I did learn jazz on guitar first with ''The Complete Jazz Guitar'' and fred Sokolow. In this book every tune was analyze as like this great video. Very good instructor here. Has also used Van Manakas on Hot Lick and Joe Pass Video and books. Also PG music like ther DVD's and programs about Jazz guitar has also been a great learning process. Greetings from Norway.
Hey good job! I just have some constructive criticism. It can be misleading to beginners when you play a dominant 9 chord and name it a 7 chord, as it is also misleading to talk about how in jazz people play maj7 chords and then proceed to play a 6 chord instead. This kind of thing sort of happened many more times throughout the video and even though it doesn't really matter much, i would be easier for beginners to hear and see voicings with just the notes 1,3,(5),7. 6s and chords with more extensions are also cool, as long as you name them as such. All the best to you, no disrespect at all, keep it up!
I agree, it seems like jazz guitar players change the notation when they feel like it to stop you progressing. An example is 9th chords, you can either have an half diminished chord with root on a string or a 9th chord with if played without root that is on e string. Then there is diminished chords do you play diminished or dmi(7) or half diminished. It just gets so complicated and confusing.
@@As-pf1zu Jazz players don't change notation to "stop you progressing". The real reason is that there is a difference between the academic, Berklee College of Music style of jazz playing (which is most of the educational content nowadays) and how jazz players ACTUALLY played back in the day. Furthermore, it was and is commonplace for jazz players and arrangers to alter and substitute chords of various standards and pieces to suit them. For example, the major chords, especially the 1 chord, is taught as a maj7. But ACTUALLY LISTEN to the old standards - they usually played a maj6 or even just a major for the one. Maj7s weren't used too much until the 60's or so. The major 6th chord is MORE STABLE than the maj7, because the maj7 interval wants to RESOLVE up to the octave. Or take the dominant chord, for example. These come in all sorts of flavors, like the 9, b9, #9, 11, #11, b5, 13, etc. The 9th chord, as you correctly point out, is a m7b5 (half-diminished chord) on the third of the chord. So a D9 (D,F#,A,C,E) and the F#m7b5 (F#,A,C,E) are nearly harmonically equivalent. This is useful for jazz soloing or comping, as one can simply play F#m7b5 over a D dominant chord, as the bass player is usually handling the D root note. This is also heard in a blues context, where these "rootless" dominant voicings are commonplace, which is ultimately where jazz gets many of its harmonic ideas from. You can also hear the Dominant 9th chord in the music of the Romantic Period, such as in the works of Chopin, Strauss, Rimsky-Korsakov, etc., as it resolves to a major chord well.
from hearing Joe Pass talk about the color tones, it seems that different individuals give personal preference to their regular substitutions, and seems it would become a study on sets of substitutions, so embrace the substitution sets as personal to each teacher perhaps
@@edthewave so what you are saying is although you like listening to jazz don’t bother with the guitar for jazz as you are no good and rubbish. Stick to cowboy chords or punk power chords. Just goes to show how snobby jazz player are.
Just start 12-keying stuff with the TV on. I watch movies I've already seen so I don't get too caught up, but stay entertained enough not to get bored and put the horn down.
It's pattern recognition bro. If you know the pattern you can play in any key. It's easy. The only things that are hard is 1.) memorizing the melody (fuck that) 2.) Soloing in the different keys so that your chops don't sound shit. For keyboardists, it's getting the muscle memory so your fingers go to the right keys so that your shit sounds melodic and not free jazz. i recommend a little ear training so that your fingers go to the note that you hear in your head with fluidity. A little ear training goes a long way.
I am a pro but I love watching how you teach :) Always interesting and usually understandable. I thought you were gonna say "giant steps" for the third one :))) but that might be actually the 4th. Take care !
Twenty-odd years ago I recorded Autumn Leaves and All the things you are with a combo as a drummer, and thought, "Yeah, it's cool, but... meh. Elevator music for weddings. Get on with it, already." Now I'm getting it! Cool stuff. I know, I know. If I'm bored as a drummer I'm not working hard enough. Hindsight.
