There may be a SIMPLER explanation for what you're getting at. I believe what Barry means by "movement" is just dominant to tonic. Diminished to tonic movement is a dominant to tonic movement. That's what Barry means by "there is no such thing as two" (traditional"2's" are called "minor7" voicings BUT every minor 7 is an inverted major 6.....so it technically CAN'T REALLY BE A TWO CHORD). But more importantly, there is a minor 6-chord on the 5th degree of the dominant scale. That minor 6-chord IS A FIVE CHORD - or a "dominant". Remember, when you move C# in C# diminished down a half step you get a C7, right? Well, when you move that same C# up a half step you get Gmin6 - a fifth. Barry's teachings are PRACTICAL applications of classical theory. The classical theory calls this stuff dominant substitutions, secondary dominants, leading tone substitutions and secondary leading tones. As you alluded to, these substitutions can occur MELODICALLY. Not just harmonically. In other words, you can target (or "tonicize") ANY arpeggio with "dominant" or secondary dominant arpeggios; and in this case, leading tone OR secondary leading tone (diminished) arpeggios - and that concept is VERY EXCITING once you realize the universe of possibilities it opens up.
It's totally possible that when Barry said movement, he meant dominant to tonic. But I dont believe that's true. But maybe more importantly, what I'm getting at in this video is DEFINITELY not dominant to tonic resolution. It's much more than that. I try to make that point several times in the video.
Hey one thing to add to this, regarding the full dim having a note flattened to make a Dominant7 chord or raised to create a minor6, THIS HAPPENS WITH THE DIMINISHED SCALE TOO! The minor 6th dim scale is only one note different from the full Diminshed scale by exactly this movement too. Same with the dominant scale. These are all just one note different from the full diminihsed scale.
When Barry says theres no ii, he's not talking about the fact that minor 7 cords are just major 6 chords. He's saying that when you play over a ii-V, you can just lump them together and consider the whole ii-V as just a V. When he thought about what scales to use over a ii-V-I, he would group the ii-V together and just consider it a V leading to a I. So typically if you were playing a ii-V-I in C, you might just think melodically in terms of the C major scale for the whole thing, but if you just play a tonic C major lick over a ii-V the chord tones won't line up. So instead you might think in terms of D dorian, then G mixolydian, then C major, so that you can use licks and movements that line up with the chord tones of each chord. Barry on the other hand would just think in terms of G mixolydian for the whole ii-V, and then C major for the I. The reason he did this is because even if you play G7 chord tones over a D minor (ii) chord, it sounds fine and just flows more naturally into the G7 (V). So basically instead of targeting D minor chord tones over the ii, then G7 chord tones over the V, then C major chord tones on the I, he would simplify it to targeting G7 chord tones over the whole ii-V and then targeting C maj chord tones on the I. That is my understanding of his "no such thing as a ii" idea. He got this idea no doubt by studying what Charlie Parker and Bud Powell did.
@@Ambidextroid technically the dominant-diminished scale (what you call mixolidian) contains a diminished for the two. If you're in the C-scale, there is a Dminor 6 at the fifth of Gdominant-diminished which is the 5th of C. So, it's all functional dominant - tonic harmony.
It appears to me that what you are saying is, as long as you move at the right time, to the ideal sound or an acceptable alternate sound, making the movement at the right time is all that counts. I am noting the fact that both you and Barry Harris seem to have a great understanding of what those pathways are and not simply playing some random gibberish, thrown between some well-placed notes. I found that many years ago, when I was interested in learning all of those pathways, the very thing you are basing why this approach works in musical pieces, also worked against me. It was as if it simply overwhelmed my tonal memory and left me lost in a sea of variations, I could never make up my mind between or struggling to remember the order of, if I was wanting to actually create a finished piece of music. I ended up settling for more of a pattern-based style, but since I like to sing, perhaps that was the smart thing to do, leaving what you are describing to the purer instrumentalists. Thanks for the video though. You describe what I consider a technique or playing style, quite well.
