II V They are all II V II V is II V I VI II V is .... II V Vm I is II V in the subdominant key I II7 is II V in the dominant key with II in first inversion I IV7 is II V in the flattened leading note key
Thanks for all the great information. However I do take exception to, and found confusing, your use of all lower-case Roman numerals instead of the usual designation of uppercase for Major chords and lowercase for minor chords.
@@xavierdionne6514 it is when well known musical educators with a clear passion for imparting knowledge regularly have their content pulled down for the briefest of references
Exactly, lower case always *should* refer to minor and upper case major. ii-7 should just be ii 7... I maj7 etc. ii maj7 is way confusing... but yeah I caught on after a bit.
This is a massive chunk of jazz theory, thank you a lot. I played keyboards in a cheesy "lounge jazz" group as a teenager. We played mostly realbook stuff and a lot of the progressions can be found there in several forms. It's great to see them defined and analysed here. Your channel actually became one of my favourites very fast!
Nick your videos are great. Your presentations are not cold and distant but very engaging for those such as myself who have struggled with the theoretical aspects of music. You break the theory down into bite size pieces that can be digested and understood by anyone. Your passion for music and the respect that you have for the composers, artists etc....is evident. Your passion is contagious. I was wondering if you could take some Black Gospel songs and break down the theoretical aspects . Black Gospel plays an important part in the landscape of modern music. It is an art form that is often times dismissed. There are many composers in this genre of music who have influenced many jazz and blues artists, seeing that many have gotten their start in the church. Again Thank you
While I agree with my classically trained friends that capital roman numerals would be better, one of the interesting things about music theory is how many different ways there are to describe the same thing. Go with it... this is an old topic....nomenclature.
Capitol letters represent chords with a major 3rd and lower case - a minor 3rd. It is not just a different way to describe the same thing; its actually incorrect and conflicts with with the recording, and the chords written behind the roman numerals.
He uses minus for minor. Nothing wrong with that, it's actually very common . Personally I think it's more explicit since you have a seperate symbol, not just a way of emphasis. Handwritten "v" and "V" look pretty much the same for example.
Using capitals to denote quality is more of a classical element or when learning theory. Almost all the jazz collegiate students and professors I've talked to use dashes and "M" or dashes and triangles to denote quality. It's more recognizable with symbols rather than upper or lower case letters especially when one needs to read a lead sheet with Roman numerals so they're able to change the key on the spot.
This is faaantastic! So here’s a question: do all these progressions work in reverse? And if not, why? Tradition? The laws of physics? I wonder what you think. Thank you so much for this great work!
I"m a jazz musician. Is it possible this perspective is regional? In Cherokee, for example, Fmi7 to Bb7 is a ii V in the key of Eb. Ebmin7 to Ab7 is a ii V in the key of Db.
I guess we usually wrote the chords : C triangle or M (C major 7), C7 (C dom 7,9), cmin (c minor, if the c was a bit big the min told the color and I guess allowed for player choice alteration ), c-7 (or -7b5 or -9 etc to denote specific alts), I guess rarer chords were more or less written long like CMajmin9 IMHO tunes are mainly better learned by avoiding roman numerals. Learning the tune in the most common key and memorizing the sections that refer to other implied key centers is I think the most organic and keeps the heart in the tune and the solos sound less like an excercise when the mind reverts to roman numeral analysis on stage. SirDuke composed likely with Roman numeral/scale tone number analysis at times yes, but he knew he needed the blowers that layed down the guts and troof and played the game of conforming to or breaking away from the harmony structure to make the tune live. Lots more thoughts on this but I gotta hit the hay. Having to transpose on the spot to keys that are uncomfortable to Bb and Eb instruments are rare.
Well done sir. This is what people like me want too watch videos that uncloak and demystify an emotional energy force of freedom infinity and expression. That is better known as jazz.
Gratitude to you for this awesome video! Great lessons to be learned here. Some great gratitude should also go to Billy Strayhorn who was the composer of Take the A Train which I'm currently learning!
Thank you so much for making this video lesson and posting it for free. I play rhythm on an acoustic archtop guitar in a jazz / swing band and am always trying to expand my knowledge base. Your lesson was great.
great video. Had to nitpick about one thing though. Since you're pointing out Melody notes. At the end of Take the A Train, the melody note is a d flat to c,not a d natural as shown. And so many people mistake playing it this way. Here is Duke playing it himself, ending the song on the Db, just to point this out. ruclips.net/video/UGK70IkP830/видео.html
In Satin Doll there is also a triton intervallic relation (progression) from D7 to Ab-7 in the harmonic sequence between G and G flat (V of G = D7 and II of G flat = Ab-7).
