This is the most understandable treatment of what makes jazz 'jazzy' I have ever seen. None of my guitar teachers (30 years worth) have even come close to what I have learned in this one short video!
OK, I got it now, I was trying to understand in Level 2 how the ii and V (Gmin7 and C7) related to Cmaj7 as they weren't ii and V, until I realized that the ii and V, are the ii and V for the Fmaj7 Chord coming AFTER them. NOW I get it. Same with the Dmin7 and G7 for the Cmaj7 that comes AFTER those two chords. Now I can wait to try this out on a bunch of simple songs and then move on to level 3
This is the video I've been looking for ever since I started learning how to play jazzier music. I've always wanted to learn how to reharmonise existing songs, but I felt so limited. This is the fastest and first time I've liked, subscribed, AND commented on a channel after listening to half the video. Time to continue this well-crafted video!
I'm a jazz drummer who is learning jazz piano. I had a total breakthrough watching this. The idea of a 2-5-1 progression made sense, but the idea of using it to land on a chord that *isn't the tonic chord* blew my mind. thanks a ton
brilliant exposition. I may be in a minority here but I am most in favour of level 2 - it references jazz feel without losing the simplicity faithful to the original song.
9:40 can anyone explain this part for me? Substituting the 2 5 for a F#dim7, he doesn't explain why it works to resolve to C other than saying its taken from blues harmony. The F# is a tritone away from C does it have something to do with that?
Best damn jazz theory and practical explanation on YT. Been looking for this for decades. You've ended my misery!! And apparently thousands of others! Subscribed.
This was brilliant. You picked a nice simple example that nearly everyone can relate. I like how you gradually took it to the complex version. I was playing along in piano and it's given me some great concepts to incorporate into other songs I play. I look forward to doing the same on guitar as well. Thanks again!
I'm not a jazz guy, but I like to learn about the harmony to help with composition in other genres. I followed you right up until the tritone substitutions, then you lost me. Great lesson anyway
The 3 and the b7 of the dominant chord form a tritone interval. If you play a dominant chord a tritone away the 3 and the b7 switch places for the substitution.
hahaha lord help anyone that doesn't fully understand these concepts already! But for me who knows all this, but just needed a refresher (been teaching a lot of beginners until recently) this video is so dense and chalk-full of concepts that are great to introduce to intermediate students!
Very nice, very very nice! I have been using Chuck Marhonic's book "How to Create Jazz Chord Progressions." It's a great book, but the way you explained & demo'd it in real time is super helpful.
Can someone explain how he decides on F#°7 at ~9:50? A lot of the other chords have good justification/explanation, but he just kinda asserts that one.
Hey John! So that chord comes from traditional jazz blues harmony, where you would play a I-IV-#ivdim-I. And often that #ivdim is described as a passing chord. So if you went for example F7-F#dim7-C7/F. So adding the F in the bass of the I7 chord. It's kind of a strange chord if you think about it in conventional harmony, but if you study the blues you'll find this chord choice is quite common.
@@Learnjazzstandards Thanks so much for the reply! I'm gonna start incorporating this into my keyboard noodling. Making diminished chords work has always been a mystery to me - this helps a ton.
Great lesson. Charlie Parker did this with Blues and swing tunes like Indiana. But this really helps to break it down and see how he did it. I'm going to have some fun with this.
i'm playing guitar around 25 years, and i don't have specific teacher..i'm just playing rock song, metal song, simple blues song..and i always want to play jazz (or sound just little like jazz..) now i can understand a bit how chord moving from C major7 to C7 etc.. best tutorial sir.. my request sir, can you make again tutorial video for next song.. a simple song may be happy birthday, jingle bell..and any simple song key minor too.. and next level tutorial metallica, nirvana, beatles etc.. level 1 2 3 4.. thank you
This video is absolutely packed with so many helpful tips to make things jazzy. I've been trying to unlock the secrets of jazz and this video was incredibly amazing.
Not necessarily. Especially when you are adding chord changes you will want to outline them in your improv. That’s one of the things that makes jazz interesting.
