Episode 1: Relative Motion in the Ebmajor 6 Diminished Scale of Chords

[@LokeyeMC]

TILFBH sent me here and I'm so thankful!

[@TheLabyrinthofLimitations]

That's awesome! I've learned so much from that channel. Please feel free to share this with anyone who you think would like it. More to come!

[@carlospraia1242]

@@TheLabyrinthofLimitations great work brother, congrats 🎉

[@thingsivelearnedfrombarryh2616]

Beautiful brother. Extremely thorough. Barry said to me one time that the sixth diminished was made for the guitar. Beautiful examples at the end.

[@TheLabyrinthofLimitations]

Thanks so much! That's so cool that Barry said that. . . It's really true, especially when talking about all the beautiful substitutions --we guitarists are lucky. Thanks for the inspiration; I'll be looking forward to your next vid!

[@thommccarthy1139]

You hear it all over django reinhardt records. You two are legends btw thanks for being vessels for Barry's teachings.

[@HpPmL]

I like to think you're Chris from TILFBH wearing a fake beard, wig and glasses to mess with us. It makes your videos even much more enjoyable to watch.

[@TheLabyrinthofLimitations]

Ha! Maybe I am!

[@tonyfeld5403]

​@@TheLabyrinthofLimitationsbrothers in the sound.

[@jbachman01]

You briefly touch on this theory of micro tonicization through the 6/dim scale and it's something I've noticed as I've dug into the Barry Harris technique. In school I studied Schenkerian analysis where we stripped away layers of ornamentation to reveal a composition's most fundamental melodic and harmonic movement. Here it's the opposite. I feel like I keep learning new levels of "in between" notes. Most of them in passing from here to there, a brief tonicization in the sense of tension and release. Ripples in ripples of tonicization!

[@Malcolm.Y]

Finally! I sat the entire series, took a few notes - and no return to square 1 for practice. You deserve a lot of credit and gratitude for this pioneering body of work.

[@TheLabyrinthofLimitations]

That’s awesome!

[@Malcolm.Y]

@@TheLabyrinthofLimitations The second part of my comment did not post. You might like this, too. I said, you really 'paid your dues,' and put a down payment on mine, too.

[@tedbarber7663]

I have a feeling that I'll be referencing all of your videos for a long time. This is one of the best Barry Harris 6th diminished explanations I've seen. Thank you very much for including the pdfs with all your videos

[@TheLabyrinthofLimitations]

thanks, theodore! I'm glad to hear that you're finding this stuff useful. Barry Harris has given the world an immense gift with his teachings, and I'm very glad to be able to help spread the word:)

[@oneworldclub]

@@TheLabyrinthofLimitations I've been spending a LOT of time with just this Ep.01... I will be able to spend the next couple of years working through the whole lot ! Thank you for the inspiration...

[@TruthGuitar]

OMG. I dont think there is anything like this on youtube. Looking forward to more content

[@DipCMusic]

I've been following the Book since quite a while and it's such a pleasure to discover your channel and how you've managed to explain everything. I'm starting to watch every video on this channel and see how far I could go.

[@LA-cy1zj]

I am a keys player primarily and I have been translating Barry Harris' approaches onto the guitar. Your approach is wonderful and im excited to get into the rest of your material. Blessings

[@geraldmarshall22]

This video is my favorite. A quintessencial motherload of harmonic knowledge....no breaks for you Thomas!

[@TheLabyrinthofLimitations]

🙏 Thanks! It’s really cool to hear about people likening these original ones where this project started:)

[@thyggs]

Thanks for taking the time to do this.

[@TheLabyrinthofLimitations]

My pleasure! Thanks for checking it out!

[@SaltAndLight1027]

Just saw this on reddit and I’m hooked, if it wasn’t late I’d grab my guitar right now

[@rastuakzul]

I thought of pausing the video a few times but then it got more interesting so I couldn't 🤣. But I'll be pausing a lot after this to study them in detail..im so glad that u decided to do this and organising it this way with the introduction to this concept then the next topic step by step. It will help my chord melody playing a lot. Thank you so much man😊

[@TheLabyrinthofLimitations]

Thanks, rastuak! I do try to sequence everything carefully, but that can be challenging, given how much there is to cover. Glad to hear it’s coming across well for you

[@douglasstewart931]

Thanks you this kind stuff so many people don't realize that great music does not just happen but has more detail and many things to continue to learn and grow.

