Glad you enjoyed it, my princess from Jasper 🫡☺️😊

Thank you so much, Ricky 🙏🏾

Thank you. We’re glad you do.

Bless you too, sir

I been playing jazz for years and I too just couldn’t get into Barry Harris. Everyone I know who plays that style seems to have a “musical stutter” when their playing. Whereas my feeling is that your playing should be free and instantaneous!

@@user-vf5bv6vo4b I see what you mean in many of my students Sometimes it just seems too complicated so they're overthinking Honestly, his method is the best I have found to break bad habits that guitar players seem to get but my main instrument is double bass I also play double bass in a gospel praise and worship group as well as Latin music and as a freelancer, anything that pays the bills Again, thank you for the content and I think this approach would work better with some of my beginner piano students especially

Bro at first in the beginning I thought he was going to the church modes here: 1. Ionion-Magor 2: Dorian 3. Phrygian 4. Lydian 5. Mixolydian 6. Aeolian 7 Locrian I learned these modes when I was 12 yrs old. I’m 57 now and I’m mostly an ear player with perfect pitch. I mostly use licks and patterns when I play. After playing for so long I honestly just find things easier to listen to and play by ear. When I’m teaching or playing with other musicians I use road maps system by John Elliot! But I like the way he used these scales in this way where before I was using the: Hw/Wh diminished scales over Diminished chords! But I’m going to play a few songs and try these out..

Thank you sir. 🙏🏾 Where are you tuning in from?

@@hearandplay Ibadan, in Nigeria.

Thank you so very much

Thank you. Dan

Yes 🙌🏾 would do

Thanks for the recommendation. I’ll check it out.

That’s Total Praise. Alright. We’ll work that out. Be on the look out for it.

Absolutely. 6 scales. C major D harmonic minor E harmonic minor F major G major A harmonic minor

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Thank you for commenting. I appreciate your insights. However, permit me to also add that there’s no specific way to understand or make reference to the three diminished seventh chords you mentioned. 1. #Tonal# Using the 1, 4, and 5 of any key you’re in. For example, it can be F diminished, Bb Diminished and C diminished in the key of F major. 2. #Cyclical# You can also pick any three adjacent notes in the circle of fourths/fifths as well. For example: C diminished, G diminished and D diminished; or C diminished, F diminished and Bb diminished. 3. #Chromatic# We can also pick three adjacent tones in the chromatic scale. The same way you suggested C, Db, and D, we can decide to go the opposite direction and use C, B, and Bb diminished. 4. #Wholetone# It’s also possible to pick any three notes of the whole tone scale to reference the diminished seventh chord. That way, we can have C diminished, D diminished, and E diminished. Now, the reason why C, F, and G were used in the video is to associate it with the tonic, sub-dominant, and dominant. If you know your 1, 4, and 5 in any key, you can apply the concept taught here. Is there any reason why the 1, 4, 5 is difficult?

1 4 5 chord progression.😊 peace out.

@@eugenegoodwin1036 C, F, and G diminishes are not 1-4-5 progressions doofus

Noted. We’re going to work that out. Be on the lookout for it.