The scale and not the chord is the basic unit in the Barry Harris system. The diminished 7th chord opens the door - the box of Pandora as it were - to the symmetrical properties that come with all diminished 7th chords. To hear this first. I've written some articles on this awhile back too (in Just Jazz Guitar).
I just purchased The Barry Harris Harmonic Method for Guitar by Alan Kingstone, and I started going through the harmonized scales at the beginning of the book which are four different inversions of a major (or minor) sixth chord interspersed with diminished chords. I'm curious as to how you would use this scale in the context of comping; since the scale is asymmetric, it's different depending on which sixth chord inversion you start on. Are these scales designed to illustrate a theoretical concept, or would you actually use them while comping; and if the latter, does it matter which inversion you start on in a given situation?
Thanks, Jonathan Gerry 11:03. Kingstone might well address this more expansively. Diablo 3 Reaper Of Souls Pc Iso Download. I actually use them while comping, as I consider one of the approaches in comping to be, in essence, a thickened line working in concert and contrast to the vocalist/soloist. It doesn't matter where you start, but it matters how you start. You can start an accompaniment with a leading tone to a chord, say a VII function or a diminished chord 1/2 step below the intended chord.