[@richardbeyer2862]

I've never thought of, or even heard of, the parallel, contrary or oblique. All of this is so beautiful, and understandable.

[@TheLabyrinthofLimitations]

Oh that's cool! These are concepts that are talked about in classical counterpoint texts. A big part of the idea is to create the psychological effect of different singers (or instrumentalists), and mixing the relative motions (with a strong emphasis of contrary motion) creates this effect through the independence of the lines. Glad you're finding it understandable, Richard:)

[@bubsadoozy]

Recently bought the PDFS for a few of your videos. These are ridiculously high quality and refreshingly challenging! Thanks for all your hard work -- i'm so happy I could support you!

[@TheLabyrinthofLimitations]

Thanks for the kind words! I'm so glad to hear that you're enjoying them!

[@songmule]

All good. Came via Chris. Love the conversational style. And not shrinking from complexity. Bravo!

[@TheLabyrinthofLimitations]

Thanks a lot, Dan. It was really nice of Chris to send you this way. I'm a huge fan of his channel, of course:)

[@borisgiraud4979]

Thank u so much for sharing.Tremendous work. Very interesting to have 2 chords and 8 notes to do everything !!! I encourage evryone to get the pdf !!! Really helpful. Txs again

[@TheLabyrinthofLimitations]

Thanks Boris! Yes, glad you liked the pdf. Keep up the practicing:)

[@MichaelNeverisky]

"Finger painting", very nice. I did pause and invested a couple days digesting what you have in this one video. Excellent Thomas, thanks very much. If you would consider, please, when playing a 3 or more note chord in a sequence to maybe run through the sequence with right hand arpeggios. Sometimes I loop a section to make sure I've got the voicing right - particularly when there's borrowing going on! I can hear the standard duality chords and can guess the fingering/voicing but it gets trickier when borrowed notes are involved.

[@TheLabyrinthofLimitations]

Thanks, Michael! I tried to take your advice into consideration for the newest episode I just posted. I arpeggiated chords a bit more:)

[@GS-uy4xo]

Loved this! The two of you (TIL ) are opening minds and hearts. Thank you so much!🖖🏼

[@JohnHorneGuitar]

Just discovering your channel via TILF Barry Harris. Love it and thank you for sharing.

[@YouriBotterman]

I have watched quite some lessons about Barry Harris method for guitar. Yours are unique, relevant and extend my comprehension of all these beautiful concepts. Many thanks for sharing your knowledge.

[@KS-pj8rk]

I stumbled across your site yesterday via Reddit, and through you to TILFBH. How wonderful. Thank you

[@TheLabyrinthofLimitations]

Nice! You're very welcome:) More episodes are coming out soon, so stay tuned!

[@NakulKrishna]

Amazing, was sent here by TILFBH. Your work is extensive and cohesive and structured well. Thank you for the great lesson and PDFs too, instant sub.

[@TheLabyrinthofLimitations]

Thank you! I’m having a little hiatus from filming but will be back to making new episodes soon:)

[@NakulKrishna]

@@TheLabyrinthofLimitations that’s the best part about the kind of content you make, you could take a hiatus for even longer and we’ll still have things to learn from what you’ve already uploaded. Great job!

[@belectronix]

I’m working on this stuff with a student, loved your video! Very useful stuff, thank you!!

[@duncanharrison9475]

So unbelievably grateful to you and to TILFBH for sharing your channel. Thank you so so much for doing the hard work and sharing it with us

[@TheLabyrinthofLimitations]

My pleasure, Duncan! Please feel free to share with your musician friends, if you know anyone who'd be interested:)

[@manmademoonmusic]

TIFLBH sent me here, too. Great lessons and great teaching. Thanks for your efforts !

[@jbkimber]

Mr. Echols dude!!! Huge fan, I’ve scrolled down to this first video. I’m doing my best to expose your awesomeness sir, it’ll be an honor to chat/ meet ya!!! Share some performances of yours please and thanks in advance 🙏🏾

[@TheLabyrinthofLimitations]

Hey JB! Thanks, man! Do you mean local performances? Where are you based?

[@MuñozFerreyro]

Both channels,TILFBH and this Labyrinth of Limitations, are bar none head and shoulders over all of those which, at their earnest, try to share or shed some light about Barry Harris' teachings. I bought some PDFs today. Greetings from Mexico.

[@TheLabyrinthofLimitations]

Greetings, Ramiro! Thanks fir the kind words (and pdf purchase)!

