I've watched several videos trying to explain barry Harris's method and I think you made it the easiest to understand. looking forward to watching more of your videos!
thank you so much! If you like this content from me I actually have two truefire courses coming out in the near-ish future. Don't have a firm release date yet but I'll be posting about it PLENTY once I get that information from them. Wonderful organization that really cares about making good music education content. Thanks for watching!
@@dsg_studio awesome 👏. Will definitely check those out. Great stuff. I was a part of the older “365 Licks for a Year” series. Basically like one guitar lick a day. They’ve discontinued a bunch of those since but great organization.
This is a very impressive video. Every time you put out a new one, it makes me wish that Chris Parks had this good of an editor to put in the tabs, graphics, transitions, etc. Would you mind doing a video like this in the future about the 6th on the 5th brothers and sisters? By that, I mean the min6 chords built from the ii and biii diminished 7th chords? Cheers, and thanks again!
You're welcome. Yeah I can take a wack at explaining those concepts. Glad you're enjoying my work! The editing and post production takes a lot of time and effort but I'm glad it's appreciated. I'm the editor btw lol. Just little old me writing the material, scripting, and the graphics etc.
Nice to see someone bring up the relationship with the home key, not just stop at "lower each note of a diminished chord by a half step." Both are important parts of the whole concept. Db7 tonicizes and Ab major 6 or Ab major 7, which is the sixth chord in C minor. I thought that was relevant, given the description of the backdoor dominant.
@boyfarrell thank you lol! I think they add charm but i can agree they need to be mixed lower but folks online have a habit of making mountains of molehills
Dude I am blown away by the production value. The staff notation is gold and the explanations are amazing. This type of teaching will do wonders for so many musicians. Thank you so much. This is a hidden gem of a channel.
It's too bad TH-cam is not showing dislikes because the headers on your lessons are very deceptive one must be pretty darn good in theory in order to catch what you're saying and apply it
@user-tw3nj6nd6r there's plenty of beginner material on youtube if that's what you need. If you can already play some jazz/bebop the concepts I cover can help take you further.
Can you point me in the direction of the video going over BH half step rules etc that are featured in this video? Even title name would be great. Thanks 🙏🏻
@@dsg_studio you should put out some books. I much prefer having stuff in physical book format away from the distractions of a computer. I’d buy them all but im delighted I’ve found your channel.
@ralphthomson2680 funny you should mention that! I'm actually working on a phrase book as we speak. There'll be somewhere between 30-40 phrases for ii-V and other progressions complete with fingering and picking suggestions. Possibly some analysis of a few selected phrases and some instructions on how to incorporate them into your own language. Stay tuned. Hope to have that up for sale before year's end.
If the purpose of adding the extra notes is to make it easier to land chord tones on strong beats, why, then, would this be applied only to descending scales? The purpose of the added notes serve their purpose in both directions, even when reversing direction at any point.
@@dsg_studio I went back to the previous video and did not find anything addressing the exclusive use of descending scales. You did state, emphatically, that the scales were descending, without any explanation.
@ronaskew huh, I thought I went more in depth. Mainly it's because under this system when you ascend a scale only to the 7th all the chord tones already land on the beat. If you were to do this same method ascending you'd need different "rules " because the math doesn't work out the same. In that case, Barry's chromatic scale concept works better for ascending lines since you can put half steps anywhere that system. The other thing is that doing this descending only teaches rhythm and pulse that coincides with the "falling" nature of V-I cadences. Hope that helps. I'll have to remember to address this in detail in next week's video 👍
There would have to be a few more rules, but the logic would be the same or similar to the descending rules. The first 1/2 step rule establishes a baseline guaranteeing 3 things, asc or desc, (1) the ability to automate the placement of chord tones on a strong beat and (2) a passing tone between all chord tones while (3) building in more opportunities for generating triplet patterns thru the chord and (4) the uniform placement of passing tones builds in upper and lower neighbors that can encapsulate chord tones or approaches from above or below. The rule that allows adding 2 more chromatic note accomplishes 2 things; when used (1) establishes the 9th as an additional chord tone and (2) extends the above mention triplet and encapsulation rights to the 9th while (3) extending the line. The only problem I see with rules for the ascending scale are the rule disallowing even the use of 1 chromatic passing tone when the starting strong beat note that enables a rule is a 2d or 4th and does not always work ascending.
@ronaskew this is all correct but I would still reccomend looking at where chord tones land on the beat when using the descending rules vs ascending the scale normally or with Barry's chromatic scale system. That's the real key here.
