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@GRUNGETIME1 glad you're finding my work useful! Thanks for watching and sharing your thoughts!

Ooooh, yeah man that's a great tune!

Unfortunately, no. I'm a sibelius user. Best I could do is provide music xml file which I believe can be imported to GP

So you could do that but I'm sort of mixing the major scale and the maj6 diminished in these examples. I especially like playing with the minor IV that's in the 6 diminished scale.

​@dsg_studio are you using the tonic / dominant approach Harris uses to build harmony off of the diminshed 6 scale - i.e., Imaj6 and V7b9 - or are you using other chords?

@@adampecsek resolving diatonic chords from major into either on or off chord from 6 diminished.

@@dsg_studio got it. Thanks

Yeah that's me! I haven't put out an album under my own name yet but I play in a fusion group called SicNarf you can find on Spotify. Thanks for your interest!

@@dsg_studio Cool I’ll check it out. A straight ahead situation I imagine would sound awesome as well/ the style of ur lesson intros

@djmileski I really appreciate that, man! Thank you!

Thanks!

It's an eastman AR403CED

@@dsg_studio Sounds wonderful! I have a John Pisano CE680, I love it 😊

@ericsearcy8939 excellent instrument! I got to study with John in college for a bit. He was such a cool old dude!

@@dsg_studio awesome!!👏

Thank you!

I did a video on this concept a few weeks ago. Watch this video to learn more. czcams.com/video/IOoyVW8E1bY/video.html It's a fascinating concept with lots of depth in application.

That's a wonderful idea, Adrian! Thanks for the suggestion. I'll add that the the list. This coming week will most likely be about some ways to practice chord accompaniments and different voice leading ideas.

Really? I didn't realize he was am economy picker. I thought outside of arpeggio runs he was an alternate picker. Neat!

Because he's has a permanent downward pick slant he can't clear strings when descending, so has to throw in a pull off to give him time to get to the next string. He economy picks ascending for similar reasons. It's become well known more recently due to a few CZcams teachers that have broken down his strategies.

@@AdrianFarrell interesting! I had no idea

Glad you think so! Thanks!

My pleasure!

I learned his by watching his masterclass videos and then experimented with the concepts. Glad you found thus helpful!

Lol definitely not. Jazz blues remember.

This is based on Barry Harris' rules for descending dominant scales. When ascending a scale inside of an octave you don't strictly need extra notes to make the chord tones land right but you do when descending. It also has to do with rhythmic pulse that's generated by descending lines played over cadences like this. You can do these things ascending but there are different systems for adding the extra half steps in when going up. Hope that helps.

Ya thanks for the info. I appreciate it. I usually just use Barry’s chromatic scale for ascending and descending. Is there a chromatic scale for Harmonic and/or Jazz Minor

@ignobooboo you can sort of adapt Barry's chromatic concept to those scales but harmonic minor is funny because of the minor 3rd between b6 and 7. At that point the minor 6 diminished scale is a better bet to use the chromatic concept because it contains both the melodic and harmonic minor.

Thanks! More single note ideas? I can demonstrate this method over an alternate cycle of chords like bird blues or we could work on some comping ideas. Let me know what you think. Thanks for the suggestion!

Bird Blues would make a good natural progression from this lesson 👍

Glad you think so!

I did a short lesson on minor blues somewhat recently but I can expand upon it with these concepts. Rhythm Changes would be great for this stuf. Thanks for the suggestions! Glad you found the material helpful.

@@dsg_studio Anytime! And thanks for the suggestion. I will check that video out next.

Haha! Don't know how to I'm afraid.

You got it! Thanks for the suggestions!

It's jazz blues. Blues is more than a genre. Listen to Jazz blues from the bebop era like bud Powell, Charlie Parker, etc and you'll hear this language everywhere.

@@dsg_studio Maybe the underlying bass playalong distorts the sound

jazz blues bro

@danteferrari8032 this guy gets it 👏

@@dsg_studio it sounds ok, that is not the point, but (in my opinion) only the overlapping of major & minor (e.g. b5, b3) evoke bluesy sound

You're welcome. Yeah I can take a wack at explaining those concepts. Glad you're enjoying my work! The editing and post production takes a lot of time and effort but I'm glad it's appreciated. I'm the editor btw lol. Just little old me writing the material, scripting, and the graphics etc.