[@MuñozFerreyro]

@@TheLabyrinthofLimitations Tomas, were I to ask you for a couple of sessions via Zoom, would you be willing to? If so, what would be the fee?

[@MuñozFerreyro]

Need to get the hang of concepts so as to start arranging on my own. Study strategies and suggestions would be highly appreciated and welcome

[@tommyecho]

@@MuñozFerreyro I would be happy to! email me at [e-mail]

[@HenriDucrocq]

What an amazing content! I am a beginner on the guitar and so far I could only play a few voicings, learned from TILF. But over the last few days, because of you, I started reading the scores instead of relying on voicings and tabs, and my growth feels quasi-exponential! So grateful to you and Chris, your channels are unique and beautifully complement each other. And btw I loved how you related the Tristan chord and Messiaen to the BH ideas!

[@christiaandejong]

Interesting, great sense of humor as well!

[@gabys2]

Really excited to follow this!

[@TheLabyrinthofLimitations]

Thanks for following, Gabriel. A new episode came out today! Let me know what you think

[@consistentche3979]

Thanks so much for all these wonderful approaches, very inspiring ! I got the PDFs and I reccommend everyone to get them.! It would be amazing if you could write an etude for ex. for Autumn Leaves using these techniques. All the best.

[@TheLabyrinthofLimitations]

Thanks for recommending the PDFs, Rogelio! I've been thinking about making a series of etudes that focus in on different things. I think it'll definitely happen at some point before long!

[@letsdanceonhere]

Love your teaching style.

[@TheLabyrinthofLimitations]

Thank you!

[@davidtardio9804]

This is excellent. Just found your channel so obviously I have a lot of catching up to do!

[@TheLabyrinthofLimitations]

Welcome! I recommend starting with foundations 0 and going forward from there. You can always go back and check out these legacy episodes, but I did a reboot in February, after 4 years of workshopping how to organize this material:) kzbin.info/www/bejne/m6Kbh6qtotF9a5osi=ffouZOIbLhF_i1CE

[@davidtardio9804]

@@TheLabyrinthofLimitationswill do, thanks very much

[@vincenzodigioiasax]

Thank you very much !! I don't play guitar (I'm a saxophone player) but I'm learning a lot from this.

[@TheLabyrinthofLimitations]

That's cool to hear! If you haven't yet, you should check out "things I learned from barry harris". he goes real deep into Barry's monophonic ideas over there!

[@TheLabyrinthofLimitations]

they're all connected though; all of Barry's concepts

[@vincenzodigioiasax]

@@TheLabyrinthofLimitations yeah I know that channel, very useful too.

[@vincenzodigioiasax]

@@TheLabyrinthofLimitations of course, Barry is a master

[@DanteKimura]

Hi Thomas!!! Thanks for sharing this contend in a magnifient and clear way!!! I´ve notived that the fourth example of the harmonized melody has a F note instead of G, on the first chord. When you showed the example 23:03 you did G. Just to let you know!! Once again thanks a lot for sharing.

[@dansteinbok7955]

Great playing. Looking forward to giving this a try

[@nonretrogradable]

This is fantastic! I am studying classical and jazz - more classical these days - so in addition to the great content I appreciate your RH technique and instrument. I have books by Ben Hur and Kingstone that have introduced these concepts, and seeing you and TILF talk through and apply these concepts is invaluable. Also inspiring to one day make a KZbin channel of my own to share what I’ve learned from my teacher - Jack Cecchini. Thank you and keep this going, I’ll be tuning in each time!

[@TheLabyrinthofLimitations]

Hey thanks for sharing that, Tim! I'm so glad that you are enjoying it! Those books are cool, but I learned a lot more from barry's workshop videos and TILFBH. . . there's just so much more in Barry's concepts than has been published in anything so far. It's a whole world of ideas:) I look forward to hearing what you create one day:)

[@nonretrogradable]

@@TheLabyrinthofLimitations I've checked out the videos on youtube that I could find but they seem to be random snippets. Are there collections of his workshop videos I can purchase or access? It would be great to dive deeper like that. Thanks!

[@TheLabyrinthofLimitations]

oh yeah you can go to barryharris.com and there are some workshop videos you can purchase. They're a bit pricey, but, in lieu of going to new york and learning from the man himself, it's a good start! Those videos, other vids of barry on youtube, TILFBH. . . these are the sources I've used most to learn this stuff. I'm hoping to go to NY and attend Barry's classes once we're on the other side of this pandemic!

