Hey Brent, best quote about jazz and music theory that I've heard---- from Miles Davis, who studied at Juilliard----- "FIRST YOU HAVE TO LEARN ALL THAT STUFF, THEN YOU HAVE TO FORGET IT".
@@Learnjazzstandards Thanks for the reply, Brent. Obviously Miles and Coltrane and all those great musicians were deeply educated in music theory, but they didn't think like music professors. Instead their knowledge was a solid foundation in which to play what they heard in their heads. The same with Louis Armstrong and Charlie Parker, of whom Miles Davis also said "The history of jazz can be said in four words: Louis Armstrong, Charlie Parker".
I found this to be a valuable insight: Gary Burton said the player he worked with who had the least theoretical knowledge was Stan Getz. He also said that what Stan DID know was how to spell the chords backward and forward. He then used his ear to weave lines around the chord tones.
@@klapsigaarenbasgitaar1931 it's the actual notes on those chords: Cmaj7 is: C-E-G-B like that. So any "root" note you start with the intervals are 1-3-5-7. Extensions are 9-11-13. Minor chords are 1-flat3rd-5. It's starts to get more complicated after that: flat 7th; flat 9th; sharp 11th. 😎 I just picked up spelling the chords from this video that I'm going to practice on my Tenor 🎷 today.
At a higher level, I would say bebop scales and enclosures. Then really getting familiar with the sounds and “flavours” of the extended dominant notes (9th, 11th, 13th). I heard a good tip from Jeff Antoniak recently. He suggested playing various chords, and just hitting these extended dominant notes, to really absorb what they sound like, with a view to using those sounds in your solos. Personally, I spent countless hours, many years ago, playing all the modes in all keys, and I now consider that a waste of time. It was a rabbit hole I went down which gave minimal returns.
Just do a lot, a LOT of listening. When working on theory, you'll start to hear many similarities between artists; the concept will become more familiar to you, therefore it's easy to understand. You'll hear Hank Jones and Bud Powell playing similar ideas, same with Lee Morgan and Kenny Dorham, Lester Young and Coleman Hawkins, Ray Brown and Paul Chambers, etc. Doing a lot of listening with help you to become a better musician
I think the phrygian dominant scale is pretty helpful to know as well for playing over V chords in minor keys, so the b9 and b13 can be addressed. I think that just chord tones and mixolydian feels too major in a minor ii V i. I often have people play the major parent scales, not even thinking of modes yet, over ii and V in major keys, and then the phrygian dominant over a V chord in a minor key - or just thinking harmonic minor parent scale of the minor tonic that's being targeted. Just joining the convo with my two cents for fun. Great teaching, my friend!
Hi Sound Guitar: great observations. Question: when you say phryg dominant do you mean 1 2 b3 4 5 b6 maj7 8? Or something else? For this I use the term Harmonic minor dominant. Two terms for the same thing, or smith diff? If so(same thing),, do most players prefer this term? Simple Jazz Songwriter, so hip me,pleeeez. Thank you, friendly colleague.🌹🌹😎🌹🌹
Most helpful thing to know is the C major scale over two octaves and then just spell out all the chords with 1-3-5-7-9-11-13 starting on each successive note. Then apply it to every key.
Excellent content!! in addition, a real eye opener to me was "key centres". I guess you are kind of hitting on this when you describe the "chord progressions" knowledge. Figuring out that any Dm7-G7-C^7 that I see is in chart is essentially telling me "You're in C major for the next 4 bars" was really helpful to me. I know that in a pinch I can play simple diatonic lines for the next little while. An example of this was the first time i had to sight read and take an improv over Green Dolphin Street. I quickly found the changing key centres in the B section and was able to skate over the changes and sound passable. (it's not perfect but it's a good road map if you are lost) :)
I don't know why people learn modes as if they're separate scales. If you learn 12 major scales and can start and end on any note then you've also learned 84 modes.
