I remember how much fun I had coming up with a million pretty ways to play this movement after you first showed me, it’s great to see yet another take on this very topic! 😊🎸
Hey, thanks for still having these. Yes there a lot of places that movement happens. A lot of tunes themselves are turnarounds then theres the turnaround. Listening to my words, I must think of Joe pass's quote where he says if its hard I dont do it!
I see the chromatic minor between III and II as being the bIII diminished, i play on it as if it were any of the four dominants that point to the V chord
Wondering if you’ve noticed theres a 2-minor6 4-minor6 and b6-minor6 inside of a minor scale? So if you use the Barry Harris C minor scale you get a Dm6 Fm6 and Abm6.
What about if we say that if just major 6 and dim are solidly one or the other, the diatonic shapes are a mix of both and therefor can be considered diatonic and and thus can interchange between all shapes inside of the scale. If Cm6 + D3 diminished then any mix of those 8 notes should work in replacing tonic
What do u think about Django Reinhardt from a learning perspective? I feel like he’s the Charlie Parker of guitarists and we could learn a lot of great jazz from him, even though he doesn’t really fit into the bebop mold. What do you think?
hey chris. wondering why you’re not referring to the Am7 as Cmaj6? And did you refer to a 3,6,2,5!??? thats diatonic dude!! I hardly know you anymore !
Hey Chris, I hope all is well. I look forward to getting some additional lessons soon.
I remember how much fun I had coming up with a million pretty ways to play this movement after you first showed me, it’s great to see yet another take on this very topic! 😊🎸
THANKS, CP!
Hey, thanks for still having these. Yes there a lot of places that movement happens. A lot of tunes themselves are turnarounds then theres the turnaround. Listening to my words, I must think of Joe pass's quote where he says if its hard I dont do it!
great video! love your explanations!
I see the chromatic minor between III and II as being the bIII diminished, i play on it as if it were any of the four dominants that point to the V chord
Incredibile lesson , One Little thing and you can Explore that in milion ways
Muito boa Aula!!!
Thanks Chris
Hey Chris! Awesome video as always! Maybe you should do a video on melodic sixth jumps for line building 🤔
Two rock studio sig... niiiice
I guess you could probably use on the tri tone minor ?
Wondering if you’ve noticed theres a 2-minor6 4-minor6 and b6-minor6 inside of a minor scale? So if you use the Barry Harris C minor scale you get a Dm6 Fm6 and Abm6.
Yes but those are results of borrowing in that case
@@guidemeChrist yes but in a way be can think of them as diatonic to Cm
What about if we say that if just major 6 and dim are solidly one or the other, the diatonic shapes are a mix of both and therefor can be considered diatonic and and thus can interchange between all shapes inside of the scale. If Cm6 + D3 diminished then any mix of those 8 notes should work in replacing tonic
You can use those half diminished to represent the diminished dominant family chords relative to G7. Dm6=B h.dim=G7 Fm6=D h.dim= Bb7 Abm6=F h.dim= Db7
What do u think about Django Reinhardt from a learning perspective? I feel like he’s the Charlie Parker of guitarists and we could learn a lot of great jazz from him, even though he doesn’t really fit into the bebop mold. What do you think?
Django is one of the Masters. His playing is beautiful. I love it.
@@thingsivelearnedfrombarryh2616 it might be cool to do a breakdown of a Django idea then! Would love to see it! Thanks Chris
4:03 no te la voles con eso pela. sos crack. abrazo
hey chris. wondering why you’re not referring to the Am7 as Cmaj6? And did you refer to a 3,6,2,5!??? thats diatonic dude!!
I hardly know you anymore !