[@ronaskew]

I took one lesson with Jack and ran home as fast as I could, screaming all the way. I wish, now, that I had the courage to hang in there.

[@johnrothfield6126]

Great lesson!!! Lots of information. Highly recommnded

[@johnrothfield6126]

Is switching voicings motivated by the counterpoint?

[@TheLabyrinthofLimitations]

Yes it is! In this vid, we're focusing mostly on the outer voices (soprano and bass), but I'll share ways to control the middle voices in a later episode. So, yeah, I'm sharing an approach that I use where we systematically switch voicings in order to control the counterpoint between the voices. It's a lot of fun, and seems to provide endless paths of exploration:)

[@petecorey]

This is really eye opening stuff! I really like the way you're explaining it all, and the classical guitar sounds especially great.

[@TheLabyrinthofLimitations]

Thanks, Pete! Barry Harris has given us so much to work with, and I'm really happy to be able to help folks to explore these wonderful ideas. More to come!

[@grahamsteinman]

So grateful for all the work you've put into this series, Thomas

[@TheLabyrinthofLimitations]

Glad you’re enjoying it, Graham! If you have any musician friends who might find it useful, please share:)

[@lukemorgan6342]

Hey buddy! It's been years since I've talked to you. Heck, I don't even know if you remember me! Curly hair, always asking questions, never practiced? Anyway, How has life been? I'm still playing and it brought a huge grin across my face when I saw you were starting a youtube channel. Here's to more videos to come!

[@TheLabyrinthofLimitations]

Luke! It's so great to hear from you! Of course I remember you, buddy. I'm very glad to hear that you're still playing! Reading this made my day. . . Hope you find some inspiration in these videos --i'm sure you can handle all the technical aspects of the examples:) Yes, more to come!

[@piggyfly00]

Respect. Amazing work

[@TheLabyrinthofLimitations]

Thank you! Cheers!

[@drunkenmandolin]

Really great lesson! I’ve been taking lessons with Chris P. For the past year or so and it’s been quite a voyage, and I feel like we haven’t even scratched the surface. I also play a nylon string guitar and I love how the sixth diminished scale sounds on it. Thanks for the great explanation.

[@TheLabyrinthofLimitations]

So glad you liked it! Chris is awesome:)

[@aaronrodrigues3690]

Just bought the pdf and its extremely helpful! This channel is the best thing ever! Please keep making videos. 🙏

[@TheLabyrinthofLimitations]

Thank you! Definitely lots more to come. I'm doing a big performance thing (online) on the 18th, and prepping for it is keeping me a bit busy. I'll be back to a more regular episode schedule starting the week of the 19th:)

[@JefferyJMarshall]

Love you “Barry Harris” cats!! Great lesson!

[@henok58]

Another great channel ..This is a blessing ..Thank u

[@OneLeggedRapper]

Love it brother, keep it goin

[@scotmarvin8991]

Really helpful info, Thomas. Thank you!

[@CharlesHarrisonMusicTuition]

Really fantastic stuff, I really appreciate the recommendation- wonderful! Many thanks

[@TheLabyrinthofLimitations]

Thanks, Charles! I look forward to checking out more of your channel!

[@glennhenshaw7474]

This is so great. Thank you for putting this together. Just from the tools in this one video I'm making music that sounds extremely interesting.

[@reganweire5547]

This is wonderful! ❤

[@sxcaermusic]

This is really amazing content!! keep it up!!

[@TheLabyrinthofLimitations]

Thanks! There’s more to come!

[@chucknick44]

Thanks so much! Love these

[@TheLabyrinthofLimitations]

you're very welcome, Charlie! glad to hear it

[@guitarguy4372]

Thank you so much for this.

[@TheLabyrinthofLimitations]

PDF links now work! They're in the video description above:)

[@jacksonfisher2631]

Thanks you so much. Love these videso!

[@stephankramer2692]

Very beautiful! Thanks for your generosity!

[@TheLabyrinthofLimitations]

my pleasure! Stay tuned for more!

[@djekse]

Thank you, excellent work.

[@BartCub]

This is brilliant stuff. Thanks man!!

[@TheLabyrinthofLimitations]

Thank you! I just released the labyrinth of limitations app that can help you move in your explorations of this stuff. check out the newest episode for info!

[@dominiccastillo9677]

Wonderful, big thanks!

[@NahuelMusic]

wow ,thanks a lot for this incredible work!!