Brent, you are one of the best, if not THE best jazz instructor on RUclips! Thank you for all that you do! One of the things I look for in my 'jazz journey' is the half-step resolution between keys and/or chords to make things easier. Ex, in the last tune one of the modulations went from E to F, and instead of a deceptive cadence, I look at that as a half-step away so that's why it sounds good. Have a great day!
Em gives me the E-B-G-B’s. I’m more or less a rock/ blues guy, and I love learning jazz chords to add to my tool box. Stone Temple Pilots Dean and Robert DeLeo are accomplished Jazz musicians and have written many pieces that made me a better player, forcing me to use the dreaded pinkie finger, in order to unlock musical greatness in playing many other songs with ease. Thanks for the lesson!
Thirty years ago,l had mastered "Stella by The Starlight", All the things you are, On Green Dolphin Street,even Giant Steps and Goodbye Pork Pie Hat..l would play pretty decently back then...but not certainly at the level of " major leaguers"(Benson,Montgomery, Pass,Hall,Metheny)...l thought l had the world on a string..and that everything ahead would be gigs,money..and days of wine and roses..but one day l wake up and get to listen to modern,advanced jazz-rock fusion(Gambale,Henderson,Holdsworth) and to this day(l am 62 now) ..l've stuck with this style and still grappling to get better at it and figure out the vast amount of knowledge and techniques that demand to get anywhere near these great cats.
The knowledge you possess at present is the fundamental that deploys the best of Modern harmonic theory. Jazz Rock is an electric sound ornamentation. For example, Gambale altered the guitar tuning and picking style to achieve a "new" sound. However, he plays nothing different fundamentally, that goes beyond what you already know, in music theory. The threshold knowledge you crossed to arrive at what you know remains the same, theoretically, as what the "advanced" cats are doing. One step further for you is to note that Dizzy Gillespie closed the gap between harmonic theory at the 9th and the 13th, by incorporating what Shoenberg laid out as theory in the early 20th Century, though used classically before, undefined. Go to the sounds of those colorful extensions; continue with the 2, 5, 1 patterns, but make changes that allow for chromatic motion, using those extensions and the opporunities in altered interiors of the chords. The ear is compelled by chromatic movement.
Great choices. Mastering these three will be a full blow to progress in jazz playing for beginners that can keep chord changes. Love them all. Very good advise. Thanks and keep up!
He was spot on with these three songs. You absolutely need to understand and know your way around the major and minor two five - one progression before you can even begin to think about the concept of quarter voicing and Latin bossa styles. Otherwise, it is going to frustrate the heck out of you and keep you a beginner for a long time…because you are just going to be lost looking at everything in these songs like individual progressions and not perfecting the concept of looking for and spotting PATTERNS. Dude, wonderful lesson. You are my kind of teacher. Good teachers really know how to bring things home and present the information in an orderly and logical progressive manner without being TOO wordie (if I can make that up grammatically). But, you get my point. I just discovered you. This is my first video.
Oooooh you just explained something. At first I wondered why the 2 in minor had a diminished fifth. But then I realized, in G minor, the 2, which is A, indeed has a minor fifth, E flat. Aha! Thank you!
Wow, clears my head a little about music theory! I memorize classical pieces,but you don't improvise them. I really want to learn some jazz guitar and get a grip on theory ..
Nice video, as always! The first 7 measures of Autumn Leaves are also a cycle of fourths on Gmin7, comprising the 7 diatonic chords of its key. I think interpreting in that way helps to understand it and memorize it.
I never thought of "Alone Together" as great prep for minor-key blues - but, of course, it is! Thanks for this insight (and all the others here), Brent.
I've played Autumn Leaves and All The Things You Are for over 35 years and never took them apart like that. That was great. I have seen Alone Together for ever so now I will take a look at it. Real cool video. Like listening to people talking theory. This was fun.
Excellent pedagogy! I was a little surprised by #3, but I agree. #4 must be “How High The Moon” and #5 . . . Ornithology” for obvious reasons. -Steve, jazz educator (emeritus). YOU ARE DOING GREAT WORK. Keep it up.
