My man, you just connected so many pieces of music theory in my mind with this video. Once upon a time back in high school, I used to be first chair cello, but I never did understand music theory. I was really good at sight reading, learning new music, and being able to play it very well, but I didn’t understand any of it and the music theory portion of my education went way over my head. I’ve decided to pick music back up and learn to play a few other instruments and this time I have decided to dedicate myself to learning and understanding music theory because I also want to write music. I’ve been learning all the theory stuff now, but it’s all been this kind of disjointed and disconnected bits and pieces of information that I know theoretically, but still didn’t really understand. For whatever reason, this video just connected so many different pieces of all of that for me. This video explains what a 251 is to me, in a way that’s more meaningful than just saying that’s how you change keys. This video gives me an understandable explanation of how chords direct you to go somewhere and how you can choose what chords to use based on where you want to go. I don’t even play guitar, I’m learning bass and piano, but I love watching your videos for the way that you explain music theory. Thank you so much.
Jens Larson! I have been playing guitar for over 30 years and during that time I never thought that I would be able to graduate past basic theory to play and improvise like a seasoned jazz musician. This video alone has renewed my hope to attain the level that has always evaded me till now. Thank you for providing this wonderful information for free.
Dear Mr. Larsen, I wanna say thank you for teaching me all the theoretical background, I wouldn't get to figure out on my own and highly appreciate your work 👍👏. It helps me out so much to relax and calm down after working on icu with patients in the nowadays respiratory illness situation. Keep on doing, your work is very important. Thx again
This was very new information for me, but after watching and rewatching the first progression breakdown, I get it. It’s way above my pay grade today but gives me something to reach for, and incorporate into my intermediate skill set. So much to learn……
I've played for 35 years, from high school jazz band to music theater pits but always struggled with improv. These lessons are THE BEST at leveling up. Kudos for another key to the kingdom! This lesson in particular really brought together what years of study have struggled to do. Thanks dude!
Thanks for your generosity in taking the time to put these together. I find that watching your videos generally propels me towards periods of increased productivity in becoming a better musician. I especially love it when you take a concept and apply it to a jazz standard in real-time. Some of the best content I have seen.
Damn that was super informative. The secondary dominant of the secondary dominant idea blew my mind. Secondarydominantception! Also the simple heuristic of what scale to play over what type of secondary dominant was really helpful too. It wold have taken me a couple hours of tinkering to have deduced that I think.
Another nice one Jens! Clear no nonsense explanation. And now I can go to parties and wait until people start talking about Taylor Swift then interject "what I really like about her is how skillfully she employs secondary dominants". Then depart. ;-)
Jens as always Sage advice. I am as guilty as anyone about getting caught up in the theory. Always think about how it actually works with the music, made my day.
It always seems like you are speaking directly to me when you give the "not just theory" speech. I do try to cram as much theory in my head whether I use it or not. Just in case. I relate to the sudoku and crossword analogy. Your reminders do help me focus and apply new concepts to my playing rather than store them away. Thanks for that. I hear this one quite a bit... "Don't try to boil the ocean."
This was two years ago vid y I just started realizing that I could make the sense of these ideas against my usual chord building in group…well we looked for songs through vinyl playing etc 😂 in the early seventies…y learned the songs, memorize them etc y match the chords…y this medium y this guru is so valuable for us baby-boomers …well I could sing better than playing guitar y sing at the same time or e en playing the keyboard y piano y sing a simple tune at the same time…or buying musical instruments …ideal or fancy ones…😅I just got my OM28 etc before this😅…❤TY
Amazing !! thank you a lot Jens Larsen it help me so much !! I did not understand where all these 7 chords came from in the standards and in classical music pieces like those of Chopin I really like your videos thank you for all the knowledge you share
I echoe the sentiment on this thread that, of the literally thousands of guitar instructors online, Jens is hands down the top ranked when it comes to communicating basic JaZZ /theory concepts.
Loving all the videos you are doing on the various ways to employ functional harmony in playing jazz. Thanks. A video just on minor sub dominants would be very cool.
Jens, thanks for putting into words something I have only come to understand after too many years. The theory is only useful if it creates a sound you can file away for future use. Without even thinking about it.
