@@corinnerichardson.6673 yeah, I hope that's not something I have to get used to. Honestly I would prefer never be on camera and just have graphics and animation. But that's more work.

He's a beautiful being AND plays with flow.

@@hermancharlesserrano1489 would love to have you join the discord server.

@@christopherparsons3224 hey, thanks so much for the comment. I do think rhythm and timing is a super important aspect of playing a movement well. That's true. Also thanks for saying that about my playing. That's what I strive to do. I'm still working on it though and making progress slowly but surely. I also relate to what you said about too many possibilities. In more ways than one, i can relate to that. As a guitar player especially. One thing I think it's useful to do is just get acquainted with CERTAIN sound that you particularly like. Maybe just a couple movements that you really dig, and get a handle on those first before trying to practice a bunch of others. So for example, piercing might be one, and then maybe using a major key a half step below or above to move somewhere. For example, if I'm playing in the key of C, and there's a 2 chord coming up, I've been really liking the sound of B major scale, to move into that D-7. Since you're a vocalist, maybe it's not so important to know the absolute pitches, but be able to audiate and sing the sounds that create that movement. It's important for instrumentalists to be able to sing and audiate too. Otherwise we run the risk of sounding like gibberish like you said. So thanks for that reminder!

​@@TheTonomancer, the one advantage of being able to sing along with what you are playing is that you can carry the important tones with your voice, that maybe you might miss on guitar, or are burdened to play, such as making the root of the chord or scale ring out, while you attempt to embellish. I also find it helpful to have all of the notes you'd like to hit, there to create the harmony you are after, or to help you carry a run vocally, that maybe your voice doesn't have time to accentuate well. I find I struggle from time to time, honing in on a note, most likely to not being relaxed enough or a bit out of breath. Hearing the instrument helps to smooth over the imperfections hamonically, making them sound more like the effect of vibrato or slurs, rather than how an acapella singer might sound, simply being pitchy or off key.

@@christopherparsons3224 that's actually a good excercise. I'm gonna try that

@@rocket117 wow that means soooooo much to hear that. For a long time, I was in the same boat. I had to study a lot, listen a lot. And try to hear and see how these things were applied in music because the stuff that KZfaq videos show on Barry's teachings often are not in depth enough. Like I said in the beginning, I wanna make the kind of resources I wish I had to help make sense of Barry's teachings (and other concepts too). So I'm really glad you got something out of this!

It's totally possible that when Barry said movement, he meant dominant to tonic. But I dont believe that's true. But maybe more importantly, what I'm getting at in this video is DEFINITELY not dominant to tonic resolution. It's much more than that. I try to make that point several times in the video.

Hey one thing to add to this, regarding the full dim having a note flattened to make a Dominant7 chord or raised to create a minor6, THIS HAPPENS WITH THE DIMINISHED SCALE TOO! The minor 6th dim scale is only one note different from the full Diminshed scale by exactly this movement too. Same with the dominant scale. These are all just one note different from the full diminihsed scale.

@@Kosmo999 fascinating

When Barry says theres no ii, he's not talking about the fact that minor 7 cords are just major 6 chords. He's saying that when you play over a ii-V, you can just lump them together and consider the whole ii-V as just a V. When he thought about what scales to use over a ii-V-I, he would group the ii-V together and just consider it a V leading to a I. So typically if you were playing a ii-V-I in C, you might just think melodically in terms of the C major scale for the whole thing, but if you just play a tonic C major lick over a ii-V the chord tones won't line up. So instead you might think in terms of D dorian, then G mixolydian, then C major, so that you can use licks and movements that line up with the chord tones of each chord. Barry on the other hand would just think in terms of G mixolydian for the whole ii-V, and then C major for the I. The reason he did this is because even if you play G7 chord tones over a D minor (ii) chord, it sounds fine and just flows more naturally into the G7 (V). So basically instead of targeting D minor chord tones over the ii, then G7 chord tones over the V, then C major chord tones on the I, he would simplify it to targeting G7 chord tones over the whole ii-V and then targeting C maj chord tones on the I. That is my understanding of his "no such thing as a ii" idea. He got this idea no doubt by studying what Charlie Parker and Bud Powell did.

@@Ambidextroid technically the dominant-diminished scale (what you call mixolidian) contains a diminished for the two. If you're in the C-scale, there is a Dminor 6 at the fifth of Gdominant-diminished which is the 5th of C. So, it's all functional dominant - tonic harmony.

Thanks! I really appreciate that. And hope to make more videos like this

Thanks so much! I'm glad you liked it.

No problem, glad to help!

@@growskull I appreciate that so much. Glad you think so 🙏🏽 I put a lot of thought into this stuff!