So 7th chord everything. Then add 2-5s everywhere. Then add 2-5s to those 2-5s. Than add 2-5s to the 2-5s in the 2-5s. Then finally throw in some chromatics. Easy.
Felt like finally found a comprehensive entry door into the mysteries of jazz arrangements. It took so long to finally find someone who could demistify it like you did. The different tiers of complexity is an excellent way to improve bit by bit. Jats off and a big thank you!
Bro, you are a special teacher. Not everyone can example Jazz the way you do- seriously easy to grasp. Although when I get my pen and sheets ready, my mind goes... uh what again? haha. But all my 251 practice will pay off now, thanks!! new sub!
The BOOK on how to use 2,5,1's with Major and minor Targets (1), TriTone Substitutions and the most exhilarating... a 1-to-6 walk down in minor! You can't BUY this stuff... and he just handed it over to us. THANKS!
In bar 8 there is a tritone sub. Gb7 which is a sub. for C7 resolving to FM. This one I understand. I don’t understand the tritone sub. In bar 5 the Eb7#11. Is this not a sub for a A7? Thanks for a comment.
Nice lesson - BIg However, you do not explain *WHY*, you add these chords. This is important, as if I want to harmonise a different song, I don't why I should use these techniques. They could be totally wrong for my other song.
Could you explain what your tritone sub is actually substituting in bar 5 ala the Eb7#11? A tritone away from Cdom7 is Gb7, and from F7 it would be B7 right? That's the only bit that lost me.
13:00 Eb7#11 in the bar 5. it's just a passing chord? or why it appears here? He s talking talking about a tritone sub but as i understand it's Db7#11 in 6 bar tritone sub for G7, and why there are Eb7#11 in 5th bar it stays unclear for me.
Hi Brent. This lesson was great. I've seen many other youtubers doing videos on the same topic but found their explanations confusing. This was well paced and easy to follow. Excited to apply these reharms to more tunes. Thanks.
Very nice. I play piano, and picked up two new ideas from this, one being Am Abm Gm (I may have tried Ab dim there, or Ab dom7, depending on the melody, I wouldn’t have thought of Abm) the other being F# dim Cmaj7/G G#dim Am, where I’d have used a Gmaj 6 (if the melody note worked), but really I more likely would have done Eb dim to Em instead of the F# dim to C/G, staring with Dm instead of F, which I’ve done a lot. I thought of F to F# dim to G, but didn’t know what to do with the G chord, not really being sold on G Maj 6, so very cool to have an alternative. An advantage to your way is being able to continue the chromatic walk up to Am, where I just go up the circle of fifths from Em to Am. The way you walked that up was very cool. Looking forward to checking out some others of your videos.
Hi there! I am curious about the theory behind your choice at 9:48. You mentioned blues harmony. How can I make sense of using this particular diminished chord to back to the 1 chord. I do sometimes use diminished chords to go to 1 as a rootless voicing for the 7b9 chord. However, this seems different.
A really useful lesson that I enjoyed. However, you were identifying various parts of the music as "redundant" ie. as not needed. How do I decide which parts of the tune are not needed?
just added the ladybird turnaround to the ending of one of my songs. this is so smooth. I am not a jazz musician, but the concept of tritone substitutions is great. this video is great for anybody wanting to get closer to the jazz feeling. thank you for this great video.
Loved the video, very interesting! I understood it until Midway through level 4 and then it got too much ha. You make those tricky chord shapes look easy.
Completely failed to incorporate the relationships between the chord alterations and the melody throughout, rendering the lesson rather hollow. All you're doing is explaining how to create complex sequences, instead of explaining why the changes work in the context of the song.
Take a shot every time he says "redundant" lol. Jokes aside, this was awesome! It always surprises me how things that seem like they wouldn't work somehow sound great.
Watching your hand it looks like sometimes you are playing a minor 9th not minor 7th and towards the end major 9ths not major 7ths!!???? I can clearly hear this.
i suppose you could turn this into a 16 bar blues by making them all dominant 7th chords and then subbing a couple chords toward the end to create a turnaround.
