> The extra chromatic passing tone comes from the

> > diminished 6th scale.

> > So,
the extra note is this diminished 6th. So, in
> th
> > C major scale it
> > is the Ab
(diminished 6). The 'Barry Harris
> > Diminished sixth scale'
> > has
both the flat 6 and the natural 6.
> >
> > A nice thing to practice (this is probably what
> you
> > are referring to)
> > is to take any chord (combination
of notes) from
> > that scale, and move
> > the chord up the scale. So, for example if you
> have
> >
the chord c-e-g-b, the next one would be d-f-Ab-c,
the next one is
> > e-g-a-d and so on.
> > By adding this extra note we get nice and
> different
> > harmonic
> >
progressions and steps than we do
when we use a
> > 'normal' C major
> > diatonic scale.
> >
> > However, you have to understand that Barry's scale
> >
comes from the
> > combination of two chords: C6 and B diminished. He
> > breaks down
> > everything into a Tonic
(C6) and a Dominant
> (B-dim).
> > See part III in
> > the book. In his theory Cmaj7 (C-E-G-B) is a chord
> > with 3
notes from
> > the Tonic (C-E-G) and one from the Dominant (B).
> > Interestingly, he
> > uses many chord
combinations containing notes from
> > both the Tonic and
> > the Dominant. For example (my own constructions):
> >
> > C-E-Ab-B (c and e from the tonic, Ab and b from
> the
> > dominant) could
> > resolve into C-E-G-C
> > C-F-G-B
(c,g, from Tonic, f,b from dominant) could

> > resolve in to C-E-G-A

> >
> > And so on...
> >
> > Harmonically
speaking, he uses C6 in many
> > situations. For example as
> > the top of Fmaj7/9, or as A minor 7. Thus, a II
> >
chord (such as A
> > minor 7) for Barry is an inversion of the IV chord
> > (C6). For him most
> > cases are IV-V-I instead of II-V-I!
> >
> > Now, you can also do this with Cmin6, C7, C7-5.
> >
> >
For me, the most interesting aspects of his
> >
teachings are:
> >
> > * The wonderful chord combinations and
> progressions
> > you can find by
> >
adding this extra chromatic passing tone and take
> >
the chord up (or
> > down) the scale. Please note that you can
> experiment
> > by using your
> >
own chromatic passing note as well..
> >
> >
* The easiness by which you can create inner voice
> > leading; by
> > playing a 'diminished' note - a note from
the
> >
diminished chord - in
> >
the tonic chord. Please note that you can create a
>
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