Still learning basic theory, but when you are building a dominant chord from the Ami scale, the vi chord of C major, it spells EGBD, which is a minor chord. I went through several books and videos and no one says that raising the third to major is an accepted practice. Finally found an online piano theory website which discusses and clarifies this. Am I the only one who was confounded by this? But I do love your very clear and energetic lessons Jens.
Ain't that somethin'? Especially like the bit about inserting one or two SDs on a static vamp Cool that these SDs magically transform into Dim7ths (Dom7b9) Makes life that much simpler - now we're talking! Thanks Maestro!
Follow up; Is there a general rule as to when Dom7s chords can accommodate a b9? i.e. other than when leading to minor chords, when can a Dom7 be altered? Thanks again.
@@JensLarsen Mr. Larsen, your time and effort to create such a wonderful channel is greatly appreciated sir. Your teaching and playing are excellent, and your channel is a gift to all players who seek guidance and knowledge in their pursuit of becoming better jazz guitar players. Thank you very much for this valuable library you have created for us. Sincerely Lawson Ward
Hey Jens, really loved your Autumn Leaves easy arrangement video. Was wondering if you could recommend more chord melody/ "call and response" songs since they seem to be a great starting point?
Thanks! I don't think they always are great starting points. There are also other things that makes Autumn Leaves easy as a chord melody arrangement. There are other songs that you can do this with like Stella by Startlight or Speak Low, but I don't really see them as easy chord melody arrangements.
Agree. Really nicely complements the roadmap course. I'm finding that as I work through the course that many of your RUclips tutorials make so much more sense. Glad that I made the investment in the roadmap
At 7:20 you mention the "lydian dominant sound" could you explain what this actually is? You mention a sharp eleven and play something over take the A train, but I still don't really understand what it is.
@@JensLarsen Oh, I get it, the harmonic minor part made me a bit confused. However I have a second question about 11:15, is it better to put dominants in reverse order?
@@JensLarsen Gm6 --> A7b9 --> D7b9, and Gm6 has D7b9 for Dominant, so we are supposed to make a line such as A7 leads us to D7 which leads us to Gm6? I guess I'm talking about thinking backwards, putting a chord that resolves into a chord that resolves into a chord, that's how I understand it now.
Jens, can you please point me to one of your videos where you explain the Lydian Dominant? You refer to that from time to time, but I haven't been able to find the video where you really introduce it. Thanks!
Great Lesson Jens, Thanks! :) Question: in the last example on the A7b9 resolving to the V/Gm, what scale did you use to solo over this chord? Was it still the Lydian Dominant like you did in the Key of C, D7 resolving to G7?
Very nice Jens! Couple of questions. So, a subdominant is a relative five of any diatonic chord (apart from the tonic) in a particular key? Also, in a major/minor cadence, the five of a five is the two, so you could use that subdom chord in place of or together with the two chord (m7, m7b5)? Lastly, the examples you give of using a subdom to pull toward its resolving chord - would the use of a G7 to return to the CM7 in Autumn Leaves in Gm be an example of this?
@@JensLarsen Well it's just like the example where you add more secondary dominants (Cmaj7 E7 A7 Dm etc), you said at first that it's not very relevant to the soloist but when I tried to play over it I immediately had to add new notes (like G#, C#) as passing tones or something, otherwise it felt like I'm playing completely off key.
@@MarsziParszi Stuff like this is context-sensitive for things like tempo and voicings. I am sure that if you think about it you know this already, music is not an exact science. If you pretend it is you are most likely wasting your time.
I have a question here Jen’s! Learning all of this harmony stuff from your channel and trying to really grasp it. When I apply this to the tune ‘Isn’t she Lovely’ that would make the F#7 chord the 5 of 5… correct? It doesn’t sound right with Lydian dominant sounds.. unless it’s a 2-5 in B major? Before switching to E major? HELP😭😭😭
Would the dominant 2 chord in a major key usually be considered non-resolving? And therefore more tonic sounding scales and arpeggios like melodic minor and it’s modes? I usually struggle with this type of chord. Tritone sub, major 2 dominant7 , and the chromatic dominant chords you see sometimes
@@JensLarsen got it! I meant 2-5 in B*** major before switching to E major in isnt she lovely. Cadence being C#m- F#7 implies that B major is the tonal center But the B major is another 7 chord ! Leading to the tonic of the song Could that why I am hearing Dorian / mixolydian instead of melodic minor?