[@rl7034]

Thank you

[@johnrothfield6126]

Brilliant

[@TheLabyrinthofLimitations]

thanks, john! Feel free to share these if you think of anyone who might like it. More on the way!

[@stevealbertjohnston]

I like this guy:)

[@johnrothfield6126]

4:30 scale of chords

[@CrucialGuitar]

This is great! Thank you!

[@robhendriks4554]

Great lesson,

[@TheLabyrinthofLimitations]

Thanks!

[@Malcolm.Y]

What is the word/name that you use at 13:15? Chakarian(?) So, I can look this up. Also, you go on to say it is "barely" a dominant function. Would you agree that to the extent there is "jazz theory" that this has been explain as simply dominant function? That is, these diminished passing chords are basically Bb7b9, without the root? And that this is just: I-V-I-V-I?

[@TheLabyrinthofLimitations]

Good question! I wouldn't call it a an extremely surface level dominant function, though it seems to miss the real meaning. Similarly, when the melody changes to different notes, I wouldn't painstakingly label the chord as changing from, say, a triad to an "add 9" to an 11th chord or whatnot. If I play a trill on the major 3rd or 5th of a dmajor chord, I don't think of it as changing back and forth between two different harmonies. It's a "you can't see the forest for the trees" type of thing when you get to granular with your labels. With a scale of chords, the real meaning is movement, rather than chord labels. There are more stable moments and less stable moments, so there is a very surface level dominant tension, but the underlying progression is just of the main chord. schenkerian analysis discusses different structural levels in music in a way that is not unrelated to this. A schenkerian viewpoint might say that the scale of chords is a surface level prolongation, in the structural foreground, of the underlying middle ground harmony.

[@Malcolm.Y]

@@TheLabyrinthofLimitations schenkerian - Thanks. I would never have come up with that spelling. Just calling it all V-I is my way of not thinking about changing harmonies any more. I also see the points about prolongation and movement. A chart may have measure 8 with a whole note D in the melody and G7 written above, but the "jazz" is what happens in the rest of the measure. Anyway, thanks for everything.

[@michaelsiao]

the guitar instrument is made for this scale. more comfortable than the major scale. just woww!!

[@robin7794]

Hello and thank you for your work! Your elevator system is nice, and at first, it looks a bit scary but it is actually not so hard to apply and to play beautiful harmonies with it. Congratulations on your pedagogy, it is a clear system. To what extent the elevator system could be applied to traditional harmony, like in the usual major chord scale? I could notice the same typical contrary motion Unison > Third > Triad in some Ted Greene's arrangement but never could find theory or lessons about it. In particular, the Ted Greene's pdf online named "Diatonic Major Contrary Motion Progressions" has some progressions that exactly follow your elevator system on the major scale. It makes me wonder: does your elevator system exist apart from Barry Harris's 6 diminished scale of chord or is it by definition intricated with this scale?

[@johnrothfield6126]

Why not scales of chords on other scales? Major (obviously), Harmonic minor, Melodic minor (asc), Oriental modes/Ragas, 6 note scales... However Barry’s scales are very pleasing I agree

[@TheLabyrinthofLimitations]

oh there's a very important reason. While "scales of chords" have existed as a concept for centuries, a conventional chord scale produces 7 individual chords. Barry's diminished 6th scales produce only 2: the 6th chord and the diminished chord that resolves to it. This allows for a totally different, contrapuntal improvisational approach. In episode 2, I share some ways that we can apply these scales to a variety of harmonic situations. What's cool about this is that it builds into all kinds of situations (that I'll discuss in later vids) while being cohesively based on just a few core principles. It's a whole different concept, but the first step is to recognize the duality of the two chords that these scales produce, which allows us to do something very musical: create musical change while keeping some aspect static (harmonic prolongation). If I play 7th chords in a cmajor scale, I inevitably tend to imply a harmonic progression as I play, whereas I can move freely through, say, a cmajor 6th diminished scale, with all of the relative motions and moves that we're discussing here, and I haven't changed the progression (we're still prolonging a c major chord). Hope this makes sense and isn't too wordy:)

[@johnrothfield6126]

The Labyrinth of Limitations Great explanation. And to add the obvious, no parallel fifths!!

[@ledaswan5990]

@@TheLabyrinthofLimitations I feel like there’s something important here. Just not sure what to do with it.

[@doniahlfasdom4040]

I have a question, why we don’t choose drop 2&3 voicing in this topic?

