Watch Part 2: But do you understand more complex Jazz Chords? ruclips.net/video/1Wc274z1q4o/видео.html I would love to hear from you. Does this clear up a lot of confusion on knowing what chord symbols are and figuring out what notes make up chords in jazz?
This has solved the problem of a lifetime for me, even as someone classically trained in the guitar, and classical piano (some), the matter of the chords was hugely confusing to me. I.e., seeing the pentagram with the triad plus the seventh was so confusing. You have made this so simple, thanks a million.
@@RicardoMartinez-oh9sq Absolutely! Sometimes I forget that what seems simple to us jazz musicians isn’t explained very often in most other music styles. Glad I could help.
@@JazzRockswithAdam I don't think they deliberately hide it, they unconsciously presume knowledge even when they're trying to pitch it at beginners - it's like math teachers skipping steps because it's "obvious" and consequently leaving fundamental gaps in their explanations that you only find later.
I just found your channel, and this video this morning… this is very interesting, I’m always looking to learn more, and this is valuable information…. Thanks for sharing it.
Very helpful, I've been taking a deeper dive into musical knowledge of late and expanding my awareness of the fretboard. I found the white board breakdown really helped clarify chord construction even better. Especially diminished and major and minor third intervals. Thanks
Wow thank you. Though there are many masters that play by ear, understanding what’s going on makes life so much easier for me personally. This is magnificent and you broke it down. Now I get it. Now application. No more confusion. Thanks and 🙏
That’s great that it helped you. That’s what I’m here for. Check out this video to take it to the next level of application if you haven’t yet: This will change the way you improvise (jazz) Forever ruclips.net/video/HrlKiwjvvTc/видео.html
Thanks for this lesson. Im not anywhere close to playing jazz with any reasonable skill, this helped tremendously in just understanding the relationship between chord names and how they're built.
Thanks Reg! Hope you got something from the lesson. If you’re interested in taking it to the next level, check out this video: ruclips.net/video/1Wc274z1q4o/видео.html
That’s amazing! I’m glad I could help. Check this one out too. It’s sort of the next step: Do you understand complex Jazz Chords? (I’ll show you) ruclips.net/video/1Wc274z1q4o/видео.html
Adam, great work. You make it sound so easy. Before running into your video, all this sounded like greek to me. I am writing from Lima Peru. Congrats fellow.
Alonso, I’m so glad that everything clicked for you. Hope to see you around in the future . If you haven’t already checked it out yet, this video is a continuation or part 2: Do you understand complex Jazz Chords? (I’ll show you) ruclips.net/video/1Wc274z1q4o/видео.html
@@JazzRockswithAdam i have been playing somewhere over the rainbow in C. I am curious how to play it differently, different chords, different interpretations? Any tips?
@@jt2465 So you’re talking about reharmonization. Find different chords that the melody still works over. Or a new chord for each note (or nearly each note) that means something different against the chord. For example, a C note over Cma7 means something totally different over a Dbma7, or D7, or Eb6, or E7(#5#9) for just a few examples.
Hey, thanks for watching and for the comment. I hope you got a lot from the “lecture.” 😁 Come back anytime. I have a lot of videos geared towards getting better at playing jazz.
Thanks Myra! ❤️ Please, feel free to check out other videos on my channel you may enjoy. If you’re interested in a kind of part 2 of this video, check out this one: Do you understand complex Jazz Chords? (I’ll show you) ruclips.net/video/1Wc274z1q4o/видео.html
Hey look, I'm not trying to be difficult but as you can see, I'm really trying to pay attention... Because you are really making me think hey, and that's a good thing❤
Awesome!! Thanks for letting me know. Your are more than welcome to poke around and see what else you might find helpful. Stay tuned for some related videos to come soon. I hate to say this, but if you haven’t subscribed yet, if you do, you’ll be notified when I release them. If you have already subscribed, thanks!
Back in college my major was Psychology: He teaches like the best of the class instructors I had, one of them was so popular that his classrooms were always full and the students happy.
Great video. Consider using your own photo on the intro card, otherwise it's using someone else's street cred to draw people to the video, and you've got your own!
At 4:45 Enlightening! I wondered about Dim and Sus. There they are, defined! Looks like there’s alot of overlap of notes in scales. Makes me wonder if I can use that to “flow” between scales.
@@JazzRockswithAdamthanks for replying so quickly! Do you, by chance, have a video on THAT? lol. I’m a newbie out of my depth. ;-). I want to do interesting solos in hard rock, and Jazz and your videos break me out of “routine” scales, hopefully. ;-).
@@theedman22 If you mean on improvising, I have a ton of videos. Here’s one to wet your whistle: This will change the way you improvise (jazz) Forever ruclips.net/video/HrlKiwjvvTc/видео.html And another important aspect, rhythm: This is why you won't get good at jazz ruclips.net/video/8x3gNE3GD50/видео.html
I would love to know how Errol Garner approached his playing. He didn't read a lick. He wrote a Master piece with "Misty". I wonder if rules are suppressing at some point.
Here’s the thing, he’s using the same rules as everyone else. He just doesn’t know the names of the rules. He didn’t invent something completely new. Although his approach to the instrument was unique. In the Jazz tradition you learned from mentors and the whole idea was to develop your own sound. Nowadays everyone tries to sound more or less the same.
Hey thanks for checking it out. I’m not sure what you mean by “numbers every place you use the a scale.” Unless you mean “this note in the scale is also the 3rd of the chord.” But I do think in terms of what note I’m on and what that note is in the chord (ex. 9th) so that I have a purpose for that particular sound. Does that help?
