Tim Millers 2-1-2 arpeggios work great for option 1 (Its also possible to connect any arpeggios or scales). thanks for sharing! Good to know who made that last one.
cheers Charles i was getting jazz fusion lesson from Rowan J Parker in Glasgow he's on youtube also and a great teacher then i moved to Australia so ive hit the wall again but this video has helped a lot thanks gerry also for the quick reply its 1am here
Ah yes, I'm very familiar with Rowan's content. No doubt he has given you a strong foundation upon which to continue your studies. You'll get your head around this stuff in no time!
Hello, yes I have several George Garzone videos, check out my channel videos. You might also enjoy the 'space age arpeggios' series of videos. Many thanks for your interest!
Here’s another one for the toolbox picked up from Larry Carlton instructional VHS… Stack alternating major and minor thirds… The resulting set of notes comprises diatonic triads at the outset and gradually goes further out the further one is into the sequence. Cheers, D
You can't use the root in your triad pair if you stick to this method strictly. But, you can choose any two triadic groups that you like from the remaining six notes of the scale, after making sure to exclude the root note of course.
Root note is c,two triads are dfa & egb and...what I can do with c? :> Anyway,triads and thirds are two different things,right? For example,abc is also triad?In this methood.
@@kukumuniu5658 Yes that's right. C will be played by the bassist, or implied by the harmony in this instance. The method dictates that you don't play it, but you can add it in wherever you like!
@@kukumuniu5658 Exactly. You then split the hexatonic scale into two groups of three and build musical ideas from one group at a time. One option could be= D-7: EFB and GAC G7: AEF and BCD C∆: DFA, EGB You get to choose the scale, and you get to choose the two groups of three. Hope that helps!
PLEASE COULD ANYONE SHARE THE BACKING TRACK OF STELLA BY STARLIGHT from the BOOK: ´Creative Chordal Harmony for Guitars´ ? I have the book and the CD but not a CD player to get to jam over it.
nice! here's another idea that also sounds great. every major scale (and therefore mode of the major scale) contains two major triads a tone apart. so in D major, we have an A major triad and a G major triad. alternate from one triad to the other and join them together with a chromatic passing tone. like example 3 in your vid, try not to use the same inversion, or if you do, juggle the notes. so for example, over a Dmaj7 chord, play the notes e a c# c b g d d# e c# a g# g d b a# a. sounds quite "old skool", but it's pretty. leaving out the chromatic passing tones sounds more hip. subscribed!
Hello, I recently changed website and have yet to re-upload them. Contact me via email and I'll send them over to you. Cheers! ctharrisonmusic@gmail.com
@@CharlesHarrisonMusicTuition No problem! ;) Thanks for this great video. You not only explained new things in a way that's both very short and easy to understand, but you also gave some pointers to awesome stuff, like George Garzone. I found this video where he talks about the triadic approach ua-cam.com/video/dTIwWFa2Rnw/v-deo.html It's too early yet, and I need to check it out properly, but this stuff really seems to bring some mind-blowing insight into many things that have seemed mystical about Coltrane's and Holdsworth's and many other people's playing. The internet is a funny place - it's full of stuff that pretends to be "the truth and wisdom about jazz", but what turns out to be just "play this mode and this scale and it'll be just ossom", or "ii - V - I for dummies", things like that.
I tried making some of George Garzone Triadic Chromatic Approach style sax stuff. Just a bit of mousing around with MIDI notes and curves, I got this: ua-cam.com/video/AZYcZTCTdBo/v-deo.html step towards insanity or better musical expression? I'm not sure.
Thanks for this, I appreciate the clarification. I hope you were still able to understand the content despite the definition. Let me know if you would like anything clarifying or simplifying. Cheers!
Generic Modality Compression, that book it’s not just about triads. Clusters, seventh chords w/no 5th, open and closed voicings etc Could You develop it more easily in c ionian,d dorian,e phrygian and others scales? Not F# mayor or other unnecessary ones with # or b ;D all we need is in the key of C.
Hello, I'll certainly do more GMC stuff and will be sure to include some C major examples. Please be aware that 'triad' simply means three notes. All of the content in the GMC book is based on three note structures, or 'triads'. The structures you mention are all three note triad structures. Colloquially we refer to major, minor, augmented and diminished as triads. Cheers
There will be some overlap between these concepts and bebop concepts, however as you so eloquently stated it would be wise to study bebop theories if bebop was your area of interest, and to study modern player's theories such as these if you are hoping to improve in a modern sound world. Cheers!