@@christopherparsons3224 hey, thanks so much for the comment. I do think rhythm and timing is a super important aspect of playing a movement well. That's true. Also thanks for saying that about my playing. That's what I strive to do. I'm still working on it though and making progress slowly but surely. I also relate to what you said about too many possibilities. In more ways than one, i can relate to that. As a guitar player especially. One thing I think it's useful to do is just get acquainted with CERTAIN sound that you particularly like. Maybe just a couple movements that you really dig, and get a handle on those first before trying to practice a bunch of others. So for example, piercing might be one, and then maybe using a major key a half step below or above to move somewhere. For example, if I'm playing in the key of C, and there's a 2 chord coming up, I've been really liking the sound of B major scale, to move into that D-7. Since you're a vocalist, maybe it's not so important to know the absolute pitches, but be able to audiate and sing the sounds that create that movement. It's important for instrumentalists to be able to sing and audiate too. Otherwise we run the risk of sounding like gibberish like you said. So thanks for that reminder!
@@TheTonomancer, the one advantage of being able to sing along with what you are playing is that you can carry the important tones with your voice, that maybe you might miss on guitar, or are burdened to play, such as making the root of the chord or scale ring out, while you attempt to embellish. I also find it helpful to have all of the notes you'd like to hit, there to create the harmony you are after, or to help you carry a run vocally, that maybe your voice doesn't have time to accentuate well. I find I struggle from time to time, honing in on a note, most likely to not being relaxed enough or a bit out of breath. Hearing the instrument helps to smooth over the imperfections hamonically, making them sound more like the effect of vibrato or slurs, rather than how an acapella singer might sound, simply being pitchy or off key.
@@corinnerichardson.6673 yeah, I hope that's not something I have to get used to. Honestly I would prefer never be on camera and just have graphics and animation. But that's more work.
Been studying chet baker and playing thru different music as of late. I think my jaw dropped when i watched you play thru the changes as you described, using words i really fully understood instead of the first time i watched these same barry harris videos like 10 years ago in high school band. Now playing thru them is different 😂😂😂
@@rocket117 wow that means soooooo much to hear that. For a long time, I was in the same boat. I had to study a lot, listen a lot. And try to hear and see how these things were applied in music because the stuff that TH-cam videos show on Barry's teachings often are not in depth enough. Like I said in the beginning, I wanna make the kind of resources I wish I had to help make sense of Barry's teachings (and other concepts too). So I'm really glad you got something out of this!
@@LBNLDC1 Barry was and is an inspiration to so many people. I really appreciated his dedication to the tradition and his commitment to educating us. I never got to meet him and I'm the poorer for it. But he lives on because so many are still learning from him all the time. Me included.
So happy the TH-cam algorithm sent me your way. Excellent lesson, thank you! I was also surprised to see someone else with that specific Ibanez 7 string archtop 😁 That's my go-to jazz guitar and I rarely see them elsewhere
@@SantanaSilcott and I'm even more weird because my extra string is actually a high string. Thanks for sharing, glad you liked the video! Hope you stop by again
Great content. Thank you for posting. With an elephant memory, and the ears of a Caribbean bat -although technically moths are superior to bats, in their hearing. Barry Harris employed the most practical approach to improv. 'MOVEMENT Yes, that's it. My instructors spoke exclusively about harmony....Barry covered it all.
I'm pretty sure I have played this way most of my life. I didn't know what a chord was until 10the grade but played what i heard as big band movement. Sounded like Ahmad Jamal...
@@willlicks8584 well to be fair, this is not a conventional approach. So it's ok you feel like that. But, it all comes with study, application, and time.
I think you are talking about approach chords which is a concept in Jazz arranging. I know of three, diatonic, diminished, and chromatic. Any serious source about Jazz arranging presents this material.
