Holy smokes! This is EXACTLY what I've been looking for! I'm not even playing guitar: I'm a piano player but this explanation of jazz theory is outstanding. Very clear and really straight forward! I could watch this content every day HAPPILY! Thank you so much!
Great lesson....as a jazz-fusion guitarist myself I always look for new ways to learn and incorporate these notions constructively into my playing. Personally, I noticed that the more you adopt chord substitutions, the further away you get from the "feel" you're trying to express with a chord progression you come up with (so, not necessarily the typical 1,6,2,5), BUT at the same time, being an avid Pat Metheny fan for over 40 years, I couldn't help but noticing the way he uses substitutions in different renditions of his own songs, STILL managing to maintain the overall meaning of the message or the atmosphere of the piece he's playing. I suppose my point is YES, do use chord subs, but be careful on how to use them, try to not abuse them, as I notice some jazz-fusion musicians do, just for the sake of "Hey look how good and articulate I am!".... 🙂
Like "AnotherAnonymous" I am also not a guitar player, but this is a great summary of chord substitutions in only 13 minutes! You make it all sound easy!
It's so nice to hear this and understand everything you are talking about. This all sinks in after a while. Very different from when I first started watching all these videos online.
Trumpet player trying to understand what’s going on when I hear “good comping” love this video. Keep making educational content like this. I can’t wait to watch more of your videos
I feel like a lot of these chord substitution don’t need to entirely replace the chords. Mainly because the chord progression you used to work on was simple for the sake of explaining but like you could keep the chord the same for the first two beats and then sub them for the last two beats of a measure. For example I think in bar two you could do two beats of Am7 and two beats of A7 which both utilized the secondary dominant but also the chromatic motion of the third going from C to C# to finally D as the home.
I dont know about total beginners, but for me, as somebody who has mostly studied classical theory and not much jazz theory, you made it make so much sense to me.
Great lesson! Will help greatly in my effort to analyze jazz standards, which I always find important. One small point: was at first confused by your use of "substitute for".... so for example, in describing a tritone substitution, the tritone chord substitutes for the V chord, not the other way around.
One of my favorite subs that I've come across is the iv subbed for the V. The new progression for example would be Dmin7-Fmin7-C∆. Playing melodic minor over the V into the I sounds so cool!
Well done mate. It is a relief to see young people demystifying this stuff for the generations to come. Very clear and concise information. Thanks you got me subscribed.
The question is: do you still improvise diatonically over the substitutions (as if they weren't there basically) or are you now forced to improvise on the new changes? and, conversely, can you use substitute arpeggios to improvise over a I vi ii V?
Thanks for pointing this out! On the music the 2 and 5 are four beats, but I play them two beats. Typically that chord progression would have them two beats long like I played it. But all could be four beats as well
@@Learnjazzstandards the problem with this explanation is that, if you do not maintain the common ground of “4 bars of music” … you’re not actually practicing chord substitution. You have to maintain form and time feel. Let’s get that straight!
It would be interesting to talk about how substitutions work with the other instruments, particularly the bass. The diatonic substitution in the first example seems straightforward. If the bass still treats that bar as Cmaj7, playing Emin7 over Cmaj7 just turns it into Cmaj9. For some of the other substitutions, though, it seems you would need to plan ahead, hope the other musicians have very big ears, or enjoy some very spicy sounds.
I love chords and the subs. However I have a hard time understanding how the subs are done. While your demo helps put it in use I don't have a solid idea of how to choose the right subs. I have to let the music and sound guide me to what's right.
djspexx1, He was treating the Bb7 chord as if “IT” was a 5 (V). And counting backwards from the Bb [5 or V7], 5 to the 4 is one step down Ab [4 or IV], 4 to the 3 is a half step down, G [3 or iii min], 3 to the 2 is one step down “F” [2 or ii min]. Adding the minor 7 note to Fmin, he gets “Fmin7” (2) - Bb7 (5).
9:46 Why is the Bb7 the secondary dominant of Cmaj7? isnt it a back door dominant? and why the Fmin7 is the ii chord?? isnt Fmin7 the V of Bb7?? I dont get it.
