So instead of cmajor6 ( cega) you can play cmajor7 (cegb)

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