Something that stuck with me from an interview with Barney Kessel many years ago in Down Beat. He said something like young players are trying to get music from scales, however he was devising scales for his music. Engaging melodies are the goal.
Definitely the modes,this will help you navigate jazz etc ,much easier,seriously ,they're very important, but there's alot of them,To keep up in jazz you must know them,fullstop
I taught myself before there was any internet, so not very technical - but something that blew my mind when learning blues was that a minor was c major blues, which was also Fur Elise theme. I figured from there I could include these with each other. I had originally, and mistakenly, thought that when chords changed I needed to change the entire scale. So when I fixed that and stuck to a scale with chord progressions, I realized I could start using other scales that fitted with the chords/key if that makes sense. So then I could play anything that fitted with the chords - so once I learned lots of scales - pitch intervals, I could mash em in. What I found was you could then incorporate all kinds of exotic scales like Gypsie etc. I ended up really just looking for notes to avoid.
yes, i teach music lessons and i actually always show my students harmonic minor, natural minor and blues pentatonic at the same time, and have them play over songs and backing tracks experimenting with those scales, switching between them freely, so they can see when and why certain notes may sound better/ worse. i also explain to them chromaticism and that technically any note can be played, (though it may not always sound the best at the time it’s played) but also that they can make mistakes and hit a wrong note but use that concept to instead of stopping or making a big deal out of a mistake, just play a note above or below the “wrong” note to get to a more correct note, and how sometimes that wrong note can then sound good !
Sure this might help someone who already knew how to play jazz, blues or funk/soul music... but they teach all these scales to every classical musician till we are blue in the face, and most of us are truly terrible at jazz.
Hi Shane I agree ,with you on classical training , I did my o level in music in the 70 s ( completely different to today’s education) And I did harmony for two years ,but it was all theory , never applied , it’s only since lockdown I’m trying to teach myself jazz , it’s so hard , I’m looking for a jazz teacher and hopefully I will be starting in January at 59 years of age ,,,, keeping the grey cells very busy !!!!!
Yep. You hit what I think the most important and universally useful Theory applications in just the first 2 points. More knowledge is helpful but those are the basics for all music
Whoa! Most of what you said went sailing right over my head! Dominant majors, minors, diminished sevenths, etc? First you say you don't need to know chords or how to form them, but then I heard you go into the depths of how they're built, using jargon I'm not at all familiar with. So, like here's a C major diminished 7th with an upside down minor third! Or maybe it's an A Flat diminished fourth and augmented sixth. Am I getting closer? Of course not....cuz you lost me....8-)
Chord function, tonic, submediant, and dominant, grouping the I, III, and VI chord as tonics, the II and IV chord as submediants, and the V and VII chords as dominants. This allows for the substitution of these for each other. 😃
It's videos like this that give me some hope. I play multiple instruments. I understand chords, progressions, and guide tones, at least at a rudimentary level. Hell, I even read music and have a better-than-decent sense of relative pitch into the bargain. But when someone trying to explain a tune starts in about how you want to play blahblahblah mode over this measure, and hominahomina mode over the subsequent measure and a half, and how the bridge shifts to [insert indecipherable technobabble here] for three measures and then segues back to blahblahblah mode but with a tonal somethingorother x-point-six-five steps above the previous as an obvious homage to some mutant Coltrane aural acid trip from a 1968 Halloween gig in the attic at ... GAAAAAH. Yeah, my eyes glazed over roughly two masters' theses ago. Surprisingly or not, all of my best music teachers came from jazz backgrounds. I think the problem is that most of my actual public playing has been in various subgenres of rock, pop, and country. I think you've given me a pretty good idea of what I need to do to get from here to ... someplace better, though. Glad I subscribed to this channel. And thank you!
I think that, in a chord progression, It Is important to know the chord function, in order to be able to apply the most effective strategy of improvisation. This, of course, implies the knowledge of as many improvisation techniques as you can (scales, arpeggios, guide tones, targeting notes, etc.).
