It,s a simplified concept for using just a minor scale over any chord progressions and chords themselves, but improving one would still have to emphasise the chord tones of the written chord , example the v of C mayor is G7 …you can play your lines from Dm7 but you still have to emphasise the chord tones of G7 out of the Dm SCALE if you want to use this minor conversion method to make sense of the chord progression. I hope this helps some who can get confused with the minor concept if it’s new to them. Cheers
Brilliant And yes ..minor conversion is the way I totally get it..pats book is great ..and after dissecting it myself ..arpeggios mixed with bebop lines works ..and the coltraine cells if you like are priceless ..Thankyou for you’re REAL explanation ..brill 👍
Yes i agree, personally of course i just enjoy more playing in minor , the dorian has some great tensions and sound at the guitare . By instint and for years i switch to play in minor shapes , also enjoy the lydian sound . Yep is easier and fun for me to over lap one kind of scale or shape over the given progresion 😊 than switching from one to other ! Of course once u are in the zone and hear the tones u need it gets more funky jaja then flat or tharp the sound u are in ! Pat Martino Really blow my mind , one of my favorites , specialy the album Joyous lake. Sorry for me spelling, english isnt my mother tonge. Good vibes bro !
Not silly at all. The 2-5-1 is a description of chords in a key. The 2-5-1 itself is not major or minor. If we are in a major key, the the second, fifth, and first chords of that major key are then the 2-5-1, whereas in a minor key, the second, fifth, and first chords of the minor key are used. What GuitArmin is saying is, instead of thinking of the three different scales associated with each chord in the progression, find the single minor chord that underlays it all.
This is very intriguing but I feel a followup video would be awesome for those of us who didn't catch all of that. What do you actually mean by "thinking Am over D7"? I'm sure you'd still draw some attention to leading tones of the V chord, but you mean the framework in your mind is purely the ii-min chord? So when we normally would say "the flat 7 of the V chord resolves nicely to the third of the I chord" - you're thinking "the minor third of the ii-minor resolves to the third of the I chord"? I guess this isn't your thought process at all, the idea just leaves me a little perplexed. Also, I often struggle just remembering the actual chord sequence itself - I don't understand what magic brain trick you're utilizing, doing minor conversions on the fly. And why is A7b13 the same as Bbm dorian? Anyway, hope you could clear up some of those questions. I find this channel very educating, but it's very apparent when I hit a brick wall in my capacity of understanding 😄
you have to really physically practice minor conversion for like a month at least before you can begin to internalize it and truly reap the benefits...have you ever practiced anything until you feel you can no longer play it wrong even without looking? or is everything just an object of theoretical contemplation for you?
@@ReallyTryingToHelp of course I have, though it may seem like everything is an "object of theoretical contemplation" simply going by my comment alone. I know there are no shortcuts to becoming better at improvising, I'm trying to find an approach or system to follow, it's just ironic that you hint at my fairly simple questions as stemming from some eternal theoretical mind game. As I said, following a sequence of chords of varying complexity can be a challenge in itself - adding a layer of "real time conversion" just seems sort of counterintuitive to me, indeed from a theory standpoint. But it obviously worked well for Pat Martino and those who learned his concept, I was merely looking for some more insight.
A min over D7 gives you the upper extension 5, b7 9 of D7. Take it one step further A minor 6 gives you 5, b7,9, 3 which gives you D9. Look into some of Barry Harris videos. He calls this playing the 6th on the 5th. Take D7 go up a 5 which is A and play minor 6 and you get Aminor6. ( A, C, E , F#). Notice that Aminor 6 is just a rootless D9
i like to look at them as different flavours of the key your in, same thing, different taste or effect. equally all our extended chords come from the different variations of notes throughout the modes. :)
There are a lot of reasons. The main one I tell my students when they start, is that it gets your fingers all over the fretboard. You won’t have gaps when shifting positions. It gets more complicated after that, as the previous commenter said.
Think of it like this. Your walking on a very rocky path. As you go there are places you can't stand, you have to step over. Other places you can stand with both feet on the ground. If there is a rock that looks unstable, do you go and stand on it, no. What if that rock was the best way to get to the next place where you can stand, use it but don't put too much weight down. Music is about how we commit to a tonal landscape. Jazz is an alley cat that may have a home for a little while, but catches a whiff of something good and goes off to look for it. Traditional music like country and blues are more home bodies and stick to diatonic more closely. Where are you most at home? Are you more at ease in the backyard, on the front porch, in the kitchen. Its all the same house, but how its expressed depends on where the emphasis lies. If you think that music is simply a sequence of notes, then there is no reason to bother with modes.
@@claytronico I am all in favor of jazz/ complex sounds. But I can enjoy a walk in the country without knowing the root structures of the trees or which muscles are working in my legs. In any case, Armin as far as I can tell has all but abandoned modes in the way he explained his system.
@@mannoplanet It seems I mistook the level you were coming from. My experience is if your consciously thinking about modes or any system while playing, its not going have good feel or be in the pocket as they say. To me technical thinking poisons musicality, and I enjoy theory a great deal. Hard to make a road map if where your going doesn't have roads.
-->Free PDF: www.guitarmin.info/webinar-optin
It,s a simplified concept for using just a minor scale over any chord progressions and chords themselves, but improving one would still have to emphasise the chord tones of the written chord , example the v of C mayor is G7 …you can play your lines from Dm7 but you still have to emphasise the chord tones of G7 out of the Dm SCALE if you want to use this minor conversion method to make sense of the chord progression. I hope this helps some who can get confused with the minor concept if it’s new to them. Cheers
Brilliant And yes ..minor conversion is the way I totally get it..pats book is great ..and after dissecting it myself ..arpeggios mixed with bebop lines works ..and the coltraine cells if you like are priceless ..Thankyou for you’re REAL explanation ..brill 👍
Awesome!!
