Oh yeah, I fell in love with Barry's System when you released Foudations 1. Polyphonic improv already holds so much exploration possibilities, instantly got this one. Thanks for all your work!
Im halfway through the book. A concise summary of Barry’s devices ! the CAGED stuff I skipped over, I never learned it that way, it confuses me (like Tab does :)) One device no one mentions except Pasquale (assuming he learned it from Barry) is creating automatic four note runs, with the intervals being determined by if its a starts or ends on a Major scale degree (R, 4th, 5th) or a minor scale degree (2,3,6,7). The minor scale degrees are simply 4 note chromatic runs (e.g, D-Eb-E-F ascending or F-E-Eb-D descending). The major scale degrees change intervals a bit wither they are ASC (C-D-Eb-E) or DESC (E-D-Db-C). Those are easy to automate and can contribute to guid runs. :)
Thanks, Navdeep! I"m a big advocate of learning to see the landscape of the guitar in every way possible. The CAGED thing is about something deeper within the curriculum that is really at the heart of what I'm teaching (present in both the monophonic and polyphonic side of things). It's an unconventional use of CAGED to do something completely different with it that, in my view, is incredibly freeing. It's part of the Algorithmic guitar system that is overarching in the whole curriculum, though it has to be taught in steps -even the elevator stuff is nested within the larger algorithmic guitar approach of which the use of CAGED is also a cohesive part --the end goal being effortless fluency. Just my thoughts on it:) I think it's also great if someone doesn't find that part interesting but finds other aspects of use.
@@TheLabyrinthofLimitations As for fingerboard knowledge and intro scale studies, I started out as an adult only in about 2010 studying with Jack Cecchini, a master jazz and classical guitarist in Chicago. Jack had me work with the Sophocles Pappas intro book (Pappas was Charlie Byrds’ teacher in Washington) and, more importantly, the Chuck Wayne scale book. Chuck Wayne was probably the greatest hybrid picking jazz guitarist most don’t know about it-Pasquale does, he studied with one of Chuck’s students in Italy. In any event, we never discussed CAGED per se. Maybe it was implicit n it, I don’t know. As for chords, he had me go through Ronnie Ben Hurr’s Chordability book and video. As we know, Roni was a long time student of Barry’s as well.
Really interesting stuff. One question do you have to check foundation 1 before going into foundations 2 or is it possible to skip it without feeling lost 😅?
Hi! You could totally jump into foundations 2. You’ll come across things that will make you want to get foundations 1, though:) I’d say get Foundations 2, if you’re mainly interested in learning single line soloing, then pick up foundations 1 when you have questions about anything relating to harmony:)
Hello sir, i have a question. Sometimes i'm puzzled by the dim or min6th dim scale. The Dmin6th in your example, has the passing Abdim. That comes from the G7, i get it. But if i'm playing Dmin6th dim chords the dims are C#, E, G and Bb. I'm referring to your example in the vid on 4:30. So i'm playing the minor6th .. Dmin6th / Bmin7b5 on the G7. Where does the Ab coming from? Could it be Am6th you reffering to? Then it would make sense, to me... maybe you have an vid that could help me. I'm a fan of your vids. Also liking the Tilf channel. Both of you are great inspirators. Keep up the good work. Greetings from the Netherlands.
All dominant and minor 6 chords are derived from diminished chords. Lower a note you get a dominant, raise a note you get min6. The g7 is derived from lowering the Ab in an Abdim7
This is the thing that tripped me up the most and for the longest time while learning all of BH's theories. As you'll see by the other responses, it comes down to the creation theory. The Abdim chord is where the G7/Dmin6 comes from, so the Ab is always fair game. Pretty tricky!
@@LokeyeMC it’s not too tricky if you understand that there are only three diminished chords, while there are twelve dominant/maj/min chords. Each of the three diminished have a “family” of dominants you can use
Oh yeah, I fell in love with Barry's System when you released Foudations 1. Polyphonic improv already holds so much exploration possibilities, instantly got this one. Thanks for all your work!
purchased, without hesitation
Fantastic! Also purchased, without hesitation. Great system!