I believe my comment really reflects your #1 suggestion; CHORDS. However, my revelation of a great jazz sound came recently when I finally discovered the triads above the basic diatonic chords (9, 13 etc. ) and the building block of all the triads. Also discovered that many jazz standard melodies are composed with these and altered chords. They are beautiful and jazzy
Rally enjoyed this. I think you covered it well. I like the way you covered the concepts. I guess if I had to suggest adding something, I would add the Blues Scale to the list of scales, just from a keeping students interested perspective. Often people don't think they are really playing jazz until they hear themselves play the blues scale!
Very nice stuff here! Even though ear is the most important tool while improvising, so that you can transfer your ideas to your instrument in real-time, but to me learning theory was about understanding of what I was already doing, and gave me a new set of tools to expand my harmonic language with.
Blues. Cross-over for rock/folk players. The 3 chord wonder, I-IV-V , has it place of honor in all popular music. It is ground zero of American popular music.
How do you keep up with the changes? I find it hard to create melodies and keep track of changes measure by measure. Is that just something that comes when you play with people and not backing tracks? Or is it ear training?
They are learning theory ... music theory is descriptive. It doesnt matter if you dont know the arbitrary words ... if you understand what they describe you know music theory.
Love your teaching youre my teacher and im getting better thanks to you..im going to join inner circle...no more spending time on the wrong studies thank you so much🙏🏾🙏🏾🙏🏾💫💯!!!!!!!!!!!!!!!!!
Now this makes sense, Thank you, I will spend some hours here. when and if I become proficient with these concepts I will dig deeper into your lesson programs on line. Again thank you so much.
If there were a magic button to press to learn (“theory”), only an imbecile wouldn’t press it. But truth-be-told, teachers fear saying “theory” because they know lazy people would FLEE. I’ll say it: You can get along ok without: -Being able to instantly name every note on the fretboard, and without, -Being able to read Standard Notation (bass & treble clefs) Eventually, those deficiencies will embarrass you and disqualify from some opportunities. So, do it or don’t, but stop claiming hard things are unnecessary. Is there any beautiful work of art that was painless to create? I don’t think so.
Miles showed us jazz is freedom, All these chords, you don't need em, Gimme a mode and ill play you a tune, Something old, something new, something borrowed and something kinda blue
I'm glad that teachers are getting away from the concept of what scale goes over what chord. Playing arpeggios and connecting arpeggios is a more difficult thing for beginners, but it will create a solid framework for tonal improvisation. And you are right about how much theory you need; not much, but this theory must be learned thoroughly. The classic two semester college course is useful in terms of understanding some of this, especially harmonic function, but you really need to learn basic music theory to the point where it is internalized.
I think the harmonic minor scale should be included as one of the need to know scales. The other scales given don’t really do the “minor sound” justice over a minor tune and there are too many minor tunes in jazz to leave that out. It’s almost like there are only really three scales since the Dorian and Mixolydian scales are just derivatives of the major scale.
it's ok to start but don't stay there if you really want to play jazz..... alterations, substitutions, ability to transpose ... analysing the standards will also be important.... and .... rhytm !....
I had an odd experience trying to jam with a jazz sax player. They didnt seem to improvise at all and only read "dots on the page". I had prepared by listening over and over to playlists of jazz standards, memorizing the forms etc. I asked the guy what jazz he listened to and thought id ask a basic starter "Whats your favorite version of Autumn Leaves?". He didnt really answer and it became apparent he didnt actually listen to any jazz! I left the unsuccesful jam session very confused. As someone relatively new to the genre, it felt like the exact opposite of what i thought jazz was about.
Good video as usual. I would add the pentatonic scale. As someone still very much in the learning phase, I often hear how the use of the pentatonic is very useful (e.g. on a major scale - go to the second tone and use the major pentatonic of that tone. So for a C major you would use Dmaj pent) and other formulas for other chords. But the pentatonic is only five notes and the minor pentatonic is basically the blues scale with the addition of the blue note.
