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3: Major & Minor Bebop Scales

Home > Courses > DAVID BERKMAN: The Diminished 7th / Minor or Major 6th Approach to Harmony (Edge)

DAVID BERKMAN: The Diminished 7th / Minor or Major 6th Approach to Harmony (Edge)

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1: Intro Performance

2: Introduction: A Different Approach to Jazz Tunes & Harmony

3: Major & Minor Bebop Scales

4: Passing Diminished Chords - Root to Drop 2 (Barry Harris’ Scale of Chords)

5: Difference between Major & (Melodic) Minor Bebop Scale

6: “Borrowing” - Scale of Chords with 1 Borrowed Note

7: David’s Point: A really interesting Family of Chords

8: The Key: Every Chord is Analyze-able as a Diminished/6th Pair (and can borrow from each other)

9: Translating Chord Symbols to Pairs Part 1

10: How to see it

11: Translating Chord Symbols to Pairs Part 2 (Dominants)

12: Playing Pairs of D6/C#o over C bass

13: Dissonant Sounds inside the Chord

14: Application to Arranging & Composing

15: Guitar Players using these Reharms

16: Use in Real Situations (It Could Happen)

17: More Examples: First Bars of Songs

18: Resolving Chords (or Not)

19: Tom Harrell Anecdote + Having a System

20: Maj7-Maj6 Movement on the I Chord

21: Applied to a Linear Context (Blue Poles)

22: Kurt Rosenwinkel Example & More (unrelated to Style)

23: Theory that gives you an “Impression” vs. Exact Ideas

24: Application to Upper-Structure Triads

25: Why do Jazz Schools not teach this Concept?

26: Getting it in Your Ear & Applying It

27: Playing Lines with It

28: The Benefit for You

29: Arpeggiated vs. Scales

30: Playing it on the Beat (or not)

31: Linear & Vertical (Mark Turner Example)

32: Final Performance

Return to DAVID BERKMAN: The Diminished 7th / Minor or Major 6th Approach to Harmony (Edge)

About this Course

A different (exciting) approach to jazz harmony (than the one commonly taught in jazz education) - from Barry Harris to Keith Jarrett

* For ALL Instruments & Levels
* 2-Hour Masterclass
* PDFs
* Take/export Private Notes + Discuss with Course Members

Course by

David Berkman

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