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
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?
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
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
I guess you could probably use on the tri tone minor ?
Hey Chris! Awesome video as always! Maybe you should do a video on melodic sixth jumps for line building 🤔
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
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
Two rock studio sig... niiiice
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 !
4:03 no te la voles con eso pela. sos crack. abrazo