I like these abstract ideas for what they’re worth, but agree with you that, for most players, anyway, they’d get more out of spending time with the greats. Note selection, per se, can really be a distraction if you’re trying to communicate emotions, which is what I love about great players/playing
Looking forward to seeing you guys in the free course! Course link: bit.ly/RethinkingJazzGuitar
you are SO CLEAR! i loved the way you explained all this, thank you!
Thanks very much! Feel free to check out the link in description for my free course discussing more of these and other ideas. Cheers
Tim Millers 2-1-2 arpeggios work great for option 1 (Its also possible to connect any arpeggios or scales). thanks for sharing! Good to know who made that last one.
Thank you for taking the time to comment. They are all monster players! 2-1-2 is a very handy tool for navigating the fretboard. Cheers!
cheers Charles i was getting jazz fusion lesson from Rowan J Parker in Glasgow he's on youtube also and a great teacher then i moved to Australia
so ive hit the wall again but this video has helped a lot thanks gerry also for the quick reply its 1am here
Ah yes, I'm very familiar with Rowan's content. No doubt he has given you a strong foundation upon which to continue your studies. You'll get your head around this stuff in no time!
Thanks friend ! Great lesson !!! Do you have another material about triads and aplications (outside in special) to sell or in your channel ?
Hello, yes I have several George Garzone videos, check out my channel videos. You might also enjoy the 'space age arpeggios' series of videos. Many thanks for your interest!
Do you have all these material/PDFs to sell ? (Triads and space ages arpeggios) thank you very much from Brazil
@@HVL1977 If you send me an email at ctharrisonmusic@gmail.com I'll send you any PDFs you would like. There is no fee! Many thanks
Here’s another one for the toolbox picked up from Larry Carlton instructional VHS… Stack alternating major and minor thirds… The resulting set of notes comprises diatonic triads at the outset and gradually goes further out the further one is into the sequence. Cheers, D
Sounds very cool, I'll give it a go! Thanks for that 👍🏿
I can not stop watching this lesson.
You're too kind!
4:15 - wait,why?Why two triads are dab/efg?
Why not dfa/egb?
You can't use the root in your triad pair if you stick to this method strictly. But, you can choose any two triadic groups that you like from the remaining six notes of the scale, after making sure to exclude the root note of course.
Root note is c,two triads are dfa & egb
and...what I can do with c? :>
Anyway,triads and thirds are two different things,right?
For example,abc is also triad?In this methood.
@@kukumuniu5658 Yes that's right. C will be played by the bassist, or implied by the harmony in this instance. The method dictates that you don't play it, but you can add it in wherever you like!
Hm,for sure,let's take ii-V-I in C.
for d minor we use hexatonic scale efgabc
for G7 hexatonic abcdef
and for Cmaj defgab
and this is it?
@@kukumuniu5658 Exactly. You then split the hexatonic scale into two groups of three and build musical ideas from one group at a time.
One option could be=
D-7: EFB and GAC
G7: AEF and BCD
C∆: DFA, EGB
You get to choose the scale, and you get to choose the two groups of three.
Hope that helps!
PLEASE COULD ANYONE SHARE THE BACKING TRACK OF STELLA BY STARLIGHT from the BOOK: ´Creative Chordal Harmony for Guitars´ ? I have the book and the CD but not a CD player to get to jam over it.
ua-cam.com/video/57sWJi7ejHs/v-deo.html
nice! here's another idea that also sounds great. every major scale (and therefore mode of the major scale) contains two major triads a tone apart. so in D major, we have an A major triad and a G major triad. alternate from one triad to the other and join them together with a chromatic passing tone. like example 3 in your vid, try not to use the same inversion, or if you do, juggle the notes. so for example, over a Dmaj7 chord, play the notes e a c# c b g d d# e c# a g# g d b a# a. sounds quite "old skool", but it's pretty. leaving out the chromatic passing tones sounds more hip. subscribed!
Love this idea, can't wait to give it a go! Cheers
Where can I find the links you've created? They are fantastic.
Hello, I recently changed website and have yet to re-upload them. Contact me via email and I'll send them over to you. Cheers! ctharrisonmusic@gmail.com
nice one please keep posting more videos.
Plenty more where this came from, make sure you've dinged the notification bell! Cheers
plz leave you insta id i will follow you.
@@nabinnewpane9607 not hugely active over there, but it's @not_quite_jazz
Where exactly are the transcriptions - can't seem to find.
