Plenty of food for thought.... and it's only the 2nd of these Lessons/Informal Chats! I believe I've touched on some chromatic approaches... but I'm not "there" yet. Your videos should be a massive help for the journey. Much appreciated, as always.
Hi Glenn ! I'm glad to know it was of interest ! I plan on doing more of these chats. Please let me know if there is ever a topic area you'd like to see featured !
@@basicsforbaroqueimprovisation Thanks so much, John! These lessons are very unique, which I appreciate. Lots to think about while exploring the fingerboard in various ways. There's so much on your channel to keep anyone who's interested busy for a very long time. Hope you're enjoying making these as much as I enjoy following them. Take care.
@@glennmichaelthompson4112 I'm so glad you are enjoying these Glenn ! I do enjoy making all the things I share here. It is my hope that players who have a similar level of interest to mine will discover the channel and dig into the playlists. Hope you're feeling better each day !
Looks like I picked a good time to look in on things! I'll have to examine these ideas in depth. Some connections aren't really obvious until they are, ya know? Hopefully I don't fall apart again too soon. Hope things are steady-as-she-goes for you.
M !! Hope you're keeping cool there. It has been rather brutal heat here lately. Lots of time to stay inside, write music, and have informal chats. 2 such chats thus far 🙂 ( and a playlist for them ! )
@@basicsforbaroqueimprovisation It's been fairly mild and rainy here, hopefully things cool down for you. Climate chaos has been a not insignificant factor in the whole 'losing my shit' thing. I don't like to bury my head in the sand, but I sort of need to just now I think.
As far as I know what I demonstrated are the Secondary Dominants : A7 - Dm, B7 - Em, etcetera. The Tertiary Dominant would be another Dominant Chord ahead of those : E7 - A7 - Dm, F#7 - B7 - Em. I think that is correct. I just think V of whatever it is in whichever cycle. B7 - E7 - A7, D7, etcetera.
@@basicsforbaroqueimprovisation Ahh, I was thinking too diatonic I guess, my brain always goes into static mode at a certain point when thinking about music theory. Lol!
@@mooseymoose I think it's reasonable to say that since the early part of the 20th Century our western music system has been inclusive of all 12 pitches all the time so I'm always relating to that expanded Diatonic Key wherein everybody has a place. That's what I hope this clip gets across. It's demonstrated here in relation to C but it's completely rotatable to any other pitch. With practice and familiarity each of any given pitch's guises quickly spring to mind. Eb as 1, b2, 2, b3, 3, 4, #4, 5, b6, 6, b7, 7 each with a different implication.