@@marclaflamme2514 what I'm talking about is diminished movement. In this video I go over 3 types. To me it doesn't make much of a difference whether someone classifies them as types of "approach chords". As long as they understand that I'm talking about 3 different types of ways you can move to a chord using diminished notes.
I’ve been studying the 8 note scales off and on over the years. Even though this video is discussing “Barry stuff”(which is great!), I’m glad to hear someone glimpse the world outside of the diminishes. Have you found the 10 chords? I’m looking forward to watching your other videos. My music theory has turned into runes and 3D structures in eight note space.
DUUUUDE YESS. thanks for commenting. There's soooo many videos about 8 note scales that I wanna do. By 10 chords do you mean the 10 chord forms? Like digital patterns within 8 note scales. Of which there are 10.
@@TheTonomancer Yeah you should…there’s a way of thinking that, in my opinion, gets excluded. And there’s a TON of stuff I’ve never heard anyone go over. (I thought of doing some myself) I’m not sure if we’re talking about the same thing or not. I’d love to compare notes. I’m talking about the 10 chords that make all 8 note scales. Barry used half of them. Are you talking about this? x.x.x.x. (xxxx|....) x...|xxx. (X..x(x)x..X) .xxx|...x xx(.x|x.).. xx.(x.)x.. x.x.|.x.x xx..xx.. ..(x.x.)xx
@@brynrbrtsare you meaning the 10 four note chords that don’t contain semitones? Maj6 Min6 Dom7 Dom7b5 Maj add9 Min add11 Dom7#5 Dom9 (no fifth) Diminished Maj6sus2 ?
I think Tonomancy is refering to the fact with any 8 note scale, theres 70 four note chords, that fit neatly into unique 10 chord scales. Every 8 note scale has 10 chord scales attached
@@critical9999 yeah, I think you are understanding correctly. If you are playing a solo, you can use a scale, then diminished move, then another scale. Maybe it can even be the same scale that you started with. The diminished move can be used to add variety to your solo. If you join my discord, maybe I can explain a bit better for you. But if you watch my other videos, it could also help you understand
@@TheTonomancer Ohh icic I really got inspired by how you teach just like barry harry back then... and of course the quality of the contents as well great.. is there a link to the your discord thanks
@@dennismurphy3659 you can check out the diminished playlist on my channel to see them explained more. But if you have better names I'm open to using those instead. And i mean that sincerely. I often say that in my videos. It's another part of why i started the channel. I'm only one person, and sometimes i can't come up with a good analogy, that works with a concepts and yields good terms.
@@TheTonomancerif your musical descriptions are idiomatic and consistent then it isn't dumb. At the end of the day we all need to understand music on our own terms
Or, this could be a way of offering up information so that people can interpret and assimilate however much of this way of understanding into their own as they like.
I actually left out a section of the script talking about how I felt that a lot of people use Barry's name and image as clickbait so I take your comment seriously. And I would actually like to know your thoughts. I'm being sincere when I say that. Because that's not the impression I want to give.
@@TheTonomancerPlease don’t allow the negative comments of others to detract from the conversation that you’re trying to have with the rest of us here. The only rubbish is idiotic, and negative comments like the one above. Please disregard things that interfere with your dialogue. This is really good, and useful information. I for one really appreciate it. Thank you for posting. Sincerely. Rain 🌱🙏🏻
@@rainchaser5389 really appreciate that, rain! I know there are a couple people out there who are unwarrantedly mean spirited, and have an odd resentment toward me for what I'm doing. It's really weird. I can't explain it. Not saying this guy is one of them. But I know they exist. Thank you saying that though. I'll try not to pay too much attention to negativity. Peace ✌🏽
@@TheTonomanceryou don’t have to explain yourself to this dense idiot. Your video aren’t clickbait, they have people exploring music in a way that they’ll be expressing themselves more freely. Keep the good work up.