Pentatonics are very useful, especially as you get more advanced. And they can definitely be a useful and easy way for a beginner to sound pretty good pretty quickly. But, they (along with the blues scale) also have a tendency to be a bit of a trap. Beginning players can get comfortable with pentatonic licks and can get very stuck there. Definitely a great tool, just make sure it’s not your *only* tool…or you will sound like you only have one tool. 😁
Thank you so much , This is really useful I find that these type of videos really help me to stay focused on what to learn next and not getting overwhelmed and lost in music theory
I play bass, all my theory comes back to chord tones and fret board shapes. I spend a lot of time on counting/clapping out rhythms to make sure I am in sync with the percussion. Anything beyond that is just fancy icing for the odd flourish. Aside from that sometimes something just works, and I am sure it can be explained by some theory or another, but me not knowing that doesn't effect how it sounds. My only goal is to make a pleasing sound that works with the other sounds and is in time.
@@klapsigaarenbasgitaar1931 No, at what point in my comment do I mention anything about playing by ear or by sheet music? Most of my bass playing I work out by ear. I also play violin, most of that I do through sight reading.
@@thenobleandmightybeaver4411 Well my question was just to understand you better oh Noble and Mighty Beaver. Because of the thing you wrote about chord tones and fret board shapes, theoretically you could play basslines without using your ears (entirely if you would use a metronome together with the drummer). I know that there are people who get away with that, even playing solo's like that: memorising scales and playing their notes almost at random. And if it works for the music, why not? That's what I meant, I was not referring to playing sheet music.
Totally agree that chords should be the primary focus for jazz musicians. If I were teaching jazz, I’d tell the new player to focus on the tritone and the P4/P5 intervals and build outwardly from there. Why? They’re the 3rd and 7th of most chords. I once played in a big dance band, and all I played were 2-note chords using these intervals.
- Chord substitutions and passing chords, ( tritone subs, secondary doms, secondary diminisheds, related 2 chords.....). - tensions and their alterations ( altered scale ). - more chord progressions : ( backdoor and regular 2-5-1s, 1-6-2-5s , cycle of fifths ). - some theory to add colour such as coltrane changes, circle of fifths, bebop scales, modal mixture ( borrowed chords ). - Exploring also different rhytms such as odd time signatures and polyrhythms. - non-functional harmony if you prefer to break the rules and only guide yourself by your ears and sens of music. - Modal, tonal, atonal, 12 tone serialism and free Jazz but also chord scales and sophistication. -Lydian chromatic concept to finish my list. That's all I have, I think... Please guys, give me more to learn if you have as I would love to increase my musical and theoretical palette !
I would also add learning standards/songs, both by ear and lead sheets (preferably by ear, so that you can get better at transcription). It's helped me tremendously in learning different techniques and different licks because you're exercising your listening and composition skills, you're being introduced to new techniques in articulation or breathing (depending on your instrument) and different musicians' styles. AND it makes practice time more fun 😁 100% recommend this
Recentely i started playing in a school big band, and what i did not excpect was the fact that one must play improvisations there! so i must learn to do this really fast and hense appreciate your video!
i think learning, chord tones over the fret board, playing the dorian mixolydian modes, should be a very good beginning, a vidéo with an exercice to learn arpeggios all aver the fret board could be very helpful thanks
So you say that you know jazz musicians that can play at, let's say Andrew Speight's or Brian Lynch's level, but they can't read and don't know much theory? Would you please list a couple names? I'd like to check them out. Charles McPherson, Chris Potter?
Hey there, I'm thinking of some local musician I know who I won't name. However, Stan Getz has been quoted to say that he never studied music theory, and I've also read that he may have not read music.