Hello. Jens Larsen, please, there are so many videos! I cant navigate in that. What about to make Categories by Year and month. And there easily, everybody can find, navigate... thank you
@@JensLarsen I have problems to roll it down, when I want to find the same video i was searching before. The list is very very long. Maybe chapters? can help... I don´t know... Thank you. I would compare you to the rocket. So productive...
It is a subdominant to minor subdominant to tonic , so try to make some simple melodies with Ab Abm to Eb and maybe check out this video ruclips.net/video/RTRo0omubRQ/видео.html 🙂
Sounds like listening to maths teacher.. but great concept though. I would have understand more if explained taking C major as a reference point.. Great lesson anyway
Oh ok wait..so are you telling me we can just secondary dominant ourselves so far backwards in time that we land in unequal temperament? Cuz this is the first time a lesson makes sense fully and I need it to make less sense, it’s uncomfortable.
"Db 7 doesn't resolve to Gb major it resolves to e-flat", but my ears don't tell me that though Gb is not part of the harmony here.' My ears are telling me that it does indeed resolve to Gb major. Am I missing something?
@@EyesFoward not necessarily if you are in the key of En major. Don't try to take stuff to far out of context, that is not how music works. Not everything is a V-I resolution otherwise music would be incredibly boring.
@@JensLarsen Well that would depend on what you do with it after in my opinion but I understand what you are saying in the context of the key and in mind of the composer
1:23 je maakt het een beetje verwarrend Jens. dominant of A minor, A ik weet het wel, maar toch, verspreek jeje ook bij de ingewikkeldere onderwerpen. Je snapt t.
Secondary dominants are great but trying to use secondary sub-dominants have messed me up. F#7b5 and all that "JAZZ" is just too much......Ive bitten off more than i can chew.
![Blox Fruits Dragon Rework Update [Full Stream]](http://i.ytimg.com/vi/EqDAp8udhm0/mqdefault.jpg)
I have scoured the whole internet and Jens is THE best teacher of useable theory. That makes him the best teacher on earth and possibly the universe.
😂
Wow! I’ve been playing guitar for a long time and never thought of this!
My man, you just connected so many pieces of music theory in my mind with this video. Once upon a time back in high school, I used to be first chair cello, but I never did understand music theory. I was really good at sight reading, learning new music, and being able to play it very well, but I didn’t understand any of it and the music theory portion of my education went way over my head. I’ve decided to pick music back up and learn to play a few other instruments and this time I have decided to dedicate myself to learning and understanding music theory because I also want to write music. I’ve been learning all the theory stuff now, but it’s all been this kind of disjointed and disconnected bits and pieces of information that I know theoretically, but still didn’t really understand. For whatever reason, this video just connected so many different pieces of all of that for me. This video explains what a 251 is to me, in a way that’s more meaningful than just saying that’s how you change keys. This video gives me an understandable explanation of how chords direct you to go somewhere and how you can choose what chords to use based on where you want to go. I don’t even play guitar, I’m learning bass and piano, but I love watching your videos for the way that you explain music theory. Thank you so much.
Jens Larson! I have been playing guitar for over 30 years and during that time I never thought that I would be able to graduate past basic theory to play and improvise like a seasoned jazz musician. This video alone has renewed my hope to attain the level that has always evaded me till now. Thank you for providing this wonderful information for free.
Great that it is useful 🙂 Go for it!
I knew it, I knew it was gonna click for me today. Thanks Jens!
You're welcome! Glad you figured it out :)
Dear Mr. Larsen, I wanna say thank you for teaching me all the theoretical background, I wouldn't get to figure out on my own and highly appreciate your work 👍👏. It helps me out so much to relax and calm down after working on icu with patients in the nowadays respiratory illness situation. Keep on doing, your work is very important. Thx again
This was very new information for me, but after watching and rewatching the first progression breakdown, I get it. It’s way above my pay grade today but gives me something to reach for, and incorporate into my intermediate skill set. So much to learn……
Go for it 🙂
Jens you have a convert in me...I have moved from Classic Rock to Pop & Sinatra and now I am finding a new home for expression - Thank You!!!
Great job on this one,good stuff,you put it down very clear, this is all essential info one should learn going forward in practicing jazz etc
Glad it was helpful!
Fantastic lesson Jens 👏Thank you!
Glad you liked it!
Another great lesson. I’m just getting to it now. Excellent explanation of why we should use these. Thanks
Glad it was helpful!
