You are my happy comment of the day! And not only Jazz guitarists! Thanks for the kind comment. I shot a video of Crazy with an analysis, you might enjoy that as well. Even though the song seems simple, it can be a beautiful solo piece as well.
Lloyd....these lessons are Jazz guitar gold. The way you breakdown these tunes and show how each of the chords are related to each other and to the tune as a whole has helped me tremendously. You take the perceived complexity of these standards, with all the #5's, b9's, dims, etc and show are they are really all connected by leading tones, chordal movement and harmonic context, which make the tunes much more approachable and not so daunting to play. Wave is a perfect example. At first glance, it looks intimidating but after you teach how it's laid out, it is a tune that can be played. Same with your lesson on Body and Soul. I especially like how we can see how you voice the chords on the fretboard and I have learned a lot of new voicings from your instruction, playing a lot of the dominate chords as shells or with just two notes, etc. Your relaxed teaching style is also refreshing. It's like a 1-1 lesson in your living room. You are breaking down the Real Book and making these tunes accessible to play by explaining the harmonic context and taking the mystery out of jazz guitar. Thanks for that!!!
Gosh, Golly and Shucks! Thank you soooo much for that, this whole RUclips world has me a bit flummoxed at times and to be honest it is only comments like this that make it all worthwhile. This helps me to understand what is of value to other players and I can work to develop that further. On a personal note we have just finished a 4500 kilometer move across the country and are just getting settled with a new studio set up so my next sessions might be slightly delayed as I reorganize. Thanks again for your kindness in taking the time to give me this much valued feedback. Best to you, you made my day. L
That was really helpful in understanding the structure. There’s a lot of clever stuff going on by the composer and as I’m just learning analysis I found I a great insight. Many thanks
Really glad it was helpful. I you wish to play standards such as this analysis is absolutely essential, especially when memorizing and soloing. Best and thanks for the kind words. L
Really glad this was helpful. Shot this one a while ago now and hope I also analyzed the chord progression. On the topic of bass I have to tell you about an experience I had. First let me say I have performed with at least 10 different pro bass players. Experience - I was teaching a lesson to a beginning electric bass student and I was going through reading charts using a simple standard, All of Me, and teaching him to just play the roots of the chords and memorize the chord roots in that song. The student took this home to practice. This specific teen aged student also had a great sense of time. He came back after the week for his next lesson, he had practised and he could play in solid time and played only the roots and I played along. I was really surprised when I actually lost the context of a lesson and instead enjoyed playing this old standard. Later I wondered why and came to realize he was not playing any wrong notes, he was playing in time and he was listening. :) Simple can make music. thanks for your kind comment.
Hey. Parallel major and minor refers to two different scales sharing the same tonal center thus forming a composite key made up of both the scales. Since chords are derived from scales this has profound implications to the harmony within composite keys. For example, a simple jazz standard like Night and Day uses a II - V from minor with a I from major, this is common practice but seldom explained correctly. A minor 7b5 chord is in fact a II chord in a minor key as is a 7b9. Same tune goes to a bIII major, that chord is the III chord in a minor key. If you learn to hear and analyze progressions in this way it will open up a lot of doors in your understanding as well as your improvisation. It should also be mentioned that the Real Book standards changes use this harmonic logic because of its simplicity and logic. thanks for asking, have a good day.