[@TheLabyrinthofLimitations]

Hi Doniahl, I only just now saw your question, which is a great one. The only reason why I pass over drop 2 & 3 at this point is because I am emphasizing the contrapuntal motion between the top and bottom voices. Since a drop 3 can always provide the binding interval that you get from drop 2 & 3, I stick with that, in order to make a succinct method. Drop 2& 3 will come up later as an option. In the approach that I'm describing, even when working with inner voice motion, I am always thinking of the contrary motion sequence (what I now call "the elevator") that goes from unison to double octave, filling in notes along the way. The idea is to be able to move quickly while controlling the relative motion of the outer voices

[@doniahlfasdom4040]

The Labyrinth of Limitations thanks for responding. It will be great if you explain more about it in future episodes . Also I am not able to open the pdf file on the new episode ( episode 3). Can you please double check that as well. Thanks.

[@TheLabyrinthofLimitations]

I think that link should be fixed now, doniahl. If not, you can email me and I'll send a copy

[@doniahlfasdom4040]

The Labyrinth of Limitations It is ok now I got the pdf, thank you so much.

[@guidemeChrist]

The 6th diminished is the main dialectic of 12 tone harmony

[@ledaswan5990]

Gjytrefjjvfsdgjjgiberty jab.That’s what that sounds like to me. I wish I was smarter

[@jesseleecable]

Greetings. Question about the right hand. Are you picking drop 2/4 chord notes or strumming and muting? Thanks!

[@TheLabyrinthofLimitations]

Picking up the amount of notes I want. I don’t strum that often when doing this stuff, mainly using my classical guitar technique

[@TheLabyrinthofLimitations]

I roll chords a lot when doing this stuff though, but that’s with plucking mostly

[@jesseleecable]

Thanks for answering. Coming from a rock background, simple things can trip me up. Spent 2 days on the first exercise before I could hear the movement. But I persist.

[@thelonious-dx9vi]

I think the term "chord scale" should refer to the full-monty, horizontal/vertical matrix of the harmonized scale. Berklee kind of hijacked the term. No slight on Berklee, I think their approach is very nice, solidly rooted in the harmonic language of the 32-bar American song form. I.e. it's good for jazz. And their definition of chord scale does make sense too. After all the scale doesn't "fit" the chord; the scale *is* the chord. But I'd still keep it for the other, larger meaning.

[@TheWazwizard]

I can't figure out how to download the PDF's

[@TheLabyrinthofLimitations]

www.thomasechols.com/scores

[@TheLabyrinthofLimitations]

After purchasing them from the site, you’ll get an email with a download link that lasts 24 hours. Few free to contact me through the site if you have trouble!

[@claytonduke7628]

@@TheLabyrinthofLimitations I purchased $25 dollars of tyet? Course 4 hrs ago I have not got an email or anything yet?

[@MrRandyFlaggTDM]

great

[@OdinComposer]

Is there anyone teaching this for piano, who's an equally chill and smart dude as you?

[@pianostudentsemper]

Is there any reason in example 2 on page 1 you choose to double the 5th with the tenor voice for the drop 2 and 4 voicing for Eb6? I see the third is in parenthesis, which would "respect" the major sixth chord voicing. Just confused as to why it's in parenthesis??

[@TheLabyrinthofLimitations]

Thanks for bringing this to my attention! there is absolutely no reason for that. I've fixed it in the new pdf. I think maybe that was the result of a copy/paste from something in the rough draft? Thanks again

[@kidpoker007]

I don’t see the PDF?

[@bayoubill3561]

It's funny to me how different playing though the examples with a swing feel and an archtop sound compared to you classical. Both are great! Luckily for me I have my Rozas Available too

[@bayoubill3561]

Please do a video on Altered Dominate Chords (plus Subs for) and how they are used and applied to a ii V etc.

[@TheLabyrinthofLimitations]

Check out episode 2: subsitutions. Also, the episodes on borrowing, wholetone, octatonic, dom7b 5 diminished, dom7 diminished, and the episode on Barry's chromatic scale have various ways of approaching the dominant. I'm working on episodes that discuss the connections between these in further detail. Then go to TILFBH and check out all the episodes on using the tritone sub scale and you've got a pretty thorough use of the total chromatic in all kinds of ways. All of the chromaticisms associated with the "alt dominant" are covered, but in a way that is much more integrated/holistic, or so it seems to me

[@bayoubill3561]

@@TheLabyrinthofLimitations Thanks Thomas! I'm having to clear my mind of all the subject matter covered during my time at UNT. It's just getting in the way. The great thing about Barry's system is it offers more, it's easier to understand and apply. I was looking for subs on ii V I in major and minor. I have listed all your suggestions for further study on my to do list which makes up my daily practice routine. Thanks! btw, Have you thought of looking into quartal harmony and how it would fit into Barry's 6th Diminished system?