I've played for 35 years, from high school jazz band to music theater pits but always struggled with improv. These lessons are THE BEST at leveling up. Kudos for another key to the kingdom! This lesson in particular really brought together what years of study have struggled to do. Thanks dude!
Thank you! I really appreciate that 🙂
i literally was just thinking to myself “you should really lock down your concept of subdominants”. great work, Jens... you’re the greatest
Really useful as always Jens, thank you. You are helping so many aspiring musicians. 👍Keep up your fine work.
Knowing the chords and their functions definitely aid in serving the songs indeed! Great work!
Thank you, RC 🙂
@@JensLarsen My pleasure!
Extremely helpful! Thanks!
You're welcome!
Far and away the easiest to digest and most helpful explanation of the secondary dominant I have come across! Great Lesson, thank You! B-)
Thanks for your generosity in taking the time to put these together. I find that watching your videos generally propels me towards periods of increased productivity in becoming a better musician. I especially love it when you take a concept and apply it to a jazz standard in real-time. Some of the best content I have seen.
Damn that was super informative. The secondary dominant of the secondary dominant idea blew my mind. Secondarydominantception! Also the simple heuristic of what scale to play over what type of secondary dominant was really helpful too. It wold have taken me a couple hours of tinkering to have deduced that I think.
Glad it was helpful 🙂
Another nice one Jens! Clear no nonsense explanation. And now I can go to parties and wait until people start talking about Taylor Swift then interject "what I really like about her is how skillfully she employs secondary dominants". Then depart. ;-)
Jens as always Sage advice. I am as guilty as anyone about getting caught up in the theory. Always think about how it actually works with the music, made my day.
Thanks Stephen :)
Amazing! The part about adding.... secondary cadences?.... to solos was particularly brilliant. Thanks for these lessons!
Crystal clear explanation!! You saved me from the dominant limbo, thanks!!
Glad it helped!
It always seems like you are speaking directly to me when you give the "not just theory" speech. I do try to cram as much theory in my head whether I use it or not. Just in case. I relate to the sudoku and crossword analogy. Your reminders do help me focus and apply new concepts to my playing rather than store them away. Thanks for that.
I hear this one quite a bit...
"Don't try to boil the ocean."
I just wanted a quick explanation, and here we are again, 3 hours later, guitar in hands still doing home works haha! Thanks!
This was two years ago vid y I just started realizing that I could make the sense of these ideas against my usual chord building in group…well we looked for songs through vinyl playing etc 😂 in the early seventies…y learned the songs, memorize them etc y match the chords…y this medium y this guru is so valuable for us baby-boomers …well I could sing better than playing guitar y sing at the same time or e en playing the keyboard y piano y sing a simple tune at the same time…or buying musical instruments …ideal or fancy ones…😅I just got my OM28 etc before this😅…❤TY
Amazing !! thank you a lot Jens Larsen it help me so much !!
I did not understand where all these 7 chords came from in the standards and in classical music pieces like those of Chopin
I really like your videos
thank you for all the knowledge you share
You're very welcome!
Thanks again!
Thank you Simon! I really appreciate the support to the channel!
I echoe the sentiment on this thread that, of the literally thousands of guitar instructors online, Jens is hands down the top ranked when it comes to communicating basic JaZZ /theory concepts.
Thank you 🙂
Loving all the videos you are doing on the various ways to employ functional harmony in playing jazz. Thanks. A video just on minor sub dominants would be very cool.
Thank you! I think you mean a video like this ruclips.net/video/RTRo0omubRQ/видео.html
Or not?
Yessssssss, but I'm going to have to watch this a bunch of times to get all this info!
Thanks!
Amazing video , just what I needed
Thanks for posting
Glad it helped
Thanks Jens, perfectly clear and very helpful. Your videos are looking more and more professional all the time too with the filters and angles
Great to hear! Thanks Frank! :)
*The theory you need:*
Why You Want To Use Functional Harmony in Jazz
ruclips.net/video/8Lx926gI1QM/видео.html
💡Moment! So good, Thank you , Jens.
Glad you enjoyed it!
Jens, thanks for putting into words something I have only come to understand after too many years. The theory is only useful if it creates a sound you can file away for future use. Without even thinking about it.
Really glad to hear that :)
That was an exceptionally good presentation. I really enjoyed your greatest jazz exercise video too. Actually, they are all very good.