Nice summary, but these concepts could easily take years to master for young beginner/intermediate players in middle school or high school. Your intro makes it seem like people don't need "a ton of music theory" to improvise successfully; but I'd consider some of what you cover here intermediate to advanced. Again, nice summary.
Hey Brent, best quote about jazz and music theory that I've heard---- from Miles Davis, who studied at Juilliard----- "FIRST YOU HAVE TO LEARN ALL THAT STUFF, THEN YOU HAVE TO FORGET IT".
Joe Palooka that’s a good one!
@@Learnjazzstandards Thanks for the reply, Brent. Obviously Miles and Coltrane and all those great musicians were deeply educated in music theory, but they didn't think like music professors. Instead their knowledge was a solid foundation in which to play what they heard in their heads. The same with Louis Armstrong and Charlie Parker, of whom Miles Davis also said "The history of jazz can be said in four words: Louis Armstrong, Charlie Parker".
This is Charlie Parker’s quote though
That's what they say in classical music too, probably one can copy paste that phrase for every art.
-Modes
-Foundation in Blues
-Tension
-251
Great list!
+ Rhythm Changes (1-6-2-5)
First, and most important, learn how to play the Blues. Than mix it all up.
Indeed, the blues is a great starting point for understanding jazz harmony!
I found this to be a valuable insight: Gary Burton said the player he worked with who had the least theoretical knowledge was Stan Getz. He also said that what Stan DID know was how to spell the chords backward and forward. He then used his ear to weave lines around the chord tones.
Yes! Stan Getz is always someone I think about in regards to this
I knew he didn't know theory but didn't know this about him. Explains why he is master of melodic playing!
What does 'spell the chords' mean in this context?
@@klapsigaarenbasgitaar1931 it's the actual notes on those chords: Cmaj7 is: C-E-G-B like that. So any "root" note you start with the intervals are 1-3-5-7. Extensions are 9-11-13. Minor chords are 1-flat3rd-5. It's starts to get more complicated after that: flat 7th; flat 9th; sharp 11th. 😎 I just picked up spelling the chords from this video that I'm going to practice on my Tenor 🎷 today.
II V I progressions in all keys definitely gave me more freedom to feel like I can express myself.
100% that will set you up for success!
you don't need to know harmonic minor ?
At a higher level, I would say bebop scales and enclosures. Then really getting familiar with the sounds and “flavours” of the extended dominant notes (9th, 11th, 13th). I heard a good tip from Jeff Antoniak recently. He suggested playing various chords, and just hitting these extended dominant notes, to really absorb what they sound like, with a view to using those sounds in your solos.
Personally, I spent countless hours, many years ago, playing all the modes in all keys, and I now consider that a waste of time. It was a rabbit hole I went down which gave minimal returns.
Thanks for the contribution!
Just do a lot, a LOT of listening. When working on theory, you'll start to hear many similarities between artists; the concept will become more familiar to you, therefore it's easy to understand. You'll hear Hank Jones and Bud Powell playing similar ideas, same with Lee Morgan and Kenny Dorham, Lester Young and Coleman Hawkins, Ray Brown and Paul Chambers, etc. Doing a lot of listening with help you to become a better musician
Wise words Patrick!
It's true Patrick. If you have never heard jazz you could not play it.
I think the phrygian dominant scale is pretty helpful to know as well for playing over V chords in minor keys, so the b9 and b13 can be addressed. I think that just chord tones and mixolydian feels too major in a minor ii V i. I often have people play the major parent scales, not even thinking of modes yet, over ii and V in major keys, and then the phrygian dominant over a V chord in a minor key - or just thinking harmonic minor parent scale of the minor tonic that's being targeted. Just joining the convo with my two cents for fun. Great teaching, my friend!