I think Stella By Starlight should have been your third super standard, and was quite surprised you did not include it. Called just as often as the first two at jam sessions, it also has a few special nuances the others don't cover so well in turning "pro".
modal interchange , a great term to coin , understand and use, seems to be that so much more composition is waiting to happen by using the modal interchange, of substituting chords between the major and minor 251
With respect to "All the Things You Are", I can see the movement of fourths on the guitar. My real challenge is the melody, since it moves between 5 keys; it presents a lot of challenges to know/find where to play it on the fretboard. A presentation of this topic would be helpful.
Im surprised none of these have a backdoor 251 which is really a type of modal interchange or borrowed chorrds to the common man. Its more like borrowed iv VII7 if that makes sense. It sound fantastic.
You said "seventh chords are the default" as in the target major chord, Bb maj. 7, in bar three of Autumn Leaves. But, in bebop and earlier styles that is not the case. A more stable chord is the major six or major six/nine chord.
Excellent vid. I think it would be helpful to play the tune in total at the beginning and the end of the explanation. Otherwise it seems just like analysis and not also application (best practices).
I dont know Alpne Together but Autumn Leaves and All the Things You Are are literally the first two standards I ever learned. I thought you were gonna do Giant Steps or something.
very nice analysis BUT: What about that C7sus before you head back into the last A section? That transformation of the EMaj7th into what I've always played as an Abaugmented 7th chord is a whole lesson in itself. That said- very clear and concise. Love your style.
The amount of dudes flexing their theory knowledge or Berklee degree or “I’m a pro but…” is hilarious 😂 I appreciated the video and it’s making me go back to milk more out of these standards that I didn’t understand when I first approached them. Thanks!
Yo blood, ya gotta include “Body and Soul” - just to name one of the twenty legit standards I could have cited. One and two are about right, but don’t get me wrong … I play “Alone Together” pretty much all the time because it’s so moving and deep. Also, note that EVERY Jazz musician I know LIVES to play “Green Dolphin Street” (they leave out the “On”) and Solar - which Miles famously stole
Like so many tutorials on YT . The jumpy editing makes it harder to follow for the learner. The info is top shelf quality. Just my 2 cents Don’t let my user name fool you 😎
This is brilliant and very helpful! I’m new to jazz, but why is it in “All The Things You Are” we don’t see them in a different key as 3-6-2-5-1s rather than 6-2-5-1-4s?
@@danielhaddon5499 That's right. The key is the V chord, or really the V7 chord. It's a dominant 7th chord. It defines the key center. V7 naturally pulls to the I chord. The V-I relation was at the center of classical music for several hundred years, and of jazz for decades. (In a minor key, the 5 chord is changed to make a V7 chord.)
I'm curious on why you call it the "Cycle of 4ths" because it goes UP a fourth to the next chord (when describing the first few lines of All the things you are at around 12:00) when then when you get to the Cmaj7 you emphasize the V7-I relationship. Isn't a Cycle fourths (up) just a a bunch of V7-Is going doing? F is V to Bb7, yes it's not dominiate, but its there... and when you get to Eb7 to Abmaj7 it's there too... but you included that in the cycle of fourths. I'm curious on the switch in concept...
The cycles of 4ths or 5ths refers to the root motion. G - C - F - Bb - Eb, etc. Or G - D - A - E - B, etc. Other intervals are possible, i.e. cycle of minor 3rds. G - Bb - Db - Fb (E) - G. You can play each as a single chord type (i.e. dominant) or move through a diatonic progression (vi-ii-V-I). You can treat each root in the cycle as a major 1 chord and substitute each of them for their associated ii-V's. Many possibilities that you just have to explore for yourself on your instrument, and notice how it appears over and over in the music.
Yes, that's the simplest and clearest way to understand most of the harmony here. Next step is to look at deviations from perfect 5ths (down = 4ths up) jumps and ponder the reasons for them: "fudging" the "maths" to fit the musical context. These patterns have been used in all kinds of music from Bach through Beatles to disco's greatest hits and beyond. David Bennett has a nice video on songs that use the circle of fifths progression and explains it very clearly.
