Mike Hayes Guitar
Jazz guitar lessons from the Mike Hayes Guitar channel. Mike Hayes, an Australian session guitarist and teacher, adapts Barry Harris’s harmony and line concepts to the guitar and often applies them to jazz standards.
82 videos in order. The coloured numbers are the ideas of Barry’s method each one covers.A second opinion, not Barry
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1
Barry Harris chord movement on guitar
Introduces Barry Harris chord movement on guitar, creating dominant variations and applying them in musical examples.
13 minno transcript yetYouTube
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2
Dominant seventh chord movement into major and minor
Resolves G7 to C and E7 to A, major and minor, using the major and minor diminished scales of each key.
14 minno transcript yetYouTube
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3
Dominant seventh chord movement with diminished chords
Dominant seventh chord movement: diminished chord movements, resolving to minor chords, C7 movements and F# practice.
16 minno transcript yetYouTube
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4
Chord movement on Blue Moon
Applies Barry Harris chord movement to Blue Moon: a performance, then analysis of bars 13 to 28 and the movement.
12 minno transcript yetYouTube
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5
Diminished scales, harmonic links and modulation
Analyses diminished scales, harmonic links and key modulations, then adds melodic movement and dominant applications.
14 minno transcript yetYouTube
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6
Workshop: borrowed notes and sixth chords on other degrees
The borrowed note, then the minor 6th on the 5th, major and minor 6th on the 7th, and minor 6th on the flat 2.
13 minno transcript yetYouTube
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7
Workshop: chords and movement on Summertime
Applies basic Barry Harris chords, chord movement, substitutions and voice leading to the standard Summertime.
10 minno transcript yetYouTube
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8
Pro-level chord melodies
Uses Barry Harris techniques to stylise a chord melody arrangement, then introduces a new concept.
10 minno transcript yetYouTube
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9
Walking chords on I Got Rhythm
Harmonises the scale and moves three-note voicings as walking chords, applied to I Got Rhythm with G7, C7 and F7.
14 minno transcript yetYouTube
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10
Part 1, for newcomers: from the scale to chord voicings
From the scale to thirds, triads, spread triads, shells, octave chords, drop 2 voicings, inversions and walking.
10 minno transcript yetYouTube
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11
Part 2: the borrowed notes concept
Borrowed notes on C6 inversions with oblique motion, applied to 2-5-1 cycles, minor 6th chords and the blues.
11 minno transcript yetYouTube
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12
Diatonic chord progressions
Diatonic chords round the circle of fifths as four- and three-note voicings, connected by melody, in F major.
12 minno transcript yetYouTube
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13
Bebop lines from scales and arpeggios, step by step
Bebop lines from scales and arpeggios over a progression, with a diminished substitution and strong guide tones.
13 minno transcript yetYouTube
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14
Essential arpeggios for a classic jazz sound
Arpeggios with chromatic approach notes and rhythms, practised through the scale, over progressions and as substitutes.
13 minno transcript yetYouTube
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15
Bebop line concepts: an introduction
Introduces scales and the problem with bebop lines, then adds chromatic tones and applies chords to the scale.
13 minno transcript yetYouTube
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16
Dominant seventh scale rules
The dominant bebop scale, arpeggio phrasing and harmonising G Mixolydian, then Barry Harris’s rules applied to lines.
15 minno transcript yetYouTube
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17
Bebop lines made easy
Analyses bebop lines section by section through an AABA tune, including arpeggios and the B section’s key changes.
12 minno transcript yetYouTube
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18
The family of dominants
The family of dominants in the key of C, superimposed over a progression, with scales and lines built from it.
16 minno transcript yetYouTube
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19
The family of dominants over a 2-5-1
Applies the family of dominants to a 2-5-1 with pivoting, E Mixolydian, diminished arpeggios and minor 6th substitutes.
14 minno transcript yetYouTube
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20
The minor 2-5, step by step
Breaks down the minor 2-5-1 with pivoting and the half-step rules, then compares major and minor.
