DOWNLOAD 'THE JAZZ PIANO CHORD VOICING GUIDE': JazzTutorial.com/sheet-music Watch Part 1 here: ruclips.net/video/ho4oRlwV61g/видео.html Part 3 will be posted soon!
Great vid! Can you think of the tritone substitution as any form of modal interchange, or is it completely separate? I have a hard time conceptualising secondary dominants and tritone subs in the context of modes. Thanks!
Glad you're back! I hope you and your family are doing well. This lesson was excellent! I love how you made the concept of major 7th chords easier to understand, esp the section on thinking in "opposites". That was really helpful. Thank you!
I really appreciate you saying that Edmond, because they take a lot of extra time. When I watch the lessons without any text, it doesn't seem to convey the information nearly as well - which is why I add the text. Thank you so much Edmond!
Because we are adding the 7th of the Eb Maj Chord, it's about the part that's being played in the right hand :) but if you view it as a whole it would be the ninth - like you said
Your chord progression ideas are terrific. They have opened up a new way of composing for me and some interesting voicing of chords. Thanks so much for the free content...
Me too. I did a survey of the Jazz Tutorial audience where I asked your favorite key - C minor and C major both came back as joint first. I prefer to play a scale with some black notes in it, as it keeps you aware of the interval patterns you're playing - like where the half-steps are. I find that C major scale can seem like a series of equally spaced notes, which it's not.
When I first learned tritone sub, I thought, why not just say it's half-step from the root? You're the first person to say yeah, that's all it is! Sure, you can get to the same place explaining how the tritone is involved, but that seems a little academic.
The half step up from the target is a helpful shortcut to help composers/improvisers apply tritone subs, but it's also important to see why the chord movement works so well, and where it can be derived from. Learning the "why" helps students and musicians learn these concepts on a deeper level. I wish this information is more accessible for those who just want the quick and dirty formula, but hey, now you can teach it your own way!
Is it not the dissonant 9 that brings you out of key rather than the voicing? I don’t see how the voicing itself does much for the modulation (besides just giving the gm9 chord some space).
I appreciate your videos. Very informative. I would like to know why you would raise that 5th in a dominant chord a whole step. Raising it down a half step or up an half step would either be a C7-5 or C7+5, but raising it a whole step makes no sense to me.
Also, tritone subs should be explained in relation to the V of the target chord. In your examples, V of I (five of one), V of IV (five of four), or V of V (five of five). True, in practice, it is half step up or semi tone up - but understanding the tritone designation provides a better understanding of its use.
Perhaps I should not get stuck on this, but since the tritone of a C minor scale would be f#/g-flat, how is a chord built on the d-flat considered a tritone substitution? Never-the-less, I am getting a lot out of your lessons. I took music theory in the mid 70s in college, but I don't remember it ever being explained as succinctly and applicably as you do!
As I understand, the Db7 is tritone substituting G7. Both have a nice resolution to Cm7 and work similarly because both chords have the same ”color notes” (F and B). The color notes’ (3rd and 7th) positions just change.
Normally when playing with a bass player, you would play these rootless voicings in your left hand, and the bassist would play the root beneath them (leaving your right hand free to play a melody or solo). However, when playing solo piano (as I am here), I'm playing the root in my left hand, and the voicing in my right hand. You could argue that the voicing itself is just the 3 5 7 9 part, which is rootless.
I'm sooooooooooo glad I found you and your awesome pdf. love that you're on the planet, doin' what you do!!!!!!! I've downloaded the pdf... soooooooooooo refreshingly power packed and to the point!!!!!!! VERY HELPFUL!!!!!! ill be tuning in to more of your great JAZZ TUTORIAL(S)
So greatful for this , thankyou many many times 🙏 also your way of teaching / explaining is incredible - perfect speed with perfect examples and explanations 🙌
I've been here since the very begining, Before I went to college and got two degrees in music! I still love seeing your notifications and always enjoying your high quality well explained tutorials. Thanks again for all that you do!! 🎹🎵🙏🏽
Tybo! I'm declaring this 'nicest comment of the day'. Thank you so much for your kind words, it means a lot that you've followed my work from the very beginning. I'm so glad that my videos complement / build on your formal music training. I have many new videos in production and I can't wait to share these with you. Julian
This video series is so good! I don't know if this makes sense but I've been using these and applying them my guitar playing - I started learning music by playing keys, and so theory just makes more sense to me on a keyboard than on a guitar fretboard.