@@JazzRockswithAdam Yes, for instance Root 1, 3, 5 could be used on any scale with different representation., I've playing guitar for 4 month now, and now starting to learn cords. This video really helps to understand what's going on with the creation of cords. Thanks
@@mabblers Remember, the harmony (a chord) always dictates what the note(s) you play are because you’re hearing it against the chord. And R is the same as 1, just in case. So no matter what note you start a scale on, D will always be the 9th on a C chord.
This is just the start. Playing the chords and arpeggios on your instrument is the next step. The best way is to apply it to songs (comping and improvising) as soon as you possibly can. If you stick with it, it starts to sink in.
It is certainly helpful to know functional harmony, and most people will benefit from it. However, the first priority is to be able to play by ear as much as possible, and there have been people, such as Stan Getz, Chet Baker, Django Reinhardt and Errol Garner, who could improvise brilliantly but couldn't read a chord chart to save their lives.
I bet they could read a chord chart, but note reading no. I’m sure each of those people you mentioned had their own theory worked out to understand and remember things even if it wasn’t conventional theory. I do agree playing by ear as much as possible. It is music after all. Not a video game. Thanks for your comment!
@@JazzRockswithAdam , nope. None of those people could read chord charts at all and knew nothing about chord scales. Getz probably could read notation, since he worked in big bands early in his career. The rest could not read any music
@@JazzRockswithAdam , correct, and I thought I differentiated in my comment. Django and Errol Garner could not read anything at all. Getz could probably read some notation, but not chord charts. Baker maybe could read a little music notation but not enough to use professionally. None of these guys knew anything about harmony or music theory beyond basic minor and major tonalities, though they could improvise over complex harmonies intuitively by ear. They could just hear things and play them. Baker in particular could hear something just once and play it perfectly.
Thanks for subscribing, liking, and leaving a comment. If you want to take the chord tones you just learned and now use them the correct way to improvise, this video is the perfect next step: ruclips.net/video/HrlKiwjvvTc/видео.htmlsi=_nDoxuP8E7dj8KDv
I've taken "sus", as opposed to "sus2" or "sus4" to mean the arranger has given license for the musician to use either the 2 or the 4, or even both. It seems to work, but is it incorrect? If it's wrong and you want to specify both 2 and 4, how would you write that?
Typically, sus refers to sus4. The sus2 chord is a relatively new chord. It wasn’t classified as a chord unto itself until late ‘70s, early ‘80s. So if you see sus written the composer wants sus4. If they want a sus2 they would write that in. Hope that helps.
Hi Shirley. If you write Cb7, that’s an entirely different chord. What that means is the root of the chord is Cb. Just like B vs Bb. (B7 vs Bb7) That’s why just the 7 is used for b7 and ma7 is used for the natural 7. Thanks for watching.
Where would I go (besides enrolling in music school!) to better understand the theoretical difference between the fully diminished 7th chord and a half diminished triad with an added 6? Anyone here want to give it a go explaining it briefly?
Hi John, the difference is a half-step. A m7(b5) chord is R-b3-b5-b7. A °7 chord is R-b3-b5-bb7. So a Cm7(b5) would be C-Eb-Gb-Bb. C°7 is C-Eb-Gb-Bbb (same pitch as A). Does that help. Of course they sound different too.
@@johnharreld4875 Oh, I reread your comment. Actually, the half diminished chord IS a m7(b5) chord. At least in Jazz. Sometimes you’ll see it written with o for the symbol. The triad isn’t half diminished, it’s the 4 part chord that is sometimes referred to as half diminished. A triad is just diminished. R-b3-b5
@@JazzRockswithAdam Thanks for hanging in there with me on this! Hopefully this is more clear: I'm curious what is the theoretical difference between R-b3-b5-bb7 and R-b3-b5-6. Same notes, but when you would call it a diminished triad +6, and when you call it a fully diminished 7 chord. 🤔 I'm sure it's a deeply nuanced distinction, but must be discussed somewhere.
@@johnharreld4875 we don’t call it a 6 when it’s diminished. We call it a bb7. If you look at a diminished scale, it’s R 2 b3 4 b5 b6 bb7 7 The 6th inherently is a b6 (b13). The bb7 is equivalent to a 6 enharmonically, but the term diminished means to make as small as possible. So you’re taking the common R 3 5 7 numbers and squishing everything together as close as you can in 3rds (R b3 b5 bb7), which is how we think of as traditional harmony. Does that make sense?
Chord formulas are how we are able to understand the difference of any chord compared to another chord and so we can quickly know what notes are in a chord when transposing to a different key. We simply number the notes in a scale and we create harmony by taking every other note. So thusly some kind of R-3-5-7. Take a C major Scale. The R is C, the 3rd note is E, the 5th is G, the 7th is B. Now you have a Cma7 chord when you play those 4 notes together. Do the same for any other key. A Dma7 when following the same formula (R 3 5 7) would be D-F#-A-C. If you are interested in moving more towards a way that a pro would think, is to think note names an not fret numbers. Does that help? Thanks for your comment.
The fret and string numbers only apply to musicians playing stringed instruments. The number system is used in more than just jazz. If you're playing in a band with singers, you'll often have to play a song in a different key. If your charts are written using number notation for the chords, you don't have to transpose in your head. You just need to know what key you're in and follow the chart. For example, if you're chart is in C, the root chord is C major. What if that key is a little high for the singer and they need the music to be in Bb? If the chord chart is using the numbering system, the root chord will be listed as Roman Numeral I. The G7 chord in C would be notated as V7. By the way, in your answer you gave an example of Dmaj7, you have C as the 7th. It should be C#
@@JazzRockswithAdam I agree. I was just trying to get across the point that knowing the chord and scale tone numbers will translate to reading a chord chart that uses only numbers. Sometimes we don't have an actual chart. We may just be told something like "we're doing this song in F#. the chord progression is I, V, I, VI, II, V, I." If you're familiar with the scale tone numbers, this is fairly simple to figure out.
