I learned so much from this ...and yeah, still only 15 mins in But, because I've been practicing scales and arpeggios almost daily, this was so much easier to pick up and start to learn Before when watching stuff like this I had no chance So playing often and regularly is better than doing nothing This is my humble experience
Just FYI, the first Drop 3 voicing in bar 1 of your PDF (page 2) is wrong: the bass-clef half note should be a C3, not a Bb2. (The natural 11 *is* an available tension on an Fm9, but it doesn't work in a register that low.)
I'm not a lyricist, but I came up with lyrics for this melody because you played it so many times. I see beauty in your eyes or Stevie Wonder in your mind. Let me know what ya think.
@10:00: I tend to think of this melody as being in Eb major. Then the whole melody is diatonic and we have a ii-V7-VI deceptive cadence. Change the final note to Eb under a Eb(maj7) chord and you'll hear that this makes sense.
This was a great session, but I have to admit still being confused by drop-2 and 3 when it comes to starting with a non-root-position chord. It all seems simple when you turn CEGB into GCEB, but I get a bit lost when we took an Fm7 chord and ended up with a B flat in the bass! I find it weird that changing the voicing of the close-position chord changes the resulting bass note. Guess I'm overestimating the importance of the bass note and undervaluing the value of putting a 10th into the chord.
i did not understand the 6th / diminshed additions. using diatonic chords or diatonic intervals to harmonize a melody makes sense, but when do you use the diminished versions? i do not quite understand the connection. as it was not explained, i assume its very basic, sorry i do not get it.
There are a lot of Barry Harris method videos on RU-vid (including on open studio/you'll hear it). I recommend checking them out. It's a fascinating school of thought, and a great way to think about music. Cheers!