There may be a SIMPLER explanation for what you're getting at. I believe what Barry means by "movement" is just dominant to tonic. Diminished to tonic movement is a dominant to tonic movement. That's what Barry means by "there is no such thing as two" (traditional"2's" are called "minor7" voicings BUT every minor 7 is an inverted major 6.....so it technically CAN'T REALLY BE A TWO CHORD). But more importantly, there is a minor 6-chord on the 5th degree of the dominant scale. That minor 6-chord IS A FIVE CHORD - or a "dominant". Remember, when you move C# in C# diminished down a half step you get a C7, right? Well, when you move that same C# up a half step you get Gmin6 - a fifth. Barry's teachings are PRACTICAL applications of classical theory. The classical theory calls this stuff dominant substitutions, secondary dominants, leading tone substitutions and secondary leading tones. As you alluded to, these substitutions can occur MELODICALLY. Not just harmonically. In other words, you can target (or "tonicize") ANY arpeggio with "dominant" or secondary dominant arpeggios; and in this case, leading tone OR secondary leading tone (diminished) arpeggios - and that concept is VERY EXCITING once you realize the universe of possibilities it opens up.
It's totally possible that when Barry said movement, he meant dominant to tonic. But I dont believe that's true.
But maybe more importantly, what I'm getting at in this video is DEFINITELY not dominant to tonic resolution. It's much more than that. I try to make that point several times in the video.
Hey one thing to add to this, regarding the full dim having a note flattened to make a Dominant7 chord or raised to create a minor6, THIS HAPPENS WITH THE DIMINISHED SCALE TOO!
The minor 6th dim scale is only one note different from the full Diminshed scale by exactly this movement too. Same with the dominant scale. These are all just one note different from the full diminihsed scale.
@@Kosmo999 fascinating
When Barry says theres no ii, he's not talking about the fact that minor 7 cords are just major 6 chords. He's saying that when you play over a ii-V, you can just lump them together and consider the whole ii-V as just a V. When he thought about what scales to use over a ii-V-I, he would group the ii-V together and just consider it a V leading to a I.
So typically if you were playing a ii-V-I in C, you might just think melodically in terms of the C major scale for the whole thing, but if you just play a tonic C major lick over a ii-V the chord tones won't line up. So instead you might think in terms of D dorian, then G mixolydian, then C major, so that you can use licks and movements that line up with the chord tones of each chord.
Barry on the other hand would just think in terms of G mixolydian for the whole ii-V, and then C major for the I. The reason he did this is because even if you play G7 chord tones over a D minor (ii) chord, it sounds fine and just flows more naturally into the G7 (V).
So basically instead of targeting D minor chord tones over the ii, then G7 chord tones over the V, then C major chord tones on the I, he would simplify it to targeting G7 chord tones over the whole ii-V and then targeting C maj chord tones on the I. That is my understanding of his "no such thing as a ii" idea. He got this idea no doubt by studying what Charlie Parker and Bud Powell did.
@@Ambidextroid technically the dominant-diminished scale (what you call mixolidian) contains a diminished for the two. If you're in the C-scale, there is a Dminor 6 at the fifth of Gdominant-diminished which is the 5th of C. So, it's all functional dominant - tonic harmony.
It appears to me that what you are saying is, as long as you move at the right time, to the ideal sound or an acceptable alternate sound, making the movement at the right time is all that counts. I am noting the fact that both you and Barry Harris seem to have a great understanding of what those pathways are and not simply playing some random gibberish, thrown between some well-placed notes. I found that many years ago, when I was interested in learning all of those pathways, the very thing you are basing why this approach works in musical pieces, also worked against me. It was as if it simply overwhelmed my tonal memory and left me lost in a sea of variations, I could never make up my mind between or struggling to remember the order of, if I was wanting to actually create a finished piece of music. I ended up settling for more of a pattern-based style, but since I like to sing, perhaps that was the smart thing to do, leaving what you are describing to the purer instrumentalists. Thanks for the video though. You describe what I consider a technique or playing style, quite well.