The classical teachers always use the cycle of fifths.... because in old days of mr beethoven , they had the concept of upper fifth motion and lower fifth motion (in german : die oberquinte, die unterquinte) in C maj the upper 5interval is G, the lower 5interval is F. The 5interval is classique the strongest motion, the best move. Thats why they used the 5interval mostly, for a strong bass movement. In jazz the most important form is IIm, V7, Imaj. And thats a cycle of four motion. You can practise jazz lines best this way. So the cycle of fifths is a classical composers harmony theory periodic table. The cycle of fourths is a jazzmans practical work out buddy.
I did learn jazz on guitar first with ''The Complete Jazz Guitar'' and fred Sokolow. In this book every tune was analyze as like this great video. Very good instructor here. Has also used Van Manakas on Hot Lick and Joe Pass Video and books. Also PG music like ther DVD's and programs about Jazz guitar has also been a great learning process. Greetings from Norway.
This is probably the greatest explanation ive ever seen. thank you so much
I really appreciate your explanations and the color-coded sections!
I totally agree!
I agree too :))
Glad you found that helpful!
Yeah, I wish i could color code in my program, j fact all the mockups you do.
Hey good job! I just have some constructive criticism. It can be misleading to beginners when you play a dominant 9 chord and name it a 7 chord, as it is also misleading to talk about how in jazz people play maj7 chords and then proceed to play a 6 chord instead. This kind of thing sort of happened many more times throughout the video and even though it doesn't really matter much, i would be easier for beginners to hear and see voicings with just the notes 1,3,(5),7. 6s and chords with more extensions are also cool, as long as you name them as such. All the best to you, no disrespect at all, keep it up!
I agree, it seems like jazz guitar players change the notation when they feel like it to stop you progressing. An example is 9th chords, you can either have an half diminished chord with root on a string or a 9th chord with if played without root that is on e string. Then there is diminished chords do you play diminished or dmi(7) or half diminished. It just gets so complicated and confusing.
@@As-pf1zu Jazz players don't change notation to "stop you progressing". The real reason is that there is a difference between the academic, Berklee College of Music style of jazz playing (which is most of the educational content nowadays) and how jazz players ACTUALLY played back in the day. Furthermore, it was and is commonplace for jazz players and arrangers to alter and substitute chords of various standards and pieces to suit them.
For example, the major chords, especially the 1 chord, is taught as a maj7. But ACTUALLY LISTEN to the old standards - they usually played a maj6 or even just a major for the one. Maj7s weren't used too much until the 60's or so. The major 6th chord is MORE STABLE than the maj7, because the maj7 interval wants to RESOLVE up to the octave.
Or take the dominant chord, for example. These come in all sorts of flavors, like the 9, b9, #9, 11, #11, b5, 13, etc. The 9th chord, as you correctly point out, is a m7b5 (half-diminished chord) on the third of the chord. So a D9 (D,F#,A,C,E) and the F#m7b5 (F#,A,C,E) are nearly harmonically equivalent.
This is useful for jazz soloing or comping, as one can simply play F#m7b5 over a D dominant chord, as the bass player is usually handling the D root note. This is also heard in a blues context, where these "rootless" dominant voicings are commonplace, which is ultimately where jazz gets many of its harmonic ideas from.
You can also hear the Dominant 9th chord in the music of the Romantic Period, such as in the works of Chopin, Strauss, Rimsky-Korsakov, etc., as it resolves to a major chord well.
from hearing Joe Pass talk about the color tones, it seems that different individuals give personal preference to their regular substitutions, and seems it would become a study on sets of substitutions, so embrace the substitution sets as personal to each teacher perhaps
I agree, I was looking at it thinking, how is that a maj 7 chord, is his guitar tuned funky, nope it's a 6 chord
@@edthewave so what you are saying is although you like listening to jazz don’t bother with the guitar for jazz as you are no good and rubbish. Stick to cowboy chords or punk power chords. Just goes to show how snobby jazz player are.
This is amazing! Focusing on how skills from one standard can transfer to another is so smart, definitely watching more
Great break down. I have been playing Autumn Leaves for 30 years. So I guess in another 60 I will have the other two down.