Sus 2 is an inversion of Sus 4. And once you begin extending chords, as typically jazz does, Sus 2 and Sus 4 become 9th and 11th chords of some type. Therefore, wouldn’t it be simpler to omit these, and possibly even the Aug triads as well, at the start? Augmented chords tend to be either +7 or more rarely +∆, which have two very different uses.
It’s true that a sus2 chord is also an inversion of a sus4, but it is a valid chord on it’s own. The 9 and 11 are only considered as such when there is no 7th. You can write Cm7(add 11) meaning no 9th. Or Cadd9 when it’s just a triad plus the 9th. But both sus2 and sus4 do not contain a 3rd like the Cadd9 for example. I fail to see why I would want to omit valid chords.
In modern way of thinking you can flatten the 6th. Cm(b6) Old way of thinking is that it sounds too close to an inverted ma7 chord as well as the b6 having a bite to it that still is not that appealing to some. Cm(b6) = C Eb G Ab Cm7 = C Eb G Bb Cm(ma7) = C Eb G B
To be clear, I can count the half steps between relative scale degrees but, formula-wise, what’s happening there? Or, am I overthinking it?; meaning, it’s just the difference in “chord sound” given the 6th and 7th scale degree, respectively?
I thought you might say that, so I listened more closely; you may have actually answered it. In one, there’s a minor 3rd between the 5th & 7th scale degree and, in the other, a major 2nd(?) between the 5th & 6th. Structurally-relevant because of the sounds being produced, only, yes?
Wait.....This whole time I've been playing dim wrong? Diminished is the Locrian scale, but there's no flat 3rd! What diminished chord or scale are you talking about? Seriously, I don't want to be out of the loop, Thank you.
Hey there! You’re almost right. Locrian can match a diminished triad. But Locrian matches the m7(b5) chord as a 4 part chord. Some refer to it as half diminished. You’ll see this symbol often ø. The °7 chord is fully diminished. You can find a or °7 in a few different scales but the one we think of most is the diminished scale: R-2-b3-4-b5-b6-bb7-7. It’s an 8 note scale. Does that help?
@@Troblack Not really just jazz specific. Theory wise, in general, that’s how we think of the origin of a diminished chord is from the diminished scale.
I think you’re confusing a chord progression perhaps by using Roman numerals. It’s not the 6th chord in the key. Unless you mean that the notes of the I6 chord, say C6 is equivalent to the vim7 chord in the key, that is true. C6 and Am7 chords contain the exact same notes. But each chord would function differently. 6ths are completely valid to add to both major and minor chords as an option.
That c minor Maj 7 is incorrect.... You should be raising the 7th from a whole step to a half step as in the major chord....it should read c, e flat, 5, aug 7
@@JazzRockswithAdam that's wrong also. C minor with a major 7th implies that the 7th is a half step from the root... Just look at what you wrote it is not there... You did not write the c minor chord with a raised 7th that would make it a half step away and in, the 7th major position
@@JazzRockswithAdam you did write the flat 7th... When you wrote The Cmin-7.... But in the C minor +7th you did not raise the 7th. you have lowered it let, it stay in place but you did not aug it. You wrote that in a comment to me but you do not have that spelled out in the lesson
@@JazzRockswithAdam to say seven implies that it is a lowered... You cannot raise the 7th in a major. You can only raise it in a minor... But in a minor scale you can raise it and lower it
That's incorrect. It's not a 7th. You have four voices and for perfect Harmony you have to use all four voices. Bass, tenor, alto, and soprano,... To infer that it's a seventh chord is incorrect...
I’m not sure exactly which chord you’re referring to, but if a chord contains a 7th it is either the ma7 or the b7. Both are in fact 7 chords. For example: Cma7 = C-E-G-B, C7 = C-E-G-Bb. Or, Cm7 = C-Eb-G-Bb. All are types of 7 chords. A triad does not contain a 7th.
I always thought Jazz is tuning and testing instruments on stage. So it should be easy without knowing your chord. After all every Jazz chord has 12 different names. Pick few letters from A/a to G/g and add one or two numbers up to 13. Who knows what you played? All music software are ready to give some other name to whatever chord you played. Regards
Chord structure derives from elementary music theory...before I learned theory....I couldn't play jazz...all them cats know their stuff...and music theory is that stuff
@@JazzRockswithAdam now that I know music theory.....I can solo over your solo...I play rhythm trumpet....like PeeWee Middlebrooks from the Ohio players.......
@@JazzRockswithAdam music theory leads you to polyphonic and then it is what imagination and innate instinct dictate one thing...IF YOAZZ CAN JAM OR NOT... 😂 LOL
What you have written is: R, flat 3, 5, 7... Written like that it's called a pure minor... The chord you are writing is spelled: R, flat 3, 5, aug7... Which is the harmonic minor... Don't you realize you do not have augmented 7th written there
In jazz it's common to think of these intervals in relations to the major scale, so 7 means major 7th from root, and flat 7 means minor 7th from root. So in such case, aug 7 would be enharmonically equivalent to an octave
@@JazzRockswithAdam I watch this yesterday (8 years old now) a track on 20 minuttes....only one guitar (Frederik guitars part) covered by not many can do. You write, Meshuggah - 1 (guitar cover by Sam Mooradian) and there you have it. I'll see you video again because i just Play anything i can by ear or what i got in my metal head, but 1(R), 3 and 5 i know by Yngwie Malmsteen 👍 Enjoy and let me know your 20 minuttes 😁
Watch Part 2: But do you understand more complex Jazz Chords?
ruclips.net/video/1Wc274z1q4o/видео.html
I would love to hear from you. Does this clear up a lot of confusion on knowing what chord symbols are and figuring out what notes make up chords in jazz?