Thank you Jack!
@@JensLarsen Absolutely Jens. Great stuff. Thanks again.
Great lesson like always..this made me realise something. God bless you and your family Jens..thank you for sharing this lesson.
This is a very interesting video from a mathematical point of view. It gives us an incredible amount of food for thought and practice.
Another informative lesson. .....
Thanks Jens !
Glad you liked it!
Still learning basic theory, but when you are building a dominant chord from the Ami scale, the vi chord of C major, it spells EGBD, which is a minor chord. I went through several books and videos and no one says that raising the third to major is an accepted practice. Finally found an online piano theory website which discusses and clarifies this. Am I the only one who was confounded by this? But I do love your very clear and energetic lessons Jens.
You are confusing key with scale, those two are not the same 🙂
Absolutely Useful! Thank You Master.
Glad you like it 🙂
That's a tough but still a very useful topic! And it's all comes with practice. Thanks for creating videos like this!
My pleasure!
Ain't that somethin'?
Especially like the bit about inserting one or two SDs on a static vamp
Cool that these SDs magically transform into Dim7ths (Dom7b9)
Makes life that much simpler - now we're talking!
Thanks Maestro!
Follow up;
Is there a general rule as to when Dom7s chords can accommodate a b9?
i.e. other than when leading to minor chords, when can a Dom7 be altered?
Thanks again.
Great explanation Jens!
Glad you think so!
Amazing teacher! Greetings from Venezuela
Thank you! 😃
Thank you shearing teacher 🙏🥰
You are very welcome
Always great lessons, thank you Lars
Glad you like them!
@@JensLarsen Mr. Larsen, your time and effort to create such a wonderful channel is greatly appreciated sir. Your teaching and playing are excellent, and your channel is a gift to all players who seek guidance and knowledge in their pursuit of becoming better jazz guitar players. Thank you very much for this valuable library you have created for us. Sincerely Lawson Ward
More Pure Gold nuggets...
Thanks for this. This is a concept I can use some help with.
Very good video...Thank you
Thank you 🙂
Hey Jens, really loved your Autumn Leaves easy arrangement video. Was wondering if you could recommend more chord melody/ "call and response" songs since they seem to be a great starting point?
Thanks! I don't think they always are great starting points. There are also other things that makes Autumn Leaves easy as a chord melody arrangement. There are other songs that you can do this with like Stella by Startlight or Speak Low, but I don't really see them as easy chord melody arrangements.
Thank you Jens
Glad you like it :)
Excellent content! 👍🏼
Glad you think so!
very useful thanks
4:40 Is the E7 chord the dominant of the 6th (Am harmonic) in the key of C major? Because E7 (correct me if I'm wrong) is not in the key, Em7 is.
The E7 is a secondary dominant in C major. I talk about it in this song in more detail here ruclips.net/video/frzyy30d3UY/видео.html
You are awesome!
Glad it was helpful 🙂
nice tie in to Take the A Train Jens for all us road map course students
Glad you find it useful 🙂
Agree. Really nicely complements the roadmap course. I'm finding that as I work through the course that many of your RUclips tutorials make so much more sense. Glad that I made the investment in the roadmap
Thank jens , good content
Will you teach diminish substitution chord
Glad you like it! Do you mean this: ruclips.net/video/mM6WFXPBHFY/видео.html
or something else?
@@JensLarsen yes !!! thank jens
incredible
Thank you
You can alter some of the scale notes used over the secondary dominants as well. Of course you will want to resolve appropriately
Thanks for all your great lessons!! What about thinking of that db7 as a tritone substitution for g7? What kind of sound would you use for that?
That is not a secondary dominant, it is a tritone substitution.
I have videos on those as well ruclips.net/video/NlqvZ0Q_Wpk/видео.html
At 7:20 you mention the "lydian dominant sound" could you explain what this actually is? You mention a sharp eleven and play something over take the A train, but I still don't really understand what it is.
Here are some videos talking about it: ruclips.net/video/gbgx3R_kijg/видео.html
I can tell this is probably a great lesson but I haven't leveled up this far yet.
Don't worry, you'll get there 🙂
So I can add secondary dominant of secondary dominant, example in the key of Cmaj7, I can play
C#7, F#7, B7, E7, A7, D7, G7, Cmaj7 ?