Would this apply to big band songs? Also, is there a limit to substitutions? I feel that if I use too much it might get comments in regard to changing the sound of the song too much.
4:12 I am a bit confused by the statement that A7 tonicizes Dmin7 by being the V chord for the Dmin key center. Diatonic chords in the key of Dmin are: Dmin7-Emin7b5-Fmaj7-Gmin7-Amin7-Bbmaj7-C7 So the Amin7 as the fifth of the Dmin key should already provide a tonic feel for Dmin7. Wouldn't A7 tonicize a Dmaj7 chord instead? What am I missing here? I would very much like to understand this.
At 9:45 you called the Fmin7 a “two” but what is that in relation to? It’s the iv to the C and the v to the Bb right? It would be a ii to an Eb but there isn’t one
it's a ii7(two) in relation to the Eb tonality that Bb7 is borrowed from. The Bb7 resolves to a different place (C), but we connect the F-7 to the Bb7 because they share a key. We could call the F-7 the iv of C in the same way we could call call Bb7 the bVII7 of C, but it' easier to think of it as a ii7-V7 in the new key (Eb) which we momentarily drift into.
Something occurred at 2:30 that I do not understand. Can you kindly explain how and why you substituted a Aminor7th with a Eminor7th ? What was the process for choosing the Eminor7th ? Is there a formula or something?
They’re essentially the same. Notice how 3/4 of the notes in the 2 chord are also in the 4 chord. I believe in classical music theory both are considered “predominant” chords because they anticipate the 5 dominant chord. They basically are different ways of achieving the same harmonic function.
Please, when you teach a concept that's already difficult to grasp, don't play a different chord from what you're saying. At tritone substitution you say you sub G7 for Bb7 but I can definitely hear an Eb note. Same with Eb7 for A7 chord, an F note.
I still don't get what "dominant chord" stands for. That it's not in minor? Something with the septima. We don't use the term "dominant chord" in my language.
A dominant chord has a tritone (sharp 4/flat 5 interval) that ‘requires’ a resolution. The resolution (note movement) either contracts to a 3rd or expands to a 6th.
@@Osnosis Are these 3rd and 6th in relation to the lower note of the tritone interval? Or to the lowest ("bass") note of the chord? I'm really confused here!
@@herrbonk3635 the tritone is created by the interval between the 3rd and 7th of a dominant chord (you can have it in other complex chords, but that’s a separate topic). E.g. E and Bb on a C7. The E resolves to the F, and the Bb to the A (root and 3rd of resolution chord). The tritone sub is F#7, where the E is the 7th and the Bb is the 3rd. That resolves by EXPANDING to the F and A, which is the inverted 3rd interval, I.e. a 6th. I hope this helps.
Yeah, he just gives the feel, and didn't play the notation. I do that when I'm learning something new or making a song; Even when describing to someone else.
Such valuable information! Question: when improvising over the various substitutions how does it sound when you play lines that relate to the original, non-substitution chord?
Spicy 😊. Seriously, though, you should just try it and hear with your own ears. You could start with a very simple example that illustrates the emphasis on different chord tones. E.g., in Brent's example, you could just play do, re, mi (C, D, E) over each chord of the I vi ii V progression and listen to how different chord tones are emphasized depending on the chord being played. E.g., on the ii chord (Dmin7), the 7 and 9 are emphasized which adds more color/tension than when playing the same notes over the C chord. It gets more complex, of course, when you play non-diatonic harmony, but you could try a similar exercise with a more complex progression. A lot of it is determined by the harmony you want to imply, and skilled improvisors take into account the harmony of phrases rather than of just a single chord.
enjoyed this, but it didn't quite go far enough. For example - you didn't really explain *why* the emin7 could sub for the amin7 in your first example. You just said it was 'popular' but it would be better to know *why*. Then the viewer could find the subs on their own. But well done.
What is Bb7 the secondary dominant of? It looks like this was borrowed from the relative minor using the Eb as your reference note to get the Fmin7 to the Bb7. Is this the way to think of it?