12 minno transcript yetYouTube
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21
Blues lines starting on the root, third, fifth and seventh
Bebop lines on a blues progression, transposed, with lines starting on the root, third, fifth and seventh.
13 minno transcript yetYouTube
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22
The C6 scale and the borrowed note principle
Introduces the C6 scale and uses it musically, then applies the borrowed note principle to create new harmonies.
14 minno transcript yetYouTube
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23
Daily harmony practice
A daily routine: root and fifth, minor and relative major, diminished and seventh, sus and extended dominant chords.
11 minno transcript yetYouTube
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24
Ear training: C7 chord colours resolving to F
Ear training: C7, C7 altered, sus4, sus4 flat 9, C9 and C7 flat 5 resolving to F chords, including F6, Fmaj9 and Fm6.
17 minno transcript yetYouTube
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25
Three moves: common-tone diminished, sixth on the fifth and fourth
Inversions, the common-tone diminished, and the sixth on the fifth and fourth, used in progressions and endings.
10 minno transcript yetYouTube
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26
The sixth diminished scale on a jazz standard
Applies the sixth diminished scale to a jazz standard: a demo, then bars 1-4, 5-8, 9-12 and 13 to the end.
13 minno transcript yetYouTube
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27
The long-short concept for guitar
Long and short voicings, with a descending thirds exercise and moving voices, adapted to the guitar.
11 minno transcript yetYouTube
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28
Daily practice routine from Bb6
From Bb6: common-note diminished, sixth on the fifth, altered, dominant 7th scales, sus4, sus b9, ninths, 7b5 dim scale.
19 minno transcript yetYouTube
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29
The 2-5-1 with the important minor
Applies the important minor to a 2-5-1, resolving minor to major, with movement on the dominant and tonic chords.
10 minno transcript yetYouTube
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30
Misty with dominant seventh chord movement
Applies Barry Harris dominant seventh chord movements and voice leading to the ballad Misty.
12 minno transcript yetYouTube
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31
Chord concepts on every chord of C major
Analyses Cmaj7 and practises the major 6th scale, then applies it to each diatonic chord from Dm7 to Bm7b5.
13 minno transcript yetYouTube
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32
Chord concepts on Autumn Leaves
Reharmonises Autumn Leaves with Barry Harris chord movement, dominant changes, diminished chords and borrowed notes.
17 minno transcript yetYouTube
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33
Chord concepts on All the Things You Are
Applies Barry Harris harmony, voice leading and chord movement to All the Things You Are, section by section.
16 minno transcript yetYouTube
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34
Chord concepts on Stella by Starlight
Applies Barry Harris chord concepts to Stella by Starlight, including the one diminished chord and the relative minor 6.
19 minno transcript yetYouTube
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35
Chord concepts on Body and Soul
Applies Barry Harris chord concepts, including sixth diminished scales, to Body and Soul, with a look at the B section.
14 minno transcript yetYouTube
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36
Walking chords on Autumn Leaves
Walking chords on Autumn Leaves: choosing a voicing, creating movement, transposing shapes and playing in tenths.
10 minno transcript yetYouTube
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37
Richer 2-5-1 voicings and movement in C
Uses Barry Harris voicings, movement and voice leading to enrich a 2-5-1 in the key of C.
9 minno transcript yetYouTube
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38
Fixing the 2-5-1 with sus4 and sus4 flat 9 dominants
Improves the 2-5-1 by using dominant seventh sus4 and sus4 flat 9 chords.
10 minno transcript yetYouTube
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39
Chord movement with scale chords
Introduces scale chords, choosing chord notes, stylising with movement, triads and chromaticism.
8 minno transcript yetYouTube
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40
Chords on There Will Never Be Another You
Applies Barry Harris chord movement, drop 2 voicings and passing chords to There Will Never Be Another You.
15 minno transcript yetYouTube
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41
Chord concepts on Satin Doll
Satin Doll with the minor concept, relative major 6th, dominant substitutes, endings and a lighter diminished voicing.
15 minno transcript yetYouTube
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42
My Funny Valentine: guide-tone lines and arrangement
Arranges My Funny Valentine section by section with chromatic guide-tone lines and Barry Harris harmony.