So inspiring, these videos are so helpful, thanks so much. I bought some of the triad pair lessons, these vids send me right back to the real book shed.
Same, is there anyone who can translate all the chord progressions showned in this video but in the common use of roman numerals ? that would be awesome. Thanks in advance to whoever will do this :)
Thank you so much. But is there anyone who can translate all the chord progressions showned in this video but in the common use of roman numerals ? that would be awesome. Thanks in advance to whoever will do this :)
C6 is a technically C-E-G-A. The A is added in rest chords to add a warmer/softer color and is usually interchangeable with CMaj7 C-E-G-B. Most ears hear them similarly. In jazz harmony the 3rds and 7ths are the pillars of the chord. C6 still has the E and no b7 Bb so it is a plain, point of rest, major chord. The 6 tone A just adds color like B would. If the chord has Bb then it becomes a tension chord 7,9,11,7sus,7#5 etc.
If you’re able to hear these 10 on the fly and have internalized ways of playing each, you can wing almost everything. Question… why do you use lower case roman numerals for everything? ii7 and II7 are very different animals.
Hi, I have a question about what you say in 7:55 when you say that after the E flat 7th comes an A flat 7th, which makes sense because that is the 4th(7) of E flat, but I have two burning questions I cant figure out: Why do you say that D could be the tritone substitution of A flat 7th if the chord that follows it is a G7? And....Where does this G7 come out of? Because you notate that is it the vi7 of E flat but what is the context for this chord to make sense? Sorry, great video but I cant figure out these question. Any feedback would be appreciated!
Hey Jazzduets, loved your videos! I would love to translate some captions to spanish for you. I tried to do it with the RUclips tool, but the contributions were disabled. Do you think there is a way I can help? Maybe enable the contributions, or send me the transcrips so I can translate and then you can add the captions.
How can you say Gm7 is a "Vm7" in the nearness of you? To me it doesn't make sense, it is the ii of the next ii-v-i, and indeed it is possible to have it after the C6 and the transition between tones is smooth because it is pretty close to its V (minor instead of major), but one can't say it is a V
Always really love your videos man, but I really think you should use UPPER case numerals for major chords and lower case for minor. Standardisation is important. x
I’m a classically trained oboist trying to break into jazz theory with saxophone. I’m used to seeing minor chords lower case and major chords upper case. Super confusing making the transition!
some good stuff here :) If I had any request it would be to play the examples on the piano, and a bit slower. Some of the examples move quickly and because there's no 'progress bar' on the sheet music its easy to lose track, especially if you are a beginning. I'll definitely be using that I > II7 progression with the flat 6 as a melody note, so thanks for that :)
Thank you so much! I Love all your Tutorials, which are made with such an amount of knowledge, passion. Also love the cartoons. Great! Howe Can you produce such a number of high quality educational Videos?
![Cody Johnson - I'm Gonna Love You (with Carrie Underwood) [Official Music Video]](http://i.ytimg.com/vi/yy9PuYMU29g/mqdefault.jpg)
II V
They are all II V
II V is II V
I VI II V is .... II V
Vm I is II V in the subdominant key
I II7 is II V in the dominant key with II in first inversion
I IV7 is II V in the flattened leading note key
Why I vi ii V is ii V?
00:16 the communist chord progressions in jazz
Haha! U r a punster, tovarisch)) where're you from? have U ever been to USSR?
@@gogobluezzz2390?
Chapeau. Take that like.
@SavageArfad "most common" would have done a better job here, but not as funny :D
2-5 is commie af
Thanks for all the great information. However I do take exception to, and found confusing, your use of all lower-case Roman numerals instead of the usual designation of uppercase for Major chords and lowercase for minor chords.
Aaargh! Take the A Train is by Billy Strayhorn!
aaargh you too, matey
I just hope his videos won't be taken down by record labels for educating people in the arts of jazz :)
Andreas Pedersen h
probably only used recordings in the public domain
What the hell u talkin’ about, it’s not like if they were trying to prevent people from learning music.