Absolutely amazing lesson dude! Thanks so much, you are really the best! It would be very useful when you also show a freeboard graphic with the chords you are using 💜
People without a strong theory base cannot realistically hope to take jazz instruction. And your blitz theory vid is a waste. If you as a teacher have this much material to cover, assume your student knows theory; leave out the Theory for Dummies commentary e.g. “what is a tritone away from A?”
The example you use for the first type, diatonic substitution, is a iii7 chord, but the following chord is a vi chord. So really, this is identical to the second kind of substitution, since E is the dominant fifth of A right? I think you mean to say that we could substitute ANY diatonic chord for any of the others and this would be an example of it, but it is a bit confusing since the chord you picked ends up doing nothing more than the retonicizing substitution would.
I honestly feel a little cheated... The whole reason I clicked was to check out the substitutions in the thumbnail, but it has nothing to do with any of the substitutions mentionned in the video. If someone understands the G7alt replacing F7, please enlighten me...
Holy smokes! This is EXACTLY what I've been looking for!
I'm not even playing guitar: I'm a piano player but this explanation of jazz theory is outstanding. Very clear and really straight forward! I could watch this content every day HAPPILY!
Thank you so much!
Thank you!
Great lesson....as a jazz-fusion guitarist myself I always look for new ways to learn and incorporate these notions constructively into my playing. Personally, I noticed that the more you adopt chord substitutions, the further away you get from the "feel" you're trying to express with a chord progression you come up with (so, not necessarily the typical 1,6,2,5), BUT at the same time, being an avid Pat Metheny fan for over 40 years, I couldn't help but noticing the way he uses substitutions in different renditions of his own songs, STILL managing to maintain the overall meaning of the message or the atmosphere of the piece he's playing. I suppose my point is YES, do use chord subs, but be careful on how to use them, try to not abuse them, as I notice some jazz-fusion musicians do, just for the sake of "Hey look how good and articulate I am!".... 🙂
you're videos are the best and clearest on these subjects, thank you!!
Wow, thank you!
i have heard this explained to me for 30 years. Your explanation is the best that i have heard yet, very informative. Thank you.
Wonderful!
Like "AnotherAnonymous" I am also not a guitar player, but this is a great summary of chord substitutions in only 13 minutes! You make it all sound easy!
Thanks!
It's so nice to hear this and understand everything you are talking about. This all sinks in after a while. Very different from when I first started watching all these videos online.
THANKS! Don't worry about going too fast or whatever. We can back it up and watch again what we didn't get the 1st time.
GREAT lesson! Thanks, again!
Trumpet player trying to understand what’s going on when I hear “good comping” love this video. Keep making educational content like this. I can’t wait to watch more of your videos
I feel like a lot of these chord substitution don’t need to entirely replace the chords. Mainly because the chord progression you used to work on was simple for the sake of explaining but like you could keep the chord the same for the first two beats and then sub them for the last two beats of a measure. For example I think in bar two you could do two beats of Am7 and two beats of A7 which both utilized the secondary dominant but also the chromatic motion of the third going from C to C# to finally D as the home.
I dont know about total beginners, but for me, as somebody who has mostly studied classical theory and not much jazz theory, you made it make so much sense to me.
Great lesson, Brent! Very concise and clear - thanks for posting this 👍🏻
Thank you, Donna!
This is why I love jazz. The creative potential is insane
Great lesson! Will help greatly in my effort to analyze jazz standards, which I always find important. One small point: was at first confused by your use of "substitute for".... so for example, in describing a tritone substitution, the tritone chord substitutes for the V chord, not the other way around.
One of my favorite subs that I've come across is the iv subbed for the V. The new progression for example would be Dmin7-Fmin7-C∆. Playing melodic minor over the V into the I sounds so cool!
This is the first time I understand all of these concepts so easily ✊
Excellent excellent excellent, one of the most helpful videos in my jazz guitar education I have found so far thank you.
Glad it was helpful, thank you!
great item, nicely compact and concise. without it becoming messy or unclear. well done and thanx!