24 minno transcript yetYouTube
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43
Daily practice routine: sixth-chord overlays
Pairs a major 6th with sixth chords on other degrees to get maj9, 6/9sus, m7, m7b5, sus, ninth and altered sounds.
8 minno transcript yetYouTube
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44
My Funny Valentine (Miles Davis version)
Arranges the Miles Davis version of My Funny Valentine section by section with Barry Harris chord movement.
22 minno transcript yetYouTube
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45
A 2-5-1 practice routine with sixth-diminished harmony
A 2-5-1 routine in F using the sixth-diminished concept, with sus, sus flat 9 and altered dominants.
15 minno transcript yetYouTube
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46
My Funny Valentine (Chet Baker version)
Compares Chet Baker’s chords for My Funny Valentine with a Barry Harris-style reharmonisation and voice leading.
16 minno transcript yetYouTube
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47
Blues changes on Stormy Monday
Stormy Monday through Barry Harris harmony: borrowed notes on augmented chords, the bass register and partial chords.
14 minno transcript yetYouTube
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48
On Green Dolphin Street: borrowed notes and backdoor dominants
On Green Dolphin Street: borrowed notes in the A section, and a backdoor dominant and backdoor 2-5 in the B section.
14 minno transcript yetYouTube
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49
Backdoor dominants and backdoor 2-5s
Finds the backdoor dominant in Misty, Just Friends and There Will Never Be Another You, then voices backdoor 2-5s.
15 minno transcript yetYouTube
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50
The 2-5-1 with the family of dominants
Shows how G7, Bb7, Db7 and E7 are related and replace each other in a 2-5-1, then adds the minor sixth on the fifth.
15 minno transcript yetYouTube
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51
The 1-6-2-5 progression, step by step
The basic 1-6-2-5 and nine variations, with substitutes such as Eb7 for A7 and Db7 for G7, in major and minor.
16 minno transcript yetYouTube
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52
Turnarounds through all 12 keys with diminished chords
Uses diminished chords and gateway chords to run a turnaround through all 12 keys.
12 minno transcript yetYouTube
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53
Introductions from the diminished seventh chord
Raises and lowers notes of a diminished seventh chord to build chromatic movement for jazz introductions.
11 minno transcript yetYouTube
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54
Every chord from one diminished shape
Raises or lowers notes of one diminished seventh shape to get minor 6th, dominant 7th and 7b5 chords, used on the blues.
10 minno transcript yetYouTube
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55
Major 6th chords from the diminished seventh
Lowers two neighbouring notes of a diminished seventh to make major 6th chords, and shows why it suits the 12-bar blues.
16 minno transcript yetYouTube
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56
The dominant 7b5 from the diminished seventh
Moves notes of the diminished seventh to get the dominant 7b5, the fourth chord in the system, for comping and blues.
12 minno transcript yetYouTube
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57
Connecting major 6th chords from one diminished
From B diminished 7th to twelve major 6th chords by dominant resolution, chromatic voice leading and minor 2-5 pivots.
12 minno transcript yetYouTube
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58
Triads in contrary motion as moving chord lines
Turns simple triads into moving chord lines with contrary motion, a foundation for Barry Harris voice leading.
11 minno transcript yetYouTube
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59
The chord universe: the dominant family and sixth diminished scales
Links the family of dominants with major and minor sixth diminished scales, ending with backdoor cadences.
11 minno transcript yetYouTube
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60
Building jazz lines instead of running scales
Builds lines from a C6 to G7 approach over a 1-6-2-5, extends them into longer lines and plays them over an AABA form.
12 minno transcript yetYouTube
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61
The sixth diminished system explained
Explains how the sixth diminished system connects chords, with chord classifications and a chord melody application.
13 minno transcript yetYouTube
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62
Making static chords move on a ii-V
Turns static ii-V chords into movement with major and minor sixth scales of chords, borrowed notes and comping ideas.