@@ozzyistheking21 I tried to remedy that by switching back to C. Hopefully, you got something from it still. Thanks for watching.
This has solved the problem of a lifetime for me, even as someone classically trained in the guitar, and classical piano (some), the matter of the chords was hugely confusing to me. I.e., seeing the pentagram with the triad plus the seventh was so confusing. You have made this so simple, thanks a million.
@@RicardoMartinez-oh9sq Absolutely! Sometimes I forget that what seems simple to us jazz musicians isn’t explained very often in most other music styles. Glad I could help.
You are awesome :)
@@carlmagnussen7773 Thanks! (Now tell my girlfriend that)
You are such a greater teacher that you give out the full information without hiding anything like how many do it here on RUclips, thanks very much
Thank you, Bernard. I don’t know what there is to hide. I want people to understand and flourish. Thanks for your nice comment!
@@JazzRockswithAdam I don't think they deliberately hide it, they unconsciously presume knowledge even when they're trying to pitch it at beginners - it's like math teachers skipping steps because it's "obvious" and consequently leaving fundamental gaps in their explanations that you only find later.
@@JazzRockswithAdam Thats nice of you, thanks once again
I remember taking classical piano lessons and raking my brain to understand what I just understood right away, amazing.
That’s amazing!! Glad I could help
Superb! That was the best overview of chord notation and its meaning that I've ever come across. You're an excellent teacher. Thank you!
I’m so glad you liked it and hope you got something from the lesson.
I just found your channel, and this video this morning… this is very interesting, I’m always looking to learn more, and this is valuable information…. Thanks for sharing it.
Hello, thanks for your comment.
Thanks a lot. You make it so clear, really useful, have been struggling to get my head round this stuff for a while
I’m glad I could help out!
Very helpful, I've been taking a deeper dive into musical knowledge of late and expanding my awareness of the fretboard. I found the white board breakdown really helped clarify chord construction even better. Especially diminished and major and minor third intervals. Thanks
Thanks for watching and for your comment. Glad it was helpful.
Wow thank you. Though there are many masters that play by ear, understanding what’s going on makes life so much easier for me personally. This is magnificent and you broke it down. Now I get it. Now application. No more confusion. Thanks and 🙏
That’s great that it helped you. That’s what I’m here for. Check out this video to take it to the next level of application if you haven’t yet: This will change the way you improvise (jazz) Forever
ruclips.net/video/HrlKiwjvvTc/видео.html
A good teacher like him firstly takes apart complex information and makes it easier to understand, this is a great lesson.
@@RicardoMartinez-oh9sq Thanks Ricardo.
Thanks for this lesson. Im not anywhere close to playing jazz with any reasonable skill, this helped tremendously in just understanding the relationship between chord names and how they're built.
That’s great! Thanks for letting me know.
I play piano without any theory. Today I’m delighted.
That’s awesome!
Me too. I’m delighted as well.
@@marquislewis9063 This makes me happy!
Wow. Been playing rock and blues for 20 years and you just taught me something in the first 5 minutes that I understand clearly for the first time.
That’s fantastic! I hope I see you around these parts some more
This is one reason why basic keyboard skills help to understand this kind of theory.
It sure helps. I wish I had a keyboard. I would have used it.
@GuitarQuackery I often start out on my bass guitar where I can more easily ignore specific notes and focus on intervals and other relationships.
This is the most comprehensive and easy to grasp compilation i've experienced! You're a good fella. Thankyou!!!
Thanks Reg! Hope you got something from the lesson. If you’re interested in taking it to the next level, check out this video: ruclips.net/video/1Wc274z1q4o/видео.html
Thank you very much! I need such recap material. Very useful to review all these things after 30 years!
Alexandre, glad I can help. Poke your nose around my channel. There’s maybe a few more videos that help you recap some stuff. Thanks for the comment.
Just stumbled across your chnl. I'm loving your straight forward approach.
This is just what the doc ordered!
Thank You!
That’s great! Thanks for your comment.
Thanks Adam, you are teaching theory the way it should be!
this is exactly how I teach people how to look at chords! great video!
Thanks for checking it out and for your comment.
Best explanation i have ever seen. Thank you! You are a talented teacher.
Hey, thanks Ken! I’m glad you got something from the lesson. Now get playing them chords! Hope to see you around Jazz Rocks with Adam some more.
Am new to 🎹. Recently got sx900 and ready to learn. No teacher around. This is super helpful 👏. Let me start learning
Hey, well I hope this helps you out understanding chords.
This clicked for me. That whiteboard is magic. Thank you!
Awesome! I’m glad I helped you.
thank you so much. you just solved 30 years of confusion. thank you. thank you.
That’s amazing! I’m glad I could help. Check this one out too. It’s sort of the next step:
Do you understand complex Jazz Chords? (I’ll show you)
ruclips.net/video/1Wc274z1q4o/видео.html
Adam, great work. You make it sound so easy. Before running into your video, all this sounded like greek to me. I am writing from Lima Peru. Congrats fellow.