Well done mate. It is a relief to see young people demystifying this stuff for the generations to come. Very clear and concise information. Thanks you got me subscribed.
Much appreciated
Great video. Explanations are very clear and concise! 👌
Glad you liked it. Thanks!
that's a great lesson. you got a new subscriber.
Thank you!
An amazing video.
This is amazing. I'm learning jazz guitar now. The big issue is getting this stuff into my brain. Being able to identify things on the fly.
Thank You much, Great Lesson, will applying, ❤❤❤❤❤
Wow 😮 and thankyou so much for this simpliest yet effective ideas. Really appreciate. Lots of thankssss from India❤❤❤
My pleasure 😊
The question is: do you still improvise diatonically over the substitutions (as if they weren't there basically) or are you now forced to improvise on the new changes? and, conversely, can you use substitute arpeggios to improvise over a I vi ii V?
As long as you resolve/land on a chord tone in the progression, you’re good.
you work with the new progression.
Where is the explanation of the Autumn Leaves chord subs in the thumbnail? They are very interesting.
Thnx mr master
Cool. Just a catch detail. On the 1 4 3m 6m 2m 5 you gave them all the same time value. The 2m 5 should’ve been twice as long.
Thanks for pointing this out! On the music the 2 and 5 are four beats, but I play them two beats. Typically that chord progression would have them two beats long like I played it. But all could be four beats as well
Hmm, you’re substituting over a 4 bar phrase so I would think you’d want it to remain a 4 bar phrase. All good, though
@@vicormule735I found one!
Noticed it too , but I suppose he was just showing us the chords there, and not how to play them in time.
@@Learnjazzstandards the problem with this explanation is that, if you do not maintain the common ground of “4 bars of music” … you’re not actually practicing chord substitution. You have to maintain form and time feel. Let’s get that straight!
Amazing video, thank you so much!!
Glad you like it!
this vidio convert complex data to not complex data
very good leasson
Thanks!
Thanks so much!
this is really good!! thank you for this video
It would be interesting to talk about how substitutions work with the other instruments, particularly the bass.
The diatonic substitution in the first example seems straightforward. If the bass still treats that bar as Cmaj7, playing Emin7 over Cmaj7 just turns it into Cmaj9.
For some of the other substitutions, though, it seems you would need to plan ahead, hope the other musicians have very big ears, or enjoy some very spicy sounds.
This video reminds of that song from McDonald’s. Because IM LOVING IT!
wow this was super super useful and clear, thanks a lot :)
감사합니다. 많이 배워 갑니다.^^
Great review!
I'm still a noob with music theory, but this was such a great explanation
Jerry Coker Jazz improvisation. The real bible of understanding jazz chords and more.
You say Bb7 is the secondary dominant. But of what? Also how is Fmin7 a two?
Thanks!
What is the guitar you use in the video?
It’s a custom Victor Baker
Very good sir!
Thanks!
God bless tritone subs there is the jazz core❤
I'm in need of an advice, how to not mind to intensive hands waiving?
Dude! It was fucking brilliant and of a great use!
I love chords and the subs. However I have a hard time understanding how the subs are done. While your demo helps put it in use I don't have a solid idea of how to choose the right subs. I have to let the music and sound guide me to what's right.
Hi , how come Fmin7 a two? In the backdoor dominant example?
djspexx1, He was treating the Bb7 chord as if “IT” was a 5 (V).
And counting backwards from the Bb [5 or V7],
5 to the 4 is one step down Ab [4 or IV],
4 to the 3 is a half step down, G [3 or iii min],
3 to the 2 is one step down “F” [2 or ii min].
Adding the minor 7 note to Fmin,
he gets “Fmin7” (2) - Bb7 (5).
9:46 Why is the Bb7 the secondary dominant of Cmaj7? isnt it a back door dominant? and why the Fmin7 is the ii chord?? isnt Fmin7 the V of Bb7?? I dont get it.
👍👍 it's good for kids
Would this apply to big band songs? Also, is there a limit to substitutions? I feel that if I use too much it might get comments in regard to changing the sound of the song too much.