Im halfway through the book. A concise summary of Barry’s devices ! the CAGED stuff I skipped over, I never learned it that way, it confuses me (like Tab does :)) One device no one mentions except Pasquale (assuming he learned it from Barry) is creating automatic four note runs, with the intervals being determined by if its a starts or ends on a Major scale degree (R, 4th, 5th) or a minor scale degree (2,3,6,7). The minor scale degrees are simply 4 note chromatic runs (e.g, D-Eb-E-F ascending or F-E-Eb-D descending). The major scale degrees change intervals a bit wither they are ASC (C-D-Eb-E) or DESC (E-D-Db-C). Those are easy to automate and can contribute to guid runs. :)
Thanks, Navdeep! I"m a big advocate of learning to see the landscape of the guitar in every way possible. The CAGED thing is about something deeper within the curriculum that is really at the heart of what I'm teaching (present in both the monophonic and polyphonic side of things). It's an unconventional use of CAGED to do something completely different with it that, in my view, is incredibly freeing. It's part of the Algorithmic guitar system that is overarching in the whole curriculum, though it has to be taught in steps -even the elevator stuff is nested within the larger algorithmic guitar approach of which the use of CAGED is also a cohesive part --the end goal being effortless fluency. Just my thoughts on it:) I think it's also great if someone doesn't find that part interesting but finds other aspects of use.
@@TheLabyrinthofLimitations As for fingerboard knowledge and intro scale studies, I started out as an adult only in about 2010 studying with Jack Cecchini, a master jazz and classical guitarist in Chicago. Jack had me work with the Sophocles Pappas intro book (Pappas was Charlie Byrds’ teacher in Washington) and, more importantly, the Chuck Wayne scale book. Chuck Wayne was probably the greatest hybrid picking jazz guitarist most don’t know about it-Pasquale does, he studied with one of Chuck’s students in Italy. In any event, we never discussed CAGED per se. Maybe it was implicit n it, I don’t know. As for chords, he had me go through Ronnie Ben Hurr’s Chordability book and video. As we know, Roni was a long time student of Barry’s as well.
This is the most inspiring video yet 👏 🙌
🙏 😊
great stuff!
Fantastic! Honest, I will come back to this after reading the associated little book. Which I ordered. 😊
Really interesting stuff. One question do you have to check foundation 1 before going into foundations 2 or is it possible to skip it without feeling lost 😅?
Hi! You could totally jump into foundations 2. You’ll come across things that will make you want to get foundations 1, though:) I’d say get Foundations 2, if you’re mainly interested in learning single line soloing, then pick up foundations 1 when you have questions about anything relating to harmony:)
Hello sir, i have a question. Sometimes i'm puzzled by the dim or min6th dim scale. The Dmin6th in your example, has the passing Abdim. That comes from the G7, i get it. But if i'm playing Dmin6th dim chords the dims are C#, E, G and Bb. I'm referring to your example in the vid on 4:30. So i'm playing the minor6th .. Dmin6th / Bmin7b5 on the G7. Where does the Ab coming from? Could it be Am6th you reffering to? Then it would make sense, to me... maybe you have an vid that could help me. I'm a fan of your vids. Also liking the Tilf channel. Both of you are great inspirators. Keep up the good work. Greetings from the Netherlands.
Creation theory - the Abo7, being the parent, has become G7/Dmin6 by dropping the Ab down a semitone
All dominant and minor 6 chords are derived from diminished chords. Lower a note you get a dominant, raise a note you get min6. The g7 is derived from lowering the Ab in an Abdim7
This is the thing that tripped me up the most and for the longest time while learning all of BH's theories. As you'll see by the other responses, it comes down to the creation theory. The Abdim chord is where the G7/Dmin6 comes from, so the Ab is always fair game. Pretty tricky!
' veuillez faire traduction français français' 🙏🙏🙏🎼
@@LokeyeMC it’s not too tricky if you understand that there are only three diminished chords, while there are twelve dominant/maj/min chords. Each of the three diminished have a “family” of dominants you can use
I would love to see your right hand :)