These are new concepts for me. Much appreciation to you and your team. I have learned more about jazz with your clear instruction, slow enough tempo to follow and play along, and the addition of tab and musical notation

Really glad to hear that! Go for it 🙂

Glad you like them!

Thank you, Vishal!

Thank you! Really great that you like the videos!

Kidding aside, this is gold!

Glad you like it 🙂

You're very welcome!

Glad you like them 🙂

You're very welcome!

Thank you! Those Yamaha guitars are great! 🙂

My pleasure!

Go for it! :)

Thanks RC!

@@JensLarsen You are welcome!

Glad you like it 🙂

Glad you like it!

Edit: listened to very end of this video and will find my answers in another video :)

There isn't one method that will give you all of these chords beyond just exploring what is possible, I just often try to come up with new chords and see what types of variations I can make. The easiest way to get to these is to see them as variations of chords you already know.

It is a great sound 🙂

Thank you! I don't really have exercises for that. Mostly it will probably be about posture?

Glad you like it 🙂

Glad you like it 🙂

Glad you like them🙂

My usual patch through the AX8 and then also the RAUM plugin from Native instruments as a bit of extra reverb. I also like that sound a lot :)

A scary version of my course with more tritones and cutting off fingers if you play a wrong note? I hadn't thought about it

@@JensLarsen Haha and don't forget to play the scary F note over Cmaj. I really consider to buy it but I am hesitate I want to use your great youtube contain in a more organiszated way.

Barry Harris's 8-tone scales are indeed a very useful, and very original idea. Essentially, it means that instead of standard diatonic chord scales, we can alternately play an inversion of chord (maj6, min6, dom7, or dom7/b5) and an inversion of the dim7 chord, consisting of the 2, 4, b6, 7 degrees of the scale. The notes of the maj6, min6, dom7 or dom7/b5 chords fit nicely in between the notes of this diminished 7th chord, and thus 8-note scales can be constructed in which every other chord is an inversion of the same chord. On the 1st, 3rd, 5th and 7th degree, you find the inversions of the original chord, whereas on the 2nd, 4th, 6th and 8th degree you find a diminished 7th chord: e.g C maj6 -> D dim7 -> C maj6/E -> F dim7 -> Cmaj6/G -> Ab dim7 -> Cmaj6/A (=Am7) -> Bdim7 -> Cmaj6. Chord scales like this sound very musical, but with the exception of the scale built around maj6 (Ionian with an added b6; a bebop major scale), they have not been recognised as "standard" scales in traditional music/jazz theory books. I think it is always fascinating to find something that sounds natural and musical despite not fitting well-established music theory concepts. Discoveries like that are important reminders that music comes first and theory tends to lag behind. However, I find that the statement that "all you need" is this system can very limiting. After all, this is just one sound (or a set of sounds), and I think it is natural for one's growth as a musician to keep exploring new sounds. For instance, well-established dominant chord sounds that contain a flat 9th (such a chords constructed from the altered -- a.k.a. Super Locrian -- scale or from the half-whole diminished scale) cannot be derived form this 4-scale system (as none of these 4 scales contain the flat 9th) and yet they are distinctive and beautiful sounds which are definitely useful to know.

@@gaborkovacs7134 Agree with much of what you say but I'll just point out that saying none of these 4 scales contain the b9 is actually inaccurate. For example, on a D7 you can use an Ebminor 6th diminished scale which brings in the b9 and raised 5. The point is those 4 scales of chords are more encompassing than you think.

@@thingsivelearnedfrombarryh2616 True. By that substitution, you can derive a scale that is equivalent to the Super Locrian scale except for the added natural 6th, which sounds fine as a passing note and adds balance to the scale: when you play the notes sequentially up and down, the heavy beats will fall on the important chord tones (b9, 3, #5, b7). Thank you pointing that out! It is interesting to see how many different ways we can think of the same music. Pat Martino, for instance, has a system that derives every chord from the dim7: e.g. you can obtain min6 by raising a note, you get dom7 by lowering a note, etc. This has always seemed a kind of twisted approach to me, but the music that he creates on the basis of such ideas is undoubtedly magnificent.

@@gaborkovacs7134 Barry looks at it similarly. But he starts with a diminished and lowers a note to get the 4 dominants and raises a note to get 4 minor 6ths. I do agree, as far as I'm concerned, the only reason to learn a Master's system is if you enjoy their playing. Barry's method is the one I choose to follow because I love his playing and his method gives you infinite ways to play pretty things. Thanks for the conversation Gabor

Play a different instrument for a while.

Unfortunately it is.