The Ultimate Guide To Garzone's Random Triadic Approach🔥Sick Outside Language🎶Free PDF Worksheet📚

[@CharlesHarrisonMusicTuition]

My FREE 'Rethinking Jazz Guitar' course: bit.ly/RethinkingJazzGuitar

[@dkwvt13]

MANY years ago when I was studying music quite seriously I had a teacher who pushed me to go outside the boundaries of "the changes" and start to think of melodic progressions based entirely on developing intervallic relationships. Anything goes, the only rule was don't stop because you've played a "wrong" note, find a path to a resolution. This lesson has made me think of that experience, the additional structure here is handy for staying somewhat anchored. Fascinating as usual, Thank You! B-)

[@CharlesHarrisonMusicTuition]

I like this idea, Donald. Becoming comfortable with chromaticism is simply a case of becoming comfortable with chromaticism and there is no quicker root than playing anything over anything as well as diversifying our listening habits. Garzone will often end a phrase on a b2 on a major chord. Very cheeky stuff but he has the conviction to justify the note every time. Thanks for your comment as always, cheers!

[@jshackelford31]

Great tutorial

[@CharlesHarrisonMusicTuition]

Thank you very much, Garzone did all the work!!

[@tadasuyamato930]

Thank you for great information about George garzone concept. This reveals Coltranes secrets!

[@CharlesHarrisonMusicTuition]

You're most welcome. The best player to check out to really understand Coltrane is Frank Tiberi who was Garzone's teacher. Check out the album 'Tiberian Mode' there every composition is based on Coltrane changes and Garzone, Tiberi and Lovano are all on there. Absolutely killer stuff!

[@LaurenceGuitar]

Great to see you back at the vids bro!!!

[@CharlesHarrisonMusicTuition]

Good to be back! It has been weird not committing to my regular uploads... I'm going to try to keep it up now i'm feeling much better. Cheers dude ;)

[@thierrylaprevote3169]

Hi Charles, I am a french born guitarist living in Sweden. I find your work very helpful. Thank you for sharing your musical wisdom.

[@CharlesHarrisonMusicTuition]

The reach of these videos absolutely amazes me. Thank you so much for taking the time to comment, you've made my day! I really appreciate you watching. Cheers!

[@latinkeys1]

Thank you so much for this detailed explanation

[@CharlesHarrisonMusicTuition]

You're most welcome! Cheers

[@HVL1977]

Great lesson, again ! Great material ! Thanks From Brazil !

[@CharlesHarrisonMusicTuition]

Thank you very much, you can't go wrong with Garzone! Cheers

[@aeter00]

Greeeeeeaaaaat great video! Thanx for sharing!

[@CharlesHarrisonMusicTuition]

Thank you for taking the time to enjoy the content, Aeter. What are you working on at the moment? Cheers

[@roanmccormick7923]

Thanks bro!

[@CharlesHarrisonMusicTuition]

You're most welcome, I hope this was of some use to you, Roan. Cheers!

[@psychicsushizoid]

Thank you for sharing this! This is the most logical presentation of a concept I've ever seen.

[@CharlesHarrisonMusicTuition]

I'm delighted to hear that. Thank you so much for sharing your thoughts :) Cheers

[@thewoodys_surf_instrumental]

Very well explained, thanks!

[@CharlesHarrisonMusicTuition]

You're most welcome. Thanks for taking the time to comment, I really appreciate it! Cheers

[@massimosammi]

Fantastic video!

[@CharlesHarrisonMusicTuition]

Thank you very much and congratulations on your beautiful music. Very much my sort of thing!

[@massimosammi]

@@CharlesHarrisonMusicTuition thanks so much, it means a lot!

[@CharlesHarrisonMusicTuition]

Most welcome, I'll be checking in!

[@willychi9315]

Great stuff! Very useful as well and very well explained!

[@CharlesHarrisonMusicTuition]

Thanks Willy, the genius of Garzone's method is in its simplicity. A lifetime of work though! Cheers

[@pranavphx]

And he's back!!!

[@CharlesHarrisonMusicTuition]

Just about! Cheers Pranav, hope you're keeping well. Any ideas you want to discuss?

[@pranavphx]

@@CharlesHarrisonMusicTuition Not exactly a video, but i have asked this question to a lot of accomplished players, that what is it that they are actually "visualizing" when they improvise. And i meant it literally.. e. g. When your are starting out, you are literally looking at the exact fret that you are going to play and then you search for the next note and your eyes wander. I genuinely believe there's a sweet spot that the greats have. If its too far and you are looking across 10 frets, i think that's too zoomed out and if its 2 frets, it's too zoomed in. I would love to know how many frets/strings that ppl who improvise well visualize at an instance. There are of course a lot of greats that just play by ear, without even looking at the fretboard. Not sure if that made any sense at all. Sorry :)

[@pranavphx]

I haven't gotten any answer at all, they have all avoided the question completely, asking to only use an "aural" map, but this difficult for a novice like me. It will take years to develop an aural map.

