excellent lesson. do you think to become a professional jazz musician you need to go to a formal music school because i don't have the funding to go to one at the moment but i still want to become a great jazz musician. Also did you go, and how would you compare it to being self taught?
Thank you! I don't think it music school is the only way to become a professional Jazz musician, but I am pretty sure that it is the easiest way. For me, and for many others, when you do a study like that it means that you are taking a few years out to focus on only music and you are in an environment of people also only doing that. That is a very unique position to be in, and I would say I learned more from the experience of playing and performing with other students in gigs, lessons and exams than I learned from the guitar lessons. It is not only about the guitar lessons or the information, it is about guidance and the chance to really dig into developing your own playing.
@@MrSqilz That's very hard to say. Actually you should ask advice from people who has an education near where you are so that you know what is required and how to make it possible. Sorry I can't be more specific , but this is a complex thing to give advice on.
Mr. Larsen...you, sir, are like an encyclopedia of all things related to jazz guitar. Thank you for this ! The kind of information you bring in such a concise, clear manner would cost thousands of dollars and hundreds of hours in a traditional music school. You are priceless. May you always be blessed with success and good fortune.
Just want to say, you kick all the other guitar youtubers' butts IMO. Just joined on Patreon because I really want to improve and your content kicks butt
Thank you very much Stephen! I am really happy you want to support the channel! I will send you a welcome message on Patreon. Do join the FB group as well if you can 🙂
haha.......freaky .......just put on reading glasses and the blue letters were very 3D on that red back ground ...haha ha....very cool Mr Larsen .ps -the arps and triad stuff from your other vids is really helping ..thanks
Coming from someone who just plays and has no idea what Jazz actually is (too ignorant to assume to know the difference) all I know is that these concepts does not only apply to jazz but in generally all western music. Your lessons in diatonic Chord progressions have been a godsend and is the only one I've seen so far that has M7/m7 progressions instead of the same major/minor ones, which led me here. That said, I have a rather dumb question: Why do the topics only cover Maj7? Is it pointless to talk about Minor chord progressions knowing that one can always substitute VI as the I for the minor version? Sorry for the dumb question.
Thank you Jens! One question - so there is only one way to use chord progression?- when you improvise (playing solo) no need to play every chord, if you see chord progression you can improvize on root chord only? Is it possible to use chord progression as substitution of long lasting chord? For example I have |C|C| - can I easy replace it with |C Dm|G7C| or with |CFmaj|F#dimC|? Very often I can see that jazz musicians sing along with playing (Andrea Oberg: ruclips.net/video/QnITpsh42Ks/видео.html). How to do it? How to get prehearing of what you will play in next second? Can you make video in this topic?
He surely knows this licks well and just recreates them (mby slightly changing) or/and sings what he hears from this guitar. This singing may be very helpful in other ways such as expression or satisfaction of the player.
Hello Mr Larsen I’ve been viewing your videos as inspiration for expanding my guitar playing past boring shred and cliched blues licks I’ve been playing basically since birth. Please continue to produce content. You do a good job!
Jens, you are the Stephen Hawking of the guitar world and beyond :) So much information in all your videos and i just wish i had started when i was younger. Not so much time now to learn this immense amount but i soldier on :)
+mark robins Haha Thank you! I don't think my contribution is really find ingen new things as it is passing on what is already there. But I appreciate the compliment! It is never too late to check out new things!keep at it! ☺️
I’m just a country, folk, and rock player looking to broaden his horizons into jazz. You, sir, have given one of the best primers on functional harmony I’ve ever heard.
Hi! You said 3,6,2,5 But you played A7 not Am7. I recognize that this is a common Jazz alteration, however, let’s consider the Em7 in this context (key of C); If you consider as diatonic, you would play Phrygian If you consider it as part of a ii,V in (temporarily) D, you would play Dorian If you consider it as a ii/ii to V/ii you would play Dorian flat 2 Aarrgh!!! Would love your opinion. Also, would love to see a video detailing a variety of common jazz cadences ( back door ii V, secondary dom, etc) several songs that use them and the chord scale relationships which are commonly used for each cadence. Thank you. Great channel!
Phrygian is a horrible way to describe the III chord in major. That is just not how it sounds. If you want to hear phrygian then play a sus4(b9) chord, that is a completely different sound. I have a few videos on common progressions: There is a section in my latest video: ruclips.net/video/msmdbxsjmvI/видео.html But also a lot in this video: ruclips.net/video/NEvBZTD-f6s/видео.html
@@JensLarsen yes! That first video was amazing (already saw it) Would love to see an extended version including standards/application for each cadence and their chord/scale relationships. Is there a resource you would recommend for this? Thanks!🇨🇦
@@anthonysilva5312 Actually, if you want to benefit from that, then you really need to learn the songs. If it superficial it is not going to be very useful, and you will learn 1000x as much if you check out the songs and get them into your system. It would also free you from all the chord/scale nonsense that you seem to be stuck in, that is just not where the music is 😁
Please do a video about how to internalize theory so you can play freely. To free yourself from theory once you have learned it..... How to train your ear to play intuitively to be able to react to cords while soloing without having to think about theory... Hope you understand what I'm getting at. Thx
That's pretty simple. You don't think about theory when you play, you do that while you practice. Once you know the piece you improvise over you don't have to think about the theory.
I going, to be honest, I'm ok on guitar but my ear sucks .I;m not a young man but I still have the drive and want to learn about chords and how to hear them when I'm breaking down songs .i still can't hear it right but even tho I'm not that good I keep getting better every year. I guess one day I won't be able to move my fingers but right now I still can. What should I do so I can just hear a chord and know where and what to play?Sorry for bothering you,but I would like to have a better more workable ear.
Hi Tony, That's difficult to answer in a RUclips comment, there are many ways. If you are expecting just to hear great lines that you then can play then, that is never going to happen. You will always feel like you worked for what you play in some way or other. That said. Keep trying to play. Spend time composing lines, that way your ear has time to find the notes and you can figure out if you need to work on other things in order to be able at hearing better lines. And then do the other stuff like singing from sheet music with only the root note as a reference, transcribing songs and solos etc. Hope that helps a bit 🙂
Hey Jens! Love the channel you are such a big help in my music life! thanks a lot! my question: in tuck andress interview here ruclips.net/video/bQ9lroo45nc/видео.html at 37:05 he is demonstrating walking bass line and the SOUND is just like upright bass. he does it so well. I would love it if you could maybe explain in one of the next video how to SOUND like upright in your walking bass line, with the buzzing sound and all. also when to go up and then to open string. would love to hear your thoughts about the subject. peace!
Thank you! I never really thought too much about sound when it comes to walking bass, but I do have videos on the technique if you haven't found them already? 🙂
Hi Jens. I love your videos. I’m trying to improve my Jazz Theory a little more So a question on the #IV bit. When you say that the progression FMAJ7/ Bm7b5/ E7b9/ FMAJ7 is a minor II-V on the #IV I’m a little puzzled. When you say minor II-V are you meaning from F minor? (Harmonic/Melodic/Natural??) I can see by raising the IV to B from Bb we can create a Bm7b5 from F Melodic Minor but where does the E7b9 come from? In all F minor scenarios, the G is natural meaning the third of E7 is wrong? Please forgive me if I’m completely barking up the wrong tree 🤯
Hi Matt, I mean Minor II V as in IIø V7(b9). It has nothing to do with F melodic minor. It is a reharmonized G# or Ab dim chord, and the scale you would use over that would be A harmonic minor which is also the scale that is associated with the II V.
Thanks Jens. But where or what is the #IV? I understand that Bm7b5 then E7b9 is II -V in A Harmonic minor but where does that come from. What’s it getting at? This is Key of F right. Again, apologies for my confusion..
So are you saying that the Bm7b5 is the #4 chord in F? Because if you move a fourth up in F, it’s Bb? I’m just struggling to understand why we borrow min II-V from A Harmonic minor.. Thanks for your patience 🙂
Could you please do a series on this? I am intrigued but all this is still not clear to me in terms of the groupings and how to treat them what to play and what not to play.
Maybe I will, though the best way to really learn this is to learn and analyze songs. That way you really learn in the real context that it exists, so if you know a lot of songs then analyze them and if not: start working on learning songs 🙂
How would you approach Yesterday...which goes from F major to Em ..to the A7 to Dm to Bb finally...he ( Mc Cartney ) seems to use little 11 V 1's like in You Never Give Me your Money. Can you reference some pop that uses jazz as a bridge to higher level jazz that you know?
Yesterday just has a cadence to VI, hardly far out? McCartney listened a lot to show tunes which are also the foundation of jazz standards. I don't know what you mean with higher level jazz and pop music?