10 minno transcript yetYouTube
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63
Diminished movement through ii-V-I voicings
Builds ii-V-I voicings from sixth scales of chords, borrowed notes, tritone and family subs, applied to Autumn Leaves.
10 minno transcript yetYouTube
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64
Moving chords on the Autumn Leaves bridge
Reharmonises the bridge of Autumn Leaves bar by bar, turning static chords into movement with borrowed notes.
10 minno transcript yetYouTube
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65
Chord melody in three steps on Embraceable You (part 1)
A three-step chord melody approach (parent scale, matching melody to chords), applied to the opening of Embraceable You.
11 minno transcript yetYouTube
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66
Chord melody on Embraceable You (part 2): the B and C sections
Completes the Embraceable You chord melody, harmonising the B and C sections with sixth scales of chords.
17 minno transcript yetYouTube
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67
Five pillars of chordal movement beyond the shapes
Five pillars of the movement: borrowed notes, a three-bucket system, the dominant family, movement and voice leading.
13 minno transcript yetYouTube
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68
Diminished chords as neighbour and embellishing chords
Common-tone diminished chords, walking chords and Barry’s flat-three diminished, on a 1-6-2-5 and a jazz standard.
13 minno transcript yetYouTube
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69
Five ways through the minor ii-V-I
Five minor ii-V-I ideas, from replacing the m7b5 with a minor sixth to voice leading, on What Is This Thing Called Love.
10 minno transcript yetYouTube
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70
Why Real Book chords sound vanilla, and how movement fixes them
Treats stock Tune-Dex changes as a starting point, adding scales of chords, the family of four and the important minor.
12 minno transcript yetYouTube
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71
Sixth-chord substitution on Blue Moon
Compares fake book and reharmonised Blue Moon, using the important minor and the major sixth on the fifth.
12 minno transcript yetYouTube
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72
Borrowed notes: bringing one C6 shape to life
Adds borrowed-note movement to one C6 shape through the C, Eb and Gb sixth diminished scales of chords.
12 minno transcript yetYouTube
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73
Adding movement to the ii-V-I without changing the harmony
ii-V-I versions using relative and fifth-degree sixth chords, the important minor, borrowed notes and diminished chords.
11 minno transcript yetYouTube
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74
Moving accompaniment on Ain’t Misbehavin’
A duet-style accompaniment for Ain’t Misbehavin’ using sixth scales of chords, borrowed notes and the family of four.
11 minno transcript yetYouTube
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75
Four-part harmony with drop 2 sixth diminished chords
Drop 2 voicings of the C6 and F6 scales of chords with borrowed alto notes, applied to ii-V-Is in four related keys.
13 minno transcript yetYouTube
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76
Drop 2 chords on the middle strings for the blues
Middle-string drop 2 sixth diminished voicings applied to a C blues, Woodchopper’s Ball and C Jam Blues.
13 minno transcript yetYouTube
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77
A ii-V-I substitution workout with modern sounds
Substitutions for each chord of a ii-V-I, including the F/G sus sound and Fm6 for Dm7b5, on Autumn Leaves and Wave.
13 minno transcript yetYouTube
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78
Using the system in a song: Am I Blue, first eight bars
Arranges the first eight bars of Am I Blue with sixth diminished harmony, borrowed notes and related dominants.
11 minno transcript yetYouTube
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79
Applying the system to Makin’ Whoopee: movement between phrases
Fills the gaps between Makin’ Whoopee phrases with approach chords, borrowed notes and common-tone diminished chords.
13 minno transcript yetYouTube
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80
Making chords flow on Body and Soul with guide tones
Voice leading and a descending guide-tone line on Body and Soul, contrasting ensemble and solo guitar choices.
16 minno transcript yetYouTube
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81
From diatonic chords to seven scales of chords in G
Maps each diatonic seventh chord in G to a sixth or seventh scale of chords, then adds borrowed notes on a ii-V-I.
11 minno transcript yetYouTube
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82
Practising the system in songs, starting from a 1-6-2-5
Practises the system in songs: a 1-6-2-5, lines over it, minor-third modulation and three ii-V-I colours.
12 minno transcript yetYouTube