Hi Lloyd, thank you so much for your video - it was so helpful! I am curious to know more about what you have to say about the Bbdim chord. How would you annotate it in roman numerals for example and how do you think it relates to the key of D major? Thank you so much 🙂🎶
Sorry for such a late reply, haven't been doing much on YT lately. Great question! I love questions like this. There is a lot to unpack. Annotating in chord function Roman Numerals would have to be bVIo7 because we are in the key of D major which at the same time "suggests" the chromatic movement of the bass line as Bb to A. The progression establishes the D as the tonal center, I look at key as not only a template of related chords in a parallel minor and major composite key but also equally important as a single note tonal center, that is another important topic. Once tonal center is established (which it is in this tune when you reach the Dmaj7 after the vamp intro) then from that established harmonic platform you make the step to Bbo7 which is effectively an A7b9 or the V7 chord of D with the added b9 which is borrowed from the parallel minor of Dm, this is a common technique. If you look at the voices separately when moving from the Bbo7 to the Am7 you will notice that the Bb falls chromatically to the A and the C# falls to the C natural in a chromatic movement to the Am7 with the G(m7) and E (5th) remaining passive. The Am7 of course is the II chord of Gmaj7 which is the IV chord in the key of D, so we are still very much still in D tonal center but gently stepping away from its clarity but it is not lost. If I were to identify the origin of the Bbo7 I would instead call it an A7b9 borrowed from the parallel minor, the inversion is up to you depending on how much you want to define the chromatic movement from Bb to A. The move to the IV minor is classic and also borrowed from parallel minor, I won't go on, I think I covered most of this in the video. It's very valuable to analyze chord movement by looking at the direction of the individual voices. Something else I would reiterate is the idea of composite and parallel harmony and the idea of thinking of key in terms of a single tonal center as opposed to only the harmonization of a scale as a key template. Listen for the single tonal center and where it is and where it has gone and when it returns. OH, gosh, one more thing, listen to the melody of this tune and play it, you will notice that the melody spells out the diminished scale over the chord, it avoids the A till the resolution, such beautiful writing. Here comes a plug. I have a guitar and harmony centric book called Essentials for the Improvising guitarist that explains these concepts in greater detail, if you leave a nice comment that always helps. Thanks again for the question and if you have further questions don't hesitate to ask me, I love good questions on harmony. Best to you, Lloyd and Here is the link - www.amazon.ca/dp/B0BZQ1PYJ7/ref=sr_1_1?crid=2PJTSKBIXA4ST&keywords=essentials+for+the+improvising+guitarist&qid=1679952737&sprefix=essentials+for+the+improvising+guitarist%2Caps%2C342&sr=8-1
@@lloydenglishguitarstudio6331 I think this is a great question and a really great, thorough answer. I hope you don't mind, I'm going to copy and paste your answer with paragraph breaks just to make it easier for people to understand because I think you provide a ton of useful information! QUESTION - How does the Bbdim relate to the key of D major? ANSWER - "Annotating in chord function Roman Numerals would have to be bVIo7 because we are in the key of D major which at the same time "suggests" the chromatic movement of the bass line as Bb to A. The progression establishes the D as the tonal center, I look at key as not only a template of related chords in a parallel minor and major composite key but also equally important as a single note tonal center, that is another important topic. Once tonal center is established (which it is in this tune when you reach the Dmaj7 after the vamp intro) then from that established harmonic platform you make the step to Bbo7 which is effectively an A7b9 or the V7 chord of D with the added b9 which is borrowed from the parallel minor of Dm, this is a common technique. If you look at the voices separately when moving from the Bbo7 to the Am7 you will notice that the Bb falls chromatically to the A and the C# falls to the C natural in a chromatic movement to the Am7 with the G(m7) and E (5th) remaining passive. The Am7 of course is the II chord of Gmaj7 which is the IV chord in the key of D, so we are still very much still in D tonal center but gently stepping away from its clarity but it is not lost. If I were to identify the origin of the Bbo7 I would instead call it an A7b9 borrowed from the parallel minor, the inversion is up to you depending on how much you want to define the chromatic movement from Bb to A. The move to the IV minor is classic and also borrowed from parallel minor, I won't go on, I think I covered most of this in the video. It's very valuable to analyze chord movement by looking at the direction of the individual voices. Something else I would reiterate is the idea of composite and parallel harmony and the idea of thinking of key in terms of a single tonal center as opposed to only the harmonization of a scale as a key template. Listen for the single tonal center and where it is and where it has gone and when it returns. OH, gosh, one more thing, listen to the melody of this tune and play it, you will notice that the melody spells out the diminished scale over the chord, it avoids the A till the resolution, such beautiful writing. Here comes a plug. I have a guitar and harmony centric book called Essentials for the Improvising guitarist that explains these concepts in greater detail, if you leave a nice comment that always helps. Thanks again for the question and if you have further questions don't hesitate to ask me, I love good questions on harmony." (link to his book above)
Thanks for this! Just one question, cause I think you skipped explaining the Bbdim7 from the A section. How would you analyze that chord? What relationship does it have to the I chord (Dmaj7)? Thank you!