@@JensLarsen I mean I don't know it Jazz....but I see the walk up and was curious about the bit.approaching and improv over them_ From Em to A7 to Dm...to finally Bb the IV I've learnt the song for covers but not to improv over. I see what you say now with Showtunes and Jazz similarities.
So in a song like Lady Bird where it goes Cmaj Fm Bb7 back to the tonic are you saying you don't think of the Fm Bb7 as a modulation to Ab but that your still thinking of playing in Cmaj?
I sincerely thank u for your great efforts and time on those so many tutorial lessons! But I wanna ask u one question here regarding the IVm chord type, I just don't understand how to formulate it since I saw FMaj7 can go to Fm7 or Bb7 or AbMaj7, but why? Could u pls explain it more specifically? Thx so much first!
It is about the leading notes, A going to Ab to G. Instead of looking for theoretical way of understanding you will probably get more out of recognizing it in the songs you know and play 🙂
@@JensLarsen Yes I see and that's why I asked. Because you don't name it as a molldur. It's not a big deal maybe how it's called :). By the way I am really gratefull to have response from you. Best regards. Grt
@@baglama00 That is a German name, as far as I know, it is only used in Germany and Sometimes the Netherlands (the expression makes sense in German, but not in English, Dutch, French etc)
So as I understand it: There are different ways of getting back to the tonic other than II-V. tonic: IM, iii7, vi7. subdominant: ii7, IVM7, vi7. dominant: V7, bII7 "IV minor": iv, bVII7, ii7b5, bVIM7 or bIIM7. These chords usually lead to dominants or tonic. "#IV": biii dim, #iv dim, #iv7b5, vii7b5-IIIalt. These chords usually lead to tonics or subdominants. Modulations: up M3, down M3 are common examples. I appreciate this video and have just subscribed. I am trying to sharpen my ears and "hear the bigger picture" with chord changes and this is helpful to that end.
I edited my post to include the tonic, subdominant and dominant functions. Are there any common chords that fill these roles that I left out? Also: a bit more complicated: What functions do year hear in bars 7-10 of "I Fall in Love too Easily"? VII7-IValt / III7 / #ivm7b5-VIIalt / III7 Is this III7 sort of a tonic here? I appreciate any response, thank you for your teaching.
You really gave me insight on my jazz guitar assignment from my instructor so I subscribed! You explained something at timeline 14:16 in your video. I have this assignment where i'm learning composition basics. I have to write a "melody" over patterns that my instructor uses often such as starting backwards with your end chord or root "C" for example and going to G-D-A-E-B-F# (BACKWARDS) to achieve the pattern. Played forward it is of course F#-B-E-A-D-G-C. We also talked about the use of tritones or b5. Can you or anyone here offer any insight as to what this is about? I kind of get it and I hear it. I'm trying to learn chord melodies and comping. Thank You very much.
Thanks for laying it out in such a straightforward way, Jens. I think you are one the best jazz guitar teachers on RUclips right now, especially for students who are a little more advanced and I am learning a ton from you. One thought about this lesson: a great example of the IV minor progression concept is found in Cherokee: the Ab dominant that happens in the 7th measure. It is proceeded by an Eb chord (the IV major). Everybody who solos on Cherokee quickly figures out by ear that the easiest way to accommodate that Ab7 is just to switch from Eb major to Eb minor. For me it’s a really good illustration of the concept and one that always unlocks it for my students.
Thanks James! The IV minor thing is very very common in Standards. The one in Cherokee is indeed very clear like the one in There Will Never Be, It Could Happen, But Not For Me, Stella By Starlight etc.
Jens - thanks for another great discussion. The only place I differ with you is in the #4 category. I would call virtually all diminished chords in standards chromatic passing chords. Almost all provide chromatic root movement between chords a major second apart (IM: #1dim: iim7 or iim7:#ii dim: iiim7) or between the root of one chord and a chord with a non-root in the bass (IVM: #4 dim: IM/5 in bass). Some of them have a #IV in the chord, and some don't. I've seen the ones that move up chromatically called Dom7 b9 with the root removed, and the 3rd in the bass, which makes sense (C# dim = A7 b9), but that doesn't account for the examples that don't go up a major 2nd. Maybe I think of it this way because it's so similar to using dim chords to harmonize non-chord tones in arranging. And since we're talking about function categories, I don't see any functional significance to the #IV - it just happens to show up in some cases, as does the b III. Obviously, if it works for you, there must be something to it - just a different way to see the same thing.
Sure! You're very welcome! A few thoughts on this: - Does it make sense to say a chord that covers a whole bar (and a whole phrase of the melody) is the same as the chord that is inserted when harmonizing a non chord tone in an 8th note line, and then conclude that it has no function? - Calling something a chromatic passing chord is not giving it a function, it can be any type of chord resolving up or down - The #1 dim chord is a dominant (as you say yourself) the #IV dim chords are the ones that are not dominant.. - the bIII dim is a #IV in inversion - If you want to hear #IV then listen to the 2nd bar of I Remember You or the original chord in the beginning of Stella. Could you please try to say this phrase out loud: " I don't see any functional significance to the #IV - it just happens to show up in some cases, as does the b III." and then replace the #IV with V and the bIII with V of V, then you can hear how it sounds to me 😀
Jens - first, there's no reason to get snippy with your responses. I've made a musical point, which may be right or wrong, but I did so in good faith, to engage with your commenters and yourself. That being said, when I said that I don't see any functional significance in the #4, I'm referring to the #4 interval of the major key. My point is that in a symmetrical chord like the diminished, it can be inverted without changing the function. Thus, a #4 diminished chord is at the same time a 6 dim, and a 1 dim, and a b3 dim. Regarding whether or not a chromatic passing chord has a function or not, you must have a different understanding of the word function than I do. In C-C#dim-Dm7 or Dm7-Ebdim-Em7 or FM7-F#dim-G7 or any of those progressions in descending order, the dim chord serves a function - it adds color to the progression and provides chromatic movement in the bass line. This is the standard use of the dim chord in popular song writing through much of the 20th century. To pick out the F#dim chord in the third progression above and call it a different function than the first - which has no #4 in it - makes no sense to me. It's usage that defines function, not theory books, and this is, in fact, how the dim chord has been used in hundreds of songs. While the particular 4-#4-1 progression is a rare one, and fits perfectly into my function group - the #4 root moves chromatically to the 5 of the tonic chord. Thanks for reading and responding.
Sorry, I was just trying to be clear, not offend you? A function in harmony is usually that the chord belongs to a group of chords that sound and act similar, so in C major, C, Em and Am are all tonic (in most cases anyway) and G7 and Bdim are dominant. In your progression the F# dim is working as a (secondary) dominant so it is not a #IV chord. In fact you don't have any #IV dim chords in there, they are all dominants and resolving like dominants. Maybe that is the difference you don't see/hear: the #IV resolves differently since it can resolve directly to I or down to a IV chord (as bIIIdim to II) It's like this: F#dim G7 is really just V I. But F#dim Fm6 is #IV IVm and F#dim C is #IVdim I The last two are very different from the first one to my ears? And surely just as common, in fact dim chords in jazz are not that often dominant and much more often subdominant now that I think about it.
Jens Larsen This was a very interesting thread to me, for two reasons. To begin with, the question and subsequent exchange I found quite useful in understanding how even accomplished and experienced musicians may differ in their understanding and use of some fundamental terms, such as "function". For example, being new to guitar and music theory but having immersed myself in the latter over the past year, whenever I read the word "function" in a discussion like this, my mind immediately goes to "functional harmony". This exchange usefully underlies a conclusion I had already come to, after watching countless theory tutorials: musicians often use the same words to mean different things...Sometimes the difference is trivial and other times it is more fundamental and doesn't always lead to good things (or feelings). Like you, I interpreted the word "function" as relating to "functional harmony" and therefore read your reply as a simple clarification, free of any disrespectful connotation. So reading the reply, and reaction, surprised me until I understood the more generic use of the term "function" implied but later explained by the person asking the question and everything fell into place...you both presumed a "common usage" which wasn't quite there. Learned from the two of you, as I understood both pov's. Your last answer will definitely send me to my desk to make sure my grasp isn't purely that of a student blindly agreeing with his teacher.
You're very welcome! I have Spanish translations of these videos: ruclips.net/video/mLmuA3KNAq8/видео.html&list=PLWYuNvZPqqcEuDRNUmMFc5hqrxk6tP3fO&index=1 Share them and help me spread the word!