@@xavierdionne6514 it is when well known musical educators with a clear passion for imparting knowledge regularly have their content pulled down for the briefest of references
Shhhh.
Jazz is not art.
It's MAGICKAL woo.
"Commonest?!"
God damn it.
Mp
C’mon man it’s the internet who cares / anything goes / what are you a grammar nazi
@@Zepster77 I'd love the term Grammar Nazi except all Nazis need to die slow. I am a grammar Fascist.
@@sabastianlove1286 Its gooder that you dids thats
Thrown at first by ALL lower case Roman numerals, but soon realized what you were doing. Overall very good!
Can you explain why they are all Lower case
Yes please explain
Exactly, lower case always *should* refer to minor and upper case major. ii-7 should just be ii 7... I maj7 etc. ii maj7 is way confusing... but yeah I caught on after a bit.
This is a massive chunk of jazz theory, thank you a lot. I played keyboards in a cheesy "lounge jazz" group as a teenager. We played mostly realbook stuff and a lot of the progressions can be found there in several forms. It's great to see them defined and analysed here. Your channel actually became one of my favourites very fast!
Nick your videos are great. Your presentations are not cold and distant but very engaging for those such as myself who have struggled with the theoretical aspects of music. You break the theory down into bite size pieces that can be digested and understood by anyone. Your passion for music and the respect that you have for the composers, artists etc....is evident. Your passion is contagious. I was wondering if you could take some Black Gospel songs and break down the theoretical aspects . Black Gospel plays an important part in the landscape of modern music. It is an art form that is often times dismissed. There are many composers in this genre of music who have influenced many jazz and blues artists, seeing that many have gotten their start in the church. Again Thank you
Great video the musical examples really bring it to life....thanks
While I agree with my classically trained friends that capital roman numerals would be better, one of the interesting things about music theory is how many different ways there are to describe the same thing. Go with it... this is an old topic....nomenclature.
Capitol letters represent chords with a major 3rd and lower case - a minor 3rd. It is not just a different way to describe the same thing; its actually incorrect and conflicts with with the recording, and the chords written behind the roman numerals.
Please use uppercase vs lowercase in your Roman numerals for major vs minor
Agreed. Insanely confusing until I realized he just wasn't doing it at all.
He uses minus for minor. Nothing wrong with that, it's actually very common . Personally I think it's more explicit since you have a seperate symbol, not just a way of emphasis. Handwritten "v" and "V" look pretty much the same for example.
_ musique : yes indeed, the minus sign is a very common way to express the minor.
yeah. got it now cheers!
Using capitals to denote quality is more of a classical element or when learning theory. Almost all the jazz collegiate students and professors I've talked to use dashes and "M" or dashes and triangles to denote quality. It's more recognizable with symbols rather than upper or lower case letters especially when one needs to read a lead sheet with Roman numerals so they're able to change the key on the spot.
Dawn, this video should be my first video for learning jazz! Love the examples rather than bunch of theory.
Lewis Ma 8
Great video and presentation...wonderful examples!
Brilliant presentation. You should be teaching at Berklee a class called "Jazz / Straight No Chaser"
This is faaantastic! So here’s a question: do all these progressions work in reverse? And if not, why? Tradition? The laws of physics? I wonder what you think. Thank you so much for this great work!
It has to do with voice leading of chord tones, moving chord resolving to static chords, tensions to stability.
Really well presented my friend,and extremely knowledgeable. Thankyou for your time,and effort ,as even i can understand it.
You keep putting lowercase numerals for major chords. wth
Outstanding information and presentation, still highly relevant for any student of jazz. Thank you!
The lively explanation makes the difference.
Nick You aré awesome. From now on You will be my jazz gurú. I have no words to. show You my gratitude
This channel is a well of knowledge and inspiration. Thank you Mr. Homes and keep it up ;0)
The most obvious example of I iv ii V iii iv ii V would be "rhythm changes", second only to the 12-bar blues in common usage as a jazz vehicle.
Thank you for your channel. I think was Billy Strayhorn the composer of "Take the A train" isn't it?
Paulo Guimaraes Ferreira Yes indeed. A common misnomer identifies Duke Ellington as composer, simply because he essentially "owns" it!
That hand is absolutely annoying!!!
This video is excellent.Thank you so much.
So lucky to live in a time when this type of educational content is free for all. Thank you kindly
Illich's vision of learning webs is turning from a dream into reality! Woohoo!
