This is what I call a "disjoint cover" because the two parts share no common notes. However, he explains it in a quite different way, noticing that a cover of the scale is given by the C6 and Bdim7 arpeggios You can find full guitar fingerings for this scale on page 298 of the current version of Scale and Arpeggio Resources - if it's not there, search for the interval map "t, t, s, t, s, s, t, s" and you'll find it. You may think this is perverse, since the other way is clearly simpler, but in fact that b6 contributes a very strong Harmonic Major sound. More exotically, you could think of this as Harmonic Major with an added natural 6. The scale is in fact just a major scale with an added b6 or #5, so it's spelled like this: The video is a bit piano-focussed so I thought it might help some guitar players to have a summary from our point of view of the main idea. It produces a very cool jazz sound by a quite unexpected means. Here's a great excerpt from a Barry Harris workshop where he introduces an interesting diminished concept, which he (jokingly) calls his "personal scale".
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