Jens - First, thank you for sharing! I always learn something from you. Now, here’s a touchy question: Assuming it’s copyrighted, would you be averse to analyzing and explaining your tune “Top Dog”? I really like the tune, and would like to know how you went about composing it.
Thanks! That's not really a touchy question I guess? Top Dog is of course copyrighted :) I could probably analyze it but I can't tell you how I wrote it because I don't remember, it was in 2002 or 2003 when I was still studying. I remember bringing it to a gig with a band and we only played it once because it was too difficult. I am not sure that an analysis of a tune like that makes too much sense? It is in a key, but it is out of the key as much as it is in it?Most of my music is actually like that.
The #iv° could be seen as : -A rootless V/V borrowed from the dominant key resolving to either V, V(c) or I(b). It could then be extended to be a dim7, or a min7(b5) chord if we either want the V/V chord to have a minor or a major 9th. -The diminished two of a minor ii°-V-I, resolving to the the iii of a given major scale, or elsewhere if justified by voice leading. One could also resolve it to the I instead of the iii, since it implies doing a ii°-V-bVI in the key of the iii. It could then be extended as a min7(b5) chord. This is also a less obvious way to harmonize the vii degree of a major scale than considerating it as the leading tone of the V resolving to the tonic. -A rootless b9 dominant chord built either on the 2nd degree (as mentionned above), or on the iv, bvi or vii degrees, if the #iv is extended as a dim7 chord. Each note of a diminished 7th chord can be the leading tone of a dominant chord, which results in the list above. Then, these rootless dominant chords can resolve as expected, or resolve elsewhere by voice leading such as going from iii to #ii dim7 (which is the enharmonic of #iv dim7) to ii. Here the #ii dim7 is a rootless VII dom7(b9), but instead of resolving to the iii as expected, it goes by voice leading to the ii (which would be the bVII in the key of the iii).
@@JensLarsen Hello Jens ! Thanks for your videos which helps me learn a lot :) Could you tell me about which of the 3 uses of the #iv° you are takling about ? Sorry but i did post the comment before finishing it so i modified it by places :)
@@martialpanyvino No worries! It is the same for all of them. The problem is that you want to explain them as something that doesn't fit with how they act in the music, and how they sound. Forcing everything to be V I is anyway boring (if you think about it). Don't be afraid of a subdominant chord, those do exist 😁
@@JensLarsen I know there are perfect gestures being : V - I (Perfect cadence) bII - I (Tritone Sub) bVII - I (Backdoor cadence) And plagual gestures such as : IV - I (plagual cadence) iv - I (minor plagual cadence) iimin7 - I iimin7(b5) - I And i know any of these gestures could resolve to other chords that the I, either respecting the movements implied by notes like the leading tone or not. So when analysing a chord progression i always try to find these gestures wether the chords are diatonic or borrowed, because then i understand how the harmony functions. However i know harmony doesn't have to function ! In modal harmony, such strong gestures are avoided to prevent establishing a clear sens of tonality. Is it what you are thinking about when telling me everything doesn't have to be a V - I ? Also, even when analysing predominant chords such as vii° - iii - vi - ii, the fifths relation between their roots mirorrs the V - I gesture. There are surely other examples which would miror other gestures but then i don't see what is wrong with using such gestures as a tool to analyse when it is possible ?
@@martialpanyvino You are trying to listen with your eyes and not taking into consideration how this works in the songs. That is what I am telling you. This is not a description of the music. If it is a subdominant tonic resolution then it is weird to go out of your way to invent stuff to force it to be a V I. Especially when it means inventing sounds that don't really exist in the music like a V of V with a b9 in a major key. That is pretty rare(I can't even think of an example) in the songs. So if you really want to learn theory then learn a lot of songs and explain what is in the songs, don't look at a single chord and try to imagine how it works.
I think the great thing you did in this video was link the changes to specific jazz standards. As soon as you played m7b5 m7 I thought “bridge, ‘Night and Day’ “ It’s really useful to be ‘hear’ the changes in the context of tunes rather than in the abstract
Hi, Jens. Nice video (as always)! I just did not understand the reason you called IVm progression and not just Im progression, since most chords proposed (Bb7, Abmaj7, D°, etc) belongs in Cm but not in Fm. Thanks.
So say I'm in key of c major , And say i have this progression Cmaj7 F#dim7 Cmaj7 For the #IV , do you just think of is as a ii V of Emin7? In other words Cmaj7) { F#min7b5) B7b9)} Cmajor Is that the scales you play over #IV?
@@JensLarsen cuz in my mind a #IV is basically B7, D7, F7,Ab7 Isnt that correct? You can play harmonic minor Aharm,Charm,Ebharm,Gbharm? ( but of course its context dependent) But is that right?
Maybe I should explain more what I'm confused about. So I think say Bdim7 BDFAb Is really 4 dominant chords ( rootless b9) Bb7 BbDFAb Db7 DbFAB E7 EAbBD G7 GBDF So If Bdim7 is my #IV in Fmaj key How do I think of the scale part That a #IV is those 4 dominants Or no its the dominant of the iiimin7 chord , we just using it as a surprise Instead of playing { Bmin7b5 E7b9 Amin6} We playing a surprise Fmaj6 Bdim7 Fmaj6 ? Please help thanks for you time energy and efforts with your videos
Thank you so much again, Jens. Riffs are spilling out of my guitar just listening to you play/speak for a few minutes. Please always keep doing what you're doing. You're an asset to the cause!
So basically most songs in jazz are in a key but sneakily flirt with other keys but keep coming home to the main key of the songs? And the trick is to be really good at the flirty stuff without getting caught? “Did you just sneak off into G major there”... “no no no... still in c over here”. What a brilliant lesson.
@@JensLarsen Kinda depends on the song and on the context. Is the part in Stella by Starlight where we hear the Vmaj7 chord "flirting" with the dominant, modulating to the dominant or staying in the tonic key but just using the lydian scale? Hard to say. Same thing with the first two chords of that song - #IVm7b5 VII7 - are we in the key of degree III for the first two bars or is it just an unresolved II-V to degree III? But I agree that things like Em7 A7 Dm7 G7 Cmaj7 aren't really modulating to d minor. I wouldn't say that saying it's "flirting with the key of d dorian" is too far off, though. Secondary dominants are kind of by definition "flirting" with their target chord's key.
@@asukalangleysoryu6695 Modulating to the V or pretending to is one of the most common things in a song. As for the beginning: It is actually a dim chord not a II V and I think you can hear that it is not going to Dm. Even if it did then that would not necessarily be a modulation. In fact, Stella is a great example of a song that uses a ton of different scales but only maybe goes to Fmaj7 for a bit and for the rest everything is in Bb major.
@@JensLarsen I know that in your other video you talked about how the original harmony at the start of Stella was more of a Idim(maj7) kind of thing. Still, at the end of the song we hear that #IVm7b5 VII7 again and this time it does resolve to III. Same thing in the bridge, although in the bridge we're already flirting with the key of V so those chords aren't as striking. Point is, if we hear those same chords as an actual II-V later in the song, why not call it a II-V in the first two bars as well? It might be a reharm of a diminished chord, but it's still a reharm with a II-V - our ears are used to the sound of II-Vs so it sounds satisfying to us even though it doesn't lead where we expected it to.
@@asukalangleysoryu6695 At the end of the song the II V does not resolve to the III (and it is also a reharmonized dim chord btw), it becomes a part of a longer movement that resolves back to I. What you are doing is just insisting that the only valid harmonic movement is V I and that is just not a good description of harmony, not how we hear it and not how we should improvise over it. I don't know what you mean with the bridge? That is a very clear Subdominant-subdominant minor to I. There is no V in there at all (unless you want to modulate to Cm again, which I am sure you can hear is not the case?)
I found this week's video very interesting. I didn't really start thinking about harmonic progression within songs in relation to a key centre or 'home' until I'd been playing standards for some years. Mostly I just looked at a chord and thought, "Oh a VI7. So I'm in II major. Noodle noodle noodle. Oh, a II7. So I'm in V major. Noodle noodle noodle.." This approach treated each chord as a kind of isolated unit, and while it was useful, and functional, it was also somewhat limiting. Partly this came from traditional SATB exercises, and partly -- I'm sorry to say -- from the Abersold catalogue, which seemed to be telling me there was a 'correct' scale for every chord and you only had to learn them and run up and down them to play jazz. Noodle noodle noodle. I would also say that things really expanded harmonically for me when I started doing more transcriptions and noticing how other musicians were navigating the structure of a tune; where they were 'in' or 'out' in relation to a chord or a block of II-Vs and where they were 'in' or 'out' in relation to the key centre. Dexter Gordon was a master at this - always finding exactly the right wrong notes! Anyway, I really like Jens' Monday morning explanations. This is really clear and straight forward. Jazzers, take note! :-D
I think it is true that a lot of us learn our CHord-Scale relationships and then start trying to understand music and progressions later. Glad you like the Monday videos :)
Hi jens, I subscribe to your analysis of hearing function and applying chord or target notes based on that!!! Love your ear/ mind approach. Would love to know your thoughts on Diads. Understanding them better? Any thoughts you would have?