It kills me that RUclips algorithms only NOW suggest your video after everything I've been watching for years! (Guthrie Trapp, Tom Bukovac, Jack Ruch, Rick Beato, Chris Parks, etc.). I have a lot of homework to catch up on!! Can't thank you enough!! Liked. Subscribed. Thankful!! 🙏
Bro I’ve been looking at some of your videos, and now looking at jazz videos for about a year now… this, like other people have been saying, is so crucial to my understand of fairly basic jazz harmony, to make things spicy and interesting. Finally a video which actually shows me how to use 2-5-1s and back door dominants and tritone substitutions which actually add to the complexity of the piece! Love it bro thanks so much 🎉
Thanks for sharing your knowledge and skill on this jazzification of an old Americana classic. It totally sounds great at the end, but if I were to choose one of the levels I prefer, I would have to say level 3. Why? Mmmm I think it may be due to how my concept of the song is based on it being vocal led rather than instrument led. Of course you can do the melody however you want depending on how you want to play it. It's just a preference. Great work and explanation! An excellent lesson.
This is the coolest explanation I've seen of reharmonization. Dude you broke it down like no one else!!!! But...... can you improvise over the chords and show us how? :) Follow up video!!! woo hoo!!!
This is the most understandable treatment of what makes jazz 'jazzy' I have ever seen. None of my guitar teachers (30 years worth) have even come close to what I have learned in this one short video!
Thanks a lot!
sounds like you just need focus more on theory.
Exactly
OK, I got it now, I was trying to understand in Level 2 how the ii and V (Gmin7 and C7) related to Cmaj7 as they weren't ii and V, until I realized that the ii and V, are the ii and V for the Fmaj7 Chord coming AFTER them. NOW I get it. Same with the Dmin7 and G7 for the Cmaj7 that comes AFTER those two chords.
Now I can wait to try this out on a bunch of simple songs and then move on to level 3
Glad to hear!
Great stuff! Thank you!
Thanks so much!
Super helpful and very well presented. Thank you sir
Thank you!
Дякую, друже!
Genial! Thanks
When you talked about the tritone substitution at 12:50 you describe it as a diatonic chord but that's incorrect. I think you meant dominant chord.
This was a real eye-opener for me. A brilliant lesson - thanks.
Glad you found it helpful Mike!
This is the video I've been looking for ever since I started learning how to play jazzier music. I've always wanted to learn how to reharmonise existing songs, but I felt so limited. This is the fastest and first time I've liked, subscribed, AND commented on a channel after listening to half the video. Time to continue this well-crafted video!
Glad to hear you found it helpful Joz!
I'm a jazz drummer who is learning jazz piano. I had a total breakthrough watching this. The idea of a 2-5-1 progression made sense, but the idea of using it to land on a chord that *isn't the tonic chord* blew my mind. thanks a ton
Glad to hear this!
I felt the same😂
Same! Oh my goodness I feel like my brain has expanded twice the size after this video
Outstanding lesson on chord substitutions. Been on the fence about joining the Inner Circle. After this amazing instruction, I’m in. Thank you Brett!
Wonderful! Welcome, Chan!
Very important lesson for me...can you make more lesson about modulation...
Thank you! Why not?
That's a seriously useful and impressive lesson!
Glad to be of help!
brilliant exposition. I may be in a minority here but I am most in favour of level 2 - it references jazz feel without losing the simplicity faithful to the original song.
9:40 can anyone explain this part for me? Substituting the 2 5 for a F#dim7, he doesn't explain why it works to resolve to C other than saying its taken from blues harmony. The F# is a tritone away from C does it have something to do with that?
Best damn jazz theory and practical explanation on YT. Been looking for this for decades.
You've ended my misery!! And apparently thousands of others!
Subscribed.
Awesome, thanks!
This was brilliant. You picked a nice simple example that nearly everyone can relate. I like how you gradually took it to the complex version.
I was playing along in piano and it's given me some great concepts to incorporate into other songs I play. I look forward to doing the same on guitar as well.
Thanks again!