@@christopherparsons3224 hey, thanks so much for the comment. I do think rhythm and timing is a super important aspect of playing a movement well. That's true.
Also thanks for saying that about my playing. That's what I strive to do. I'm still working on it though and making progress slowly but surely.
I also relate to what you said about too many possibilities. In more ways than one, i can relate to that. As a guitar player especially.
One thing I think it's useful to do is just get acquainted with CERTAIN sound that you particularly like. Maybe just a couple movements that you really dig, and get a handle on those first before trying to practice a bunch of others.
So for example, piercing might be one, and then maybe using a major key a half step below or above to move somewhere.
For example, if I'm playing in the key of C, and there's a 2 chord coming up, I've been really liking the sound of B major scale, to move into that D-7.
Since you're a vocalist, maybe it's not so important to know the absolute pitches, but be able to audiate and sing the sounds that create that movement. It's important for instrumentalists to be able to sing and audiate too. Otherwise we run the risk of sounding like gibberish like you said. So thanks for that reminder!
@@TheTonomancer, the one advantage of being able to sing along with what you are playing is that you can carry the important tones with your voice, that maybe you might miss on guitar, or are burdened to play, such as making the root of the chord or scale ring out, while you attempt to embellish. I also find it helpful to have all of the notes you'd like to hit, there to create the harmony you are after, or to help you carry a run vocally, that maybe your voice doesn't have time to accentuate well. I find I struggle from time to time, honing in on a note, most likely to not being relaxed enough or a bit out of breath. Hearing the instrument helps to smooth over the imperfections hamonically, making them sound more like the effect of vibrato or slurs, rather than how an acapella singer might sound, simply being pitchy or off key.
@@christopherparsons3224 that's actually a good excercise. I'm gonna try that
@@TheTonomancerthank you for the theory! 🙏🏽
Came for the Barry Harris, stayed for your playing…very nice, brother, consider me subbed
@@hermancharlesserrano1489 would love to have you join the discord server.
Perfect. Not easy to find players who know how to do this.
can't keep up with the lesson when the instructor is so handsome
😅 I'll try extra hard not to show myself on screen so much next time
You are an old white man no?
My thoughts exactly!
They must hit the like bruh 😂😂
I have no idea how to tell 😅
While some seem interested in the wonderful Musical presentation, others seem to be interested in the instructor's physical appearance, wowee ..
@@corinnerichardson.6673 yeah, I hope that's not something I have to get used to. Honestly I would prefer never be on camera and just have graphics and animation. But that's more work.
He's a beautiful being AND plays with flow.
Where is she?
This is a very nice approach to this material, my friend. I am quite eager to see more. I will dive deeper into your channel.
Been studying chet baker and playing thru different music as of late. I think my jaw dropped when i watched you play thru the changes as you described, using words i really fully understood instead of the first time i watched these same barry harris videos like 10 years ago in high school band.
Now playing thru them is different 😂😂😂
@@rocket117 wow that means soooooo much to hear that. For a long time, I was in the same boat. I had to study a lot, listen a lot. And try to hear and see how these things were applied in music because the stuff that TH-cam videos show on Barry's teachings often are not in depth enough. Like I said in the beginning, I wanna make the kind of resources I wish I had to help make sense of Barry's teachings (and other concepts too). So I'm really glad you got something out of this!
A thrill for me to watch someone like Mr Harris who is so passionate about passing along wisdom and knowledge to the next generation. A real hero.
@@LBNLDC1 Barry was and is an inspiration to so many people. I really appreciated his dedication to the tradition and his commitment to educating us. I never got to meet him and I'm the poorer for it. But he lives on because so many are still learning from him all the time. Me included.