4:12 I am a bit confused by the statement that A7 tonicizes Dmin7 by being the V chord for the Dmin key center.
Diatonic chords in the key of Dmin are:
Dmin7-Emin7b5-Fmaj7-Gmin7-Amin7-Bbmaj7-C7
So the Amin7 as the fifth of the Dmin key should already provide a tonic feel for Dmin7.
Wouldn't A7 tonicize a Dmaj7 chord instead?
What am I missing here? I would very much like to understand this.
Nice victor baker
Thank you!
great thx so understandable.... let's substiute
Glad you found it helpful!
Mostly I say, it’s for easier transitions with guitar chord shapes
6:40
At 9:45 you called the Fmin7 a “two” but what is that in relation to? It’s the iv to the C and the v to the Bb right? It would be a ii to an Eb but there isn’t one
it's a ii7(two) in relation to the Eb tonality that Bb7 is borrowed from. The Bb7 resolves to a different place (C), but we connect the F-7 to the Bb7 because they share a key. We could call the F-7 the iv of C in the same way we could call call Bb7 the bVII7 of C, but it' easier to think of it as a ii7-V7 in the new key (Eb) which we momentarily drift into.
It’s in relation to deez nuts.
Something occurred at 2:30 that I do not understand. Can you kindly explain how and why you substituted a Aminor7th with a Eminor7th ? What was the process for choosing the Eminor7th ? Is there a formula or something?
The Em7 is the 3rd diatonic chord to C. He basically just says you can substitute the 3 chord for the 6 chord.
Or you can think of it as the Secondary dominant of A, but in this case just a substitute dominant, with a m7
Omg what guitar is that?
can i treat this progression 1-6-4-5 same meaning as this 1-6-2-5 for further development？or 1-6-4-5 is another jazz chord theory？
They’re essentially the same. Notice how 3/4 of the notes in the 2 chord are also in the 4 chord. I believe in classical music theory both are considered “predominant” chords because they anticipate the 5 dominant chord. They basically are different ways of achieving the same harmonic function.
i like your guitar what kind is it?
Thank you! It's a custom-made Victor Baker. You can find the details in this video:
ruclips.net/video/ym2XbAVD9Ec/видео.html
9:55 not sure why the Fm7 is a 2?
Does he mean the Bb7 is acting as a 5, therefore making the Fm7 its 2 chord?
Please, when you teach a concept that's already difficult to grasp, don't play a different chord from what you're saying. At tritone substitution you say you sub G7 for Bb7 but I can definitely hear an Eb note. Same with Eb7 for A7 chord, an F note.
All i want now is to eat a sub
I still don't get what "dominant chord" stands for. That it's not in minor? Something with the septima. We don't use the term "dominant chord" in my language.
A dominant chord has a tritone (sharp 4/flat 5 interval) that ‘requires’ a resolution. The resolution (note movement) either contracts to a 3rd or expands to a 6th.
@@Osnosis Thanks! So Cmaj7 is a dominant chord? It has a tritone interval between F and H (or B as I think you call it).
@@Osnosis Are these 3rd and 6th in relation to the lower note of the tritone interval? Or to the lowest ("bass") note of the chord? I'm really confused here!
@@herrbonk3635 the tritone is created by the interval between the 3rd and 7th of a dominant chord (you can have it in other complex chords, but that’s a separate topic). E.g. E and Bb on a C7. The E resolves to the F, and the Bb to the A (root and 3rd of resolution chord). The tritone sub is F#7, where the E is the 7th and the Bb is the 3rd. That resolves by EXPANDING to the F and A, which is the inverted 3rd interval, I.e. a 6th. I hope this helps.
@@herrbonk3635 no, Cmaj7 has no tritone - F is not in the chord. You need a Bb (H flat) to get the tritone interval.
Yeah, he just gives the feel, and didn't play the notation. I do that when I'm learning something new or making a song; Even when describing to someone else.
will I ever understand this idk
Sub out “ “substitute out” are not correct terminology , especially when you use it to refer to a chord being used as a sub. Conducive to confusion.