You are not the first to ask this question and I probably avoided it for sake of brevity. A diminished chord is a dominant category sound, it functions as a dominant. The common dominant chord in the key of D major is the A7 chord. The notes in an A7 chord are A, C#, E and G. The notes in a Bb diminished are (if we write with Bb in mind) are Bb, Db, Fb and G or enharmonically Bb (b9), C#, E, G, so in other words it could also be viewed as an A7b9, the common V in parallel minor, its the inversion that makes it Bbdim. In this case the Bb is in the lowest voice for bass line movement, the resolution is to the relative minor of D major. Looking at the guitaristic voice leading - Bb to A, G-G passive, Db drops to C (m3 of Am7), E - E passive. Lovely choice in that it is subtle yet deliberate. The Am7 now acts as the II chord in the closely related key of G. Diminished 7 chords are a study of dominant harmony in themselves. Hope that helps. L
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This type of analysis is exactly what jazz guitarists like me need when learning how to understand jazz language.
You are my happy comment of the day! And not only Jazz guitarists! Thanks for the kind comment. I shot a video of Crazy with an analysis, you might enjoy that as well. Even though the song seems simple, it can be a beautiful solo piece as well.
Lloyd....these lessons are Jazz guitar gold. The way you breakdown these tunes and show how each of the chords are related to each other and to the tune as a whole has helped me tremendously. You take the perceived complexity of these standards, with all the #5's, b9's, dims, etc and show are they are really all connected by leading tones, chordal movement and harmonic context, which make the tunes much more approachable and not so daunting to play. Wave is a perfect example. At first glance, it looks intimidating but after you teach how it's laid out, it is a tune that can be played. Same with your lesson on Body and Soul. I especially like how we can see how you voice the chords on the fretboard and I have learned a lot of new voicings from your instruction, playing a lot of the dominate chords as shells or with just two notes, etc. Your relaxed teaching style is also refreshing. It's like a 1-1 lesson in your living room. You are breaking down the Real Book and making these tunes accessible to play by explaining the harmonic context and taking the mystery out of jazz guitar. Thanks for that!!!
Gosh, Golly and Shucks! Thank you soooo much for that, this whole RUclips world has me a bit flummoxed at times and to be honest it is only comments like this that make it all worthwhile. This helps me to understand what is of value to other players and I can work to develop that further. On a personal note we have just finished a 4500 kilometer move across the country and are just getting settled with a new studio set up so my next sessions might be slightly delayed as I reorganize. Thanks again for your kindness in taking the time to give me this much valued feedback. Best to you, you made my day. L
Really love this lesson! Thanks!
Gosh, that's nice to hear. Feeling like I'm all over the place lately from beginner to Jazz so good to know what is resonating. Thanks, L
That was really helpful in understanding the structure. There’s a lot of clever stuff going on by the composer and as I’m just learning analysis I found I a great insight. Many thanks
Really glad it was helpful. I you wish to play standards such as this analysis is absolutely essential, especially when memorizing and soloing. Best and thanks for the kind words. L
This was super helpful!!
Hey, that's great. I have always liked this tune. If you have questions shoot them my way, always happy to answer while I can.
I'm studying wave in my bass lessons and this was fantastic! I love that the guitar voicings are so easy to visualize, too! Thanks for making this!