[@LaurenceGuitar]

@@pranavphx Hi Pranav. That is a great question! Visualising means having a mental map of the guitar which allows us to see the notes on the fret board, just like when we start guitar we learn the pentatonic scale position 1 and we use that as a road map to improvise. This is a skill which takes a huge amount of work to build up to, however me and Charles are currently putting together a course which will go through all the fundamentals for a thorough knowledge of the fretboard. So Charles will be going into detail on that very soon on this channel. So please stick around for that and thanks very much for the support!

[@CharlesHarrisonMusicTuition]

I think you have to appreciate that the vagueness of the player's responses might be telling you more than their words alone could. Personally I am looking at a range of about 4 or 5 frets at a time across 3 or 4 strings. These generally relate to chord shapes but not always. I had to actively think about this whilst playing with your question in mind. Usually my visualisations happen subconsciously based on pre-learned patterns all of which will be in the courses but you'll find many on the channel already. These include scales in caged, 3nps and 4nps as well as chords and rotations. Don't over think it, just keep learning content and focus on merging your rhythm and lead knowledge. Hope that gets you started!

[@den_huang1270]

Really love your leasons!!

[@CharlesHarrisonMusicTuition]

Thanks for taking the time to say so. Is there anything you would like a video made about? Cheers

[@den_huang1270]

@@CharlesHarrisonMusicTuition It would be great if you do the harmonic analysis lesson about donna lee !!

[@CharlesHarrisonMusicTuition]

Certainly can do! Cheers

[@kurlyq2757]

How would you recommend practicing/applying these lines. Would you recommend the "starting triad" to be in the starting key? For example, if we're in the key of C, start with a C major triad. Or does the 1st rule/step really mean ANY triad applied to ANY key?

[@CharlesHarrisonMusicTuition]

Anything over anything! The commonalities and "randomnivity" are how Garzone justifies this approach. For example you could prepare a line that starts on an A major triad and use it over any progression in any key that you like. Play with confidence! Cheers

[@ogulkoker]

I'm curious about how this works with changes... I wish there was a transcription of a solo using this technique in the context of a standard.

[@CharlesHarrisonMusicTuition]

I used this in my arrangement of Stella which I'll link below. Garzone's courses and masterclasses are packed full with real world examples. Cheers!

[@CharlesHarrisonMusicTuition]

kzbin.info/www/bejne/qp7dk5eoor-EgdU

[@markavery6124]

Hi Charles, I recently discovered your channel and have been learning. I’m confused regarding this first example where you state the triad type and note order are fixed and the caged position is experimental. My question is with the note order; you stated that it’s all 123 or 321. Does that mean root, 3rd, 5th or 5th 3rd root? Because that’s only occurring with the C, E and Ab triads. What’s your definition of note order? Simply ascending or descending in pitch? Thanks and keep up the good work!

[@CharlesHarrisonMusicTuition]

Hi Mark, thank you for taking the time to comment. You are spot on here. Note order is not to be confused with inversion. So 123 would be CEG if you had chosen a root position major triad, however GCE is also a 123 note order if you had chosen a second inversion major triad. The caged position therefore dictates the inversion and the note order (or note permutation) simply refers to pitch highest to lowest within that current caged position inversion. I hope that clears things up. Feel free to ask away if you have any more queries! Cheers again

[@markavery6124]

Thanks Charles. You’re teaching style and subject matter is really resonating with me!

[@CharlesHarrisonMusicTuition]

@@markavery6124 That's very rewarding to hear. I try to make content on topics which I wish I would have known earlier in my own playing career, and I aim to explain it in a way I would have understood. It's great that people are enjoying the videos and I'll keep making more! Cheers again

[@ramroid]

Chris Crocco. If you want the real scoop on TCA. Chris Crocco.

[@CharlesHarrisonMusicTuition]

Definitely. Dude's an absolute animal! Lots of similarities in Frank Tiberi's playing too. So many killer players out there! Cheers

[@elkeism]

I don't understand why the diminished is asymmetrical , mistake?

[@CharlesHarrisonMusicTuition]

Not a mistake no. Symmetrical in this context means that all intervals are the same. In the diminished triad we have R to b3 which is a minor third. b3 to b5 which is a minor third. b5 to R which is a diminished 5th. So that structure contains two minor thirds and a diminished fifth. Not all the same and therefore not symmetrical. Remember we are dealing with diminished triads here and not diminished seventh arpeggios. I hope that is clear and thank you so much for taking the time to comment. Cheers!

[@elkeism]

@@CharlesHarrisonMusicTuition but those relationships repeat unlike other scales where the intervals don't. cheers back!

[@CharlesHarrisonMusicTuition]

@@elkeism this is not about scales, it's about triads. The augmented is symmetrical because every interval in it is a major 3rd. All other basic triads have a variety of intervals within then. That's all there is to it! The only relevance for this approach is that the augmented is the only triad where there is no inversions as every inversion looks the same. All other 3 triads will have a different inversion based on your choice of caged position. Don't overthink it, it's not really relevant to the method. Cheers