Really glad you like these new lessons Aditya. It makes total sense - the piano keyboard allows you to visualize the notes in a linear arrangement, left to right. Most music colleges make learning basic keyboard skills compulsory, even if you play a different instrument
Tritone is a six semi-tone interval. In Cmaj the 5 chord is G7. Tritone for the G is Db therefore you can do tritone substitution for Db7 instead of G7. As I understand it, this substitution is usually for the 5 chord.
Yes - in this video I gave the quick explanation, which is that you end up playing a V7 chord that's up a half-step from your next chord. You can precede any major 7 or minor 7 chord with this bII7 chord. I made an in-depth tutorial on tritone substitution here: ruclips.net/video/ye0JRyR57vY/видео.html
Hi Elroi, yes - if playing with a bass player, leave the root to the bassist to play. You can then play the rootless voicing part (3 5 7 9, or 7 9 3 5) in your left hand, and your right hand is free to play the melody, or play a solo. These rootless voicings make up about 60% of my jazz piano playing. Does that make sense?
@@jazztutorial yes thanks you and what if you were playing with a bass player but just comping for a soloist? would you spread the voicing over 2 hands?
The trick is to count out the chord voicing's INTERVAL PATTERN, from any of the 12 notes. I haven't memorized the note names of these voicings in every key (or anything else - notes to every scale in every key, etc). You don't need to know the note names. Instead, you just have to memorize the INTERVAL PATTERN - that's just one thing to learn - and then you can build it from any note. For these rootless voicings, I just find the chord's 3rd (a major 3rd or minor 3rd), and then build a 7th chord (the opposite to what the chord is - major > minor, or minor > major). Does that make sense?
@@jazztutorial it does! Thanks so much for replying. I am a guitar player and you made theory a lot less scary for me. I have a few jazz guitar books and they are quite painful. I'm considering learning piano but I still watch your videos because you have four extra notes available than guitar which gives some beautiful voicings we cant do on guitar. Thank you!!
@@jazztutorial btw for Triton substitution I followed along on guitar! First I tried recreating the chords u did with the same notes but it sounded. Well just ok. Not nice like the piano version. Then I swapped the half step up chord you played with a 9 chord. So like Ab9 to Gmin7 and I got more the flavour of what you did. Probably there is a more similar voicing to what you got on piano I just found that interesting though.
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DOWNLOAD 'THE JAZZ PIANO CHORD VOICING GUIDE':
JazzTutorial.com/sheet-music
Watch Part 1 here:
ruclips.net/video/ho4oRlwV61g/видео.html
Part 3 will be posted soon!
Great vid! Can you think of the tritone substitution as any form of modal interchange, or is it completely separate? I have a hard time conceptualising secondary dominants and tritone subs in the context of modes. Thanks!
The best Jazz Piano teacher on any platform.Many thanks Julian.
That means a lot to me, thank you so much BSR for your kind words.
Fr fr
Glad you're back! I hope you and your family are doing well. This lesson was excellent! I love how you made the concept of major 7th chords easier to understand, esp the section on thinking in "opposites". That was really helpful. Thank you!
I a overwhelmed. This quality INCLUDING FREE CONTENT. this is absolutely unmatched, thank you!
Thank you so much Parker for your kind words. I'm so pleased you're enjoying this series, can't wait to post part 3!
Your animations are really top notch
I really appreciate you saying that Edmond, because they take a lot of extra time. When I watch the lessons without any text, it doesn't seem to convey the information nearly as well - which is why I add the text. Thank you so much Edmond!
4:47 Why are we calling these 7th chord when we are clearly adding the 9th?
Because we are adding the 7th of the Eb Maj Chord, it's about the part that's being played in the right hand :) but if you view it as a whole it would be the ninth - like you said
Your chord progression ideas are terrific. They have opened up a new way of composing for me and some interesting voicing of chords. Thanks so much for the free content...
