Thanks very much! Feel free to check out the link in description for my free course discussing more of these and other ideas. Cheers

Ah yes, I'm very familiar with Rowan's content. No doubt he has given you a strong foundation upon which to continue your studies. You'll get your head around this stuff in no time!

Sounds very cool, I'll give it a go! Thanks for that 👍🏿

You're too kind!

Thank you for taking the time to comment. They are all monster players! 2-1-2 is a very handy tool for navigating the fretboard. Cheers!

Love this idea, can't wait to give it a go! Cheers

Cheers, Paul- these guys are absolute legends! Check out my playlists for more stuff on both Tim and George. Good luck!

Plenty more where this came from, make sure you've dinged the notification bell! Cheers

plz leave you insta id i will follow you.

@@nabinnewpane9607 not hugely active over there, but it's @not_quite_jazz

Thanks man!

Cheers bro, its essential stuff

Sorry about that, It's part of the accent in the North East of England, where I've spent most of my life. Hope it wasn't too confusing! Cheers

@@CharlesHarrisonMusicTuition No problem! ;) Thanks for this great video. You not only explained new things in a way that's both very short and easy to understand, but you also gave some pointers to awesome stuff, like George Garzone. I found this video where he talks about the triadic approach kzfaq.info/get/bejne/mrp5qrp3xpi2nqs.html It's too early yet, and I need to check it out properly, but this stuff really seems to bring some mind-blowing insight into many things that have seemed mystical about Coltrane's and Holdsworth's and many other people's playing. The internet is a funny place - it's full of stuff that pretends to be "the truth and wisdom about jazz", but what turns out to be just "play this mode and this scale and it'll be just ossom", or "ii - V - I for dummies", things like that.

You're most welcome! Thank you for taking the time to comment, Vincent. Cheers!

Cheers Luc!

Thanks so much for your support, Debby. Cheers

I wish I resembled his chops 😅 cheers

Any time, mate! Cheers

You're so welcome!

Hello, yes I have several George Garzone videos, check out my channel videos. You might also enjoy the 'space age arpeggios' series of videos. Many thanks for your interest!

Do you have all these material/PDFs to sell ? (Triads and space ages arpeggios) thank you very much from Brazil

@@HVL1977 If you send me an email at ctharrisonmusic@gmail.com I'll send you any PDFs you would like. There is no fee! Many thanks

Cheers Jakob!

Hello, I recently changed website and have yet to re-upload them. Contact me via email and I'll send them over to you. Cheers! ctharrisonmusic@gmail.com

Thanks Edwin, hope you're enjoying my recent uploads!

Thanks for this, I appreciate the clarification. I hope you were still able to understand the content despite the definition. Let me know if you would like anything clarifying or simplifying. Cheers!

So,Trichordic Chromatic Approach? :>

kzfaq.info/get/bejne/a52jiq2anMvOeKc.html

Cheers Donald. Tim is an absolute monster player, and a great teacher too! Thanks

Hi David, links got broken when I moved to my new site. Send me an email at ctharrisonmusic@gmail.com and I'll get those over to you 🙂

Hello, I'll certainly do more GMC stuff and will be sure to include some C major examples. Please be aware that 'triad' simply means three notes. All of the content in the GMC book is based on three note structures, or 'triads'. The structures you mention are all three note triad structures. Colloquially we refer to major, minor, augmented and diminished as triads. Cheers

Thank you for the clarification!

You can't use the root in your triad pair if you stick to this method strictly. But, you can choose any two triadic groups that you like from the remaining six notes of the scale, after making sure to exclude the root note of course.

Root note is c,two triads are dfa & egb and...what I can do with c? :> Anyway,triads and thirds are two different things,right? For example,abc is also triad?In this methood.

@@kukumuniu5658 Yes that's right. C will be played by the bassist, or implied by the harmony in this instance. The method dictates that you don't play it, but you can add it in wherever you like!

Hm,for sure,let's take ii-V-I in C. for d minor we use hexatonic scale efgabc for G7 hexatonic abcdef and for Cmaj defgab and this is it?

@@kukumuniu5658 Exactly. You then split the hexatonic scale into two groups of three and build musical ideas from one group at a time. One option could be= D-7: EFB and GAC G7: AEF and BCD C∆: DFA, EGB You get to choose the scale, and you get to choose the two groups of three. Hope that helps!

Sounds good to me, dude! Well done, some lovely lines ;) Cheers!

Cheers, Gerry. Will definitely cover the content again very soon, good luck with it-thanks!

Appreciate the clarification! Cheers

So sorry to have wasted your time, David. Thank you for your concise feedback. Cheers, Charles

nah don't listen to this idiot video is great. cool concept.

There will be some overlap between these concepts and bebop concepts, however as you so eloquently stated it would be wise to study bebop theories if bebop was your area of interest, and to study modern player's theories such as these if you are hoping to improve in a modern sound world. Cheers!

I like these abstract ideas for what they’re worth, but agree with you that, for most players, anyway, they’d get more out of spending time with the greats. Note selection, per se, can really be a distraction if you’re trying to communicate emotions, which is what I love about great players/playing