Yes, if you want to 🙂
next video i need u do to..some rhythm style of comping..in jazz ...if u will
Maybe start with these: ruclips.net/video/EllY2d2weKY/видео.html
Is that what you had in mind?
Hi Jens, my question is: how do I figure out scales to play over secondary dominants? Thank you for this video, very helpful.
I would usually suggest this video for that question? 🙂 Maybe check from 5:39?
@@JensLarsen Oh, I get it, the harmonic minor part made me a bit confused. However I have a second question about 11:15, is it better to put dominants in reverse order?
@@velushiuotpir3485 what does reverse order mean? 🙂
@@JensLarsen Gm6 --> A7b9 --> D7b9, and Gm6 has D7b9 for Dominant, so we are supposed to make a line such as A7 leads us to D7 which leads us to Gm6? I guess I'm talking about thinking backwards, putting a chord that resolves into a chord that resolves into a chord, that's how I understand it now.
@@JensLarsen I think I have figured it out because of this conversation, thank you :)
Jens I was wondering what to play on b section of rythm changes? Lydian dominant ?
That, or just plain dominants
@@JensLarsen thank you very much! I have trouble finding interesting ideas over this section I will definitely give that a try!!
@@juliendrouot128 Turn them into II Vs or play II [V] II V on them, there are tons of options 🙂
Jens 🐐🐐🐐🐐
😀
Jens, can you please point me to one of your videos where you explain the Lydian Dominant? You refer to that from time to time, but I haven't been able to find the video where you really introduce it. Thanks!
Maybe this (really old) article and video: jenslarsen.nl/melodic-minor-lydian-dominants/
@@JensLarsen Thanks!!
Great Lesson Jens, Thanks! :) Question: in the last example on the A7b9 resolving to the V/Gm, what scale did you use to solo over this chord? Was it still the Lydian Dominant like you did in the Key of C, D7 resolving to G7?
Thanks! No, the Lydina dominant is for V of V in major, in minor it would be a dominant from the harmonic minor scale.
@@JensLarsen awesome! Thanks Jens :)
Please could you explain the function of the bVII7 in another video?
How about this one? ruclips.net/video/RTRo0omubRQ/видео.html 🙂
@@JensLarsen Thanks! I must have watched this previously but not truly understood the signficance
Very nice Jens! Couple of questions. So, a subdominant is a relative five of any diatonic chord (apart from the tonic) in a particular key? Also, in a major/minor cadence, the five of a five is the two, so you could use that subdom chord in place of or together with the two chord (m7, m7b5)? Lastly, the examples you give of using a subdom to pull toward its resolving chord - would the use of a G7 to return to the CM7 in Autumn Leaves in Gm be an example of this?
I think you are mixing up secondary dominant and subdominant?
@@JensLarsen yes
Would these solo examples at the end work if the chord was a Gm7 (not minmaj7) or would the f and f# clash too much?
Hard to say, that depens on how the chords are played.
@@JensLarsen Well it's just like the example where you add more secondary dominants (Cmaj7 E7 A7 Dm etc), you said at first that it's not very relevant to the soloist but when I tried to play over it I immediately had to add new notes (like G#, C#) as passing tones or something, otherwise it felt like I'm playing completely off key.
@@MarsziParszi Stuff like this is context-sensitive for things like tempo and voicings.
I am sure that if you think about it you know this already, music is not an exact science. If you pretend it is you are most likely wasting your time.
I have a question here Jen’s!
Learning all of this harmony stuff from your channel and trying to really grasp it.
When I apply this to the tune ‘Isn’t she Lovely’ that would make the F#7 chord the 5 of 5… correct? It doesn’t sound right with Lydian dominant sounds.. unless it’s a 2-5 in B major? Before switching to E major? HELP😭😭😭
Would the dominant 2 chord in a major key usually be considered non-resolving? And therefore more tonic sounding scales and arpeggios like melodic minor and it’s modes?
I usually struggle with this type of chord. Tritone sub, major 2 dominant7 , and the chromatic dominant chords you see sometimes
G major?
But yes that is a V of V in E. I am not saying that it ALWAYS is a lydian dominant, just that it is common in Jazz.
@@JensLarsen got it! I meant 2-5 in B*** major before switching to E major in isnt she lovely. Cadence being C#m- F#7 implies that B major is the tonal center
But the B major is another 7 chord ! Leading to the tonic of the song
Could that why I am hearing Dorian / mixolydian instead of melodic minor?