I can’t believe I haven’t seen this video so far, being subscribed to this channel for a long while now! Mr. Larsen, you have probably made THE best jazz progression video in the world here! This clarifies a lot of the confusion that beginner and intermediate jazz players face while looking at some songs. Thanks very much for doing this.
Thank you very much! I made this study guide a while back, you might find that useful: jenslarsen.nl/how-to-analyze-songs-music-theory-and-functional-harmony/
Would you consider a song with the A part in Em and the B part in G major to be a modulation? (My instinct is that even though the key signature the the same, the tonal center has moved)
That depends on how you hear it. Sometime it really sounds like a modulation and sometimes it just sounds like the song is moving around in the diatonic chords. There are often more than one way to analyze something like that.
Hi Jens! Thank you for sharing those great combinations. Check this out...There are other interesting combinations like these ones: Am7, Bm7(b5), CM7; Em7, Dm7, CM7; FM7, F#m7(b5), CM7; Dm7, Gaug7/F, CM7; Dm7, AbM7, CM7; Bm7(b5), AbM7, CM7, and some more!
Inspired by this video I have been considering the chord progressions of the few standards I can play more closely. Would the diminished chord in the turnaround of Donna Lee be considered as a #IV? Furthermore, as the root features in the diminished chord of the #IV, is it helpful or not to consider these chords as simply the diminished chord of the root?
Wouldn't have had the confidence to really start practicing jazz guitar without you Jens! You're single handedly one of the most positive things about the internet
Thanks. Good lesson. Will you get a chance to put this lesson in a readable form-pdf? I'm working my way through Mark Levine's Jazz Theory Book (which is excellent), so it's good to have your lessons to mix in with that book. Helpful.
+Corey B Glad you like it Corey! ☺️ I would like to write a theory book, but I doubt I will have the time soon. But I am of course flattered that you ask!
Hey, thanks a lot ! I'm not really a beginner neither in theory and jazz but I never realized that the F∆ Bb7 C∆ was in fact a classic F F- C, wich seem to be quite obvious for me now. New sbuscriber ! :D
this was a great video, been watching for awhile but just got back into learning a little more on jazz taking it piece by piece but gives a better understanding of some of the standards I've been working on ! (actually wrote everything down aha!) Thanks Jens!!
Brilliant lesson, Jens. It seems to me the #IV is similar to a secondary dominant, i.e. more like a secondary tritone... and still often essentially just a passing chord to some subdominant, or maybe to the tonic. It seems different from the VIm, which can flow to the V7 in a way that's really nice - i.e. different. The #IV somehow just sounds like a chromatic passing chord, like a dim or something. Great food for thought! :-)
Thanks Philip. I guess the #IV is essentially a passing chord in the same way the IVm or a V is or not? The only reason you don't take the #IV to a V chord is that then it is an auxiliary dominant and not a subdominant. Maybe check out some songs that it is in and get used to hearing it. that will probably make you more able to hear it for what it is and not a passing chord?
Hello Jens, thank you for all your informative videos. What is the source of the scores published in your videos ? Are they from the "real book" ? Which one ? Thanks for your reply.
Instead of listening with your eyes, then try to hear it in the key. Luckily there is more to harmony than just reducing stuff to a V I. We actually have subdominant chords as well 🙂
![Tee Grizzley - Blow for Blow (feat. J. Cole) [Official Video]](http://i.ytimg.com/vi/wNLN5xsx5dc/mqdefault.jpg)
If you want to check out which 3 Scales you need to know for Jazz then take a look here: ruclips.net/video/NEvBZTD-f6s/видео.html 🙂👍
I have by no stretch mastered jazz, but of all the channels on this platform, this one is the best I've found.
Thank you very much! Glad you like the videos!
Absolutely 💯
AMAZING INFO...BIG THANKS..🎸🎶✨🥂
Glad it was helpful!
funny how the background noise stops at 15:09.
nice video! thnx for sharing
Thanks! That's the fan in my lights that go on and off. I have since found a noise-reduction plugin that fixes that issue (well almost..)
excellent lesson. do you think to become a professional jazz musician you need to go to a formal music school because i don't have the funding to go to one at the moment but i still want to become a great jazz musician. Also did you go, and how would you compare it to being self taught?
Thank you!
I don't think it music school is the only way to become a professional Jazz musician, but I am pretty sure that it is the easiest way. For me, and for many others, when you do a study like that it means that you are taking a few years out to focus on only music and you are in an environment of people also only doing that. That is a very unique position to be in, and I would say I learned more from the experience of playing and performing with other students in gigs, lessons and exams than I learned from the guitar lessons.
It is not only about the guitar lessons or the information, it is about guidance and the chance to really dig into developing your own playing.
Jens Larsen oh I see. Could a lot of that also be substituted by going to plenty of jazz gigs though and music lessons in one’s own time?
@@MrSqilz In theory yes, but to be honest I really doubt it. Music school is a pretty intense experience (if you do it right)
Jens Larsen what do you think I should do then given limited funds (I also live in London, England), is it worth saving up to go?
@@MrSqilz That's very hard to say. Actually you should ask advice from people who has an education near where you are so that you know what is required and how to make it possible.
Sorry I can't be more specific , but this is a complex thing to give advice on.
I like the contextual approach, that's very helpful to think like that. But the neapolitan subdominant (minor chord with b6 in the bass) killed me :)
Thanks Jan! Glad you liked it!
Mr. Larsen...you, sir, are like an encyclopedia of all things related to jazz guitar. Thank you for this ! The kind of information you bring in such a concise, clear manner would cost thousands of dollars and hundreds of hours in a traditional music school. You are priceless. May you always be blessed with success and good fortune.
thank you for existing!
You're welcome, though it is hard for me to take credit for that, I'll pass it on to my parents! 😀
Jens...can't thank you enough for sharing your musical knowledge in this way. I find your lessons to be clear and concise. Thank you!
Just want to say, you kick all the other guitar youtubers' butts IMO. Just joined on Patreon because I really want to improve and your content kicks butt
Thank you very much Stephen! I am really happy you want to support the channel! I will send you a welcome message on Patreon. Do join the FB group as well if you can 🙂
Rare indeed are jazzers who speak (communicate verbally) as well as they play. You're one of them! You should be under UNISCO's protection...cheers!
Thank you very much, Joseph! Really glad to hear that!
haha.......freaky .......just put on reading glasses and the blue letters were very 3D on that red back ground ...haha ha....very cool Mr Larsen .ps -the arps and triad stuff from your other vids is really helping ..thanks
😁 Thanks :)
Coming from someone who just plays and has no idea what Jazz actually is (too ignorant to assume to know the difference) all I know is that these concepts does not only apply to jazz but in generally all western music.
Your lessons in diatonic Chord progressions have been a godsend and is the only one I've seen so far that has M7/m7 progressions instead of the same major/minor ones, which led me here.
That said, I have a rather dumb question:
Why do the topics only cover Maj7? Is it pointless to talk about Minor chord progressions knowing that one can always substitute VI as the I for the minor version? Sorry for the dumb question.
Thank you 🙂 Because minor keys are more complex to an audience who have been spoonfed modes and chord scale theory.
Is this how you analyze chord progressions as well? Or is yours better? 🤔
Thank you Jens!
One question - so there is only one way to use chord progression?- when you improvise (playing solo) no need to play every chord, if you see chord progression you can improvize on root chord only? Is it possible to use chord progression as substitution of long lasting chord? For example I have |C|C| - can I easy replace it with |C Dm|G7C| or with |CFmaj|F#dimC|?
Very often I can see that jazz musicians sing along with playing (Andrea Oberg: ruclips.net/video/QnITpsh42Ks/видео.html).
How to do it? How to get prehearing of what you will play in next second? Can you make video in this topic?
He surely knows this licks well and just recreates them (mby slightly changing) or/and sings what he hears from this guitar. This singing may be very helpful in other ways such as expression or satisfaction of the player.
@@satchrules101 You can play the E if you would like but Jens tends to navigate towards more interesting and more strongly defining notes.
