Thanks, Chris. This is a great supplement to our recent lesson. I was not focusing enough on the inversions of the arpeggios and now understanding that the V of the original key acts as a “tritone trigger” for new material...THAT is a quantum leap!
Thank you so much for your videos. They are so helpful for those of use who are trying to deepen our understanding of Barry's teachings. I have a question about Barry's "genealogy" of chords: if I'm not mistaken his theory accounts for 20 different chords. Arrived at, or course, by raising and lowering combinations of 1 or 2 notes of the diminished. I tried raising and lowering 3 notes of the diminished and found 8 more chords! 4 dominants and 4 minor 6th's! Can this be right? Or does the changing of 3 notes somehow alter the "chemistry" of the diminished? I would love to know your thoughts. Thanks very much!
Just got a Tele myself, been using daddario chromes on a strat for a while. Having trouble choosing chromes or nyxl's for the tele. What kind of strings you use?
thanks for all the info you are giving and makeing i t accesible, other videos of Harry himself talking about some of this concepts are hard to undestand, maybe because are fragments. Just a comment that might help your awesome contribution to be a fraction better, In most of your videos your guitar is too loud compared to your voice. Thanks for all this videos
Trying to understand how C-E-G-C arpeggio is used on Ebm-D7-Db [~9:56]: E and G of the arpeggio are dissonant to Eb and Gb in the Ebm chord. This doesn't sound well.
When you pay an arp on the 7th of a dominant, it will sound suspended. That's fine if that's what you're going for, but it won't sound Dom without the lead tone F#
the point though, for the sake of lines, is to hear what it sounds like to resolve that in different ways. II-7 is a IV6 with a 6 in the bass. because barry thinks of a 2/5 as just 5 when talking about lines, playing that arpegio and resolving it to 5 is the same as playing the IV (or the II)
I really love your playing and it's amazing that you make this information available. Just wondered: what does BH mean by "important" regarding those three arps? *1, 3, 5, 7* 2, 4, 6, 1 3, 5, 7, 9 4, 6, 1, 3 *5, 7, 9, 11* 6, 1, 3, 5 *7, 2, 4, 6* I notice that all three contain the 7th. Is that considered important in that it colours each arpeggio with the dominant flavour? I'm wondering why the arpeggio starting from the 3rd isn't part of that list, as then you'd have four arps, each containing the 7th, that increase in colour (i.e. number of extensions).
After 30 years of playing, your channel has launched me into a novice again. Amazing content. Thank you for doing these lessons.
Barry's method is definitely a rut breaker. This is so inspiring!
Yo this channel is a gold mine thank you so much
If I can sound like you learning this, then it’s what I have to do. I love this sound, what an amazing system Barry created
love what u said about Bach and Chopin, it's 100% correct. The classical piano mafia sucks.
Awesome
This lesson is full of great concepts. I’ll be spending a lot of time on this.
Thanks so much 🍻🇦🇺
Thank you Chris for keeping this channel going and for passing all this on
Awesome commentary awesome pharasing . I am glad that subscribed this channel. Looking forward to see more videos. Peace.
Keep up the excellent work! This is some outstanding jazz education.
Thanks, Chris. This is a great supplement to our recent lesson. I was not focusing enough on the inversions of the arpeggios and now understanding that the V of the original key acts as a “tritone trigger” for new material...THAT is a quantum leap!
Thanks a lot!
In my opinion, Barry is most interesting and striking jazz musician in America!
Hi from Saint-Petersburg! =)
Always good to see a new video, and on a snow day no less.
I got trouble focusing on your theory when I hear the sound and see your gear, gee…..you got the best stuff that money can buy 🥰🍻🍻🍻
Thank you, greetings from Argentina
Pure Gold
Always so good, thanks :)
Amazing lesson!
Things I kept...in case of a major 2-5-1 you can improvise using two major scales a semitone apart. Thanks!
Real talk
Thank you so much for your videos. They are so helpful for those of use who are trying to deepen our understanding of Barry's teachings. I have a question about Barry's "genealogy" of chords: if I'm not mistaken his theory accounts for 20 different chords. Arrived at, or course, by raising and lowering combinations of 1 or 2 notes of the diminished. I tried raising and lowering 3 notes of the diminished and found 8 more chords! 4 dominants and 4 minor 6th's! Can this be right? Or does the changing of 3 notes somehow alter the "chemistry" of the diminished? I would love to know your thoughts. Thanks very much!
Great vid.
Your video is worth as joe pass jazz line video ! One things when you play Tritons things without chord truck is much effect less.
Sorry, I meant to ask, from the Cmaj scale for the added notes, for example F instead of F# or from the D7, the 5 chord which of course is diatonic?
Just got a Tele myself, been using daddario chromes on a strat for a while. Having trouble choosing chromes or nyxl's for the tele. What kind of strings you use?
I'm also curious
thanks for all the info you are giving and makeing i t accesible, other videos of Harry himself talking about some of this concepts are hard to undestand, maybe because are fragments.
Just a comment that might help your awesome contribution to be a fraction better, In most of your videos your guitar is too loud compared to your voice. Thanks for all this videos
I have a question about adding scale notes, do we think from C maj or E Dom 7?
Many thanks!
Chris ___ Your episode updates, 'end up' in my, "SPAM" folder. How can I correct?Donn ____
He's teaches music!
You need someone to show you how to mark it as 'not spam'
Trying to understand how C-E-G-C arpeggio is used on Ebm-D7-Db [~9:56]:
E and G of the arpeggio are dissonant to Eb and Gb in the Ebm chord.
This doesn't sound well.
When you pay an arp on the 7th of a dominant, it will sound suspended. That's fine if that's what you're going for, but it won't sound Dom without the lead tone F#
the point though, for the sake of lines, is to hear what it sounds like to resolve that in different ways. II-7 is a IV6 with a 6 in the bass. because barry thinks of a 2/5 as just 5 when talking about lines, playing that arpegio and resolving it to 5 is the same as playing the IV (or the II)
Voice level is very low in this ep compared to the guitar
I really love your playing and it's amazing that you make this information available.
Just wondered: what does BH mean by "important" regarding those three arps?
*1, 3, 5, 7*
2, 4, 6, 1
3, 5, 7, 9
4, 6, 1, 3
*5, 7, 9, 11*
6, 1, 3, 5
*7, 2, 4, 6*
I notice that all three contain the 7th. Is that considered important in that it colours each arpeggio with the dominant flavour? I'm wondering why the arpeggio starting from the 3rd isn't part of that list, as then you'd have four arps, each containing the 7th, that increase in colour (i.e. number of extensions).
noisyneil - always “flat” 7th as this is on dominant chord. 🍻
Well yes, obviously. I was talking about scale degrees.