Message received I'll mix them lower. I checked the mix in my headphones and it sounded OK to me but it's hard to be objective after working on stuff for hours. Thanks for the feedback
I yes I know. But since "dorian" is a typical flavor to resolve to, min6 and minor 7 are both valid choices for the end of a phrase. I find minor6 to be a more final sounding resolution for the purposes of performance is all.
It's a long project for sure. I disagree that it would take ten years but certainly it will take quite a while to fully internalize in all 12 keys. Remember it's about the journey, not the destination.
Just remember that with guitar, as long as you drill down and visualize all positions in one key, you can just shift those around based on what key you need to.
@tylerk1013 true! I still advise doing every key though, because some keys doing work as well by just shifting position. Sometimes you'll need to alter fingerings or positions to make it feel good.
![ประสบการณ์ จ้าง Developer ที่ผมจะไม่มีวันลืม [ภาค2]](http://i.ytimg.com/vi/pZbsSDRrmXA/mqdefault.jpg)
Indeed one of the best lessons out there trying to explain Barry's concepts.
Thanks very much!
I've watched several videos trying to explain barry Harris's method and I think you made it the easiest to understand. looking forward to watching more of your videos!
Thanks for watching. Glad you found this so helpful!
Really great demos here on the tube David!! High level with clear easy descriptions! Thanks!! Peters Övik Sweden
@Peters518 thanks for the kind words!
Excellent explanations and examples. Thanks for sharing your knowledge with us!
My pleasure!
Great video 👍🎸 thanks for the wonderful teaching
You're welcome!
Simply one of the best lessons I’ve seen on You Tube
And this is coming from a former True Fire guy
Fantastic
thank you so much! If you like this content from me I actually have two truefire courses coming out in the near-ish future. Don't have a firm release date yet but I'll be posting about it PLENTY once I get that information from them. Wonderful organization that really cares about making good music education content. Thanks for watching!
@@dsg_studio awesome 👏. Will definitely check those out. Great stuff. I was a part of the older “365 Licks for a Year” series. Basically like one guitar lick a day. They’ve discontinued a bunch of those since but great organization.
This is a very impressive video. Every time you put out a new one, it makes me wish that Chris Parks had this good of an editor to put in the tabs, graphics, transitions, etc.
Would you mind doing a video like this in the future about the 6th on the 5th brothers and sisters? By that, I mean the min6 chords built from the ii and biii diminished 7th chords? Cheers, and thanks again!
You're welcome. Yeah I can take a wack at explaining those concepts. Glad you're enjoying my work! The editing and post production takes a lot of time and effort but I'm glad it's appreciated. I'm the editor btw lol. Just little old me writing the material, scripting, and the graphics etc.
Nice to see someone bring up the relationship with the home key, not just stop at "lower each note of a diminished chord by a half step." Both are important parts of the whole concept. Db7 tonicizes and Ab major 6 or Ab major 7, which is the sixth chord in C minor. I thought that was relevant, given the description of the backdoor dominant.
I'm glad you appreciated that section. I was nervous people would get bored of a strictly theoretical discussion haha. I agree it's very important!
Great fun stuff!
Glad you think so! Thanks!
Excellent lesson but please turn off the audio effects going with the graphics!
Aww ok lol! I'll mix them lower next time! Thanks for the feedback
lmao!
This comment distracted and annoyed me way more than the sounds effects.
@boyfarrell thank you lol! I think they add charm but i can agree they need to be mixed lower but folks online have a habit of making mountains of molehills
This is gold !!….if I could give more likes or subs I would…..thanks so much for this
Wow, thank you! That's really kind of you to say 🙏
Chord symbols in the first examples would be help.😊
I'll keep that in mind. Thanks for the feedback!
This is great information. I wish you could turn down the volume a bit on the graphics though, distracting to me.
@@barryo5158 I've remedied that in future videos. Can't do much about it in this one without re-uploading. Thanks for the feedback
Dude I am blown away by the production value. The staff notation is gold and the explanations are amazing. This type of teaching will do wonders for so many musicians. Thank you so much. This is a hidden gem of a channel.
Thank you so much! Just trying to put out the kind of content I wish was available when I was learning. I really hope it doesn't stay hidden lol.
@@dsg_studio Just keep grinding dude. This type of quality will definitely start to gain traction.
@thebuffalo2263 man that's super nice of you to say. Thanks so much!