Hi Sound Guitar: great observations. Question: when you say phryg dominant do you mean 1 2 b3 4 5 b6 maj7 8? Or something else? For this I use the term Harmonic minor dominant. Two terms for the same thing, or smith diff? If so(same thing),, do most players prefer this term? Simple Jazz Songwriter, so hip me,pleeeez. Thank you, friendly colleague.🌹🌹😎🌹🌹
Most helpful thing to know is the C major scale over two octaves and then just spell out all the chords with 1-3-5-7-9-11-13 starting on each successive note. Then apply it to every key.
DID YOU SAY YOU DON'T NEED MUSIC THEORY AND YJEN TALK ALL ABOUT MUSIC THEORY ???
Excellent content!! in addition, a real eye opener to me was "key centres". I guess you are kind of hitting on this when you describe the "chord progressions" knowledge. Figuring out that any Dm7-G7-C^7 that I see is in chart is essentially telling me "You're in C major for the next 4 bars" was really helpful to me. I know that in a pinch I can play simple diatonic lines for the next little while. An example of this was the first time i had to sight read and take an improv over Green Dolphin Street. I quickly found the changing key centres in the B section and was able to skate over the changes and sound passable. (it's not perfect but it's a good road map if you are lost) :)
Yes absolutely Bruce!
Seriously this channel deserves way more subscribers ! Really great stuff, keep it up man !
agreed!
Yes and I am a Sax Player and bit of guitar but I got it. Thanks
I don't know why people learn modes as if they're separate scales. If you learn 12 major scales and can start and end on any note then you've also learned 84 modes.
How would e.g. trumpet player who may not play chords interpret?
good job in the communication area. very good!
Something that stuck with me from an interview with Barney Kessel many years ago in Down Beat. He said something like young players are trying to get music from scales, however he was devising scales for his music. Engaging melodies are the goal.
Definitely the modes,this will help you navigate jazz etc ,much easier,seriously ,they're very important, but there's alot of them,To keep up in jazz you must know them,fullstop
I taught myself before there was any internet, so not very technical - but something that blew my mind when learning blues was that a minor was c major blues, which was also Fur Elise theme. I figured from there I could include these with each other. I had originally, and mistakenly, thought that when chords changed I needed to change the entire scale. So when I fixed that and stuck to a scale with chord progressions, I realized I could start using other scales that fitted with the chords/key if that makes sense.
So then I could play anything that fitted with the chords - so once I learned lots of scales - pitch intervals, I could mash em in. What I found was you could then incorporate all kinds of exotic scales like Gypsie etc. I ended up really just looking for notes to avoid.
yes, i teach music lessons and i actually always show my students harmonic minor, natural minor and blues pentatonic at the same time, and have them play over songs and backing tracks experimenting with those scales, switching between them freely, so they can see when and why certain notes may sound better/ worse. i also explain to them chromaticism and that technically any note can be played, (though it may not always sound the best at the time it’s played) but also that they can make mistakes and hit a wrong note but use that concept to instead of stopping or making a big deal out of a mistake, just play a note above or below the “wrong” note to get to a more correct note, and how sometimes that wrong note can then sound good !
- Major scale (and all of its modes, triads and 7th chords);
- Melodic minor scale (modes, triads & 7th ch)
- Harmonic minor (modes, triads & 7th ch)
Sure this might help someone who already knew how to play jazz, blues or funk/soul music... but they teach all these scales to every classical musician till we are blue in the face, and most of us are truly terrible at jazz.
Hi Shane I agree ,with you on classical training , I did my o level in music in the 70 s ( completely different to today’s education)
And I did harmony for two years ,but it was all theory , never applied , it’s only since lockdown I’m trying to teach myself jazz , it’s so hard , I’m looking for a jazz teacher and hopefully I will be starting in January at 59 years of age ,,,, keeping the grey cells very busy !!!!!
Yep. You hit what I think the most important and universally useful Theory applications in just the first 2 points.
More knowledge is helpful but those are the basics for all music
By subscribing, not only will I “never miss anything” but I’ll also help you earn well-deserved money for presenting this.
I pressed Like.