Nice guitar too :)
Just start 12-keying stuff with the TV on. I watch movies I've already seen so I don't get too caught up, but stay entertained enough not to get bored and put the horn down.
Same
@@bajovato Welcome to the club.
Kenny Barron told me that when he learned Cherokee in 12 keys he was cool
If Kenny says it, we’re all listening!
it's true. that's when i started to like him.
Miles Davis once told me that when he learned On Green Dolphin Street in all 12 keys, he was still an a-hole.
@@augustusbetucius2931 …who could play that song in 12 keys 🤪
It's pattern recognition bro. If you know the pattern you can play in any key. It's easy.
The only things that are hard is 1.) memorizing the melody (fuck that) 2.) Soloing in the different keys so that your chops don't sound shit. For keyboardists, it's getting the muscle memory so your fingers go to the right keys so that your shit sounds melodic and not free jazz.
i recommend a little ear training so that your fingers go to the note that you hear in your head with fluidity. A little ear training goes a long way.
Great Lesson! From an old grunge/punk player transitioning to Jazz, I found your explanations very accessible and engaging. Keep the lessons coming!
Thanks!
I am a pro but I love watching how you teach :) Always interesting and usually understandable. I thought you were gonna say "giant steps" for the third one :))) but that might be actually the 4th. Take care !
Definitely, so did I. I have to see if he does a breakdown of that. Fantastic lesson.
Twenty-odd years ago I recorded Autumn Leaves and All the things you are with a combo as a drummer, and thought, "Yeah, it's cool, but... meh. Elevator music for weddings. Get on with it, already." Now I'm getting it! Cool stuff. I know, I know. If I'm bored as a drummer I'm not working hard enough. Hindsight.
“All The Things You Are” to me the greatest jazz pop song ever written.
It’s an amazing tune!
thank you - it is so good to wake up some brain cells that have been asleep since I left Berklee 50 years ago.
Brent, you are one of the best, if not THE best jazz instructor on RUclips! Thank you for all that you do! One of the things I look for in my 'jazz journey' is the half-step resolution between keys and/or chords to make things easier. Ex, in the last tune one of the modulations went from E to F, and instead of a deceptive cadence, I look at that as a half-step away so that's why it sounds good. Have a great day!
Thanks Jim, much appreciated for the tip!
Your hybrid 2-5-1 is sometimes called a Cole Porter 2-5-1. That’s my favorite term for it.
Thank you very much for sharing this knowledge, it is an excellent analysis, very enjoyable and very practical.
I love the sound of that guitar.
Thanks!
Very well presented! Easy to understand!
Em gives me the E-B-G-B’s. I’m more or less a rock/ blues guy, and I love learning jazz chords to add to my tool box. Stone Temple Pilots Dean and Robert DeLeo are accomplished Jazz musicians and have written many pieces that made me a better player, forcing me to use the dreaded pinkie finger, in order to unlock musical greatness in playing many other songs with ease. Thanks for the lesson!
Thanks for providing my daily chuckle early (fortunately between sips--no spew!)
Thirty years ago,l had mastered "Stella by The Starlight", All the things you are, On Green Dolphin Street,even Giant Steps and Goodbye Pork Pie Hat..l would play pretty decently back then...but not certainly at the level of " major leaguers"(Benson,Montgomery, Pass,Hall,Metheny)...l thought l had the world on a string..and that everything ahead would be gigs,money..and days of wine and roses..but one day l wake up and get to listen to modern,advanced jazz-rock fusion(Gambale,Henderson,Holdsworth) and to this day(l am 62 now) ..l've stuck with this style and still grappling to get better at it and figure out the vast amount of knowledge and techniques that demand to get anywhere near these great cats.
i expect it would take me years to get where you are man. I understand the theory but that knowledge hasnt reached my fingers even 50 years later.
