Welcome back to the studio everyone! In this week's lesson, I'm gonna show you guys how I make use of Barry Harris' famous 6 Diminished concept as a way of spicing up my chord accompaniment!

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0:00 intro
0:59 6 Diminished Concept Overview
2:58 Cmaj6 Diminished as chords
3:56 Cmin6 Diminished as chords
4:31 Intro to "Borrowing"
5:25 Scale as Chords Borrowing
6:02 Borrowing and Returning
6:50 Substituting with 6 Diminished
7:35 Gmaj6 Diminished for Cmaj7
8:02 F6 diminished for D7
8:27 D6 Diminished for G9
8:50 Ab6 Diminished for G7alt
9:02 Using 6 Diminished in Practice
9:31 Example iiVI Progressions
10:22 iiiVIiiV Example
10:53 Example Standard Blue Bossa
11:24 Outro and Thank You's

Comping effectively and sensitively is probably one of the most challenging things to learn as guitarists. So much of our time spent learning jazz chords is done learning these gigantic chord shapes. If you listen to great musicians though, especially pianists, they don't really play this way. Instead, they make use of little movements that elegantly describe the harmony, rather than these big huge block chords.

The famous 6 Diminished concept developed by Barry Harris can really help us unlock this way of playing chords on the guitar. Since it focuses on movements of chords rather than static grips, it can instantly make our chord accompaniments sound more natural and less heavy. It's also a great way to learn to play chord solos, but more on that in a future video!

In this week's lesson, I'm going to teach you guys all about how I use the 6 diminished concept to make my comping sound more like the stuff we hear great pianists play. There's tons to cover so let's get into it!

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