[@TheLabyrinthofLimitations]

I'm a big fan of learning different systems of thought, for sure. As you were saying, I think Barry's teachings are so significant and substantial that they deserve to be viewed on their own terms, without trying to combine with other concepts, at least at first. They're just so broad that I think it really pays off to give them that space. Check out those episodes for subs on ii-V-I! quartal harmony. . . I think people are usually thinking of the big stacks of 4ths like in the "so what" chord. you could view that as an instance of borrowing. you can also play parallel 5ths in a minor 6th diminished scale and get a series that goes P5, tritone, tritone, tritone, P4, tritone, tritone, tritone and is a beautiful sound. If I really want a quartal harmony kind of sound, I'm probably going to be more static, privileging the vertical, chordal aspect over the horizontal, contrapuntal aspect. If I want to create movement out of that (counterpoint in the inner voices etc), I'd prob be best advised to break it up into smaller chords to make movement with Barry's concepts. I heard barry, in a video, say "there are no big chords" and advocate for small chords because you can invert them, whereas inverting a big chord is not that impactful (view a big chord as small chords and use the elevator within a small chord and see how effective it it). so, you have to ask yourself what you're trying to accomplish. I'm not really looking at quartal harmonies a ton at this point, though I do play PLENTY of fourthy sounds in my practice. I just don't view them in that way (they are the result of movement). you can get into a "square peg through the round hole" kind of situation where you realize you are really seeking a static harmony that is big and quartal, rather than movement that privileges 4ths, though not so compulsively, if that makes sense. . .

[@bayoubill3561]

@@TheLabyrinthofLimitations I'm talking about the minor 6 scale and bulding harmony from a 4th on each note kind of thing. I'll get back to it evenually but first I have all your PDF's to work though. I've learned (relearned) the 35 chords and am on the 3rd video. Substitutions part 2. I hope the people following all this material are spending real time with it. You can't absord it in a few days. Anyway, great stuff Thomas!

[@aswinjohn1259]

What were the concepts i have to learn to understand this video?

[@TheLabyrinthofLimitations]

This channel is meant for people with some conventional understanding of harmony and standard music theory. Nothing too fancy, but understanding concepts like “tonic and dominant” are important. It’s definitely not a beginner into time music theory. In fact, this channel presents a non-conventional approach. Go to the labyrinth 0 playlist and see if that provides an on ramp that helps.

[@francescomanfredi]

Hi Doniahl, I hope I got your name right, nice to find you thanks to TILF channel! I am a songwriter and baritone ukulele player. Do you think I can get away with this method only on four strings and mainly on drop 2 chords? Do you or Tilfbh have any lesson or pdf focusing only on the top four strings? I would be very greatful

[@TheLabyrinthofLimitations]

hi francesco. My name is Thomas, but I'll answer as best as I can;) I don't know a ton about ukelele, but, when I play one, I think of the highest 4 strings of a guitar. The reentrant tuning of the Uke inverts chords, because the 3rd string is lowest sounding, but, other than that, it is the same as playing the highest 4 strings of a guitar. You could feasibly do any of the voicings that are for the highest 4 guitar strings and have good results, though the counterpoint will be changed by the inversion (and could cause a lot of odd things to happen). Follow your ear!

[@francescomanfredi]

@@TheLabyrinthofLimitations Thanks Thomas! That’s why I have also a baritone ukulele and a tenor guitar both tuned like a normal guitar, so I can follow jazz guitar lessons like yours. Anyway if you plan to make a video or pdf focusing only on the first set of four strings I will be the first to buy it! I think also for the guitar it is the easiest set of strings, at least for drop 2 chords fingerings, is it?

[@francescomanfredi]

Sorry I got your name wrong Thomas, I think I took it from the first person who commented your video :) Anyway nice to meet you!

[@TheLabyrinthofLimitations]

no prob!

[@breakfastberrito8990]

is that a modular synth behind you?

[@ВладимирЧерных-г3е]

Добрый день🙏! Какой литературой вы пользуетесь, скажите пожалуйста🤔😎🇷🇺

[@sarah78119]

😎👊

[@TheSonbroly]

Dear Sir, to be honest i dont really understand the things youre talking about. Before watching this video in a year from now, what guitar knowledge do i have to obtain to be able to follow you? Thanks a lot!