Music. Ooo I can answer that: The 5th is not necessary to define a major or minor chord. Only the root, 3rd and 7th is necessary
Hello Mr Larsen
I’ve been viewing your videos as inspiration for expanding my guitar playing past boring shred and cliched blues licks I’ve been playing basically since birth.
Please continue to produce content. You do a good job!
Thank you! Great that you like the videos 🙂
Jens, you are the Stephen Hawking of the guitar world and beyond :) So much information in all your videos and i just wish i had started when i was younger. Not so much time now to learn this immense amount but i soldier on :)
+mark robins Haha Thank you! I don't think my contribution is really find ingen new things as it is passing on what is already there. But I appreciate the compliment!
It is never too late to check out new things!keep at it! ☺️
I really like your new thumbnails, but I can't figure out who that good looking devil is with the big smile ? Looks like Frank Sinatra :D
+Dspeir PhotoShop is a better investment than going to the gym! 😁
I’m just a country, folk, and rock player looking to broaden his horizons into jazz. You, sir, have given one of the best primers on functional harmony I’ve ever heard.
Hi jens, this demonstration is awesome... more of this please!!!!! Grouping chords into FUNCTION!!!
Glad you like it! 🙂
Thank you! I am a bassist really helpful?
No problem!
Hi! You said 3,6,2,5
But you played A7 not Am7.
I recognize that this is a common Jazz alteration, however, let’s consider the Em7 in this context (key of C);
If you consider as diatonic, you would play Phrygian
If you consider it as part of a ii,V in (temporarily) D, you would play Dorian
If you consider it as a ii/ii to V/ii you would play Dorian flat 2
Aarrgh!!!
Would love your opinion.
Also, would love to see a video detailing a variety of common jazz cadences ( back door ii V, secondary dom, etc) several songs that use them and the chord scale relationships which are commonly used for each cadence.
Thank you.
Great channel!
Phrygian is a horrible way to describe the III chord in major. That is just not how it sounds. If you want to hear phrygian then play a sus4(b9) chord, that is a completely different sound.
I have a few videos on common progressions:
There is a section in my latest video: ruclips.net/video/msmdbxsjmvI/видео.html
But also a lot in this video: ruclips.net/video/NEvBZTD-f6s/видео.html
@@JensLarsen yes! That first video was amazing (already saw it) Would love to see an extended version including standards/application for each cadence and their chord/scale relationships. Is there a resource you would recommend for this? Thanks!🇨🇦
@@anthonysilva5312 Actually, if you want to benefit from that, then you really need to learn the songs. If it superficial it is not going to be very useful, and you will learn 1000x as much if you check out the songs and get them into your system. It would also free you from all the chord/scale nonsense that you seem to be stuck in, that is just not where the music is 😁
@@JensLarsen thx
I always watch your videos on speaker, so my wife is like, who is Jens Larsen?! lol😉👍👍
Really, thank you VERY much for all of your hard work!!😄👍👍
Haha! Hope I am not driving your wife nuts :)
These videos are so good. Pretty much everything I know Jazz, I have from you
Great that you can put it to use! 🙂
Please do a video about how to internalize theory so you can play freely. To free yourself from theory once you have learned it..... How to train your ear to play intuitively to be able to react to cords while soloing without having to think about theory... Hope you understand what I'm getting at. Thx
That's pretty simple. You don't think about theory when you play, you do that while you practice. Once you know the piece you improvise over you don't have to think about the theory.
Why not a pdf as for other videos ?
There are no examples of playing. You should consider taking notes the you know it really fast 🙂
I know this isn't the subject of the video BUT, your guitar has Wonderful Intonation......
+The Erod1944 Channel Thank you! It's only when the strings are not worn out!
Many thanks for your input as always. Very educational and, more importantly, useful.
Glad it was helpful 🙂
I going, to be honest, I'm ok on guitar but my ear sucks .I;m not a young man but I still have the drive and want to learn about chords and how to hear them when I'm breaking down songs .i still can't hear it right but even tho I'm not that good I keep getting better every year. I guess one day I won't be able to move my fingers but right now I still can. What should I do so I can just hear a chord and know where and what to play?Sorry for bothering you,but I would like to have a better more workable ear.
Hi Tony,
That's difficult to answer in a RUclips comment, there are many ways. If you are expecting just to hear great lines that you then can play then, that is never going to happen. You will always feel like you worked for what you play in some way or other.
That said. Keep trying to play. Spend time composing lines, that way your ear has time to find the notes and you can figure out if you need to work on other things in order to be able at hearing better lines.
And then do the other stuff like singing from sheet music with only the root note as a reference, transcribing songs and solos etc.
Hope that helps a bit 🙂
👍👍👍
I enjoy your teaching style. Is that a Yamaha SA2000? Beautiful tone. I see the SG2000 on the wall.
Thanks Tim! It's an Ibanez AS2630., but the one on the wall is indeed a Yamaha, though it is an SG1000 🙂
Hey Jens!
Love the channel you are such a big help in my music life! thanks a lot!
my question:
in tuck andress interview here
ruclips.net/video/bQ9lroo45nc/видео.html
at 37:05 he is demonstrating walking bass line and the SOUND is just like upright bass. he does it so well. I would love it if you could maybe explain in one of the next video how to SOUND like upright in your walking bass line, with the buzzing sound and all. also when to go up and then to open string. would love to hear your thoughts about the subject.
peace!
Thank you! I never really thought too much about sound when it comes to walking bass, but I do have videos on the technique if you haven't found them already? 🙂
thank you very much. This information isnt easy to find if you dont know exactly what you're looking for.
You're very welcome! I am glad you like it! 🙂
Excellent presentation; thank you for sharing.
Thank you very much Jon!
Hi Jens. I love your videos. I’m trying to improve my Jazz Theory a little more So a question on the #IV bit. When you say that the progression FMAJ7/ Bm7b5/ E7b9/ FMAJ7 is a minor II-V on the #IV I’m a little puzzled. When you say minor II-V are you meaning from F minor? (Harmonic/Melodic/Natural??) I can see by raising the IV to B from Bb we can create a Bm7b5 from F Melodic Minor but where does the E7b9 come from? In all F minor scenarios, the G is natural meaning the third of E7 is wrong? Please forgive me if I’m completely barking up the wrong tree 🤯
Hi Matt, I mean Minor II V as in IIø V7(b9). It has nothing to do with F melodic minor. It is a reharmonized G# or Ab dim chord, and the scale you would use over that would be A harmonic minor which is also the scale that is associated with the II V.
Thanks Jens. But where or what is the #IV? I understand that Bm7b5 then E7b9 is II -V in A Harmonic minor but where does that come from. What’s it getting at? This is Key of F right. Again, apologies for my confusion..
Isn't the #IV in this video? #IV is a B something chord in F.
Hi Jens. Sorry I don’t understand your last reply.
So are you saying that the Bm7b5 is the #4 chord in F? Because if you move a fourth up in F, it’s Bb? I’m just struggling to understand why we borrow min II-V from A Harmonic minor.. Thanks for your patience 🙂
Hi Jens, is there a reason why you write «Eb dim» and not «Eb o»? Same with «Cmaj7» and «CΔ»?
Those symbols are often not included in the font in my video editor. So they are not that easy to get to
Could you please do a series on this? I am intrigued but all this is still not clear to me in terms of the groupings and how to treat them what to play and what not to play.
Maybe I will, though the best way to really learn this is to learn and analyze songs. That way you really learn in the real context that it exists, so if you know a lot of songs then analyze them and if not: start working on learning songs 🙂
How would you approach Yesterday...which goes from F major to Em ..to the A7 to Dm to Bb finally...he ( Mc Cartney ) seems to use little 11 V 1's like in You Never Give Me your Money.
Can you reference some pop that uses jazz as a bridge to higher level jazz that you know?
Yesterday just has a cadence to VI, hardly far out? McCartney listened a lot to show tunes which are also the foundation of jazz standards.
I don't know what you mean with higher level jazz and pop music?
@@JensLarsen I mean I don't know it Jazz....but I see the walk up and was curious about the bit.approaching and improv over them_ From Em to A7 to Dm...to finally Bb the IV
I've learnt the song for covers but not to improv over.
I see what you say now with Showtunes and Jazz similarities.
So in a song like Lady Bird where it goes Cmaj Fm Bb7 back to the tonic are you saying you don't think of the Fm Bb7 as a modulation to Ab but that your still thinking of playing in Cmaj?
+Phil Lenowsky I take it you mean Eb? Playing another scale is not the same as modulating. It isn't a modulation in Cmaj7 A7b9 Dm7 G7 either.
Sometimes called the “Backdoor ii-V” or “Backdoor Turnaround.”
