Chris, Awesome! Keep doing what you're doing, and because of you ... I now can hear the bebop language b4 I can play it. The kicker is this, I don't play guitar, but Chris makes it possible for me to hear things after teaching me Barry Harris's rules and the chromatic scale in all 12 keys and the rest. As a piano guy, first I listened to Chris 5 hours a day for 2 months before making it into practice, now 5 months and going, and things are getting easier for me every day moving forward and humming beautiful bebop lines in an instant playing them on the piano without out fear of making any mistakes because Barry Harris's rules are the key to success. Thanks, Chris.
I just discovered your videos, and I'm a big fan. Your videos are substantive and inspirational. I'm getting ready to do a deep dive, as if I didn't already have enough to practice. 😅 I look forward to it! Thank you for what you do.
Super extra Thanks Chris ! Your explanations are always very clear. These clues are more than helpful to understand jazz langage and to build its own ideas. Thanks a lot, Mister !(especially for your explanation on D minor descending on C minor !).
Hi Chris. That was really nice. I was wondering if you could explore BH ideas for comping on the bridge. I feel like you already touched on that, but I can't find the episode. I'm talking about the descending 7th chords in a circle of 4ths, of course. Comes up a lot, and when I play that progression even I fall asleep half way through. Thanks!
Thank you for this brilliant lesson. Could I ask how you incorporate diminished arpeggios into these lines alongside the normal Bbmaj vocabulary (3rds, chords, chromatic scale) and which one do you use? ( The one based on the root, the b2 or the 2) Thanks again for these wonderful lessons, D.
@@johnrothfield6126 Thanks John. Cdim implies the major or 'tonic' keys of E, G, Bb and Db as it moves from B7, D7, F7 and Ab7 that it is related to. I don't think there is such a thing as a 'tonic' diminished key as such - rather a diminished with the same note as the tonic key. In that vein C# should imply the major keys that belong to C7, Eb7, F#7 and A7 and Ddim should imply the major keys related to C#7, E7, G7 and Bb7. So in short a Diminished chord implies 4 x 7th chords which are all 'named' in the diminished chord a half step down which all lead to their home, key center or tonic which can all be named with the 4 notes of the diminished chord a half step above. What I was asking is how does Barry or Chris incorporate these diminished arpeggios into their lines when working on say Bb vocabulary by 'stepping out' into one or more of the diminished arpeggios and which ones he prefers to use. Thank you for helping I do appreciate it, it was my fault for not being clear. 🎷
@@dervishcapkiner6679 Actually "tonic diminished" as a term shows up a fair bit, It usually resolves back to the tonic. My reply probably didn't address your question.
Chris,
Awesome! Keep doing what you're doing, and because of you ... I now can hear the bebop language b4 I can play it. The kicker is this, I don't play guitar, but Chris makes it possible for me to hear things after teaching me Barry Harris's rules and the chromatic scale in all 12 keys and the rest. As a piano guy, first I listened to Chris 5 hours a day for 2 months before making it into practice, now 5 months and going, and things are getting easier for me every day moving forward and humming beautiful bebop lines in an instant playing them on the piano without out fear of making any mistakes because Barry Harris's rules are the key to success. Thanks, Chris.
Everyone was curious about epi 100. But, as Chris willing admits, he likes to start on the 1.
I just discovered your videos, and I'm a big fan. Your videos are substantive and inspirational. I'm getting ready to do a deep dive, as if I didn't already have enough to practice. 😅 I look forward to it! Thank you for what you do.
Great! Thanks so much for sharing these beautiful ideas, Chris! I always watch your videos and you're just simply awesome! :-)
Such a great video, gonna come back to this one a lot I think.
Thanks for this Chris. Very informative and always super clear explanations of the language.
Beautiful concepts. Thanks from Chile!
Super extra Thanks Chris ! Your explanations are always very clear. These clues are more than helpful to understand jazz langage and to build its own ideas. Thanks a lot, Mister !(especially for your explanation on D minor descending on C minor !).
Good stuff Chris , much appreciated 🎸🎶👍
Gorgeous lines honestly
this is fantastic, as usual
This is amazing.
Amazing stuff
Thanks a lot, very nice topic
I just read the title and got nervous. LoL. Time to practice.
this is a nice one
Hi Chris. That was really nice. I was wondering if you could explore BH ideas for comping on the bridge. I feel like you already touched on that, but I can't find the episode. I'm talking about the descending 7th chords in a circle of 4ths, of course. Comes up a lot, and when I play that progression even I fall asleep half way through. Thanks!
I agree, that is a nice one
I love your channel thank you so much keep them coming. PS I would love to have that guitar :-)
Is it possible for you to do a video on the chamges of yardbirds suite? I would really appreciate your view on the changes. Amazing content✌️🙏
or as anthropology? Bb G7 Cm F7 works with that scale formula fine too? Oh well the ear will tell
Lots of ideas here
Very deep. Using a looper would be nice; Hearing the chords behind the scale runs.
Thank you for this brilliant lesson. Could I ask how you incorporate diminished arpeggios into these lines alongside the normal Bbmaj vocabulary (3rds, chords, chromatic scale) and which one do you use? ( The one based on the root, the b2 or the 2) Thanks again for these wonderful lessons, D.
I'll take a stab. in C, use Cdim as tonic diimineshed. c#dim of course is more for C7. Ddim brings in notes from Cm scale or can be thought of as G7
@@johnrothfield6126 Thanks John. Cdim implies the major or 'tonic' keys of E, G, Bb and Db as it moves from B7, D7, F7 and Ab7 that it is related to. I don't think there is such a thing as a 'tonic' diminished key as such - rather a diminished with the same note as the tonic key. In that vein C# should imply the major keys that belong to C7, Eb7, F#7 and A7 and Ddim should imply the major keys related to C#7, E7, G7 and Bb7.
So in short a Diminished chord implies 4 x 7th chords which are all 'named' in the diminished chord a half step down which all lead to their home, key center or tonic which can all be named with the 4 notes of the diminished chord a half step above.
What I was asking is how does Barry or Chris incorporate these diminished arpeggios into their lines when working on say Bb vocabulary by 'stepping out' into one or more of the diminished arpeggios and which ones he prefers to use. Thank you for helping I do appreciate it, it was my fault for not being clear. 🎷
@@dervishcapkiner6679 Actually "tonic diminished" as a term shows up a fair bit, It usually resolves back to the tonic. My reply probably didn't address your question.
The tonic diminished doesn't have a dominant quality IMHO
10:04 -- 10:07 nice