This is excellently put! It's very true that guitarists especially forget to breathe when we play. I'll have to remember to mention this point when I get around to making a video about rhythmic phrasing and pulse. Thanks for watching and sharing your thoughts. Glad your enjoying my work!

You're welcome!

I'll keep that in mind. Thanks for the feedback!

Thank you!

thank you so much! If you like this content from me I actually have two truefire courses coming out in the near-ish future. Don't have a firm release date yet but I'll be posting about it PLENTY once I get that information from them. Wonderful organization that really cares about making good music education content. Thanks for watching!

@@dsg_studio awesome 👏. Will definitely check those out. Great stuff. I was a part of the older “365 Licks for a Year” series. Basically like one guitar lick a day. They’ve discontinued a bunch of those since but great organization.

Thank you so much! Just trying to put out the kind of content I wish was available when I was learning. I really hope it doesn't stay hidden lol.

@@dsg_studio Just keep grinding dude. This type of quality will definitely start to gain traction.

@thebuffalo2263 man that's super nice of you to say. Thanks so much!

It's too bad CZcams is not showing dislikes because the headers on your lessons are very deceptive one must be pretty darn good in theory in order to catch what you're saying and apply it

@user-tw3nj6nd6r there's plenty of beginner material on youtube if that's what you need. If you can already play some jazz/bebop the concepts I cover can help take you further.

Thanks for the feedback. I figured it'd be helpful but it wouldn't be any trouble to remove it.

Thanks for watching. Glad you found this so helpful!

That's a great tune!

noted.

I'll have to put together another video on this stuff using some different movements. Glad I could offer some clarity.

Thanks very much!

There's tabs at the bottom of each example. If you'd like the full document which includes more examples you can snatch that on my patreon

Message received I'll mix them lower. I checked the mix in my headphones and it sounded OK to me but it's hard to be objective after working on stuff for hours. Thanks for the feedback

@@dsg_studio The material is great, I subbed :-)

It's a long project for sure. I disagree that it would take ten years but certainly it will take quite a while to fully internalize in all 12 keys. Remember it's about the journey, not the destination.

loooool!

Just remember that with guitar, as long as you drill down and visualize all positions in one key, you can just shift those around based on what key you need to.

@tylerk1013 true! I still advise doing every key though, because some keys doing work as well by just shifting position. Sometimes you'll need to alter fingerings or positions to make it feel good.

@@dsg_studio very true. Some voicings and patterns are tougher depending on if the frets are spaced out or close together.

I yes I know. But since "dorian" is a typical flavor to resolve to, min6 and minor 7 are both valid choices for the end of a phrase. I find minor6 to be a more final sounding resolution for the purposes of performance is all.

Wow, thank you! That's really kind of you to say 🙏

You're welcome!

I'm glad you appreciated that section. I was nervous people would get bored of a strictly theoretical discussion haha. I agree it's very important!

I actually address this in part one!

@@dsg_studio I went back to the previous video and did not find anything addressing the exclusive use of descending scales. You did state, emphatically, that the scales were descending, without any explanation.

@ronaskew huh, I thought I went more in depth. Mainly it's because under this system when you ascend a scale only to the 7th all the chord tones already land on the beat. If you were to do this same method ascending you'd need different "rules " because the math doesn't work out the same. In that case, Barry's chromatic scale concept works better for ascending lines since you can put half steps anywhere that system. The other thing is that doing this descending only teaches rhythm and pulse that coincides with the "falling" nature of V-I cadences. Hope that helps. I'll have to remember to address this in detail in next week's video 👍

There would have to be a few more rules, but the logic would be the same or similar to the descending rules. The first 1/2 step rule establishes a baseline guaranteeing 3 things, asc or desc, (1) the ability to automate the placement of chord tones on a strong beat and (2) a passing tone between all chord tones while (3) building in more opportunities for generating triplet patterns thru the chord and (4) the uniform placement of passing tones builds in upper and lower neighbors that can encapsulate chord tones or approaches from above or below. The rule that allows adding 2 more chromatic note accomplishes 2 things; when used (1) establishes the 9th as an additional chord tone and (2) extends the above mention triplet and encapsulation rights to the 9th while (3) extending the line. The only problem I see with rules for the ascending scale are the rule disallowing even the use of 1 chromatic passing tone when the starting strong beat note that enables a rule is a 2d or 4th and does not always work ascending.

@ronaskew this is all correct but I would still reccomend looking at where chord tones land on the beat when using the descending rules vs ascending the scale normally or with Barry's chromatic scale system. That's the real key here.