The knowledge you possess at present is the fundamental that deploys the best of Modern harmonic theory. Jazz Rock is an electric sound ornamentation. For example, Gambale altered the guitar tuning and picking style to achieve a "new" sound. However, he plays nothing different fundamentally, that goes beyond what you already know, in music theory. The threshold knowledge you crossed to arrive at what you know remains the same, theoretically, as what the "advanced" cats are doing. One step further for you is to note that Dizzy Gillespie closed the gap between harmonic theory at the 9th and the 13th, by incorporating what Shoenberg laid out as theory in the early 20th Century, though used classically before, undefined. Go to the sounds of those colorful extensions; continue with the 2, 5, 1 patterns, but make changes that allow for chromatic motion, using those extensions and the opporunities in altered interiors of the chords. The ear is compelled by chromatic movement.
Thank you very much for all of your work that you choose to share with us here. I admire your playing, and information a great deal. Rain🌱🙏🏻
Fantastic video, and many of the concepts clicked from watching this. Keep up the good work!
You explain things so well!
Thanks!
Great choices. Mastering these three will be a full blow to progress in jazz playing for beginners that can keep chord changes. Love them all. Very good advise. Thanks and keep up!
Thank you!
1 and 2 are non negotiable. So What and Blue Bossa are also very good beginner standards for latin and modal jazz
Those are great as well!
He was spot on with these three songs. You absolutely need to understand and know your way around the major and minor two five - one progression before you can even begin to think about the concept of quarter voicing and Latin bossa styles. Otherwise, it is going to frustrate the heck out of you and keep you a beginner for a long time…because you are just going to be lost looking at everything in these songs like individual progressions and not perfecting the concept of looking for and spotting PATTERNS. Dude, wonderful lesson. You are my kind of teacher. Good teachers really know how to bring things home and present the information in an orderly and logical progressive manner without being TOO wordie (if I can make that up grammatically). But, you get my point. I just discovered you. This is my first video.
Oooooh you just explained something. At first I wondered why the 2 in minor had a diminished fifth. But then I realized, in G minor, the 2, which is A, indeed has a minor fifth, E flat. Aha! Thank you!
There's some pretty sweet chord voicing in this video. Nice.
Honestly did not expect this to make so much sense. Awesome job mate!
Really well done! Simple, plain and useful also for a 2 hours for week guitar player like me!
Glad you found it helpful!
Wow, clears my head a little about music theory! I memorize classical pieces,but you don't improvise them. I really want to learn some jazz guitar and get a grip on theory ..
Great explanation!
Glad you found it helpful!
II V I and ii V i are related. You can apply the same licks you do over II V I just a minor third lower.
Very understandable. Thank you!
Great video. I'm very familiar with #1 and #2 but have not studied "Alone Together" and will do so after watching this, thanks.
Glad to hear that!
me too...
Nice video, as always! The first 7 measures of Autumn Leaves are also a cycle of fourths on Gmin7, comprising the 7 diatonic chords of its key. I think interpreting in that way helps to understand it and memorize it.
Great lesson 🙏🏼💕
Glad you found it helpful!
I never thought of "Alone Together" as great prep for minor-key blues - but, of course, it is! Thanks for this insight (and all the others here), Brent.
My pleasure!
I loved your lesson here really well.
Thanks for sharing your experience
The E-7b5 A7 Dmaj7 can even be a simply II V I of D major armonic scale 😊
This is really good teaching. Thank you! I’ve understood some concepts that have always eluded me.
That's great to know. Thanks!
I really appreciate these videos. I feel like they’re expanding my mind on things I never understood in nearly 30 years of playing!
Thanks! It's great to know it has helped you a lot.
Great explanation, clear and competent!
Thank you!
I've played Autumn Leaves and All The Things You Are for over 35 years and never took them apart like that. That was great. I have seen Alone Together for ever so now I will take a look at it. Real cool video. Like listening to people talking theory. This was fun.
Excellent pedagogy! I was a little surprised by #3, but I agree. #4 must be “How High The Moon” and #5 . . . Ornithology” for obvious reasons. -Steve, jazz educator (emeritus). YOU ARE DOING GREAT WORK. Keep it up.
Awesome knowledge and teaching skills.
Thank you!
A detailed lesson.Thank you very much!
You are welcome!
very well done. great lesson awesome for beginners in Jazz like me. @Learn Jazz Standards
Glad you found it helpful!