Glad to hear Gerry!
everything is sooo well and easy to understand...but where's that F#dim7 come from? Blues harmony at 9:57
Excellent, thank you. From my current viewpoint, this is the best lesson you've ever done. It's like a Rosetta Stone of the essence of jazz.
you didn't explain why the F#dim7 is from blues harmony and get us "back to our CM7" :(
Please turn the Soviet / Russian anthem into jazz in the key of C major! 🙏
😂
.... wooooo... I learned a lot here...thanks for posting....🙏🏻🙏🏻🙏🏻
So glad to help!
I'm not a jazz guy, but I like to learn about the harmony to help with composition in other genres. I followed you right up until the tritone substitutions, then you lost me. Great lesson anyway
Glad you found it helpful!
You can see tritones subs as dominant 7 chords that resolves a half step away if that can help you
The 3 and the b7 of the dominant chord form a tritone interval. If you play a dominant chord a tritone away the 3 and the b7 switch places for the substitution.
hahaha lord help anyone that doesn't fully understand these concepts already! But for me who knows all this, but just needed a refresher (been teaching a lot of beginners until recently) this video is so dense and chalk-full of concepts that are great to introduce to intermediate students!
Very nice, very very nice! I have been using Chuck Marhonic's book "How to Create Jazz Chord Progressions." It's a great book, but the way you explained & demo'd it in real time is super helpful.
Glad you found it helpful!
Can someone explain how he decides on F#°7 at ~9:50? A lot of the other chords have good justification/explanation, but he just kinda asserts that one.
Hey John! So that chord comes from traditional jazz blues harmony, where you would play a I-IV-#ivdim-I. And often that #ivdim is described as a passing chord. So if you went for example F7-F#dim7-C7/F. So adding the F in the bass of the I7 chord. It's kind of a strange chord if you think about it in conventional harmony, but if you study the blues you'll find this chord choice is quite common.
@@Learnjazzstandards Thanks so much for the reply! I'm gonna start incorporating this into my keyboard noodling. Making diminished chords work has always been a mystery to me - this helps a ton.
This has made me think more about complex chord progressions rather than the basic II-V-I, thanks for the explanation!!
Happy to help!
Great lesson. Charlie Parker did this with Blues and swing tunes like Indiana. But this really helps to break it down and see how he did it. I'm going to have some fun with this.
Glad to hear that Dean!
Thank you for that video I've learnt a lot. Though a bit confused by the chords sometimes as you mark Bmin7b5 but play a Bm11 or an Fmin9 for a Fmin7
Also, how do you explain the F#dim7? Sounds really nice but what's its function to the other chords?
Brilliant . And if you wanna turn it into blues song just use dominant sevenths over 12 or 16 bars😁
That’s it! That’s the sound everyone is trying to get. Thanks for walking us through your thought process.
Always!
i'm playing guitar around 25 years, and i don't have specific teacher..i'm just playing rock song, metal song, simple blues song..and i always want to play jazz (or sound just little like jazz..) now i can understand a bit how chord moving from C major7 to C7 etc.. best tutorial sir.. my request sir, can you make again tutorial video for next song.. a simple song may be happy birthday, jingle bell..and any simple song key minor too.. and next level tutorial metallica, nirvana, beatles etc.. level 1 2 3 4.. thank you
Wow that was just fantastic! It’s just like watching Bob Ross paint.
This video is absolutely packed with so many helpful tips to make things jazzy. I've been trying to unlock the secrets of jazz and this video was incredibly amazing.
Why does the F#dim resolve to Cmaj7
Nice! Thanks. I have a question, if someone were to improvise over one of the levels, would that same improvisation work over all the other levels?
Not necessarily. Especially when you are adding chord changes you will want to outline them in your improv. That’s one of the things that makes jazz interesting.
sharing your knowledge is Awesome
Thanks Michael! I'm happy to do it
So 7th chord everything. Then add 2-5s everywhere. Then add 2-5s to those 2-5s. Than add 2-5s to the 2-5s in the 2-5s. Then finally throw in some chromatics. Easy.
Felt like finally found a comprehensive entry door into the mysteries of jazz arrangements. It took so long to finally find someone who could demistify it like you did. The different tiers of complexity is an excellent way to improve bit by bit. Jats off and a big thank you!
Thank you!
Bro, you are a special teacher. Not everyone can example Jazz the way you do- seriously easy to grasp. Although when I get my pen and sheets ready, my mind goes... uh what again? haha. But all my 251 practice will pay off now, thanks!! new sub!
