00:50 Didn't you mean diminished 7th chords not diminished chords? Just checking. Great lesson and good level. :-)

Ive been looking for a video like this for at least 10 years

I wrote a 16 bar blues form using E7 C#7 E7 G7 E7 Bb7 G7 E7, but the Notes F D Ab and B make up the related dim V chord substitution. It is mind expanding to play this and see what happens as you superimpose dominant chords on each other over. It can cycle through many patterns.

Thos is a good lesson. Will need to listen and practice this idea 💡

Hmm, I haven't studied Barry Harris chords, since I'm still a Nooby. I decided to really learn triads first, and only recently started on sevenths. I was using the Diminished shords to learn keyboard technique about moving into the Dominant chords. I guess I was just doing what Barry said, but I wasn't doing that on the first degree. It makes sense to lower the 1st degree by a half step, so I'll add it to my practice. All that Jazz talk is out of my pat=y grade for now, since I don't want to sound like a shitty jazz musician. I'll start thinking about jazz when I've learned more basic techniques.

Get the PDF and Guitar Pro files for every example (plus access to a bonus etude) on Patreon: www.patreon.com/NathanBortonMusicPatreon ALSO, make sure to check out the links in the description to learn these concepts from Barry himself!

Your lesson is the best in video in KZbin teaching jazz guitar 🎸🎸🎸

You are so good 👍🏽

Oh great bro thanks...I want to learn it's a very slow video please thanks 🙏🏽

I contrast this tame guitar playing with the guitar gods that have played anthems with their teeth 🦷 smashed their guitars on stage and lit them on fire.😂 🎸💥🔥🔥

Thank you!!

You play great for a lass

Nathan, what do you mean with "...use THIS language..." Where is the dictionary ?? 😃

So you take your dominant, G7, add the dim chord on the b9, Abdim7, and then from there we’re just borrowing from dominants in minor thirds. And then do ii’s on those secondary dominants? Sounds like giant steps. John Coltrane did stuff like that.

FANTASTIC, MUCHO FIESTA BROTHER!!!! 🙂💯💯💯💯

Just wonderful content as always Nathan 👍🎸 thanks so much, hope you and yours are well!

Clearest explanation of this concept I’ve seen - cheers!

You are a very smart guy.

Great job 🎉 thank you so much for sharing 🎉 Hope you are well God loves you deeply shalom 🤗🐼♥️✝️💐 Philippians 4:8

There's this chord that I don't like, I don't know what that chord is, but I just don't like it.

Nate your are a good teacher!

They are related to F major not Bb as they are Dorian Mode phrases Book has mistakes

What guitar is that?

THANKS FOR ALL

wes Montgomery learn this from John Coltrane, we all did. and why tell us the name? this is beginner superimposing

Great approach. Thanks for sharing.

Jazz.. I like it

Good stuff. I didn't understand how a G- is the two of the five of C7 circa 6:30 but this is a great example of Pass' playing style.

Always awesome👊🏻

I like that you mentioned to listen to the Joe Pass album and also listen to big band stuff playing a lot of these tunes. It’s the same concept Melody and Phil’s but if you don’t understand the music, you’re not familiar with the feel or the sound or the tunes or even the lyrics It helps to know the music that you’re trying to play you can’t listen to the Eagles and try to play swing.

I like your examples that you play to illustrate the concept they’re really probably the best i’ve seen

Pat's way of simplifying jazz improv + your easy to understand lessons make for a killer combo

Moving dominants in minor thirds was a technique used by Bela Bartok in classical music decades ago. These are referred to as Bartok Substitutions. Using this as Pat M describes and also as Barry Harris outlines in his family of dominants took this concept into jazz and leads to great lines as described in this video. This can be played on any instrument and indeed works great on sax whether you use minor language, dominant language or even a lick from a Coltrane solo extracted and developed minor thirds e.g. a Love Supreme. Absolutely essential skill for any jazz player.

Looking at this lesson again, this is great. Ill have to read the other post. But take the lesson. It provides connectivity.

When you state for Am7 for Cmaj7 isn’t that scale just A aeolian and Dm7 for G7 is D dorian and Fm7 for Dm7 are you using F dorian or F aeolian It’s a little confusing…. I’m reasonably sure Pat states D dorian over the G7 but not sure how he approaches the II chord…

At 7.06 you say Dom conversion is built off the II ( you mean II V I ) In your other lesson you say it’s built off the V ( meaning the 5th note of the Dom chord ) Not trying to be pedantic but perhaps you should stick to one description so as not to confuse the unwary…..

Hi Nathan, great lesson and thank you for sharing the link to our video series. It's very much appreciated!

Pat could make it work, but any lesson about using Martino’s minor thing like a magic wand over every chord you come across should be prefaced with a warning: it’s not gonna be exceptionally illustrative of the underlying harmony all the time. It won’t necessarily sound out, but if this is all you are relying on, you may not be able to make it sound IN when you need it to. You’ll have to overcome this problem by adjusting your playing in very specific ways that are always shifting and particular to the moment. This will require you to be a highly developed musician. These ways might include adjusting the interval (can you intentionally move off the 4th and instead hit the major 3rd when playing a memorized pattern at a very fast tempo? Do you have the ear to tell you when/why that would be a good choice?), building a motif that carries you through the enharmonic moments with the necessary momentum, or just playing through tonal ambiguity with a certain sort of bravado (Pat did all three). But still, at best your results are going to have a certain stylistic sound that may not be exactly what you’re going for. It’s not quite like playing changes in the traditional way. Otherwise, go for it. It’s definitely a great tool to have in the arsenal, but you should know what you’re embracing when you embark. A lot of people get hung up trying to make something out of this idea and find themselves stymied from the get go. It’s a unique, odd, and interesting flavor but there’s a lot more to it than “just play this minor lick and then move it around the fretboard.” Also, make sure it’s not the only trick in your bag, obviously. When I play with a guy who uses this approach as his main thing I sniff it out in the first minute or two and I’m like “zzz.” But when I play with a well-rounded player who uses it as a go-to every now and then it can sound really badass.

When you play a minor scale a half step above the V7, which minor scale pitch collection are you playing?

How does this concept work over a C6 chord?