It's too bad TH-cam is not showing dislikes because the headers on your lessons are very deceptive one must be pretty darn good in theory in order to catch what you're saying and apply it
@user-tw3nj6nd6r there's plenty of beginner material on youtube if that's what you need. If you can already play some jazz/bebop the concepts I cover can help take you further.
Can you point me in the direction of the video going over BH half step rules etc that are featured in this video? Even title name would be great. Thanks 🙏🏻
@@ralphthomson2680 th-cam.com/video/QN6q-pF1SKs/w-d-xo.html here ya go!
@@dsg_studio thanks! I’m so buzzing I’ve found your channel! It’s fantastic.
@ralphthomson2680 thanks man! Glad you think so! Got a similar video coming out next week on the rules for the major scale
@@dsg_studio you should put out some books. I much prefer having stuff in physical book format away from the distractions of a computer. I’d buy them all but im delighted I’ve found your channel.
@ralphthomson2680 funny you should mention that! I'm actually working on a phrase book as we speak. There'll be somewhere between 30-40 phrases for ii-V and other progressions complete with fingering and picking suggestions. Possibly some analysis of a few selected phrases and some instructions on how to incorporate them into your own language. Stay tuned. Hope to have that up for sale before year's end.
If the purpose of adding the extra notes is to make it easier to land chord tones on strong beats, why, then, would this be applied only to descending scales? The purpose of the added notes serve their purpose in both directions, even when reversing direction at any point.
I actually address this in part one!
@@dsg_studio
I went back to the previous video and did not find anything addressing the exclusive use of descending scales. You did state, emphatically, that the scales were descending, without any explanation.
@ronaskew huh, I thought I went more in depth. Mainly it's because under this system when you ascend a scale only to the 7th all the chord tones already land on the beat. If you were to do this same method ascending you'd need different "rules " because the math doesn't work out the same. In that case, Barry's chromatic scale concept works better for ascending lines since you can put half steps anywhere that system. The other thing is that doing this descending only teaches rhythm and pulse that coincides with the "falling" nature of V-I cadences. Hope that helps. I'll have to remember to address this in detail in next week's video 👍
There would have to be a few more rules, but the logic would be the same or similar to the descending rules.
The first 1/2 step rule establishes a baseline guaranteeing 3 things, asc or desc, (1) the ability to automate the placement of chord tones on a strong beat and (2) a passing tone between all chord tones while (3) building in more opportunities for generating triplet patterns thru the chord and (4) the uniform placement of passing tones builds in upper and lower neighbors that can encapsulate chord tones or approaches from above or below. The rule that allows adding 2 more chromatic note accomplishes 2 things; when used (1) establishes the 9th as an additional chord tone and (2) extends the above mention triplet and encapsulation rights to the 9th while (3) extending the line.
The only problem I see with rules for the ascending scale are the rule disallowing even the use of 1 chromatic passing tone when the starting strong beat note that enables a rule is a 2d or 4th and does not always work ascending.
@ronaskew this is all correct but I would still reccomend looking at where chord tones land on the beat when using the descending rules vs ascending the scale normally or with Barry's chromatic scale system. That's the real key here.
Good musi❤🎼🎵🎶🎸🎻🪕
Thank you!
Tabs would be helpful
Thank you 🙏🏽
There's tabs at the bottom of each example. If you'd like the full document which includes more examples you can snatch that on my patreon
10:48 spicy
Thanks!
Oh man i thought my phone was breaking those sfx
Message received I'll mix them lower. I checked the mix in my headphones and it sounded OK to me but it's hard to be objective after working on stuff for hours. Thanks for the feedback
@@dsg_studio The material is great, I subbed :-)
👊🏻
Great info, but that sound is literally like fingernails on a chalkboard!
Those SFX are annoying and take away from trying to learn what you're teaching.
noted.
you play Am6 not a Am7 and this is big diferent
I yes I know. But since "dorian" is a typical flavor to resolve to, min6 and minor 7 are both valid choices for the end of a phrase. I find minor6 to be a more final sounding resolution for the purposes of performance is all.
This is ok! but very difficult to learn in all keys ! it takes 10 years !!!
It's a long project for sure. I disagree that it would take ten years but certainly it will take quite a while to fully internalize in all 12 keys. Remember it's about the journey, not the destination.
loooool!
Just remember that with guitar, as long as you drill down and visualize all positions in one key, you can just shift those around based on what key you need to.
@tylerk1013 true! I still advise doing every key though, because some keys doing work as well by just shifting position. Sometimes you'll need to alter fingerings or positions to make it feel good.
@@dsg_studio very true. Some voicings and patterns are tougher depending on if the frets are spaced out or close together.