Thanks not to say “buy”
FANTASTIC lesson. Thanks. Bill Evans did these sort of substitutions SOOOOO cleverly.. subtly and aesthetically. THank you for this lesson.
Glad you enjoyed it! Bill Evans was a master at this
this is not jazz theory this is just music theory
Really helpful. This sums up 4-5 different concepts that help been perpetually confusing to me. Thx!!
I would not have had the chance to learn this. I'm 72 and it's the first time
I've gotten it. Thanks for the guidance.
Such valuable information! Question: when improvising over the various substitutions how does it sound when you play lines that relate to the original, non-substitution chord?
Spicy 😊. Seriously, though, you should just try it and hear with your own ears. You could start with a very simple example that illustrates the emphasis on different chord tones. E.g., in Brent's example, you could just play do, re, mi (C, D, E) over each chord of the I vi ii V progression and listen to how different chord tones are emphasized depending on the chord being played. E.g., on the ii chord (Dmin7), the 7 and 9 are emphasized which adds more color/tension than when playing the same notes over the C chord. It gets more complex, of course, when you play non-diatonic harmony, but you could try a similar exercise with a more complex progression.
A lot of it is determined by the harmony you want to imply, and skilled improvisors take into account the harmony of phrases rather than of just a single chord.
Very clear, thanks
You are welcome!
Can you help me understand in the last part of backdoor dominants, I don't catch why Fmin7 is II of any chord. I'm no expert in theory.
enjoyed this, but it didn't quite go far enough. For example - you didn't really explain *why* the emin7 could sub for the amin7 in your first example. You just said it was 'popular' but it would be better to know *why*. Then the viewer could find the subs on their own. But well done.
Really helpful video! Easy to understand if you've got some theory knowledge, otherwise you might have to check out his basics videos.
A very neat summation of common jazz/blues chord substitutions! It takes me a lot longer to go through these concepts with my students!
Yo that back door dominant sound was fire. I like reharming lady bird with a circle of fifths from the bIII in the turnaround to the bVII at bar 4.
What is Bb7 the secondary dominant of? It looks like this was borrowed from the relative minor using the Eb as your reference note to get the Fmin7 to the Bb7. Is this the way to think of it?
Absolutely amazing lesson dude! Thanks so much, you are really the best! It would be very useful when you also show a freeboard graphic with the chords you are using 💜
People without a strong theory base cannot realistically hope to take jazz instruction. And your blitz theory vid is a waste. If you as a teacher have this much material to cover, assume your student knows theory; leave out the Theory for Dummies commentary e.g. “what is a tritone away from A?”
May I ask why F min7 is considered a ii in the back door dominant section of the video? Thanks
The example you use for the first type, diatonic substitution, is a iii7 chord, but the following chord is a vi chord. So really, this is identical to the second kind of substitution, since E is the dominant fifth of A right? I think you mean to say that we could substitute ANY diatonic chord for any of the others and this would be an example of it, but it is a bit confusing since the chord you picked ends up doing nothing more than the retonicizing substitution would.
I honestly feel a little cheated... The whole reason I clicked was to check out the substitutions in the thumbnail, but it has nothing to do with any of the substitutions mentionned in the video. If someone understands the G7alt replacing F7, please enlighten me...
3:10 The first four chords take two beats, and each of the two last two chords take one beat. But it isn't how you play it. Why?
This is sooo goooooooooooooooood.
Whose II is that Fmin7?
Beautiful guitar sounds.
Thank you so much!
Impecable
Well explained
Excelente video... Muchas gracias, like, suscripción y activada la campanita de notificaciones, saludos cordiales desde Lima-Perú 🇵🇪
fun stuff.
Thanks you very much, very useful lesson!
Glad it was helpful!
Very enlightening. You have a gift for making a not so easy subject understandable. much appreciate your gift. Thank you
4:20
I’m sorry but I still don’t understand the whole Tritone substitution.
subs your original chord (G7) with G's flat 5th/ sharp 4th -> Db7
I've never seen an accurate tutorial that's better than this. This is so straight to the point
Thank you! I'm glad you find it helpful.
This is the best lesson I've found on this talk so far 💯