I sincerely thank u for your great efforts and time on those so many tutorial lessons!
But I wanna ask u one question here regarding the IVm chord type, I just don't understand how to formulate it since I saw FMaj7 can go to Fm7 or Bb7 or AbMaj7, but why? Could u pls explain it more specifically? Thx so much first!
It is about the leading notes, A going to Ab to G.
Instead of looking for theoretical way of understanding you will probably get more out of recognizing it in the songs you know and play 🙂
Excelent excelent..!!i learn so much ..thank you for translation to spanish.!!saludos
You're very welcome! I am glad you like it! 🙂
Hi,
What about molldur? Because I learned in my classes that the Fm in C is actually a molldur scale?
Grt
Evrim
That is the IVm chords I talk about in this video.
@@JensLarsen Yes I see and that's why I asked. Because you don't name it as a molldur. It's not a big deal maybe how it's called :). By the way I am really gratefull to have response from you. Best regards. Grt
@@baglama00 That is a German name, as far as I know, it is only used in Germany and Sometimes the Netherlands (the expression makes sense in German, but not in English, Dutch, French etc)
@@JensLarsen Yes it was in the Netherlands. But anyway. Thanks a lot. 🙏🏻
@@baglama00 Then you see why I don't use that name right?
Thanks!
Thank you for the support 🙂
du snakker for meget - play instead
So as I understand it:
There are different ways of getting back to the tonic other than II-V.
tonic: IM, iii7, vi7.
subdominant: ii7, IVM7, vi7.
dominant: V7, bII7
"IV minor": iv, bVII7, ii7b5, bVIM7 or bIIM7. These chords usually lead to dominants or tonic.
"#IV": biii dim, #iv dim, #iv7b5, vii7b5-IIIalt. These chords usually lead to tonics or subdominants.
Modulations: up M3, down M3 are common examples.
I appreciate this video and have just subscribed. I am trying to sharpen my ears and "hear the bigger picture" with chord changes and this is helpful to that end.
+emmoiv Yes! There are more ways to resolve to the tonic than through a dominant. Glad you like the video ☺️
I edited my post to include the tonic, subdominant and dominant functions. Are there any common chords that fill these roles that I left out?
Also: a bit more complicated:
What functions do year hear in bars 7-10 of "I Fall in Love too Easily"?
VII7-IValt / III7 / #ivm7b5-VIIalt / III7
Is this III7 sort of a tonic here?
I appreciate any response, thank you for your teaching.
+emmoiv Looks pretty ok. The VI chord can actually be both tonic and subdominant ☺️
This is really useful! Thanks!
Very glad you like it Gabriel!
Hi Jens,
Can you make a lesson to talk more about #VI progression?
+Yau Cheuk Fai I think I already have a few if you search the channel ☺️
really useful device to better understand what we play
Thank you! 🙂 Glad you like it!
Good
Thank you 🙂
Jens, this lesson is guitar gold. Thanks.
Glad it was useful!
You really gave me insight on my jazz guitar assignment from my instructor so I subscribed! You explained something at timeline 14:16 in your video. I have this assignment where i'm learning composition basics. I have to write a "melody" over patterns that my instructor uses often such as starting backwards with your end chord or root "C" for example and going to G-D-A-E-B-F# (BACKWARDS) to achieve the pattern. Played forward it is of course F#-B-E-A-D-G-C. We also talked about the use of tritones or b5. Can you or anyone here offer any insight as to what this is about? I kind of get it and I hear it. I'm trying to learn chord melodies and comping. Thank You very much.
It's a very good study.
Thank you very much.
You're very welcome! I am glad you like it! 🙂
Thanks for laying it out in such a straightforward way, Jens. I think you are one the best jazz guitar teachers on RUclips right now, especially for students who are a little more advanced and I am learning a ton from you. One thought about this lesson: a great example of the IV minor progression concept is found in Cherokee: the Ab dominant that happens in the 7th measure. It is proceeded by an Eb chord (the IV major). Everybody who solos on Cherokee quickly figures out by ear that the easiest way to accommodate that Ab7 is just to switch from Eb major to Eb minor. For me it’s a really good illustration of the concept and one that always unlocks it for my students.
Thanks James! The IV minor thing is very very common in Standards. The one in Cherokee is indeed very clear like the one in There Will Never Be, It Could Happen, But Not For Me, Stella By Starlight etc.
Jens - thanks for another great discussion. The only place I differ with you is in the #4 category. I would call virtually all diminished chords in standards chromatic passing chords. Almost all provide chromatic root movement between chords a major second apart (IM: #1dim: iim7 or iim7:#ii dim: iiim7) or between the root of one chord and a chord with a non-root in the bass (IVM: #4 dim: IM/5 in bass). Some of them have a #IV in the chord, and some don't. I've seen the ones that move up chromatically called Dom7 b9 with the root removed, and the 3rd in the bass, which makes sense (C# dim = A7 b9), but that doesn't account for the examples that don't go up a major 2nd.
Maybe I think of it this way because it's so similar to using dim chords to harmonize non-chord tones in arranging. And since we're talking about function categories, I don't see any functional significance to the #IV - it just happens to show up in some cases, as does the b III. Obviously, if it works for you, there must be something to it - just a different way to see the same thing.
Sure! You're very welcome!
A few thoughts on this:
- Does it make sense to say a chord that covers a whole bar (and a whole phrase of the melody) is the same as the chord that is inserted when harmonizing a non chord tone in an 8th note line, and then conclude that it has no function?
- Calling something a chromatic passing chord is not giving it a function, it can be any type of chord resolving up or down
- The #1 dim chord is a dominant (as you say yourself) the #IV dim chords are the ones that are not dominant..
- the bIII dim is a #IV in inversion
- If you want to hear #IV then listen to the 2nd bar of I Remember You or the original chord in the beginning of Stella.
Could you please try to say this phrase out loud: " I don't see any functional significance to the #IV - it just happens to show up in some cases, as does the b III."
and then replace the #IV with V and the bIII with V of V, then you can hear how it sounds to me 😀
Jens - first, there's no reason to get snippy with your responses. I've made a musical point, which may be right or wrong, but I did so in good faith, to engage with your commenters and yourself.
That being said, when I said that I don't see any functional significance in the #4, I'm referring to the #4 interval of the major key. My point is that in a symmetrical chord like the diminished, it can be inverted without changing the function. Thus, a #4 diminished chord is at the same time a 6 dim, and a 1 dim, and a b3 dim.
Regarding whether or not a chromatic passing chord has a function or not, you must have a different understanding of the word function than I do. In C-C#dim-Dm7 or Dm7-Ebdim-Em7 or FM7-F#dim-G7 or any of those progressions in descending order, the dim chord serves a function - it adds color to the progression and provides chromatic movement in the bass line. This is the standard use of the dim chord in popular song writing through much of the 20th century. To pick out the F#dim chord in the third progression above and call it a different function than the first - which has no #4 in it - makes no sense to me. It's usage that defines function, not theory books, and this is, in fact, how the dim chord has been used in hundreds of songs. While the particular 4-#4-1 progression is a rare one, and fits perfectly into my function group - the #4 root moves chromatically to the 5 of the tonic chord.
Thanks for reading and responding.
Sorry, I was just trying to be clear, not offend you?
A function in harmony is usually that the chord belongs to a group of chords that sound and act similar, so in C major, C, Em and Am are all tonic (in most cases anyway) and G7 and Bdim are dominant.
In your progression the F# dim is working as a (secondary) dominant so it is not a #IV chord. In fact you don't have any #IV dim chords in there, they are all dominants and resolving like dominants.
Maybe that is the difference you don't see/hear: the #IV resolves differently since it can resolve directly to I or down to a IV chord (as bIIIdim to II)
It's like this: F#dim G7 is really just V I. But F#dim Fm6 is #IV IVm and F#dim C is #IVdim I The last two are very different from the first one to my ears? And surely just as common, in fact dim chords in jazz are not that often dominant and much more often subdominant now that I think about it.
Jens Larsen This was a very interesting thread to me, for two reasons. To begin with, the question and subsequent exchange I found quite useful in understanding how even accomplished and experienced musicians may differ in their understanding and use of some fundamental terms, such as "function". For example, being new to guitar and music theory but having immersed myself in the latter over the past year, whenever I read the word "function" in a discussion like this, my mind immediately goes to "functional harmony". This exchange usefully underlies a conclusion I had already come to, after watching countless theory tutorials: musicians often use the same words to mean different things...Sometimes the difference is trivial and other times it is more fundamental and doesn't always lead to good things (or feelings). Like you, I interpreted the word "function" as relating to "functional harmony" and therefore read your reply as a simple clarification, free of any disrespectful connotation. So reading the reply, and reaction, surprised me until I understood the more generic use of the term "function" implied but later explained by the person asking the question and everything fell into place...you both presumed a "common usage" which wasn't quite there. Learned from the two of you, as I understood both pov's. Your last answer will definitely send me to my desk to make sure my grasp isn't purely that of a student blindly agreeing with his teacher.