@@LBNLDC1 Barry was and is an inspiration to so many people. I really appreciated his dedication to the tradition and his commitment to educating us. I never got to meet him and I'm the poorer for it. But he lives on because so many are still learning from him all the time. Me included.

The paths are some of my favorite ways to think about diminished chords. Through how they move. 🙌🏽

@@willlicks8584 well to be fair, this is not a conventional approach. So it's ok you feel like that. But, it all comes with study, application, and time.

Or, this could be a way of offering up information so that people can interpret and assimilate however much of this way of understanding into their own as they like.

@@JXter_ like all experiences..........

@@KennyLauderdale i don't think so. I mean they aren't really gonna teach you none of this in a theory class. Definitely not in this way.

DUUUUDE YESS. thanks for commenting. There's soooo many videos about 8 note scales that I wanna do. By 10 chords do you mean the 10 chord forms? Like digital patterns within 8 note scales. Of which there are 10.

@@TheTonomancer Yeah you should…there’s a way of thinking that, in my opinion, gets excluded. And there’s a TON of stuff I’ve never heard anyone go over. (I thought of doing some myself) I’m not sure if we’re talking about the same thing or not. I’d love to compare notes. I’m talking about the 10 chords that make all 8 note scales. Barry used half of them. Are you talking about this? x.x.x.x. (xxxx|....) x...|xxx. (X..x(x)x..X) .xxx|...x xx(.x|x.).. xx.(x.)x.. x.x.|.x.x xx..xx.. ..(x.x.)xx

@@brynrbrtsare you meaning the 10 four note chords that don’t contain semitones? Maj6 Min6 Dom7 Dom7b5 Maj add9 Min add11 Dom7#5 Dom9 (no fifth) Diminished Maj6sus2 ?

I think Tonomancy is refering to the fact with any 8 note scale, theres 70 four note chords, that fit neatly into unique 10 chord scales. Every 8 note scale has 10 chord scales attached

@@brynrbrts some of your comment makes me think we maybe aren't taking any the same thing. But your tab things at the end make me think we might be.

@@marclaflamme2514 what I'm talking about is diminished movement. In this video I go over 3 types. To me it doesn't make much of a difference whether someone classifies them as types of "approach chords". As long as they understand that I'm talking about 3 different types of ways you can move to a chord using diminished notes.

It's definitely the camera, I play right handed. Glad you liked the lesson, man 🙏🏽

😅 I'll try extra hard not to show myself on screen so much next time

You are an old white man no?

My thoughts exactly!

They must hit the like bruh 😂😂

I have no idea how to tell 😅

@@critical9999 yeah, I think you are understanding correctly. If you are playing a solo, you can use a scale, then diminished move, then another scale. Maybe it can even be the same scale that you started with. The diminished move can be used to add variety to your solo. If you join my discord, maybe I can explain a bit better for you. But if you watch my other videos, it could also help you understand

@@TheTonomancer Ohh icic I really got inspired by how you teach just like barry harry back then... and of course the quality of the contents as well great.. is there a link to the your discord thanks

@@dennismurphy3659 you can check out the diminished playlist on my channel to see them explained more. But if you have better names I'm open to using those instead. And i mean that sincerely. I often say that in my videos. It's another part of why i started the channel. I'm only one person, and sometimes i can't come up with a good analogy, that works with a concepts and yields good terms.

​@@TheTonomancerif your musical descriptions are idiomatic and consistent then it isn't dumb. At the end of the day we all need to understand music on our own terms

Sure, it's perfectly fine for you have idiosyncrasies. I was just put off by them.

@@dennismurphy3659 that's understandable. Can I ask what you would call "body" for example? Or what you would call "perch"?

@@franciscoaragao5398 I'm showing simple examples of the same 3 movements, so it makes sense that they sound similar.

@@hugovandermeer1566 hey, sorry you think it's clickbait. I know the intro was a bit long. But I'm open to hearing why do you think it's clickbait?

I actually left out a section of the script talking about how I felt that a lot of people use Barry's name and image as clickbait so I take your comment seriously. And I would actually like to know your thoughts. I'm being sincere when I say that. Because that's not the impression I want to give.

⁠@@TheTonomancerPlease don’t allow the negative comments of others to detract from the conversation that you’re trying to have with the rest of us here. The only rubbish is idiotic, and negative comments like the one above. Please disregard things that interfere with your dialogue. This is really good, and useful information. I for one really appreciate it. Thank you for posting. Sincerely. Rain 🌱🙏🏻

@@rainchaser5389 really appreciate that, rain! I know there are a couple people out there who are unwarrantedly mean spirited, and have an odd resentment toward me for what I'm doing. It's really weird. I can't explain it. Not saying this guy is one of them. But I know they exist. Thank you saying that though. I'll try not to pay too much attention to negativity. Peace ✌🏽