The only issue w this video is that your Roman numerals aren’t capitalized when they need to be.
Nick eres el tipo!!!...congratulations for your master class
I"m a jazz musician. Is it possible this perspective is regional? In Cherokee, for example, Fmi7 to Bb7 is a ii V in the key of Eb. Ebmin7 to Ab7 is a ii V in the key of Db.
I guess we usually wrote the chords :
C triangle or M (C major 7),
C7 (C dom 7,9),
cmin (c minor, if the c was a bit big the min told the color and I guess allowed for player choice alteration ),
c-7 (or -7b5 or -9 etc to denote specific alts),
I guess rarer chords were more or less written long like CMajmin9
IMHO tunes are mainly better learned by avoiding roman numerals. Learning the tune in the most common key and memorizing the sections that refer to other implied key centers is I think the most organic and keeps the heart in the tune and the solos sound less like an excercise when the mind reverts to roman numeral analysis on stage.
SirDuke composed likely with Roman numeral/scale tone number analysis at times yes, but he knew he needed the blowers that layed down the guts and troof and played the game of conforming to or breaking away from the harmony structure to make the tune live.
Lots more thoughts on this but I gotta hit the hay.
Having to transpose on the spot to keys that are uncomfortable to Bb and Eb instruments are rare.
Well done sir. This is what people like me want too watch videos that uncloak and demystify an emotional energy force of freedom infinity and expression. That is better known as jazz.
Gratitude to you for this awesome video! Great lessons to be learned here. Some great gratitude should also go to Billy Strayhorn who was the composer of Take the A Train which I'm currently learning!
Presumably the - represents m.
Thank you so much for making this video lesson and posting it for free. I play rhythm on an acoustic archtop guitar in a jazz / swing band and am always trying to expand my knowledge base. Your lesson was great.
Extremely helpful thank you
incredible production value and information
Completely over my head at this time. I will tune back when I am ready. Keep the videos coming, there is no one teacher who is right for everyone.
A big hug from Italy, I have just discovered you and your videos are simply what I need
I wonder how you can build many clips with the great quality like this. When i see the notifications of your Chanel, it will be great.
Should've played George Michael's Last Christmas for progression #3 (i-vi-ii-v7)
He is talking about Jazz though, not pop.
WOW! Great intro to jazz!!
great video. Had to nitpick about one thing though. Since you're pointing out Melody notes. At the end of Take the A Train, the melody note is a d flat to c,not a d natural as shown. And so many people mistake playing it this way. Here is Duke playing it himself, ending the song on the Db, just to point this out. ruclips.net/video/UGK70IkP830/видео.html
you have done a beautiful work! I'm not only see your videos, I practically studying them! great!
Great information. Great presentation. Your obvious passion for this music is also greatly appreciated. Thank you.
Brilliant analysis of jazz harmonic ingrediants!
In Satin Doll there is also a triton intervallic relation (progression) from D7 to Ab-7 in the harmonic sequence between G and G flat (V of G = D7 and II of G flat = Ab-7).
So inspiring, these videos are so helpful, thanks so much. I bought some of the triad pair lessons, these vids send me right back to the real book shed.
Loved the video but it’s hard to follow the theory when the Roman numerals are not capitalised, throws me off all the time.
Same, is there anyone who can translate all the chord progressions showned in this video but in the common use of roman numerals ? that would be awesome. Thanks in advance to whoever will do this :)
This video is a wonderful contribution and you are a superb teacher! I'm so grateful for this video.
Magnificent. The best way to understand the progressions (besides from playing them) is to listen to them in examples. Thank you very much!
Fantastic! I love the use of examples....and more than one for each progression! Thank you!!
Awesome
Thank you so much. But is there anyone who can translate all the chord progressions showned in this video but in the common use of roman numerals ? that would be awesome. Thanks in advance to whoever will do this :)
This is fantastic. You have distilled this information on chord movement perfectly. Thank you.
Brilliant presentation !
OUTSTANDING ! Thank you.
Common cord progression in jazz piano. That is exactly what I need! Thank you!
The part 1 is a killer, Nick. So many tunes and styles! Give the guy a:👍
This really is concise. Nice job Ksaxman.com time to practice K
Can anyone tell me how that C6 at 4:09 is being voiced? It sounds to me like a CM7. The intent is to indicate a C E G A, correct?