So happy the TH-cam algorithm sent me your way. Excellent lesson, thank you! I was also surprised to see someone else with that specific Ibanez 7 string archtop 😁 That's my go-to jazz guitar and I rarely see them elsewhere
@@SantanaSilcott and I'm even more weird because my extra string is actually a high string. Thanks for sharing, glad you liked the video! Hope you stop by again
Great content. Thank you for posting. With an elephant memory, and the ears of a Caribbean bat -although technically moths are superior to bats, in their hearing. Barry Harris employed the most practical approach to improv. 'MOVEMENT Yes, that's it. My instructors spoke exclusively about harmony....Barry covered it all.
Honey, I Shrunk the mic 😂
I'm pretty sure I have played this way most of my life. I didn't know what a chord was until 10the grade but played what i heard as big band movement. Sounded like Ahmad Jamal...
Great video man glad to see you doing your thing:)
Loving your 3Ps fyi I’m going to embrace this route
The paths are some of my favorite ways to think about diminished chords. Through how they move. 🙌🏽
Well done :)
@@AbsoluteTonny thank you sir!!
Appreciate your approach to this material.
Thanks! I really appreciate that. And hope to make more videos like this
Great lesson, thanks.
Great lesson!
Thanks so much! I'm glad you liked it.
Ah yes. Nothing like a good movement.
thanks a lot
No problem, glad to help!
Very informative thx - 🤔
this video makes me feel like I know absolutely nothing about music 😭
@@willlicks8584 well to be fair, this is not a conventional approach. So it's ok you feel like that. But, it all comes with study, application, and time.
great lesson
@@growskull I appreciate that so much. Glad you think so 🙏🏽 I put a lot of thought into this stuff!
I think you are talking about approach chords which is a concept in Jazz arranging. I know of three, diatonic, diminished, and chromatic. Any serious source about Jazz arranging presents this material.
@@marclaflamme2514 what I'm talking about is diminished movement. In this video I go over 3 types.
To me it doesn't make much of a difference whether someone classifies them as types of "approach chords". As long as they understand that I'm talking about 3 different types of ways you can move to a chord using diminished notes.
U ROCK 🎸🎼🎶🎹🎹
Fellow lefty guitarist, or is the camera just doing that because it’s inverted? Great lesson and insights bro. 🙏🏼🙏🏼🙏🏼
It's definitely the camera, I play right handed. Glad you liked the lesson, man 🙏🏽
I need to take music theory
@@KennyLauderdale i don't think so. I mean they aren't really gonna teach you none of this in a theory class. Definitely not in this way.
I’ve been studying the 8 note scales off and on over the years. Even though this video is discussing “Barry stuff”(which is great!), I’m glad to hear someone glimpse the world outside of the diminishes. Have you found the 10 chords? I’m looking forward to watching your other videos. My music theory has turned into runes and 3D structures in eight note space.
DUUUUDE YESS. thanks for commenting. There's soooo many videos about 8 note scales that I wanna do.
By 10 chords do you mean the 10 chord forms? Like digital patterns within 8 note scales. Of which there are 10.
@@TheTonomancer Yeah you should…there’s a way of thinking that, in my opinion, gets excluded. And there’s a TON of stuff I’ve never heard anyone go over. (I thought of doing some myself)
I’m not sure if we’re talking about the same thing or not. I’d love to compare notes. I’m talking about the 10 chords that make all 8 note scales. Barry used half of them.
Are you talking about this?
x.x.x.x.
(xxxx|....)
x...|xxx.
(X..x(x)x..X)
.xxx|...x
xx(.x|x.)..
xx.(x.)x..
x.x.|.x.x
xx..xx..
..(x.x.)xx
@@brynrbrtsare you meaning the 10 four note chords that don’t contain semitones?
Maj6
Min6
Dom7
Dom7b5
Maj add9
Min add11
Dom7#5
Dom9 (no fifth)
Diminished
Maj6sus2
?