I would add that you need to know the main chord substitutions, also know the I-IV-V blues changes and the blues pentatonic scale.
I would go for melodic and harmonic minor scales before diminished.
Please a longer video on the dame topic!
Playing modal in a key… see like a good place to start.
Whoa! Most of what you said went sailing right over my head! Dominant majors, minors, diminished sevenths, etc? First you say you don't need to know chords or how to form them, but then I heard you go into the depths of how they're built, using jargon I'm not at all familiar with. So, like here's a C major diminished 7th with an upside down minor third! Or maybe it's an A Flat diminished fourth and augmented sixth. Am I getting closer? Of course not....cuz you lost me....8-)
Chord function, tonic, submediant, and dominant, grouping the I, III, and VI chord as tonics, the II and IV chord as submediants, and the V and VII chords as dominants. This allows for the substitution of these for each other. 😃
Chord progression seems like it should come before scales. Also, modes seem like they should come much later
You have to know the rules before you can break them effectively.
Modes..Arpeggios subs and enclosure...Tritone sub...SecDom
Know the MELODY
That's definitely a good tip! Not quite a music theory concept though
What a great teacher!!!! This guy knows his stuff and breaks it down interestingly and simple for people to understand.
Excellent insights, and a great book to learn jazz improvisation. Thanks!
Thanks Eduardo!
It's videos like this that give me some hope. I play multiple instruments. I understand chords, progressions, and guide tones, at least at a rudimentary level. Hell, I even read music and have a better-than-decent sense of relative pitch into the bargain.
But when someone trying to explain a tune starts in about how you want to play blahblahblah mode over this measure, and hominahomina mode over the subsequent measure and a half, and how the bridge shifts to [insert indecipherable technobabble here] for three measures and then segues back to blahblahblah mode but with a tonal somethingorother x-point-six-five steps above the previous as an obvious homage to some mutant Coltrane aural acid trip from a 1968 Halloween gig in the attic at ... GAAAAAH. Yeah, my eyes glazed over roughly two masters' theses ago.
Surprisingly or not, all of my best music teachers came from jazz backgrounds. I think the problem is that most of my actual public playing has been in various subgenres of rock, pop, and country.
I think you've given me a pretty good idea of what I need to do to get from here to ... someplace better, though. Glad I subscribed to this channel.
And thank you!
I think that, in a chord progression, It Is important to know the chord function, in order to be able to apply the most effective strategy of improvisation. This, of course, implies the knowledge of as many improvisation techniques as you can (scales, arpeggios, guide tones, targeting notes, etc.).
Absolutely, understanding chord functions and chord progressions is pivotal
I believe my comment really reflects your #1 suggestion; CHORDS. However, my revelation of a great jazz sound came recently when I finally discovered the triads above the basic diatonic chords (9, 13 etc. ) and the building block of all the triads. Also discovered that many jazz standard melodies are composed with these and altered chords. They are beautiful and jazzy
That's true Gary!
This is a great video! The four concepts are shared in a simple way but also very effectivily!
Glad you found it helpful Gabriel!
cooooooooooooooooooooooooooooooooooooooooooooooooooooooll
Rally enjoyed this. I think you covered it well. I like the way you covered the concepts. I guess if I had to suggest adding something, I would add the Blues Scale to the list of scales, just from a keeping students interested perspective. Often people don't think they are really playing jazz until they hear themselves play the blues scale!
That is true about the blues scale, it does have a way of crossing people over into the genre
1.9K likes, 19 dislike. Nice numbers
WhatsUP
Regardless of Scale, Chord, or Mode, is he Degree Intervals, and know the six locations of of any key.
Very nice stuff here! Even though ear is the most important tool while improvising, so that you can transfer your ideas to your instrument in real-time, but to me learning theory was about understanding of what I was already doing, and gave me a new set of tools to expand my harmonic language with.