Hallo Jens.
Hi Peter :)
Gracias por traducir!!!
You're very welcome! I have Spanish translations of these videos: ruclips.net/video/mLmuA3KNAq8/видео.html&list=PLWYuNvZPqqcEuDRNUmMFc5hqrxk6tP3fO&index=1
Share them and help me spread the word!
Dude, you are awesome. Much thanks.
You're very welcome! I am glad you like it! 🙂
Excellent! Many thanks Jens!
You're very welcome Pertti! 🙂
Thank you, very much
You're very welcome! :)
Thanks Jens!!! You are always stretching me and helping me grow!
Glad to hear it! Keep at it! 🙂
Jume Mowery iii
3:25
Exactly! 👍
Can I just look up a guitar video without it ending up being this guy lol
Probably not if you keep watching and commenting :)
@@JensLarsen Good info though. I appreciate it.
excellent video!
+renaud charbonneau ryffranck Thank you very much Renaud!
Buenisima clase Saludos!!!
Thank you Andres Urrea I am glad you found it useful! 👍
thnx for the lesson...
You're very welcome! I am glad you like it! 🙂
good one....
Thank you!
Great lesson!
Thank you! :)
Jens - First, thank you for sharing! I always learn something from you. Now, here’s a touchy question: Assuming it’s copyrighted, would you be averse to analyzing and explaining your tune “Top Dog”? I really like the tune, and would like to know how you went about composing it.
Thanks! That's not really a touchy question I guess? Top Dog is of course copyrighted :) I could probably analyze it but I can't tell you how I wrote it because I don't remember, it was in 2002 or 2003 when I was still studying. I remember bringing it to a gig with a band and we only played it once because it was too difficult.
I am not sure that an analysis of a tune like that makes too much sense? It is in a key, but it is out of the key as much as it is in it?Most of my music is actually like that.
The #iv° could be seen as :
-A rootless V/V borrowed from the dominant key resolving to either V, V(c) or I(b). It could then be extended to be a dim7, or a min7(b5) chord if we either want the V/V chord to have a minor or a major 9th.
-The diminished two of a minor ii°-V-I, resolving to the the iii of a given major scale, or elsewhere if justified by voice leading. One could also resolve it to the I instead of the iii, since it implies doing a ii°-V-bVI in the key of the iii.
It could then be extended as a min7(b5) chord.
This is also a less obvious way to harmonize the vii degree of a major scale than considerating it as the leading tone of the V resolving to the tonic.
-A rootless b9 dominant chord built either on the 2nd degree (as mentionned above), or on the iv, bvi or vii degrees, if the #iv is extended as a dim7 chord. Each note of a diminished 7th chord can be the leading tone of a dominant chord, which results in the list above.
Then, these rootless dominant chords can resolve as expected, or resolve elsewhere by voice leading such as going from iii to #ii dim7 (which is the enharmonic of #iv dim7) to ii. Here the #ii dim7 is a rootless VII dom7(b9), but instead of resolving to the iii as expected, it goes by voice leading to the ii (which would be the bVII in the key of the iii).
But that is not how it sounds or how it voice-leads so it is not a very good description.
@@JensLarsen Hello Jens ! Thanks for your videos which helps me learn a lot :)
Could you tell me about which of the 3 uses of the #iv° you are takling about ? Sorry but i did post the comment before finishing it so i modified it by places :)
@@martialpanyvino No worries! It is the same for all of them. The problem is that you want to explain them as something that doesn't fit with how they act in the music, and how they sound. Forcing everything to be V I is anyway boring (if you think about it). Don't be afraid of a subdominant chord, those do exist 😁
@@JensLarsen I know there are perfect gestures being :
V - I (Perfect cadence)
bII - I (Tritone Sub)
bVII - I (Backdoor cadence)
And plagual gestures such as :
IV - I (plagual cadence)
iv - I (minor plagual cadence)
iimin7 - I
iimin7(b5) - I
And i know any of these gestures could resolve to other chords that the I, either respecting the movements implied by notes like the leading tone or not.
So when analysing a chord progression i always try to find these gestures wether the chords are diatonic or borrowed, because then i understand how the harmony functions.
However i know harmony doesn't have to function ! In modal harmony, such strong gestures are avoided to prevent establishing a clear sens of tonality. Is it what you are thinking about when telling me everything doesn't have to be a V - I ?
Also, even when analysing predominant chords such as vii° - iii - vi - ii, the fifths relation between their roots mirorrs the V - I gesture.
There are surely other examples which would miror other gestures but then i don't see what is wrong with using such gestures as a tool to analyse when it is possible ?
@@martialpanyvino You are trying to listen with your eyes and not taking into consideration how this works in the songs. That is what I am telling you. This is not a description of the music.
If it is a subdominant tonic resolution then it is weird to go out of your way to invent stuff to force it to be a V I. Especially when it means inventing sounds that don't really exist in the music like a V of V with a b9 in a major key. That is pretty rare(I can't even think of an example) in the songs.
So if you really want to learn theory then learn a lot of songs and explain what is in the songs, don't look at a single chord and try to imagine how it works.
what is the V7 / IV in Qb major? lulz
+rillloudmother Half diminished potato!
I think the great thing you did in this video was link the changes to specific jazz standards. As soon as you played m7b5 m7 I thought “bridge, ‘Night and Day’ “ It’s really useful to be ‘hear’ the changes in the context of tunes rather than in the abstract
Great! That is exactly what it should be :)
Hi, Jens. Nice video (as always)! I just did not understand the reason you called IVm progression and not just Im progression, since most chords proposed (Bb7, Abmaj7, D°, etc) belongs in Cm but not in Fm. Thanks.
That is because they are subdominant chords, not tonic chords 🙂
I cannot thank you enough Mr. Larsen! You really put these concepts in ways that are understandable and not intimidating! Such a great teacher!
You're very welcome, Philip! Great to hear that you find the videos useful!
So say I'm in key of c major ,
And say i have this progression
Cmaj7 F#dim7 Cmaj7
For the #IV , do you just think of is as a ii V of Emin7?
In other words
Cmaj7) { F#min7b5) B7b9)} Cmajor
Is that the scales you play over #IV?
I don't think of it as the II V, because it is a dim chord, but I do use E harmonic minor.
@@JensLarsen cuz in my mind a #IV is basically B7, D7, F7,Ab7
Isnt that correct?
You can play harmonic minor Aharm,Charm,Ebharm,Gbharm?
( but of course its context dependent)
But is that right?
I think I got those shifted wrong but what I mean is harmonic minors a min 3rd apart
@@johnjacquard2182 That is because your mind is basically ignoring the entire context the chord is in.....
Didn't we had this conversation before?
Maybe I should explain more what I'm confused about.
So I think say Bdim7
BDFAb
Is really 4 dominant chords ( rootless b9)
Bb7 BbDFAb
Db7 DbFAB
E7 EAbBD
G7 GBDF
So If Bdim7 is my #IV in Fmaj key
How do I think of the scale part
That a #IV is those 4 dominants
Or no its the dominant of the iiimin7 chord , we just using it as a surprise
Instead of playing { Bmin7b5 E7b9 Amin6}
We playing a surprise
Fmaj6 Bdim7 Fmaj6
? Please help thanks for you time energy and efforts with your videos
The best channel to learn jazz and more...thanks master Larsen.
Thank you very much, Enrique 🙂
Thank you so much again, Jens. Riffs are spilling out of my guitar just listening to you play/speak for a few minutes. Please always keep doing what you're doing. You're an asset to the cause!
Thank you Daniel! I am glad you can convert it to music! 🙂
I don't think you would consider it music! But it's exciting to learn such new tricks. Utmost respect; you light the way.
Nice new thumbnail! Another great lesson, Jens. And you are right, there is quite a lot of material. I like the new video effects too.
+Dan Urbach Thank you Dan! Yes, I was trying to expand a bit on my video editing chops 😁
So basically most songs in jazz are in a key but sneakily flirt with other keys but keep coming home to the main key of the songs? And the trick is to be really good at the flirty stuff without getting caught? “Did you just sneak off into G major there”... “no no no... still in c over here”. What a brilliant lesson.