I think Tonomancy is refering to the fact with any 8 note scale, theres 70 four note chords, that fit neatly into unique 10 chord scales. Every 8 note scale has 10 chord scales attached
@@brynrbrts some of your comment makes me think we maybe aren't taking any the same thing. But your tab things at the end make me think we might be.
I "like" before I "subscribe", and I watch before I "like".
This trend of asking for subs before even watching a video is peculiar.
great videos but somehow I need some prerequisite to understand this... I have understood as Scales -> diminish movement -> other scale right?
@@critical9999 yeah, I think you are understanding correctly. If you are playing a solo, you can use a scale, then diminished move, then another scale. Maybe it can even be the same scale that you started with.
The diminished move can be used to add variety to your solo.
If you join my discord, maybe I can explain a bit better for you.
But if you watch my other videos, it could also help you understand
@@TheTonomancer Ohh icic I really got inspired by how you teach just like barry harry back then... and of course the quality of the contents as well great.. is there a link to the your discord thanks
Your voice kinda remind me of john petrucci from his rock discipline dvd
@@harizghazali6462 haha not the kind of comment I expected to get, but I would trade my voice for his guitar skills anyday of the week!
@@TheTonomancer the exact same point my brother 🤣
Whats with the dumb names for the chord paths?
@@dennismurphy3659 you can check out the diminished playlist on my channel to see them explained more.
But if you have better names I'm open to using those instead. And i mean that sincerely. I often say that in my videos. It's another part of why i started the channel. I'm only one person, and sometimes i can't come up with a good analogy, that works with a concepts and yields good terms.
@@TheTonomancerif your musical descriptions are idiomatic and consistent then it isn't dumb. At the end of the day we all need to understand music on our own terms
Sure, it's perfectly fine for you have idiosyncrasies. I was just put off by them.
@@dennismurphy3659 that's understandable. Can I ask what you would call "body" for example? Or what you would call "perch"?
I can't understand anything thing 😢
1k views!!!
you should consider flipping your video so that right handed guitarists can learn something.
Ahhh, it's easier because it's like a mirror... Pan out a little and you'll catch on...
you make enough mistakes you find something right, stop thinking, feel it out
Or, this could be a way of offering up information so that people can interpret and assimilate however much of this way of understanding into their own as they like.
@@JXter_ like all experiences..........
Those prepared solos sound like all the same.
@@franciscoaragao5398 I'm showing simple examples of the same 3 movements, so it makes sense that they sound similar.
Way too self indulgent and unorganized. I tuned in for the topic. I have no clue who you are dude. Found myself ffwd over the ego. Done.
How are you so attractive? 😅
Click bait rubbish!!!!!!
@@hugovandermeer1566 hey, sorry you think it's clickbait. I know the intro was a bit long. But I'm open to hearing why do you think it's clickbait?
I actually left out a section of the script talking about how I felt that a lot of people use Barry's name and image as clickbait so I take your comment seriously. And I would actually like to know your thoughts. I'm being sincere when I say that. Because that's not the impression I want to give.
@@TheTonomancerPlease don’t allow the negative comments of others to detract from the conversation that you’re trying to have with the rest of us here. The only rubbish is idiotic, and negative comments like the one above. Please disregard things that interfere with your dialogue. This is really good, and useful information. I for one really appreciate it. Thank you for posting. Sincerely. Rain 🌱🙏🏻
@@rainchaser5389 really appreciate that, rain! I know there are a couple people out there who are unwarrantedly mean spirited, and have an odd resentment toward me for what I'm doing. It's really weird. I can't explain it.
Not saying this guy is one of them. But I know they exist.
Thank you saying that though. I'll try not to pay too much attention to negativity. Peace ✌🏽
@@TheTonomanceryou don’t have to explain yourself to this dense idiot. Your video aren’t clickbait, they have people exploring music in a way that they’ll be expressing themselves more freely. Keep the good work up.