C6 means C in second inversion (G-C-E)
It is called like this, due to the interval of the sixth major between G and E
@@bluesmanjp5224 aha of course. Thank you for the answer!
C6 is a technically C-E-G-A. The A is added in rest chords to add a warmer/softer color and is usually interchangeable with CMaj7 C-E-G-B. Most ears hear them similarly.
In jazz harmony the 3rds and 7ths are the pillars of the chord. C6 still has the E and no b7 Bb so it is a plain, point of rest, major chord. The 6 tone A just adds color like B would. If the chord has Bb then it becomes a tension chord 7,9,11,7sus,7#5 etc.
3:40 Aren't they from C mixolydian? Like, the Bb makes the 5 chord minor, right? idk, I'm new to this.
Could you please use "capital" letters in your Roman numeral analysis for major chords!!! Thanks.
If you’re able to hear these 10 on the fly and have internalized ways of playing each, you can wing almost everything.
Question… why do you use lower case roman numerals for everything? ii7 and II7 are very different animals.
Hi, I have a question about what you say in 7:55 when you say that after the E flat 7th comes an A flat 7th, which makes sense because that is the 4th(7) of E flat, but I have two burning questions I cant figure out: Why do you say that D could be the tritone substitution of A flat 7th if the chord that follows it is a G7? And....Where does this G7 come out of? Because you notate that is it the vi7 of E flat but what is the context for this chord to make sense? Sorry, great video but I cant figure out these question. Any feedback would be appreciated!
Hey Jazzduets, loved your videos! I would love to translate some captions to spanish for you. I tried to do it with the RUclips tool, but the contributions were disabled. Do you think there is a way I can help? Maybe enable the contributions, or send me the transcrips so I can translate and then you can add the captions.
bien! me podes contactar porfavor
Sorry.
Why do you use i6 instead I6? (The nearness of You)
Regards.
How can you say Gm7 is a "Vm7" in the nearness of you? To me it doesn't make sense, it is the ii of the next ii-v-i, and indeed it is possible to have it after the C6 and the transition between tones is smooth because it is pretty close to its V (minor instead of major), but one can't say it is a V
What is biiv7 (Ab7 at 5:08). Is this not a bVII7. b7 dom.7 chord; backdoor dominant?
Girl from Ipanema is bossa nova, right?
i wanna know everything you know... for starters.
Outstanding video; I understand your notation and very helpful, thank you.
Thank you, very instructive...
What's the intro song called?
Muchas Gracias !
Very nice and handy...
Always really love your videos man, but I really think you should use UPPER case numerals for major chords and lower case for minor. Standardisation is important. x
Thank you, love it all
Good stuff
A Train is Strayhorn.
Bravo! Please use uppercase vs lowercase in your Roman numerals for major vs minor! Thanks so much!
Thanks for class lesson.
Good vid. Thanks!
I’m a classically trained oboist trying to break into jazz theory with saxophone. I’m used to seeing minor chords lower case and major chords upper case. Super confusing making the transition!
amazing thanks !!!
Hi Nick, great content! Do you have this lesson on your jazzduets website?
I believe Take the A train is by Billy Strayhorn, am I wrong? Great video!
love to play misty .
En français ?? Please!!!! Thank you so much....
I was taught to use upper case and lower case Roman numerals to indicate major and minor chords, respectively. What do you think of that method?
I think it is cool! I use it these days!
I'd love to understand this. Numbered chords?
🔥🙌🏾 Giving Thanks 🙏🏾✨ your channel is ⭐️⭐️⭐️⭐️⭐️ #maximumsupport #patreon #paypalme #gumroad 💫
I would have found this more instructive if you had explained how the substitutions are determined to replace in the sequence you're illustrating.
Thanks for this
some good stuff here :) If I had any request it would be to play the examples on the piano, and a bit slower. Some of the examples move quickly and because there's no 'progress bar' on the sheet music its easy to lose track, especially if you are a beginning. I'll definitely be using that I > II7 progression with the flat 6 as a melody note, so thanks for that :)
What is -7?
Thank you so much! I Love all your Tutorials, which are made with such an amount of knowledge, passion. Also love the cartoons. Great! Howe Can you produce such a number of high quality educational Videos?
Auto captions calls em "communist chord progressions" and I likey
Fantastic video. `````lots of thumbs up
Needs a thumbs up option more for the hand writing! Amazing