@@simonsilvia6864 lydian dominant is a habit not something you hear as a natural first choice. That is also what I say in the video
Very well explained. Is it OK to improvise with secondary dominants in a modal tune, or will you get busted by the jazz police?
🚨🚨🚨🚔🚔🚔🚨🚨🚨
You can always try 😁
Hello. Jens Larsen, please, there are so many videos! I cant navigate in that. What about to make Categories by Year and month. And there easily, everybody can find, navigate... thank you
If you want categories by dates, then you can choose that while searching on RUclips. I don't really see how that would be useful?
@@JensLarsen I have problems to roll it down, when I want to find the same video i was searching before. The list is very very long. Maybe chapters? can help... I don´t know... Thank you. I would compare you to the rocket. So productive...
@@franzdurer5026 Maybe use my website instead of YT to search for lessons.
Why Lydian Dominant over the V of V? It sounds good but I can't figure out why.
It is a habit and you have already heard it 1000s of times
Hey Jens. I’m struggling on improvisation from abmaj7 to db7 to ebmaj7. How do you think about it
It is a subdominant to minor subdominant to tonic , so try to make some simple melodies with Ab Abm to Eb and maybe check out this video ruclips.net/video/RTRo0omubRQ/видео.html 🙂
Use IV minor to Ebmaj and you'll be fine. So Abmaj, Abmin to Ebmaj.
I never understood 2nd dominant before, its just the Chord Above the one you will play, but one 8 higher?
I don't understand what you mean? 🙂
Sounds like listening to maths teacher..
but great concept though.
I would have understand more if explained taking C major as a reference point..
Great lesson anyway
C major is the reference point in the whole lesson? But I am glad you like the video!
THIS LESSON SHOW glorious WAY TO USE SECONARY DOMINANT
Thank you! :)
Oh ok wait..so are you telling me we can just secondary dominant ourselves so far backwards in time that we land in unequal temperament? Cuz this is the first time a lesson makes sense fully and I need it to make less sense, it’s uncomfortable.
after I watched this video I think I can understand how to play jazz
The Db7 is IV of Abj not a bVII7 of Ebj. It sounds like a IV minor to Ebj.
bVII is a minor subdominant, that is the function of the backdoor dominant. I talk about it here: ruclips.net/video/RTRo0omubRQ/видео.html 🙂
"Db 7 doesn't resolve to Gb major it resolves to e-flat", but my ears don't tell me that though Gb is not part of the harmony here.' My ears are telling me that it does indeed resolve to Gb major. Am I missing something?
There are 1000s of songs that do this, you just never noticed. I suspect you are listening mostly with your eyes in this case.
@@JensLarsen Wait! If I play the Db7 moving to GbM7 it is a much more satifying resolution than moving to Eb. Isn't it?
Am I wrong?
@@EyesFoward not necessarily if you are in the key of En major. Don't try to take stuff to far out of context, that is not how music works. Not everything is a V-I resolution otherwise music would be incredibly boring.
@@JensLarsen Well that would depend on what you do with it after in my opinion but I understand what you are saying in the context of the key and in mind of the composer
1:23 je maakt het een beetje verwarrend Jens. dominant of A minor, A ik weet het wel, maar toch, verspreek jeje ook bij de ingewikkeldere onderwerpen. Je snapt t.
Joe Charles
🎶😎🎶
If you're sitting around a poker table, and can't tell who the secondary dominant is, it's you.
Secondary dominants are great but trying to use secondary sub-dominants have messed me up. F#7b5 and all that "JAZZ" is just too much......Ive bitten off more than i can chew.
Stick to what you find in the songs you already know and go from there 🙂
I feel I just took the red pill for jazz harmony
Just look on the floor and see if you also can find the blue pill 😁
0 to 60 in 12 min!
Applausi
New York State of Mind uses secondary dominants.
''Gsus4maj7#11'' uh nee Bmin69, uh nee. :p
My mind was lost in translation.
Hi guys evh coming to ya from the grave...wtf is he talking bout?
Baffling.
sorry, wtf
Not for everybody. Sounds like too advanced and too fast. One must have a degree in music to understand the lesson. Thanx anyway.
One may have a hard time getting into a university if one does not understand basic music theory like this.