Alonso, I’m so glad that everything clicked for you. Hope to see you around in the future . If you haven’t already checked it out yet, this video is a continuation or part 2: Do you understand complex Jazz Chords? (I’ll show you)
ruclips.net/video/1Wc274z1q4o/видео.html
You are very clear, considerate and concise. A great teacher, a great model. I am happy that you are happy. Please keep going!
Thank you, and I will keep going! Stay tuned for more to come.
@@JazzRockswithAdam i have been playing somewhere over the rainbow in C. I am curious how to play it differently, different chords, different interpretations? Any tips?
@@jt2465 So you’re talking about reharmonization. Find different chords that the melody still works over. Or a new chord for each note (or nearly each note) that means something different against the chord. For example, a C note over Cma7 means something totally different over a Dbma7, or D7, or Eb6, or E7(#5#9) for just a few examples.
@@JazzRockswithAdam yes. Indeed. Would love to see you using this to unpack :)
This makes sense to me, very well put across at a good pace
Hey, thanks for watching and for the comment. I hope you got a lot from the “lecture.” 😁
Come back anytime. I have a lot of videos geared towards getting better at playing jazz.
The best teacher I have come across to date at explaining music theory!
Thanks Myra! ❤️ Please, feel free to check out other videos on my channel you may enjoy.
If you’re interested in a kind of part 2 of this video, check out this one: Do you understand complex Jazz Chords? (I’ll show you)
ruclips.net/video/1Wc274z1q4o/видео.html
@@JazzRockswithAdam Thank you and will do .. I first want to review this one again. Repetition is the mother of retention😎
@@MyraDeshieldsFerrell Absolutely true! And, the better you understand the material in this video will make the next one so much easier.
Hey look, I'm not trying to be difficult but as you can see, I'm really trying to pay attention... Because you are really making me think hey, and that's a good thing❤
No worries. You may be coming from a classical background, perhaps? In jazz and pop music things are looked at a little more simply.
Cool easy and effective teaching. Learnt tons of new info and understand loads more I’ve been struggling with. Many thanks 🙏🏿
That’s great! Hope to see you around the channel again!
Thank you for this great tutorial. You are certainly helping me out.
I am an 8th grade Trinity pianist and would love to learn jazz
Awesome!! Thanks for letting me know. Your are more than welcome to poke around and see what else you might find helpful. Stay tuned for some related videos to come soon. I hate to say this, but if you haven’t subscribed yet, if you do, you’ll be notified when I release them. If you have already subscribed, thanks!
Check the Hindemith method for rhythmic variety, too.
@@RicardoMartinez-oh9sq This was just about learning the notes of the chords. But yes, to make music with the notes would be the next step.
Systematic, informational.
Greatly appreciated
Re
Awesome!
Excellent explanation 👍. I didn't skip through and consequently filled a couple of gaps in my knowledge regarding sus2 and sus4.
That’s great! Glad I could help out.
Back in college my major was Psychology: He teaches like the best of the class instructors I had, one of them was so popular that his classrooms were always full and the students happy.
@@RicardoMartinez-oh9sq ❤️
Man , thank you 😊. Your the first to break this down. Your going to JAZ HEAVEN 👍🏾👍🎶🎸🎷🎸🎺🎷
Thank you, Ed! I hope to see you around my channel some more.
@@JazzRockswithAdam you got me 👍👍🏾😊🎸
Thanks! This explains what my jazz book says.
Excellent!! Stop by the channel anytime.
thank you sensei! this video just changed my life haha you're a great teacher! one love.
I’m glad I could help you out! Hope to see you around my channel in the future.
Wow! Thanks
You got it!
Fendrix approves of this lesson. Well done
Dig!
My left hand does it all the time - And i'm a BRASS PLAYER ! 🎷
Cool !
Thanks for helping me in my musical evolution, i was ready for this, subbed, hny.
That’s great Cameron. Thanks for sharing.
Great video. Consider using your own photo on the intro card, otherwise it's using someone else's street cred to draw people to the video, and you've got your own!
Thanks for checking it out and for the suggestion.
Excellent! Thank you Adam.
Thanks for checking out the lesson. Don’t be shy, come back anytime!
great primer!!!
Thanks!
Thank you sincerely for this valuable lesson
Thanks for letting me know. I’ve got a lot of videos for you to check out. Come back again anytime.
Man what a gift 🎁. Thank you thank you 🎸🎸🎸✔️✔️✔️
Glad to help Ed!
Thank You !
You got it!
I can use this! Thank you.
Absolutely! Glad you enjoyed this.
At 4:45 Enlightening! I wondered about Dim and Sus. There they are, defined!
Looks like there’s alot of overlap of notes in scales. Makes me wonder if I can use that to “flow” between scales.
In the triads there is overlap when moving into 4 part chords, yes. Then adding a 7th or 6th now changes everything. Thanks for your comment.
@@JazzRockswithAdamthanks for replying so quickly! Do you, by chance, have a video on THAT?
lol. I’m a newbie out of my depth. ;-). I want to do interesting solos in hard rock, and Jazz and your videos break me out of “routine” scales, hopefully. ;-).
@@theedman22 If you mean on improvising, I have a ton of videos. Here’s one to wet your whistle:
This will change the way you improvise (jazz) Forever
ruclips.net/video/HrlKiwjvvTc/видео.html
And another important aspect, rhythm:
This is why you won't get good at jazz
ruclips.net/video/8x3gNE3GD50/видео.html
@@JazzRockswithAdam Awesome!, thank you for taking the time!
@@theedman22 Absolutely!
U r unassumingly very good 👍🏾
Thanks
I would love to know how Errol Garner approached his playing. He didn't read a lick. He wrote a Master piece with "Misty". I wonder if rules are suppressing at some point.