[@TheLabyrinthofLimitations]

Good question! This channel is definitely geared towards guitarists who have a certain amount of theoretical and fretboard knowledge, so it takes off pretty fast. . . the prerequisite info is not much, just essentials about chords and progressions should do (knowing what a ii-V progression is, for example). I think downloading the first pdf, checking out the episode 0's, in addition to this one, is a nice start. I recommend pausing and rewatching and just going through the examples. For this episode, if you understand what is explained at the beginning (that EbMajor 6 + D full dim 7 = the Ebmajor 6 diminished scale of chords) then you're really understanding the essential facts of this episode. Understanding that there is an "on" chord (EbMajor 6) and an "off" chord (the diminished) is the next thing to get your head around. Then you can just do the examples for ways of making pretty lines out of these facts. Then it builds in the episodes that follow, adding vocabulary and concepts. . . I don't know what your background or present knowledge is, but, if you are able to play at least some of the examples, then I'd say you're in the right place. It takes some time for all of it to come together, conceptually, I believe:) I'm available for lessons for folks who want to work from exactly where they are, so you can always send me an email if that interests you.

[@TheSonbroly]

@@TheLabyrinthofLimitations thank you very much :)

[@rrhett2119]

I am confused about how you are constructing the double octave, octave, and "partial" chords in the sequence. How are you choosing these middle voices? Are you following a rule, or simply filling in either notes from the dim chord or Maj6 chord by ear? Do you always play the same middle voice/s or do you mix it up? Also, no sure how I construct the third step (triad) when starting on the 5th. 5(unison) -> #5-4(third) -> 6-?-3(triad). The 5th? As in (Bb) G (index on 8th fret)-F(middle on 10th fret)-D(pinky on 12th fret)?

[@TheLabyrinthofLimitations]

Good questions! with regards to the octave and and "shell" chord (3 notes with one of the middle notes omitted) I practice these types of structures in parallel motion, alternating between one note and the next until I feel equally comfortable with either option. In movement, I choose the note in the middle based off of two things: technical ease (depending on how fast I'm going) and the musical line created by the inner voice. With this second aspect of musicality, I find that practicing dyads in the way that I've described in the "little labyrinth" series to be REALLY helpful with regards to triads, don't forget that each voicing, at this point, is EITHER the main chord or the diminished chord (not a blend of the two) so a triad from the 5th of an Eflat major 6 chord could be Bflat on the 4th string, C on the 3rd string, E flat on the 2nd string. A lot of these sorts of details are covered in the pdf, if you haven't checked that out yet. hope these descriptions helped!

[@TheLabyrinthofLimitations]

thought of a couple more things. . . with the double octave chord, for me, it's a bit more organic. When you're getting used to it, I would just pick a voicing that you commit to --the top 3 notes (or strings 4 3 and 1) of a drop 2 plus a bass note work well. Just speaking from my experience: once you've gotten really familiar with the elevator (including parallel motion on each "floor") and are also familiar with the dyads elevator, borrowing, subset/superset concepts etc chords start to kind of disappear and it just becomes movement. I would think anyone who gets to a point where they can do each floor of the elevator in parallel up and down the neck would be able to assemble "mixed" chords pretty readily (the double octave being a spot for that

[@kidpoker007]

I only see 1 PDF?

[@tommyecho]

There is one pdf for this episode

[@kidpoker007]

@@tommyecho ty

[@kidpoker007]

Did Joe pass use this concept, I know he played a lot of subs

[@oliverfranks1983]

That Eb6 and Ebm6 at the fifth position are too uncomfortable to play, for me anyway. The stretch is too much.

[@TheLabyrinthofLimitations]

Play smaller “floors” of the elevator. Check out today’s “Foundarions” series for a good starting point (and a big pdf)

[@mikegeld1280]

Geez ,smh,30 min!? to try and explain this,seriously, it really shouldn't take that long to lay this theory out,(alot of unnecessary talking) 👎i couldn't even get past 4 min,fullstop

[@TheLabyrinthofLimitations]

kzbin.info/www/bejne/eHbbl6ZrpZ2Nfbssi=JEezI5qfNmV4DCb0

[@mikegeld1280]

@@TheLabyrinthofLimitations geez,man ur really not that good at this,looks like another vanity content, I couldn't learn one thing from ur stuff except for what not to do when making a guitar vid,smh