Hi David, links got broken when I moved to my new site. Send me an email at ctharrisonmusic@gmail.com and I'll get those over to you 🙂
This $hit unlocked so many ideas, thanks bro!
Cheers, Paul- these guys are absolute legends! Check out my playlists for more stuff on both Tim and George. Good luck!
Nice licks, great material
Cheers bro, its essential stuff
Very good example, good explained!
Thanks man!
Original and interesting lesson!
Cheers Luc!
great lesson! thanks for sharing!
You're so welcome!
When you say "E", it sounds almost exactly like "A" to my ea. :)
Sorry about that, It's part of the accent in the North East of England, where I've spent most of my life. Hope it wasn't too confusing! Cheers
@@CharlesHarrisonMusicTuition No problem! ;) Thanks for this great video. You not only explained new things in a way that's both very short and easy to understand, but you also gave some pointers to awesome stuff, like George Garzone. I found this video where he talks about the triadic approach ua-cam.com/video/dTIwWFa2Rnw/v-deo.html It's too early yet, and I need to check it out properly, but this stuff really seems to bring some mind-blowing insight into many things that have seemed mystical about Coltrane's and Holdsworth's and many other people's playing. The internet is a funny place - it's full of stuff that pretends to be "the truth and wisdom about jazz", but what turns out to be just "play this mode and this scale and it'll be just ossom", or "ii - V - I for dummies", things like that.
Love the guitar you use bro
Thanks Edwin, hope you're enjoying my recent uploads!
Thank You:)
You're most welcome! Thank you for taking the time to comment, Vincent. Cheers!
omg, this is fabulous!
Thanks so much for your support, Debby. Cheers
thanks man, really cool and you made it easy to understand :)
Any time, mate! Cheers
Dude, you resemble Martin Miller to some extent! Great lesson btw!
I wish I resembled his chops 😅 cheers
Thanks for this! Great stuff!
Cheers Jakob!
i just bought the book new to jazz can you do any more videos about the book mick and tim one im i bit lost new to the triad thing cheers gerry
Cheers, Gerry. Will definitely cover the content again very soon, good luck with it-thanks!
I've watched some Miller and just came back to this again, great material here and actually so approachable...! Cool ideas and thoughtful lesson! B-)
Cheers Donald. Tim is an absolute monster player, and a great teacher too! Thanks
I tried making some of George Garzone Triadic Chromatic Approach style sax stuff. Just a bit of mousing around with MIDI notes and curves, I got this: ua-cam.com/video/AZYcZTCTdBo/v-deo.html step towards insanity or better musical expression? I'm not sure.
Sounds good to me, dude! Well done, some lovely lines ;) Cheers!
Trichord: A chord of three different pitch classes.
Triad: A chord of three different pitch classes built in thirds.
Thanks for this, I appreciate the clarification. I hope you were still able to understand the content despite the definition. Let me know if you would like anything clarifying or simplifying. Cheers!
So,Trichordic Chromatic Approach? :>
Generic Modality Compression, that book it’s not just about triads.
Clusters, seventh chords w/no 5th, open and closed voicings etc
Could You develop it more easily in c ionian,d dorian,e phrygian and others scales?
Not F# mayor or other unnecessary ones with # or b ;D all we need is in the key of C.
Hello, I'll certainly do more GMC stuff and will be sure to include some C major examples. Please be aware that 'triad' simply means three notes. All of the content in the GMC book is based on three note structures, or 'triads'. The structures you mention are all three note triad structures. Colloquially we refer to major, minor, augmented and diminished as triads. Cheers
Garzony :)
Thank you for the clarification!
Gar-Zone, which doesn’t rhyme with Zamboni.
Appreciate the clarification! Cheers
Too much talking...just play
So sorry to have wasted your time, David. Thank you for your concise feedback. Cheers, Charles
nah don't listen to this idiot video is great. cool concept.
This is a modern jazz consept that will not help you understand soulful playing and bebop. Just transcribe and learn some old stuff!
There will be some overlap between these concepts and bebop concepts, however as you so eloquently stated it would be wise to study bebop theories if bebop was your area of interest, and to study modern player's theories such as these if you are hoping to improve in a modern sound world. Cheers!
I like these abstract ideas for what they’re worth, but agree with you that, for most players, anyway, they’d get more out of spending time with the greats. Note selection, per se, can really be a distraction if you’re trying to communicate emotions, which is what I love about great players/playing