Not really, another scale is not another key :) But I am glad you like it!
@@JensLarsen Kinda depends on the song and on the context. Is the part in Stella by Starlight where we hear the Vmaj7 chord "flirting" with the dominant, modulating to the dominant or staying in the tonic key but just using the lydian scale? Hard to say. Same thing with the first two chords of that song - #IVm7b5 VII7 - are we in the key of degree III for the first two bars or is it just an unresolved II-V to degree III?
But I agree that things like Em7 A7 Dm7 G7 Cmaj7 aren't really modulating to d minor. I wouldn't say that saying it's "flirting with the key of d dorian" is too far off, though. Secondary dominants are kind of by definition "flirting" with their target chord's key.
@@asukalangleysoryu6695 Modulating to the V or pretending to is one of the most common things in a song.
As for the beginning: It is actually a dim chord not a II V and I think you can hear that it is not going to Dm. Even if it did then that would not necessarily be a modulation.
In fact, Stella is a great example of a song that uses a ton of different scales but only maybe goes to Fmaj7 for a bit and for the rest everything is in Bb major.
@@JensLarsen I know that in your other video you talked about how the original harmony at the start of Stella was more of a Idim(maj7) kind of thing. Still, at the end of the song we hear that #IVm7b5 VII7 again and this time it does resolve to III. Same thing in the bridge, although in the bridge we're already flirting with the key of V so those chords aren't as striking.
Point is, if we hear those same chords as an actual II-V later in the song, why not call it a II-V in the first two bars as well? It might be a reharm of a diminished chord, but it's still a reharm with a II-V - our ears are used to the sound of II-Vs so it sounds satisfying to us even though it doesn't lead where we expected it to.
@@asukalangleysoryu6695 At the end of the song the II V does not resolve to the III (and it is also a reharmonized dim chord btw), it becomes a part of a longer movement that resolves back to I. What you are doing is just insisting that the only valid harmonic movement is V I and that is just not a good description of harmony, not how we hear it and not how we should improvise over it.
I don't know what you mean with the bridge? That is a very clear Subdominant-subdominant minor to I. There is no V in there at all (unless you want to modulate to Cm again, which I am sure you can hear is not the case?)
You are a brilliant teacher, thank you so much!
You are very welcome! I am glad you like the videos!
I found this week's video very interesting. I didn't really start thinking about harmonic progression within songs in relation to a key centre or 'home' until I'd been playing standards for some years. Mostly I just looked at a chord and thought, "Oh a VI7. So I'm in II major. Noodle noodle noodle. Oh, a II7. So I'm in V major. Noodle noodle noodle.." This approach treated each chord as a kind of isolated unit, and while it was useful, and functional, it was also somewhat limiting. Partly this came from traditional SATB exercises, and partly -- I'm sorry to say -- from the Abersold catalogue, which seemed to be telling me there was a 'correct' scale for every chord and you only had to learn them and run up and down them to play jazz. Noodle noodle noodle.
I would also say that things really expanded harmonically for me when I started doing more transcriptions and noticing how other musicians were navigating the structure of a tune; where they were 'in' or 'out' in relation to a chord or a block of II-Vs and where they were 'in' or 'out' in relation to the key centre. Dexter Gordon was a master at this - always finding exactly the right wrong notes!
Anyway, I really like Jens' Monday morning explanations. This is really clear and straight forward. Jazzers, take note! :-D
I think it is true that a lot of us learn our CHord-Scale relationships and then start trying to understand music and progressions later.
Glad you like the Monday videos :)
I am absolutely shocked that you are giving this away for free. Thank you, sir.
No worries Jay! Make some music and make the world a better place :)
Hi jens, I subscribe to your analysis of hearing function and applying chord or target notes based on that!!! Love your ear/ mind approach. Would love to know your thoughts on Diads. Understanding them better? Any thoughts you would have?
Diads? They are even more context sensitive than chords and can only be analyzed in a context.
I can’t believe I haven’t seen this video so far, being subscribed to this channel for a long while now!
Mr. Larsen, you have probably made THE best jazz progression video in the world here! This clarifies a lot of the confusion that beginner and intermediate jazz players face while looking at some songs.
Thanks very much for doing this.
Thank you very much! I made this study guide a while back, you might find that useful: jenslarsen.nl/how-to-analyze-songs-music-theory-and-functional-harmony/
Would you consider a song with the A part in Em and the B part in G major to be a modulation? (My instinct is that even though the key signature the the same, the tonal center has moved)
That depends on how you hear it. Sometime it really sounds like a modulation and sometimes it just sounds like the song is moving around in the diatonic chords. There are often more than one way to analyze something like that.
Hi Jens! Thank you for sharing those great combinations. Check this out...There are other interesting combinations like these ones:
Am7, Bm7(b5), CM7;
Em7, Dm7, CM7;
FM7, F#m7(b5), CM7;
Dm7, Gaug7/F, CM7;
Dm7, AbM7, CM7;
Bm7(b5), AbM7, CM7, and some more!
Yes, luckily there are lots of options :)
Best Jazz Lessons on you tube so far .. but not for beginners. Great teacher !!
Thank you! 🙂
Inspired by this video I have been considering the chord progressions of the few standards I can play more closely. Would the diminished chord in the turnaround of Donna Lee be considered as a #IV? Furthermore, as the root features in the diminished chord of the #IV, is it helpful or not to consider these chords as simply the diminished chord of the root?
Wouldn't have had the confidence to really start practicing jazz guitar without you Jens! You're single handedly one of the most positive things about the internet
exactly what I needed, great lesson here!!!
Thank you Wayne! Glad to hear that!
Hello Mr. Larsen Thank you for sharing your knowledge. God Always Bless you.
You are very welcome
Thanks. Good lesson. Will you get a chance to put this lesson in a readable form-pdf? I'm working my way through Mark Levine's Jazz Theory Book (which is excellent), so it's good to have your lessons to mix in with that book. Helpful.
+Corey B Glad you like it Corey! ☺️ I would like to write a theory book, but I doubt I will have the time soon. But I am of course flattered that you ask!
Very good types of chords progressions brother.....excellent presentation!!!!
Thank you! Glad you like it1
Hey, thanks a lot ! I'm not really a beginner neither in theory and jazz but I never realized that the F∆ Bb7 C∆ was in fact a classic F F- C, wich seem to be quite obvious for me now. New sbuscriber ! :D
+Adrien Bidal Thank you Adrien! I hope you find more stuff you can use ☺️
this was a great video, been watching for awhile but just got back into learning a little more on jazz taking it piece by piece but gives a better understanding of some of the standards I've been working on ! (actually wrote everything down aha!) Thanks Jens!!
Thank you Curtis! I am glad you find it useful and can put it to use! That makes it worthwhile to make this stuff in the first place!
Brilliant lesson, Jens. It seems to me the #IV is similar to a secondary dominant, i.e. more like a secondary tritone... and still often essentially just a passing chord to some subdominant, or maybe to the tonic. It seems different from the VIm, which can flow to the V7 in a way that's really nice - i.e. different. The #IV somehow just sounds like a chromatic passing chord, like a dim or something. Great food for thought! :-)
Thanks Philip. I guess the #IV is essentially a passing chord in the same way the IVm or a V is or not? The only reason you don't take the #IV to a V chord is that then it is an auxiliary dominant and not a subdominant.
Maybe check out some songs that it is in and get used to hearing it. that will probably make you more able to hear it for what it is and not a passing chord?
Hello Jens, thank you for all your informative videos. What is the source of the scores published in your videos ? Are they from the "real book" ? Which one ? Thanks for your reply.
Can you give me a time in this video? Then I can have a look :)
Well organized and enjoyable. Question/recommendation: Add a staff, in addition to the notes in letters. It helps to see the big picture, imo.
+Yves Le Goff Thank you Yves! I will keep that in mind, though my editing skills are somewhat limited ☺️
In 'I Remember You' I hear Fmaj7 as an Am substitute since it has all of the same notes. So Bm7b5 to E7 is ii7 V7 in Am. That's why it sounds natural.
Instead of listening with your eyes, then try to hear it in the key.
Luckily there is more to harmony than just reducing stuff to a V I. We actually have subdominant chords as well 🙂
Thanks Jens, great lesson. Impressed by the way you pulled out of your brain the tunes that exemplified the theory.
Thank you Ken! I guess it also has to do with how I learned the theory in the first place 🙂
I seen some/alot of your videos Jens, and wow! your awesome! Thanks a million! :D
You're very welcome, Allan! :)
Your videos are so helpful, really appreciate all of this knowledge!
Thank you! That's really great to hear 🙂