Now, show those examples on the guitar.
👍👌
Lol ! This is so much BS that i am almost preety sure the guy can't play !
Yes i agree, personally of course i just enjoy more playing in minor , the dorian has some great tensions and sound at the guitare . By instint and for years i switch to play in minor shapes , also enjoy the lydian sound . Yep is easier and fun for me to over lap one kind of scale or shape over the given progresion 😊 than switching from one to other ! Of course once u are in the zone and hear the tones u need it gets more funky jaja then flat or tharp the sound u are in ! Pat Martino Really blow my mind , one of my favorites , specialy the album Joyous lake.
Sorry for me spelling, english isnt my mother tonge.
Good vibes bro !
thank you...pretty straight forward
What I learned at Berklee in ten minutes: Get Pat Martino’s book
Love it!
Thank You so Much
Try G minor over the D7. Or Minor 1 over V. It's pretty cool. Or b3 major (Bb maj) over D7.
Ha ha 4 years in 10 minutes. Exactly perfect. Except I got it all in 1 year and left. This is comedy gold.
Hi,
love the whiteboard session :)
btw, at 8:21 should it be A7b13 >>> B- instead of Bb- (noob here)
This is a great n valid lesson but I feel playing the chord n not the scale is the way to go.
Isn’t a minor 251 already minor. Why search around for other minor scales? If this is a silly question - sorry
Not silly at all. The 2-5-1 is a description of chords in a key. The 2-5-1 itself is not major or minor. If we are in a major key, the the second, fifth, and first chords of that major key are then the 2-5-1, whereas in a minor key, the second, fifth, and first chords of the minor key are used.
What GuitArmin is saying is, instead of thinking of the three different scales associated with each chord in the progression, find the single minor chord that underlays it all.
This is very intriguing but I feel a followup video would be awesome for those of us who didn't catch all of that. What do you actually mean by "thinking Am over D7"? I'm sure you'd still draw some attention to leading tones of the V chord, but you mean the framework in your mind is purely the ii-min chord? So when we normally would say "the flat 7 of the V chord resolves nicely to the third of the I chord" - you're thinking "the minor third of the ii-minor resolves to the third of the I chord"? I guess this isn't your thought process at all, the idea just leaves me a little perplexed. Also, I often struggle just remembering the actual chord sequence itself - I don't understand what magic brain trick you're utilizing, doing minor conversions on the fly. And why is A7b13 the same as Bbm dorian? Anyway, hope you could clear up some of those questions. I find this channel very educating, but it's very apparent when I hit a brick wall in my capacity of understanding 😄
Just play A dorian over the 2 min and The 5 but play it slow at First and you will hear it
you have to really physically practice minor conversion for like a month at least before you can begin to internalize it and truly reap the benefits...have you ever practiced anything until you feel you can no longer play it wrong even without looking? or is everything just an object of theoretical contemplation for you?
@@ReallyTryingToHelp of course I have, though it may seem like everything is an "object of theoretical contemplation" simply going by my comment alone. I know there are no shortcuts to becoming better at improvising, I'm trying to find an approach or system to follow, it's just ironic that you hint at my fairly simple questions as stemming from some eternal theoretical mind game. As I said, following a sequence of chords of varying complexity can be a challenge in itself - adding a layer of "real time conversion" just seems sort of counterintuitive to me, indeed from a theory standpoint. But it obviously worked well for Pat Martino and those who learned his concept, I was merely looking for some more insight.
@@Thomcat1954 I'll try it!
A min over D7 gives you the upper extension 5, b7 9 of D7. Take it one step further A minor 6 gives you 5, b7,9, 3 which gives you D9. Look into some of Barry Harris videos. He calls this playing the 6th on the 5th. Take D7 go up a 5 which is A and play minor 6 and you get Aminor6. ( A, C, E , F#). Notice that Aminor 6 is just a rootless D9
great stuff!
I was following but now am lost😢
Because it´s not the proper way to learn modes.
Why even bother with the modes?
i like to look at them as different flavours of the key your in, same thing, different taste or effect. equally all our extended chords come from the different variations of notes throughout the modes. :)
There are a lot of reasons. The main one I tell my students when they start, is that it gets your fingers all over the fretboard. You won’t have gaps when shifting positions.
It gets more complicated after that, as the previous commenter said.
Think of it like this. Your walking on a very rocky path. As you go there are places you can't stand, you have to step over. Other places you can stand with both feet on the ground. If there is a rock that looks unstable, do you go and stand on it, no. What if that rock was the best way to get to the next place where you can stand, use it but don't put too much weight down. Music is about how we commit to a tonal landscape. Jazz is an alley cat that may have a home for a little while, but catches a whiff of something good and goes off to look for it. Traditional music like country and blues are more home bodies and stick to diatonic more closely. Where are you most at home? Are you more at ease in the backyard, on the front porch, in the kitchen. Its all the same house, but how its expressed depends on where the emphasis lies. If you think that music is simply a sequence of notes, then there is no reason to bother with modes.
@@claytronico I am all in favor of jazz/ complex sounds. But I can enjoy a walk in the country without knowing the root structures of the trees or which muscles are working in my legs. In any case, Armin as far as I can tell has all but abandoned modes in the way he explained his system.
@@mannoplanet It seems I mistook the level you were coming from. My experience is if your consciously thinking about modes or any system while playing, its not going have good feel or be in the pocket as they say. To me technical thinking poisons musicality, and I enjoy theory a great deal. Hard to make a road map if where your going doesn't have roads.
Child not children 😅
Actually you speak about scales all the time here so, as you say "not thinking about scales" doesn't apply here at all.