Here’s the thing, he’s using the same rules as everyone else. He just doesn’t know the names of the rules. He didn’t invent something completely new. Although his approach to the instrument was unique. In the Jazz tradition you learned from mentors and the whole idea was to develop your own sound. Nowadays everyone tries to sound more or less the same.
How do you look at it?
Thanks Adam ! Super information buddy
Glad I could help, Matthew!
good thank you very much ❤
Absolutely! Here’s a video that continues from this one:
But do you understand complex Jazz Chords?
ruclips.net/video/1Wc274z1q4o/видео.html
excellent excellent excellent excellent !
Thanks for watching!
Thanks
You got it!
VERY GOOD.
Thanks?
Great lesson. Eureka
Thanks for watching!
This is pretty great information. So let me, ask, then you need to know the numbers from every place you use a scale, and the note?
Hey thanks for checking it out. I’m not sure what you mean by “numbers every place you use the a scale.” Unless you mean “this note in the scale is also the 3rd of the chord.” But I do think in terms of what note I’m on and what that note is in the chord (ex. 9th) so that I have a purpose for that particular sound. Does that help?
@@JazzRockswithAdam Yes, for instance Root 1, 3, 5 could be used on any scale with different representation., I've playing guitar for 4 month now, and now starting to learn cords. This video really helps to understand what's going on with the creation of cords. Thanks
@@mabblers Remember, the harmony (a chord) always dictates what the note(s) you play are because you’re hearing it against the chord. And R is the same as 1, just in case. So no matter what note you start a scale on, D will always be the 9th on a C chord.
Great explanation 👍🏿
I hope you got something from it
So you go through this procedure to get faster a recall? How do you practice internalizing this
This is just the start. Playing the chords and arpeggios on your instrument is the next step. The best way is to apply it to songs (comping and improvising) as soon as you possibly can. If you stick with it, it starts to sink in.
It is certainly helpful to know functional harmony, and most people will benefit from it. However, the first priority is to be able to play by ear as much as possible, and there have been people, such as Stan Getz, Chet Baker, Django Reinhardt and Errol Garner, who could improvise brilliantly but couldn't read a chord chart to save their lives.
I bet they could read a chord chart, but note reading no. I’m sure each of those people you mentioned had their own theory worked out to understand and remember things even if it wasn’t conventional theory. I do agree playing by ear as much as possible. It is music after all. Not a video game. Thanks for your comment!
@@JazzRockswithAdam , nope. None of those people could read chord charts at all and knew nothing about chord scales. Getz probably could read notation, since he worked in big bands early in his career. The rest could not read any music
@@davideichler5105 notation is not a chord chart though.
@@JazzRockswithAdam , correct, and I thought I differentiated in my comment. Django and Errol Garner could not read anything at all. Getz could probably read some notation, but not chord charts. Baker maybe could read a little music notation but not enough to use professionally. None of these guys knew anything about harmony or music theory beyond basic minor and major tonalities, though they could improvise over complex harmonies intuitively by ear. They could just hear things and play them. Baker in particular could hear something just once and play it perfectly.
@davideichler5105 how do you know they couldn't read chord charts?is there any info?
How I can get to learn how play electric pianno thank you from the very very basics
Joselito, thanks for your comment. I’m glad it helped you.
A great lesson Thank you for uploading a new sub here and like!
Thanks for subscribing, liking, and leaving a comment. If you want to take the chord tones you just learned and now use them the correct way to improvise, this video is the perfect next step: ruclips.net/video/HrlKiwjvvTc/видео.htmlsi=_nDoxuP8E7dj8KDv
I've taken "sus", as opposed to "sus2" or "sus4" to mean the arranger has given license for the musician to use either the 2 or the 4, or even both. It seems to work, but is it incorrect? If it's wrong and you want to specify both 2 and 4, how would you write that?
Typically, sus refers to sus4. The sus2 chord is a relatively new chord. It wasn’t classified as a chord unto itself until late ‘70s, early ‘80s. So if you see sus written the composer wants sus4. If they want a sus2 they would write that in. Hope that helps.
Complimenti per il canale, iscritto volentieri!
Thanks!
I've taught myself all of this. The problem is remembering them. Is there an easy way to drill them into the memory? Why not write Cb7 for C7?
Hi Shirley. If you write Cb7, that’s an entirely different chord. What that means is the root of the chord is Cb. Just like B vs Bb. (B7 vs Bb7) That’s why just the 7 is used for b7 and ma7 is used for the natural 7. Thanks for watching.
@@JazzRockswithAdam Yes of course. Thank you.
@@shirleyfrancis4515 See around here again I hope, Shirley!
Where would I go (besides enrolling in music school!) to better understand the theoretical difference between the fully diminished 7th chord and a half diminished triad with an added 6? Anyone here want to give it a go explaining it briefly?
Hi John, the difference is a half-step. A m7(b5) chord is R-b3-b5-b7. A °7 chord is R-b3-b5-bb7. So a Cm7(b5) would be C-Eb-Gb-Bb. C°7 is C-Eb-Gb-Bbb (same pitch as A). Does that help. Of course they sound different too.
Thanks @@JazzRockswithAdam I was actually asking about theoretical comparison with the enharmonic half diminished triad with an added 6, not the m7b5.
@@johnharreld4875 Oh, I reread your comment. Actually, the half diminished chord IS a m7(b5) chord. At least in Jazz. Sometimes you’ll see it written with o for the symbol. The triad isn’t half diminished, it’s the 4 part chord that is sometimes referred to as half diminished. A triad is just diminished. R-b3-b5
@@JazzRockswithAdam Thanks for hanging in there with me on this! Hopefully this is more clear: I'm curious what is the theoretical difference between R-b3-b5-bb7 and R-b3-b5-6. Same notes, but when you would call it a diminished triad +6, and when you call it a fully diminished 7 chord. 🤔 I'm sure it's a deeply nuanced distinction, but must be discussed somewhere.
