I'm Adam Aniston, you're listening to the You'll Here at Podcasts.

Jazz Explained.

Well, it's another solo episode.

Today we are talking more about a little six diminished tip.

I'm deep in the six diminished stuff.

Barry Harris's brilliant theory on building harmonies,

the six diminished scale of chords recording a course actually this week.

So any open studio members out there interested, look for that on your dashboard very, very soon. And this is something that is very, very fun.

And this is something that our own Chris Parks, I know Open Studio Pro talks about a lot,

and I've seen in a lot of other Barry Harris resources, and something I've been working on myself and my own playing, and I think might

be very handy for you. It's the three types of movement that you can use with the six to minute.

So the six to minute scale of chords is basically just a way to harmonize individual melody notes

or improvised melody notes. It's not here's the chord change, here's the chord. It's what is the right accompaniment for each, literally each note of the melody, or certain notes of the melody. You don't have to do every single melody note, but it's very, very handy for just that purpose. And so there are three main kinds of movement that you can use under a melody. You can use parallel movement, of course.

That's like the number one way people use the six diminished to start. It's just everything moves

with the melody, right? If my melody is, I can use parallel movement, moving everything with that

melody in the same direction,

up and down.

So that's pretty cool.

But there's also oblique movement and contrary movement.

And those two are what I want to talk about today.

So what is oblique movement?

Obliq movement is when one note stays the same and the other moves in any

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