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@danlovesnan B7 is the dominant7 chord that resolves to E ( minor in this case) just like D7 resolves to G. This is a common situation. You find this also within the same key: they are usually called secondary dominants (google it)...
Good analysis showing the simplicity of the harmonic structure. One little thing: I think that your description of the final line C chord as IV in G is misleading, because that suggests that one should be THINKING in G, when really it sets up the V7 in E minor at the end. It can be harmonized as C to F#m7b5, continuing the faster harmonic motion of the preceding two bars, and analyzed as VI - ii (to V to i).
He mentioned that those were "tritone" substitutes. This means the harmony "could have been Em7, A7 But instead the substitute for A7 is a tritone (dim 5th) away and also coincidently is 1/2 step downward...it's the Eb7. This is common jazz substitution.
I think he means "simple to analyze". Also the "jazz standars" ARE simple, the richness of the music takes live with the soul of the player. That's why the "standard" is just a pattern to use for IMPROVISATION-what jazz is
Once you can" hear" you can play and interconnect lot of things,but you must work to obtain and developp "inner Hearing"see and listen Antoine HERVE "La leçon de Jazz".I think neither "easy" or "difficult" just Hearing and then FEELING !! Best wishes !
if you enjoyed this video consider buying me a coffee here: www.buymeacoffee.com/24GDzoHuV
or maybe do something that won't cost you a thing and listen to my music on Spotify! thank you! open.spotify.com/artist/7iKJ8Iiee5tq3bIzS23ULG?si=iiYL31tqTKaszoRjWYRumQ
@danlovesnan B7 is the dominant7 chord that resolves to E ( minor in this case) just like D7 resolves to G. This is a common situation. You find this also within the same key: they are usually called secondary dominants (google it)...
Excellent analysis,thank you.
Please do more.Thank you.
@danlovesnan the tunes modulated to D major and E-7 to A7 is a ii - V (2-5) in the key of D major.
GREAT teacher!
Good analysis showing the simplicity of the harmonic structure. One little thing: I think that your description of the final line C chord as IV in G is misleading, because that suggests that one should be THINKING in G, when really it sets up the V7 in E minor at the end.
It can be harmonized as C to F#m7b5, continuing the faster harmonic motion of the preceding two bars, and analyzed as VI - ii (to V to i).
He mentioned that those were "tritone" substitutes. This means the harmony "could have been Em7, A7
But instead the substitute for A7 is a tritone (dim 5th) away and also coincidently is 1/2 step downward...it's the Eb7. This is common jazz substitution.
thank you! nice job
!
@danlovesnan it's called tritone substitution: watch the 'Tritone Substitution/Passing Chords' video on my channel. Thanks for your comment!
I think he means "simple to analyze". Also the "jazz standars" ARE simple, the richness of the music takes live with the soul of the player. That's why the "standard" is just a pattern to use for IMPROVISATION-what jazz is
bravissimo insegnante
Rather enlightning. I thought you did well in the explanation of the scale degrees.
Once you can" hear" you can play and interconnect lot of things,but you
must work to obtain and developp "inner Hearing"see and listen Antoine
HERVE "La leçon de Jazz".I think neither "easy" or "difficult" just Hearing
and then FEELING !! Best wishes !
Can you explain the passing chords? thank you
Great!
how about showing the last line of the melody huh?
IT IS NOT EASY JAZZ... THE JAZZ IT´S NOT EASY...
Right. Well... "easy" it`s relative.