I appreciate that!
Alexis Sanchez play the guitar?? 😳🇨🇱⚽️
Te pareces al niño maravilla jaja
Saludos!!
The BOOK on how to use 2,5,1's with Major and minor Targets (1), TriTone Substitutions and the most exhilarating... a 1-to-6 walk down in minor! You can't BUY this stuff... and he just handed it over to us. THANKS!
What is long 2-5-1 really? I just confused why u put Gmin7 and then C7 bcs its not in scale of Cmaj. I believe 2-5-1 in scale of Cmaj are Dm7-G7-Cmaj
My issue is the chord progression of the song I’m transcribing is i vii# VII vii# lmao
I'm not a jazzer, but I find this very helpful!
Wow😮...I was searching for it.....but how did you choose those chords? Any rules ?
Kudos… great video. But unlike the explanation you provided for level 2 (ii V leading to the I), for level 3, you didn’t explain WHY the F#dim works.
Very helpful video, thank you... I have a question: why you substitut the Dm7 and G7 with a F#dim7?
In bar 8 there is a tritone sub. Gb7 which is a sub. for C7 resolving to FM. This one I understand. I don’t understand the tritone sub. In bar 5 the Eb7#11. Is this not a sub for a A7? Thanks for a comment.
very nice. really helps explain so many jazz standards as well.
Glad to help!
Nice lesson - BIg However, you do not explain *WHY*, you add these chords. This is important, as if I want to harmonise a different song, I don't why I should use these techniques. They could be totally wrong for my other song.
Could you explain what your tritone sub is actually substituting in bar 5 ala the Eb7#11? A tritone away from Cdom7 is Gb7, and from F7 it would be B7 right? That's the only bit that lost me.
This is extremely helpful. Do you describe anywhere the chord positions you are using for the chord melody?
13:00 Eb7#11 in the bar 5. it's just a passing chord? or why it appears here?
He s talking talking about a tritone sub but as i understand it's Db7#11 in 6 bar tritone sub for G7, and why there are Eb7#11 in 5th bar it stays unclear for me.
Hi Brent. This lesson was great. I've seen many other youtubers doing videos on the same topic but found their explanations confusing. This was well paced and easy to follow. Excited to apply these reharms to more tunes.
Thanks.
Glad to hear this!
Very nice. I play piano, and picked up two new ideas from this, one being Am Abm Gm (I may have tried Ab dim there, or Ab dom7, depending on the melody, I wouldn’t have thought of Abm) the other being F# dim Cmaj7/G G#dim Am, where I’d have used a Gmaj 6 (if the melody note worked), but really I more likely would have done Eb dim to Em instead of the F# dim to C/G, staring with Dm instead of F, which I’ve done a lot. I thought of F to F# dim to G, but didn’t know what to do with the G chord, not really being sold on G Maj 6, so very cool to have an alternative. An advantage to your way is being able to continue the chromatic walk up to Am, where I just go up the circle of fifths from Em to Am. The way you walked that up was very cool.
Looking forward to checking out some others of your videos.
Thanks! Glad it helped you
Hi there! I am curious about the theory behind your choice at 9:48. You mentioned blues harmony. How can I make sense of using this particular diminished chord to back to the 1 chord. I do sometimes use diminished chords to go to 1 as a rootless voicing for the 7b9 chord. However, this seems different.
I understand this concept, how how could it be used to create a variation of an existing jazzy progression ?
A really useful lesson that I enjoyed. However, you were identifying various parts of the music as "redundant" ie. as not needed. How do I decide which parts of the tune are not needed?
just added the ladybird turnaround to the ending of one of my songs. this is so smooth. I am not a jazz musician, but the concept of tritone substitutions is great. this video is great for anybody wanting to get closer to the jazz feeling. thank you for this great video.
How did my brain understand this and did this without ever really understanding what it did with my voice?
I didn’t get the Eb7#11 ? Where did it come from? Please anybody can tell me :) thks
Loved the video, very interesting! I understood it until Midway through level 4 and then it got too much ha. You make those tricky chord shapes look easy.
