I work with your book Getting Your Improvising Into Shape and this video helps instill the knowledge. Thanks for being so generous with your knowledge, David.🙏~Glenn
@@davidbeckertribune607 Thanks David! We've connected online by email in the past. You sent me a link to get the music for your book from Mel Bay. I'd bought a couple of copies of your book which came with CD's. Older printings at the local music store I guess. Also, I sent you a few names of jazz venues in Montreal. Should any questions arise while working with your concepts I may hit you up again with a question or two. Thanks again. Best regards ~Glenn
Excellent video. Thank you. Wanted to buy your book but the Mel Bay site made it ridiculously complicated. Ridiculously complicated. Ridiculously complicated.
Thanks for a great lesson! Fun way to practice all the diatonic chords in a key whilst making it melodic and not boring. I am however a little bit confused as to why you chose the Harmonic Minor. Sorry to say, but it's not really obvious to me as to why it makes so much sense to raise the G. My best guess is you just want that leading tone to be more prominent? Haven't checked just yet, but I guess you could go wild with this method with all of the modes as well. Thanks again!
Thank you! To answer your question about the relative minor: In order to have a Dominant 7 chord for the V chord in the minor key, you have to raise the G to G#. This gives you E7 instead of Em7, so you wind up with the Harmonic minor instead of the natural minor. I hope this clarifies things for you!
So if I'm in B major and let's lower the 1st instead of raising with the 5th. It would look something like: Bmaj7 (I) - F#7 (V7) - C#min7 (ii) - G#min7 (vi) - D#min7 (iii) - A#m7b5 (viiø) - Emaj7 (IV) My Relative/parallel Minor would be G#, and my 5th chord (Eb) is my dominant so I will make an Eb7, which will make my 7th raised to a F## (damn, that's crazy). And then I would play something like AmM7 - E7 - Bm7b5 - Fmaj7 - Cmaj7#5 - G#dim7 -Dmin7 . Please let me know if I'm on the right track!
Frustrated. I zero in on your fingers to watch them play. And then you waste my attention with hand gestures! So many of you folks do the same thing. When will you guys realize you are frustrating the less gifted!?
I work with your book Getting Your Improvising Into Shape and this video helps instill the knowledge. Thanks for being so generous with your knowledge, David.🙏~Glenn
Thank you Glenn, it's my pleasure! If you ever have specific questions or would like to connect online, let me know.
@@davidbeckertribune607
Thanks David! We've connected online by email in the past. You sent me a link to get the music for your book from Mel Bay. I'd bought a couple of copies of your book which came with CD's. Older printings at the local music store I guess. Also, I sent you a few names of jazz venues in Montreal. Should any questions arise while working with your concepts I may hit you up again with a question or two. Thanks again. Best regards ~Glenn
Anytime!@@glennmichaelthompson4112
Brilliant! You have changed the way I look at triads
Happy to hear that! If you ever have any questions, feel free to contact me!
@@davidbeckertribune607 thank you that’s very kind of you
I love that triad video you did on guitareo,it really opened up the idea of triads thank you, I will watch this one now👍
Thank you!
Excellent video. Thank you. Wanted to buy your book but the Mel Bay site made it ridiculously complicated. Ridiculously complicated. Ridiculously complicated.
Thank you, Gary! Sorry to hear that you had difficulty with Mel Bay. Try here: www.amazon.com/Getting-Your-Improvising-Shape-Presents/dp/0786695617
Thanks for a great lesson! Fun way to practice all the diatonic chords in a key whilst making it melodic and not boring. I am however a little bit confused as to why you chose the Harmonic Minor. Sorry to say, but it's not really obvious to me as to why it makes so much sense to raise the G. My best guess is you just want that leading tone to be more prominent? Haven't checked just yet, but I guess you could go wild with this method with all of the modes as well. Thanks again!
Thank you! To answer your question about the relative minor: In order to have a Dominant 7 chord for the V chord in the minor key, you have to raise the G to G#. This gives you E7 instead of Em7, so you wind up with the Harmonic minor instead of the natural minor. I hope this clarifies things for you!
So if I'm in B major and let's lower the 1st instead of raising with the 5th. It would look something like: Bmaj7 (I) - F#7 (V7) - C#min7 (ii) - G#min7 (vi) - D#min7 (iii) - A#m7b5 (viiø) - Emaj7 (IV) My Relative/parallel Minor would be G#, and my 5th chord (Eb) is my dominant so I will make an Eb7, which will make my 7th raised to a F## (damn, that's crazy). And then I would play something like AmM7 - E7 - Bm7b5 - Fmaj7 - Cmaj7#5 - G#dim7 -Dmin7 . Please let me know if I'm on the right track!
@@roolkit2708 That is correct for the key of A minor
@@davidbeckertribune607 aha whops 😅 G#mM7 - D#7 - A#m7b5 - EM7 - BM7#5 - F##dim7 - C#m7
I just found your channel.
I'm going to have to increase my knowledge of chord theory but I think you can teach me a lot. 😮
Thank you! I'm also available for online lessons.
@@davidbeckertribune607 I just joined channel as well. I found you and your truefiire books on youtube. I love UA-cam,
Thank you!@@aynrandy1
Cool stuff
Thank you!
Frustrated. I zero in on your fingers to watch them play. And then you waste my attention with hand gestures! So many of you folks do the same thing. When will you guys realize you are frustrating the less gifted!?
Hi Bruce, Sorry about that! Give me a good email address and I will make you a personal video very slowly so you can see everything.