@@johnharreld4875 we don’t call it a 6 when it’s diminished. We call it a bb7. If you look at a diminished scale, it’s R 2 b3 4 b5 b6 bb7 7
The 6th inherently is a b6 (b13). The bb7 is equivalent to a 6 enharmonically, but the term diminished means to make as small as possible. So you’re taking the common R 3 5 7 numbers and squishing everything together as close as you can in 3rds (R b3 b5 bb7), which is how we think of as traditional harmony. Does that make sense?
Why do you put a numder to it rather than just the note when we already have think about the number associated with thestring number and fret number?
Chord formulas are how we are able to understand the difference of any chord compared to another chord and so we can quickly know what notes are in a chord when transposing to a different key. We simply number the notes in a scale and we create harmony by taking every other note. So thusly some kind of R-3-5-7.
Take a C major Scale. The R is C, the 3rd note is E, the 5th is G, the 7th is B. Now you have a Cma7 chord when you play those 4 notes together.
Do the same for any other key. A Dma7 when following the same formula (R 3 5 7) would be D-F#-A-C.
If you are interested in moving more towards a way that a pro would think, is to think note names an not fret numbers.
Does that help?
Thanks for your comment.
The fret and string numbers only apply to musicians playing stringed instruments.
The number system is used in more than just jazz. If you're playing in a band with singers, you'll often have to play a song in a different key. If your charts are written using number notation for the chords, you don't have to transpose in your head. You just need to know what key you're in and follow the chart.
For example, if you're chart is in C, the root chord is C major. What if that key is a little high for the singer and they need the music to be in Bb?
If the chord chart is using the numbering system, the root chord will be listed as Roman Numeral I. The G7 chord in C would be notated as V7.
By the way, in your answer you gave an example of Dmaj7, you have C as the 7th. It should be C#
@@davidprince1590 Oooops, my bad. Yes definitely C#! I think he was referring to the numbers in the chord formulas. Not a chord progression.
@@JazzRockswithAdam I agree. I was just trying to get across the point that knowing the chord and scale tone numbers will translate to reading a chord chart that uses only numbers.
Sometimes we don't have an actual chart. We may just be told something like "we're doing this song in F#. the chord progression is I, V, I, VI, II, V, I." If you're familiar with the scale tone numbers, this is fairly simple to figure out.
nice n thnk you
💯
Sus 2 is an inversion of Sus 4.
And once you begin extending chords, as typically jazz does, Sus 2 and Sus 4 become 9th and 11th chords of some type.
Therefore, wouldn’t it be simpler to omit these, and possibly even the Aug triads as well, at the start?
Augmented chords tend to be either +7 or more rarely +∆, which have two very different uses.
It’s true that a sus2 chord is also an inversion of a sus4, but it is a valid chord on it’s own. The 9 and 11 are only considered as such when there is no 7th. You can write Cm7(add 11) meaning no 9th. Or Cadd9 when it’s just a triad plus the 9th. But both sus2 and sus4 do not contain a 3rd like the Cadd9 for example.
I fail to see why I would want to omit valid chords.
When you are doing the c minor 7th chords you did not raise the 7th from a whole step to a half step. That's the c minor Major 7th.
Perhaps in the heat of recoding the video I may possibly overlooked something. I’d have to go back and watch it to see.
Nope, it’s correct R-b3-5-7: C-Eb-G-B
Knew sax cats whose ears where great enough ddint know any chords of tunes..hard ones
That’s awfully rare. Even if you have perfect pitch, there’s always a delay after you’ve heard the chord then decide what to play.
Question: Cm7 vs. Cm6. Why do we flat the 7, but not the 6?
In modern way of thinking you can flatten the 6th. Cm(b6) Old way of thinking is that it sounds too close to an inverted ma7 chord as well as the b6 having a bite to it that still is not that appealing to some.
Cm(b6) = C Eb G Ab
Cm7 = C Eb G Bb
Cm(ma7) = C Eb G B
To be clear, I can count the half steps between relative scale degrees but, formula-wise, what’s happening there? Or, am I overthinking it?; meaning, it’s just the difference in “chord sound” given the 6th and 7th scale degree, respectively?
@@marquislewis9063 I’m not sure what you’re asking.
I thought you might say that, so I listened more closely; you may have actually answered it. In one, there’s a minor 3rd between the 5th & 7th scale degree and, in the other, a major 2nd(?) between the 5th & 6th. Structurally-relevant because of the sounds being produced, only, yes?
In other words, I’m likely overthinking it: Dm7 (D,F,A,C) vs. Dm6 (D,F,A,Bb). Yeah?
Wait.....This whole time I've been playing dim wrong? Diminished is the Locrian scale, but there's no flat 3rd! What diminished chord or scale are you talking about? Seriously, I don't want to be out of the loop, Thank you.
Hey there! You’re almost right. Locrian can match a diminished triad. But Locrian matches the m7(b5) chord as a 4 part chord. Some refer to it as half diminished. You’ll see this symbol often ø. The °7 chord is fully diminished. You can find a or °7 in a few different scales but the one we think of most is the diminished scale: R-2-b3-4-b5-b6-bb7-7. It’s an 8 note scale. Does that help?
@@JazzRockswithAdam oh! So this one is more specific to jazz then?
@@Troblack Not really just jazz specific. Theory wise, in general, that’s how we think of the origin of a diminished chord is from the diminished scale.
