Using these concepts, lines, arpeggios etc, over a 2 5 1 would be helpful. As well as your diminish lines video. Showing how to use these over a dominant chord in a 2 5 1 progression would be spot on. Learning alot of lines, triads, and how to apply them would be awesome!! 👍🎩👍
I'm always impressed by your playing. It's wonderful to study the various ways to approach scales. This time, the music was also notated on the screen, so it was easy for people with other instruments to understand. Great!
Thank you, Ishibashi. I really appreciate it. I'm glad you liked the topic and video, it means a lot. Feel free to suggest topics for future videos. BTW! I just listened to your "I hear a rhapsody" recording. Nice work! Stay in touch.
This was a fantastic lesson! It’s nice seeing the concepts in key C major or Aminor or that diatonic key. Then it’s so easily applied to other keys. Looking forward to more great content!!!
@@WeissGuitar Interesting question. I'm not really that interested in specific topics, as everyone has jazz videos about every topic out there already. What interests me is the way YOU think and break this stuff down. So you can literally talk about any jazz topic and it'll be interesting and different than what other people do. Anything surrounding how to 'put things together', and YOUR specific journey of how you got from zero to where you are today. Maybe more breakdowns of standards, and how you think about them? I know you already have a ton of vids and I haven't watched them all. But the way you think about this stuff is more interesting than specific musical topics. (YOU are the topic, from my perspective.) I feel like I've stumbled on a treasure trove, finding this channel.
I'm really so happy to watch this video but I don't understand anything do you know why? Because you were being too fast so please if you could slow down a little bit please
great stuff to add to my new adventure of -" jazz " , im an old rock guy ..do you have any stuff on useing pentatonic ( scales) for jazz ? i liked the chromatic stuff on here too ......been working on diatonic arpeggios at the 8 th fret -from C Maj scale..and working the lines from 2;07 minute mark into them ...........very cool back alley cat groovin ..........
Hi Alexander 🙋🏻♂️approaching a target note from above and below diatonically or chromatically, kind of like a cage surrounding the target note from both ways. Feel free to ask me further questions
Julio, that's a good idea! I'd like to do a playthrough video for that. This comment might get it moving. I haven't played that one in a while. Thank you for tuning in and commenting!
Hello, Italoop, thanks for the comment. I appreciate your insight. In my mind: Non Diatonic includes secondary dominants and things of that kind of harmonic progression nature. I define non-harmonic as creating a bitonal effect. So To me, a non-harmonic triad contains at least one note (preferably two!) that isn't harmonically connected to the chord/scale. In Cmaj7, for example, my non-harmonic triads are Db, Eb, Gb, Ab, Bb, ... B works beautifully too since it has D# and F#. Back at Berklee 2009.. (Time flies) , Hal Crook taught me the term non harmonic. That being said, as long as we can comprehend the sound through our playing, Terms like those don't matter. Frank Zappa once said: “Writing about music is like dancing about architecture.” Stay inspired, Enjoy music. Daniel
@@WeissGuitar Daniel... the point I'm trying to make is about students! Terminology is VERY important as it conveys meanings that should be clear to anybody. See... you felt you had to explain the idea of non harmonic triads and you will have to do the same again and again and again. There is a perfect and universal definition already for that, just "non diatonic" triads as that's what they are and that is immediately clear to any person, no matter his/her knowledge level. Non diatonic includes anything and everything outside a scale and its harmony, even though in functional harmony Secondary Dominants are not considered non-diatonic. But both harmonic triads and Sec.Dom. try to achieve the same goal, introducing tension for a coming resolution. That's the basic energy and flow of tonal music anyway, as you know. See... I'm very thankful to my teachers Joe Diorio, Ted Greene, Charlie Banacos, Scott Henderson, Steve Khan and many others as they never used *strictly personal* definitions that would easily cause confusion. 40 years ago a non harmonic triad would have been a hell of a mystery! Pretty much like a "non triadic" triad which is badly defined as such, where a "non tertian" triad is a much clearer way to explain it. Yeah, Frank was right but the truth is that such light definitions of music always come AFTER one has studied for many years as he did. Before that, when you're learning, termonology has to be clear and universal. Terms do matter!
@@italoop7850 Thanks for the reply! I appreciate the conversation and understand what you're saying. Hal Crook's book "How to Improvise" has a topic called "non harmonic triads" which refers to this, and since Hal had a big influence on me back in my Berklee days, that term became part of my terminology. But I get what you mean. Thank you and I look forward to keeping in touch. Daniel
Thanks for the comment, I agree! Please Watch my video on motive development. 1) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-cioBte9023w.html 2)ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-TOQT-yUYhp8.html