Impressive...
Being a bit rusty, I think after several views it will sink in better....Thanks Julian!
Not sure why but C minor is my favorite key to work with chord progressions.
Me too. I did a survey of the Jazz Tutorial audience where I asked your favorite key - C minor and C major both came back as joint first. I prefer to play a scale with some black notes in it, as it keeps you aware of the interval patterns you're playing - like where the half-steps are. I find that C major scale can seem like a series of equally spaced notes, which it's not.
When I first learned tritone sub, I thought, why not just say it's half-step from the root? You're the first person to say yeah, that's all it is! Sure, you can get to the same place explaining how the tritone is involved, but that seems a little academic.
The half step up from the target is a helpful shortcut to help composers/improvisers apply tritone subs, but it's also important to see why the chord movement works so well, and where it can be derived from. Learning the "why" helps students and musicians learn these concepts on a deeper level. I wish this information is more accessible for those who just want the quick and dirty formula, but hey, now you can teach it your own way!
Is it not the dissonant 9 that brings you out of key rather than the voicing? I don’t see how the voicing itself does much for the modulation (besides just giving the gm9 chord some space).
thank you so much for all the work you put in this lesson...im struggling with my study and i found you... how magical ✨✨
I appreciate your videos. Very informative. I would like to know why you would raise that 5th in a dominant chord a whole step. Raising it down a half step or up an half step would either be a C7-5 or C7+5, but raising it a whole step makes no sense to me.
Wow
Esto es increíble
He luchado por encontrar está información una a una
Y tu la pones en un solo video
Gracias!
Saludos desde el salvador!
Also, tritone subs should be explained in relation to the V of the target chord. In your examples, V of I (five of one), V of IV (five of four), or V of V (five of five). True, in practice, it is half step up or semi tone up - but understanding the tritone designation provides a better understanding of its use.
I already covered tritone substitution fully in my 2017 video here:
ruclips.net/video/WyTElwYNs7U/видео.html
Hey Julian,
Why do you use 6 instead of Fifth in your dominant chord? Just wondering
Just wanna say THANK YOU SO MUCH.
really helping... amazing teacher! thx
Good stuff,thank you.
Outstanding video! Thank you
Great as usual . Many thanks.
Thank you so much Naim!
Thanks so much dude! Rootless makes those chords sound ridiculously good
My pleasure Oliver! Those rootless voicings are ESSENTIAL
I thought rootless voicings meant no root.
Perhaps I should not get stuck on this, but since the tritone of a C minor scale would be f#/g-flat, how is a chord built on the d-flat considered a tritone substitution? Never-the-less, I am getting a lot out of your lessons. I took music theory in the mid 70s in college, but I don't remember it ever being explained as succinctly and applicably as you do!
As I understand, the Db7 is tritone substituting G7. Both have a nice resolution to Cm7 and work similarly because both chords have the same ”color notes” (F and B). The color notes’ (3rd and 7th) positions just change.
Thx a lot! rootless b position thats all i needed
Why do you call these rootless voicings when you are playing the root?
Normally when playing with a bass player, you would play these rootless voicings in your left hand, and the bassist would play the root beneath them (leaving your right hand free to play a melody or solo).
However, when playing solo piano (as I am here), I'm playing the root in my left hand, and the voicing in my right hand. You could argue that the voicing itself is just the 3 5 7 9 part, which is rootless.
I'm sooooooooooo glad I found you and your awesome pdf. love that you're on the planet, doin' what you do!!!!!!! I've downloaded the pdf... soooooooooooo refreshingly power packed and to the point!!!!!!! VERY HELPFUL!!!!!! ill be tuning in to more of your great JAZZ TUTORIAL(S)
thank you chord voicing is explained in very easy & simple GOD BLESS YOU & YOUR FAMILY
A very gifted teacher. I found some of this concepts challenging to understand until I found your channel. Excellent lesson. Thank you.
thanks man for the lesson
Beautiful lesson ! Thxs!!! I love yr style and this kind of minimal and efficient approach, I have a lot to work now ;-)
Man, by far the most helpful jazz video ever not only for keyboardists, but guitarists like myself too.