Really glad this was helpful. Shot this one a while ago now and hope I also analyzed the chord progression. On the topic of bass I have to tell you about an experience I had. First let me say I have performed with at least 10 different pro bass players. Experience - I was teaching a lesson to a beginning electric bass student and I was going through reading charts using a simple standard, All of Me, and teaching him to just play the roots of the chords and memorize the chord roots in that song. The student took this home to practice. This specific teen aged student also had a great sense of time. He came back after the week for his next lesson, he had practised and he could play in solid time and played only the roots and I played along. I was really surprised when I actually lost the context of a lesson and instead enjoyed playing this old standard. Later I wondered why and came to realize he was not playing any wrong notes, he was playing in time and he was listening. :) Simple can make music. thanks for your kind comment.
Thank you for a wonderful explanation of the piece...🙏🙏
You are very welcome, it makes it worthwhile when I get positive feedback like this, nice to know I am being of help.
Thanks for the Vid! Could you explain how the term of parallel minor can be understood in this case? How ist DMinor the Parallel of D major?
Hey. Parallel major and minor refers to two different scales sharing the same tonal center thus forming a composite key made up of both the scales. Since chords are derived from scales this has profound implications to the harmony within composite keys. For example, a simple jazz standard like Night and Day uses a II - V from minor with a I from major, this is common practice but seldom explained correctly. A minor 7b5 chord is in fact a II chord in a minor key as is a 7b9. Same tune goes to a bIII major, that chord is the III chord in a minor key. If you learn to hear and analyze progressions in this way it will open up a lot of doors in your understanding as well as your improvisation. It should also be mentioned that the Real Book standards changes use this harmonic logic because of its simplicity and logic. thanks for asking, have a good day.
Hi Lloyd, thank you so much for your video - it was so helpful! I am curious to know more about what you have to say about the Bbdim chord. How would you annotate it in roman numerals for example and how do you think it relates to the key of D major? Thank you so much 🙂🎶
Coming soon!
Sorry for such a late reply, haven't been doing much on YT lately. Great question! I love questions like this. There is a lot to unpack. Annotating in chord function Roman Numerals would have to be bVIo7 because we are in the key of D major which at the same time "suggests" the chromatic movement of the bass line as Bb to A. The progression establishes the D as the tonal center, I look at key as not only a template of related chords in a parallel minor and major composite key but also equally important as a single note tonal center, that is another important topic. Once tonal center is established (which it is in this tune when you reach the Dmaj7 after the vamp intro) then from that established harmonic platform you make the step to Bbo7 which is effectively an A7b9 or the V7 chord of D with the added b9 which is borrowed from the parallel minor of Dm, this is a common technique. If you look at the voices separately when moving from the Bbo7 to the Am7 you will notice that the Bb falls chromatically to the A and the C# falls to the C natural in a chromatic movement to the Am7 with the G(m7) and E (5th) remaining passive. The Am7 of course is the II chord of Gmaj7 which is the IV chord in the key of D, so we are still very much still in D tonal center but gently stepping away from its clarity but it is not lost. If I were to identify the origin of the Bbo7 I would instead call it an A7b9 borrowed from the parallel minor, the inversion is up to you depending on how much you want to define the chromatic movement from Bb to A. The move to the IV minor is classic and also borrowed from parallel minor, I won't go on, I think I covered most of this in the video. It's very valuable to analyze chord movement by looking at the direction of the individual voices. Something else I would reiterate is the idea of composite and parallel harmony and the idea of thinking of key in terms of a single tonal center as opposed to only the harmonization of a scale as a key template. Listen for the single tonal center and where it is and where it has gone and when it returns. OH, gosh, one more thing, listen to the melody of this tune and play it, you will notice that the melody spells out the diminished scale over the chord, it avoids the A till the resolution, such beautiful writing. Here comes a plug. I have a guitar and harmony centric book called Essentials for the Improvising guitarist that explains these concepts in greater detail, if you leave a nice comment that always helps. Thanks again for the question and if you have further questions don't hesitate to ask me, I love good questions on harmony. Best to you, Lloyd and Here is the link - www.amazon.ca/dp/B0BZQ1PYJ7/ref=sr_1_1?crid=2PJTSKBIXA4ST&keywords=essentials+for+the+improvising+guitarist&qid=1679952737&sprefix=essentials+for+the+improvising+guitarist%2Caps%2C342&sr=8-1
@@lloydenglishguitarstudio6331 I think this is a great question and a really great, thorough answer. I hope you don't mind, I'm going to copy and paste your answer with paragraph breaks just to make it easier for people to understand because I think you provide a ton of useful information!