We all know Jazz is at least three people playing different songs at the same time. Prove me wrong 😂
Ha! Very funny. You must be listening to the wrong jazz! 🤣🤣🤣
@@JazzRockswithAdam , just messing with you. Give me Django or Miles any day of the week.
@@sholland42 I knew you weren’t serious. Cheers!
?
The 6 chord doesn’t make sense. Why isn’t it a VI7 first inversion?
I think you’re confusing a chord progression perhaps by using Roman numerals. It’s not the 6th chord in the key. Unless you mean that the notes of the I6 chord, say C6 is equivalent to the vim7 chord in the key, that is true. C6 and Am7 chords contain the exact same notes. But each chord would function differently. 6ths are completely valid to add to both major and minor chords as an option.
That c minor Maj 7 is incorrect.... You should be raising the 7th from a whole step to a half step as in the major chord....it should read c, e flat, 5, aug 7
An augmented 7th is enharmonically the same as the root. Cm(ma7) is C Eb G B
@@JazzRockswithAdam that's wrong also. C minor with a major 7th implies that the 7th is a half step from the root... Just look at what you wrote it is not there... You did not write the c minor chord with a raised 7th that would make it a half step away and in, the 7th major position
@@patoni860 Yes, exactly. That’s why I wrote 7 instead of b7.
@@JazzRockswithAdam you did write the flat 7th... When you wrote The Cmin-7.... But in the C minor +7th you did not raise the 7th. you have lowered it let, it stay in place but you did not aug it. You wrote that in a comment to me but you do not have that spelled out in the lesson
@@JazzRockswithAdam to say seven implies that it is a lowered... You cannot raise the 7th in a major. You can only raise it in a minor... But in a minor scale you can raise it and lower it
Isn’t it Cm6= R b3 5 b6?
It’s definitely a natural 6. Just like a major triad with a 6th. It comes from the melodic minor scale. R-b3-5-6
@@JazzRockswithAdam 👍🏿
@@mussieafeworki2726 You got it!
Excellent way of explaining! Thank you.
You’re absolutely welcome! Stay tuned for more.
🎉🎉🎉🎉🎉❤❤❤❤Lai bharee
Why no Dom7
There definitely was!
Sorry I jumped over by accident. I really enjoy your teaching very informative.
@@bobburgener3160 Thanks! I have another one coming out soon that goes the next step beyond this video.
Not "LEFT BRAINED" No Complaints... (Get it Though, SUBJECTIVELY, Anyway.."WE"??)
Glad you got it. Thanks for checking it out.
Very informative, but the autofocus makes me nauseous.
Thanks. I checked it out. The autofocus seems very minimal. I plan on doing another similar video I’ll have to test it without that.
That's incorrect. It's not a 7th. You have four voices and for perfect Harmony you have to use all four voices. Bass, tenor, alto, and soprano,... To infer that it's a seventh chord is incorrect...
I’m not sure exactly which chord you’re referring to, but if a chord contains a 7th it is either the ma7 or the b7. Both are in fact 7 chords. For example: Cma7 = C-E-G-B, C7 = C-E-G-Bb. Or, Cm7 = C-Eb-G-Bb. All are types of 7 chords. A triad does not contain a 7th.
Huh?
@@MrPDTaylor Confused? Or is that revolutionary?
@@JazzRockswithAdam the jury is out on that one
@@MrPDTaylor Let me know if I can help.
I always thought Jazz is tuning and testing instruments on stage. So it should be easy without knowing your chord. After all every Jazz chord has 12 different names. Pick few letters from A/a to G/g and add one or two numbers up to 13. Who knows what you played? All music software are ready to give some other name to whatever chord you played. Regards
I don’t think you’d want to have that strategy if you wanted to sound good.
Too bad !!! I wish you had it piano.
Same principles apply to piano as with any instrument. Try to figure out the chords in the key of C, then move into other keys.
Chord structure derives from elementary music theory...before I learned theory....I couldn't play jazz...all them cats know their stuff...and music theory is that stuff
You got it!
@@JazzRockswithAdam now that I know music theory.....I can solo over your solo...I play rhythm trumpet....like PeeWee Middlebrooks from the Ohio players.......
@@JazzRockswithAdam music theory leads you to polyphonic and then it is what imagination and innate instinct dictate one thing...IF YOAZZ CAN JAM OR NOT... 😂 LOL
@@patoni860 Ha!
Great video simple and extremely direct to the point
What you have written is: R, flat 3, 5, 7... Written like that it's called a pure minor... The chord you are writing is spelled: R, flat 3, 5, aug7... Which is the harmonic minor... Don't you realize you do not have augmented 7th written there
In jazz it's common to think of these intervals in relations to the major scale, so 7 means major 7th from root, and flat 7 means minor 7th from root. So in such case, aug 7 would be enharmonically equivalent to an octave
Yes, that’s what I was trying to explain.
No
No, what?
Chromatics, baby 😂
Yes, but you have to know what the notes of the chords are and connect with chromatics.
What do you think of meshuggah.... "I" and "bleed" ? (There is some cover done)
I know who they are, but I don’t really know their music. I’ll take a listen 🎧
@@JazzRockswithAdam I watch this yesterday (8 years old now) a track on 20 minuttes....only one guitar (Frederik guitars part) covered by not many can do. You write, Meshuggah - 1 (guitar cover by Sam Mooradian) and there you have it. I'll see you video again because i just Play anything i can by ear or what i got in my metal head, but 1(R), 3 and 5 i know by Yngwie Malmsteen 👍 Enjoy and let me know your 20 minuttes 😁