So greatful for this , thankyou many many times 🙏 also your way of teaching / explaining is incredible - perfect speed with perfect examples and explanations 🙌
By far one of the best teachers... The simplicity and the graphical layout and the pace gives me hope :)
Love those 7ths.
Hi Julian very simple and neat explanation thanks!! ☺️
You are a brilliant teacher Julian, im really enjoying your content, it's the real deal.
This is so good thank you for making this video and thank you for taking your time when you teach it.
👍🙏💫
These videos are amazing!
I've been here since the very begining, Before I went to college and got two degrees in music! I still love seeing your notifications and always enjoying your high quality well explained tutorials. Thanks again for all that you do!! 🎹🎵🙏🏽
Tybo! I'm declaring this 'nicest comment of the day'. Thank you so much for your kind words, it means a lot that you've followed my work from the very beginning. I'm so glad that my videos complement / build on your formal music training. I have many new videos in production and I can't wait to share these with you.
Julian
This video series is so good! I don't know if this makes sense but I've been using these and applying them my guitar playing - I started learning music by playing keys, and so theory just makes more sense to me on a keyboard than on a guitar fretboard.
Really glad you like these new lessons Aditya. It makes total sense - the piano keyboard allows you to visualize the notes in a linear arrangement, left to right. Most music colleges make learning basic keyboard skills compulsory, even if you play a different instrument
Thank you so much for youre Videos Julian, the way you teach is so easy to understand. You are Awsome
NLND, thank you so much for your kind words. I'm so pleased this one helped and I can't wait to post part 3 :)
Nice!
Tritone is a six semi-tone interval. In Cmaj the 5 chord is G7. Tritone for the G is Db therefore you can do tritone substitution for Db7 instead of G7. As I understand it, this substitution is usually for the 5 chord.
Yes - in this video I gave the quick explanation, which is that you end up playing a V7 chord that's up a half-step from your next chord. You can precede any major 7 or minor 7 chord with this bII7 chord.
I made an in-depth tutorial on tritone substitution here:
ruclips.net/video/ye0JRyR57vY/видео.html
@@jazztutorial Okay, btw I enjoyed part one. My knowledge of modal interchange was sketchy.
truely awesome explanations, love this series!!
Thank you so much Chris! That means a lot, I can't wait to post part 3
Hey! Great video. See if you were playing with a bass player would you play the rootless voicings in the left hand and the melody in the right hand?
Hi Elroi, yes - if playing with a bass player, leave the root to the bassist to play. You can then play the rootless voicing part (3 5 7 9, or 7 9 3 5) in your left hand, and your right hand is free to play the melody, or play a solo. These rootless voicings make up about 60% of my jazz piano playing.
Does that make sense?
@@jazztutorial yes thanks you and what if you were playing with a bass player but just comping for a soloist? would you spread the voicing over 2 hands?
soooo im guessing you have all those voicing memorized in every key? thats insane....
The trick is to count out the chord voicing's INTERVAL PATTERN, from any of the 12 notes. I haven't memorized the note names of these voicings in every key (or anything else - notes to every scale in every key, etc). You don't need to know the note names. Instead, you just have to memorize the INTERVAL PATTERN - that's just one thing to learn - and then you can build it from any note.
For these rootless voicings, I just find the chord's 3rd (a major 3rd or minor 3rd), and then build a 7th chord (the opposite to what the chord is - major > minor, or minor > major).
Does that make sense?
@@jazztutorial it does! Thanks so much for replying. I am a guitar player and you made theory a lot less scary for me. I have a few jazz guitar books and they are quite painful. I'm considering learning piano but I still watch your videos because you have four extra notes available than guitar which gives some beautiful voicings we cant do on guitar. Thank you!!
@@jazztutorial btw for Triton substitution I followed along on guitar! First I tried recreating the chords u did with the same notes but it sounded. Well just ok. Not nice like the piano version. Then I swapped the half step up chord you played with a 9 chord. So like Ab9 to Gmin7 and I got more the flavour of what you did. Probably there is a more similar voicing to what you got on piano I just found that interesting though.