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Stop Practicing Random Arpeggios — Use the 6 Dim System Instead

Mike Hayes Guitar

17,093 views

Unlock the real way to practice arpeggios using the Barry Harris Major 6th–Diminished (6-Dim) System.
Most players run arpeggios up and down the neck… and never sound musical. Today, you’ll learn how to turn arpeggio practice into real jazz vocabulary, movement, and lines you can use immediately.

🎸 In this lesson you’ll learn:
• Why “random arpeggios” don’t translate into real playing
• How the 6-Dim system organises arpeggios into musical pathways
• How to cycle arpeggios through the 6-Dim chord family
• Practice templates you can apply to standards, blues, and turnarounds
• How Barry Harris used this approach to create fluid, connected lines

📘 Download Study Materials (PDF + Diagrams + MP3s)
https://mikehayesguitar.com

If you enjoy this lesson, check out the full Barry Harris study program on the site — perfect for players new to the system.

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Mike Hayes Guitar: @mikehayesguitar

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17 Comments

@MikeHayesGuitar Creator 7 months ago Pinned

🎸 This lesson builds on core Barry Harris ideas.
If you’re new to the method, the entry-level workbook on the site gives you a solid foundation and clear starting point.

→ https://mikehayesguitar.com

@nshadjiclement 7 months ago

you are a very very great teacher sir....more blessings

@dananthony6258 7 months ago

So funny because I just started doing this with the minor 6 diminished scale. It’s harder than I thought it would be but it’s coming along. I need to do the major next.

@leroyhall41 7 months ago

Wonderful lesson, thank you. Looking forward to the next lesson, Enjoy your blessed day.

@timstok3280 6 months ago

Thanks Mike!

@ivanvenot 7 months ago

Thank you!

@joshualee8448 7 months ago

Pretty heady stuff. Might have to sit with this lesson for a while, but you get a like and sub from me! Great content!

@oldreddragon1579 7 months ago

Great Lesson. Many Thanks 👍

@alfonzo9 7 months ago

Thank u🙌🏽🙌🏽🙌🏽

@poweredbyjuche 7 months ago

wonderful lesson! very practical as well. i can think of loads of ways to apply this. even to prog! thanks again mike. my fabourite channel

@kidpoker007 6 months ago

Would like to see this done though a entire Jazz standard like There will never be another you

@st.fiacre6685 7 months ago

7:00 Rolling the tip of your finger technique , is what they call 'sweeping' in modern terms. Good lessons

@benno42 4 months ago

I’m a bit confused about 1 thing. You mention early on that we’re deriving from pentatonic. The rest of the video we are on c sixth diminished. Did I miss something? Thanks!

@millwall930 7 months ago

Good morning Mike very early here .thanks for lesson .il have to come back and grasp this one as simply don’t understand what or how to implement these bad boys ! I know every arpeggio as have studied them immensely,but I can’t see what or why we would just use these ones instead )! Maybe it’s a bit too early and will try again to see the point .thanks Mike 👍

@carlforseti7627 7 months ago

Arpeggios (as Target tones) with chromatic aproaches + option notes (like 9,11,13) = chordscales. Those chordscales in all the intervalls. That`s it. And do not forget: All theorie about learning to hear the melodies and chords in your head :-)

@MrMarkov62 6 months ago

Fantastic lesson, very helpful. Thank you so much! On chord ii (e.g. Dm7 in a ii V I sequence in C, i.e. Dm7 G7 C) you recommend to play as if you were in C. I saw that others recommend to ignore the ii and play like in V7 for the all duration of ii and V7. So Dm7 G7 C could be thought as 1) C G7 C or 2) G7 G7 C. Are both approaches valid in your view?

@juanbusquier8546 6 months ago

Muchas gracias Mike.Hasta ahora mi lenguaje era de arpegios de tres y cuatro notas y estoy trabajando mucho el método Barry Harris.Podrías poner ejemplos para usar líneas en contextos como ll V l ,Blues,Rythm changes?Me refiero a estos arpegios de la sexta mayor disminuida.Gracias.Saludos desde España.