Great information, thank you!
what fabulous song choices
I hate JAZZ . . . but . . . LOVE this video ! VERY HELPFUL !!!!
This is _top secret,_ highly confidential.
All the things..Stella.. Bb blues..Rhythm changes(oleo)
Definitely Stella by Starlight! 👏👊🏽
I think Stella By Starlight should have been your third super standard, and was quite surprised you did not include it. Called just as often as the first two at jam sessions, it also has a few special nuances the others don't cover so well in turning "pro".
Danke!
Thankyou!
Great stuff- love these explanations,undetstandable,concise, more lke this!
Absolutely! Thanks
modal interchange , a great term to coin , understand and use, seems to be that so much more composition is waiting to happen by using the modal interchange, of substituting chords between the major and minor 251
With respect to "All the Things You Are", I can see the movement of fourths on the guitar. My real challenge is the melody, since it moves between 5 keys; it presents a lot of challenges to know/find where to play it on the fretboard. A presentation of this topic would be helpful.
You forgot to mention on Alone Togrther that Fmaj is the relative major of Dminor.
That's kinda the whole point of the song.
Let's start learning some of these songs
I also use the term Hybrid 251s when teaching students! Great minds!
Great video. What kind of guitar is that? Looks beautiful and sounds fantastic.
Thanks! It's a custom-made Victor Baker. You will find more details about it in this video:
ruclips.net/video/ym2XbAVD9Ec/видео.html
Good explanation. Very informative. Wish the tone knob were turned up about 50% higher.
Im surprised none of these have a backdoor 251 which is really a type of modal interchange or borrowed chorrds to the common man. Its more like borrowed iv VII7 if that makes sense. It sound fantastic.
Nice lesson. I would suggest that you disclose the composers’ names on your scores.
Superb lesson!
Thanks! 😃
excellent tutorial👍👍
Glad you found it helpful!
Nice explanation of cadences!
You said "seventh chords are the default" as in the target major chord, Bb maj. 7, in bar three of Autumn Leaves. But, in bebop and earlier styles that is not the case. A more stable chord is the major six or major six/nine chord.
Excellent vid. I think it would be helpful to play the tune in total at the beginning and the end of the explanation. Otherwise it seems just like analysis and not also application (best practices).
GOOD STUFF.
Thanks!
Good info covered here - thank you !
My pleasure!
Great video and really helpful
Thanks!
Awesome video!! This is what I needed to learn and understand. Thank you
Glad it was helpful!
Now I know why my brain didn't like jazz music thanks .. I'll give it a go
excellent video!!!!!!
Thank you!
I dont know Alpne Together but Autumn Leaves and All the Things You Are are literally the first two standards I ever learned. I thought you were gonna do Giant Steps or something.
Nice video, but maybe " Tone's for Joan's bones " could be in also 😊✌️ Hallo from Brazil🇧🇷 😊😊🎶🎵
Good lesson.....fyi: I visualize chords easier with "dots on the mini neck" technique, whatever its called, as opposed to just the chord names.
very nice analysis BUT: What about that C7sus before you head back into the last A section? That transformation of the EMaj7th into what I've always played as an Abaugmented 7th chord is a whole lesson in itself. That said- very clear and concise. Love your style.
Nice video, #1 and 2# are my favorites to play in 12 tones as warm up everyday.
Great warmup!
The amount of dudes flexing their theory knowledge or Berklee degree or “I’m a pro but…” is hilarious 😂 I appreciated the video and it’s making me go back to milk more out of these standards that I didn’t understand when I first approached them. Thanks!
Flexing is the best! ❤💪👍
Intermediate here.
I'd like your spin on Corcovado.
Thanks!
Thank you!
Your guitar is amazing. I really have to ask, what brand and model is it?? And how does it play??
It’s a custom Victor Baker - plays great!
On Autumn Leaves, I do prefer the French version, which has a lot of music (two pages) before that last page (chorus), which is the American version.
Thanks. What program/app do you use for the explanation? Great learning tool as well as for teaching.
Yo blood, ya gotta include “Body and Soul” - just to name one of the twenty legit standards I could have cited.