17:14 not down, up.
WoW!!!!!!
Wouldn't it be more fun if you added a chromatic secondary dominant as the passing chord instead of Abm7(at 12:27), and made it an Ab7?
I like the look of that guitar - what is it ?
ruclips.net/video/ym2XbAVD9Ec/видео.html
Completely failed to incorporate the relationships between the chord alterations and the melody throughout, rendering the lesson rather hollow. All you're doing is explaining how to create complex sequences, instead of explaining why the changes work in the context of the song.
Confused about the tritone substitution at 13:24…where’s the tritone? Great lesson, but I’m stuck there.
Take a shot every time he says "redundant" lol. Jokes aside, this was awesome! It always surprises me how things that seem like they wouldn't work somehow sound great.
great step by step development. Very useful.
Why at 7:20 we can use a E7 even tho it "doesnt exist" in either C major nor A minor? shouldnt we use the minor7, or we can like "break the rule"?
Watching your hand it looks like sometimes you are playing a minor 9th not minor 7th and towards the end major 9ths not major 7ths!!???? I can clearly hear this.
Man! I wish I could’ve downloaded the sheet with the chords. Great lesson!
i suppose you could turn this into a 16 bar blues by making them all dominant 7th chords and then subbing a couple chords toward the end to create a turnaround.
dominant 6th? is there such a thing?wouldnt a dominant chord with a 6th be a 13th with a 7th?
At 13:15 which chord, out of the 3 he added, is the tritone sub?
Thanks in advance
Great video, great job!
But how could we reharmonize a song with an entire scale in it?
There is a lot of songs that uses at least 6 degrees.
What program did you use to write out the chord changes? Are you using a tablet and stylus?
I think there's a little type, it should've been the modal modulation not the module modulation.
It kills me that RUclips algorithms only NOW suggest your video after everything I've been watching for years! (Guthrie Trapp, Tom Bukovac, Jack Ruch, Rick Beato, Chris Parks, etc.). I have a lot of homework to catch up on!! Can't thank you enough!! Liked. Subscribed. Thankful!! 🙏
Thanks! Glad you like it
excellent! keep up the great work. Charles from new orleans LA USA
Great lesson, thank you!
I survived for first two levels only...
What program are you using for the sheet music? It looks like the perfect thing
lebomboclat
Bro I’ve been looking at some of your videos, and now looking at jazz videos for about a year now… this, like other people have been saying, is so crucial to my understand of fairly basic jazz harmony, to make things spicy and interesting. Finally a video which actually shows me how to use 2-5-1s and back door dominants and tritone substitutions which actually add to the complexity of the piece! Love it bro thanks so much 🎉
Listen to Ben Monder’s reharmonisation of You Are My Sunshine.
Totally awesome video!! ❤
Thanks!
13:05 i don't get it, how did you get to Eb7 from Fmaj7? isn't Eb the tritone of A?
Thanks for sharing your knowledge and skill on this jazzification of an old Americana classic. It totally sounds great at the end, but if I were to choose one of the levels I prefer, I would have to say level 3. Why? Mmmm I think it may be due to how my concept of the song is based on it being vocal led rather than instrument led. Of course you can do the melody however you want depending on how you want to play it. It's just a preference. Great work and explanation! An excellent lesson.
Many thanks!
amazing video, really weird to think all the posibilities
as a drummer for a jazz band i'm glad i actually didnt feel too out of my depth 😅
I learned more in this video than in 1 year musique classe thanks
Thank you, Brent, you are truly talented.
That’s very kind! Glad to help
This is a very explicit way to 'impart knowledge' unreservedly. This is commendable!
Thank you!
This is the coolest explanation I've seen of reharmonization. Dude you broke it down like no one else!!!! But...... can you improvise over the chords and show us how? :) Follow up video!!! woo hoo!!!
Very good video, understandable and with a lot of good information advice!!👍
Glad you found it helpful!
Thanks for sharing, it was very helpfully. Could you do please one more piece like this☀️
Glad you found it helpful! I’m sure I will in the future
Can you explain why the f#dim works to resolve to c?
I'm a pianist, but this was really helpful!