Yeah. That´d be nice. I am really interested in the harmonic diminished devices he uses but I ´ve had problems understanding them so hearing and understanding how he superimposes would be very helpful.
Hey. Really cool videos. I have a question. How are you thinking the harmony in the blues? Specially when playing over the D7- Gm7- C7 of this F blues (bars 8-9-10). From what I ve seen you dont think or visualize the forms of, for example, the Vl7, llm7, V7. I mean that you dont actually see , let say the form and notes of D7 (VI7 in this progression) Also if you could explain how you visualize going the the fourth in the proegression would be cool. Do you see the harmony always based on the three diminish movementS in relation on the first degree ( In this case, F major)? Its like you play the changes without actually thinkin in those exact changes or figures. Hope my doubts are clear haha.Thank you!
Hey, sorry for the late response. To answer your first question, I don't see chord progressions as one specific set of changes. Especially with the blues, I might play each chorus a bit differently. Because there are so many different movements you can do. For bars 8, 9, 10. The main thing I changed from what you would see on the "Blues - Jazz" is that I changed the ii-7 in bar 9 to be G7. And then in bar 10, G-7 C7. Making it a quick 2 5 instead. At least, that's kind of how i was thinking about that line.
@@JuanAlvarado-zy1hc i think about harmony as being paths and destinations. Any chord can be a path or a destination. In the case of D7 that you mentioned, I was thinking of it like a path to Gminor or G7. So I might play just D7, which I did on the first chorus. But there's so many different paths. Like wind diminished (Db diminished), or G harmonic minor scale, D augmented, or Ab7 like in the key of Db. Those are all different kinds of paths that I think about to get to G minor. So in the second chorus, instead of playing A-7, D7... I played C major and B major. Because it's a path to get to the next chord.
@@JuanAlvarado-zy1hc as for your lost question: how do I visualize going to the IV chord. I think about the 4 chord and the 2 chord the same. They're both "mimic" to me♈️ Bbmaj6 & G-7. They're just different sides of the same harmonic object. Theres soooo many ways to move to the 4. Maybe I can make a short video about it and post it in discord.
This is so good! You were always such a knowledgeable and patient teacher. Great to see this😊
Thanks so much! Good to hear from you sue 😁
Great stuff Giru!
So much to learn still and your video's really help a lot 🫶
great video looking forward to learning part two!
Very helpful video! Thanks
Yes, please make another video for super imposing.
Yeah. That´d be nice. I am really interested in the harmonic diminished devices he uses but I ´ve had problems understanding them so hearing and understanding how he superimposes would be very helpful.
specially over common jazz standards progressions like 2-5-1 , turn arounds, 2 dominant that becomes a 2-5 1, 4minor to 1, 1 dominant to 4. etc
Hey. Really cool videos.
I have a question. How are you thinking the harmony in the blues? Specially when playing over the D7- Gm7- C7 of this F blues (bars 8-9-10). From what I ve seen you dont think or visualize the forms of, for example, the Vl7, llm7, V7. I mean that you dont actually see , let say the form and notes of D7 (VI7 in this progression) Also if you could explain how you visualize going the the fourth in the proegression would be cool. Do you see the harmony always based on the three diminish movementS in relation on the first degree ( In this case, F major)? Its like you play the changes without actually thinkin in those exact changes or figures. Hope my doubts are clear haha.Thank you!
Hey, sorry for the late response. To answer your first question, I don't see chord progressions as one specific set of changes. Especially with the blues, I might play each chorus a bit differently.
Because there are so many different movements you can do.
For bars 8, 9, 10. The main thing I changed from what you would see on the "Blues - Jazz" is that I changed the ii-7 in bar 9 to be G7. And then in bar 10, G-7 C7. Making it a quick 2 5 instead. At least, that's kind of how i was thinking about that line.
@@JuanAlvarado-zy1hc i think about harmony as being paths and destinations. Any chord can be a path or a destination. In the case of D7 that you mentioned, I was thinking of it like a path to Gminor or G7. So I might play just D7, which I did on the first chorus. But there's so many different paths. Like wind diminished (Db diminished), or G harmonic minor scale, D augmented, or Ab7 like in the key of Db. Those are all different kinds of paths that I think about to get to G minor.
So in the second chorus, instead of playing A-7, D7... I played C major and B major. Because it's a path to get to the next chord.
@@JuanAlvarado-zy1hc as for your lost question: how do I visualize going to the IV chord.
I think about the 4 chord and the 2 chord the same. They're both "mimic" to me♈️
Bbmaj6 & G-7. They're just different sides of the same harmonic object.
Theres soooo many ways to move to the 4. Maybe I can make a short video about it and post it in discord.
Btw. Have you studied the book "The Barry Harry's harmonic method for guitar" by Alan Kingston?
@@JuanAlvarado-zy1hc yes i have that book. And I've gone through some parts of it