One and two are about right, but don’t get me wrong … I play “Alone Together” pretty much
all the time because it’s so moving and deep.
Also, note that EVERY Jazz musician I know LIVES to play “Green Dolphin Street” (they leave out the “On”) and Solar - which Miles famously stole
Like so many tutorials on YT . The jumpy editing makes it harder to follow for the learner. The info is top shelf quality.
Just my 2 cents
Don’t let my user name fool you 😎
This is brilliant and very helpful! I’m new to jazz, but why is it in “All The Things You Are” we don’t see them in a different key as 3-6-2-5-1s rather than 6-2-5-1-4s?
I just worked it out! Sorry - learning slowly! I see it now, because the other chords in the pattern are in the 1 key…
@@danielhaddon5499 That's right. The key is the V chord, or really the V7 chord. It's a dominant 7th chord. It defines the key center. V7 naturally pulls to the I chord. The V-I relation was at the center of classical music for several hundred years, and of jazz for decades. (In a minor key, the 5 chord is changed to make a V7 chord.)
@@richarddoan9172 thank you!! This is super helpful! It’s all slowly making sense!!!
Might point out cycle of 4ths is also a cycle of 5ths in the other direction
I didn’t realise that Shia LaBeouf played jazz guitar?
Excellent breakdown of the music theory - I have put this in my “saved” videos list!
What about Rhythm Changes?
Godbless you man
Great lesson! thank you! Tell me about your guitar!! Who makes it?
Glad you found it helpful! That’s a custom Victor Baker guitar
I’m just confused on how you know when a key changes??
Great tutorial! Thanks. Do you have these color charts available anywhere? Thanks.
Thank you! It's part of the resource packs for our Inner Circle monthly jazz standard studies.
I'm curious on why you call it the "Cycle of 4ths" because it goes UP a fourth to the next chord (when describing the first few lines of All the things you are at around 12:00) when then when you get to the Cmaj7 you emphasize the V7-I relationship. Isn't a Cycle fourths (up) just a a bunch of V7-Is going doing? F is V to Bb7, yes it's not dominiate, but its there... and when you get to Eb7 to Abmaj7 it's there too... but you included that in the cycle of fourths. I'm curious on the switch in concept...
The cycles of 4ths or 5ths refers to the root motion. G - C - F - Bb - Eb, etc. Or G - D - A - E - B, etc. Other intervals are possible, i.e. cycle of minor 3rds. G - Bb - Db - Fb (E) - G.
You can play each as a single chord type (i.e. dominant) or move through a diatonic progression (vi-ii-V-I). You can treat each root in the cycle as a major 1 chord and substitute each of them for their associated ii-V's.
Many possibilities that you just have to explore for yourself on your instrument, and notice how it appears over and over in the music.
Yes, that's the simplest and clearest way to understand most of the harmony here. Next step is to look at deviations from perfect 5ths (down = 4ths up) jumps and ponder the reasons for them: "fudging" the "maths" to fit the musical context. These patterns have been used in all kinds of music from Bach through Beatles to disco's greatest hits and beyond. David Bennett has a nice video on songs that use the circle of fifths progression and explains it very clearly.
The classical teachers always use the cycle of fifths.... because in old days of mr beethoven , they had the concept of upper fifth motion and lower fifth motion (in german : die oberquinte, die unterquinte) in C maj the upper 5interval is G, the lower 5interval is F. The 5interval is classique the strongest motion, the best move. Thats why they used the 5interval mostly, for a strong bass movement.
In jazz the most important form is IIm, V7, Imaj. And thats a cycle of four motion. You can practise jazz lines best this way.
So the cycle of fifths is a classical composers harmony theory periodic table. The cycle of fourths is a jazzmans practical work out buddy.
Reading these comments makes me think of the "How many guitarists does it take to screw in a lightbulb?" joke :D
(Autumn leaves) its always going fourth key from (I) until it return to the (I) again... CMIIW
I know 1 & 2. #2 is a challenge. It took a month to get it under control.😢
This is very useful. But maybe you could say "Jazz Standards" a few more times!