QUESTION - How does the Bbdim relate to the key of D major?
ANSWER - "Annotating in chord function Roman Numerals would have to be bVIo7 because we are in the key of D major which at the same time "suggests" the chromatic movement of the bass line as Bb to A.
The progression establishes the D as the tonal center, I look at key as not only a template of related chords in a parallel minor and major composite key but also equally important as a single note tonal center, that is another important topic. Once tonal center is established (which it is in this tune when you reach the Dmaj7 after the vamp intro) then from that established harmonic platform you make the step to Bbo7 which is effectively an A7b9 or the V7 chord of D with the added b9 which is borrowed from the parallel minor of Dm, this is a common technique.
If you look at the voices separately when moving from the Bbo7 to the Am7 you will notice that the Bb falls chromatically to the A and the C# falls to the C natural in a chromatic movement to the Am7 with the G(m7) and E (5th) remaining passive. The Am7 of course is the II chord of Gmaj7 which is the IV chord in the key of D, so we are still very much still in D tonal center but gently stepping away from its clarity but it is not lost.
If I were to identify the origin of the Bbo7 I would instead call it an A7b9 borrowed from the parallel minor, the inversion is up to you depending on how much you want to define the chromatic movement from Bb to A.
The move to the IV minor is classic and also borrowed from parallel minor, I won't go on, I think I covered most of this in the video. It's very valuable to analyze chord movement by looking at the direction of the individual voices.
Something else I would reiterate is the idea of composite and parallel harmony and the idea of thinking of key in terms of a single tonal center as opposed to only the harmonization of a scale as a key template. Listen for the single tonal center and where it is and where it has gone and when it returns.
OH, gosh, one more thing, listen to the melody of this tune and play it, you will notice that the melody spells out the diminished scale over the chord, it avoids the A till the resolution, such beautiful writing.
Here comes a plug. I have a guitar and harmony centric book called Essentials for the Improvising guitarist that explains these concepts in greater detail, if you leave a nice comment that always helps. Thanks again for the question and if you have further questions don't hesitate to ask me, I love good questions on harmony." (link to his book above)
Thanks for this! Just one question, cause I think you skipped explaining the Bbdim7 from the A section. How would you analyze that chord? What relationship does it have to the I chord (Dmaj7)? Thank you!
You are not the first to ask this question and I probably avoided it for sake of brevity. A diminished chord is a dominant category sound, it functions as a dominant. The common dominant chord in the key of D major is the A7 chord. The notes in an A7 chord are A, C#, E and G. The notes in a Bb diminished are (if we write with Bb in mind) are Bb, Db, Fb and G or enharmonically Bb (b9), C#, E, G, so in other words it could also be viewed as an A7b9, the common V in parallel minor, its the inversion that makes it Bbdim. In this case the Bb is in the lowest voice for bass line movement, the resolution is to the relative minor of D major. Looking at the guitaristic voice leading - Bb to A, G-G passive, Db drops to C (m3 of Am7), E - E passive. Lovely choice in that it is subtle yet deliberate. The Am7 now acts as the II chord in the closely related key of G. Diminished 7 chords are a study of dominant harmony in themselves.
Hope that helps. L