Yes! I think you nailed the value and reason why music theory is important
Blues. Cross-over for rock/folk players. The 3 chord wonder, I-IV-V , has it place of honor in all popular music. It is ground zero of American popular music.
How do you keep up with the changes? I find it hard to create melodies and keep track of changes measure by measure. Is that just something that comes when you play with people and not backing tracks? Or is it ear training?
Thanks
They are learning theory ... music theory is descriptive. It doesnt matter if you dont know the arbitrary words ... if you understand what they describe you know music theory.
Well, imho this is your best video so far, congrats. The cards about the major and minor diatonic series don't appear to me.
Glad to hear! I'll take a look at those cards Zeca
Love your teaching youre my teacher and im getting better thanks to you..im going to join inner circle...no more spending time on the wrong studies thank you so much🙏🏾🙏🏾🙏🏾💫💯!!!!!!!!!!!!!!!!!
Now this makes sense, Thank you, I will spend some hours here. when and if I become proficient with these concepts I will dig deeper into your lesson programs on line. Again thank you so much.
Best of luck!
In a nutshell!
This video is really cool, the thing is I really want a video that’s pumped in theory, any recommendations?
If there were a magic button to press to learn (“theory”), only an imbecile wouldn’t press it.
But truth-be-told, teachers fear saying “theory” because they know lazy people would FLEE.
I’ll say it:
You can get along ok without: -Being able to instantly name every note on the fretboard, and without,
-Being able to read Standard Notation (bass & treble clefs)
Eventually, those deficiencies will embarrass you and disqualify from some opportunities.
So, do it or don’t, but stop claiming hard things are unnecessary.
Is there any beautiful work of art that was painless to create? I don’t think so.
Miles showed us jazz is freedom,
All these chords, you don't need em,
Gimme a mode and ill play you a tune,
Something old, something new, something borrowed and something kinda blue
Fantastic
Agree with what you are saying. One is better off to have fewer things nailed down tight.
I'm glad that teachers are getting away from the concept of what scale goes over what chord. Playing arpeggios and connecting arpeggios is a more difficult thing for beginners, but it will create a solid framework for tonal improvisation. And you are right about how much theory you need; not much, but this theory must be learned thoroughly. The classic two semester college course is useful in terms of understanding some of this, especially harmonic function, but you really need to learn basic music theory to the point where it is internalized.
Glad you agree!
Vocabulary
This is really good. Thanks
I think the harmonic minor scale should be included as one of the need to know scales. The other scales given don’t really do the “minor sound” justice over a minor tune and there are too many minor tunes in jazz to leave that out. It’s almost like there are only really three scales since the Dorian and Mixolydian scales are just derivatives of the major scale.
I could agree with the harmonic minor
Yes harmonic minors 678 run sounds arabic bluesy
it's ok to start but don't stay there if you really want to play jazz..... alterations, substitutions, ability to transpose ... analysing the standards will also be important.... and .... rhytm !....
- key signatures (scales and what not
- modes
- basic chord notation (maj7 = triangle, min7 = -7)
Youre teaching is at MasterJediNinja level.
Thank you.
I had an odd experience trying to jam with a jazz sax player. They didnt seem to improvise at all and only read "dots on the page". I had prepared by listening over and over to playlists of jazz standards, memorizing the forms etc. I asked the guy what jazz he listened to and thought id ask a basic starter "Whats your favorite version of Autumn Leaves?". He didnt really answer and it became apparent he didnt actually listen to any jazz! I left the unsuccesful jam session very confused. As someone relatively new to the genre, it felt like the exact opposite of what i thought jazz was about.
Good video as usual. I would add the pentatonic scale. As someone still very much in the learning phase, I often hear how the use of the pentatonic is very useful (e.g. on a major scale - go to the second tone and use the major pentatonic of that tone. So for a C major you would use Dmaj pent) and other formulas for other chords. But the pentatonic is only five notes and the minor pentatonic is basically the blues scale with the addition of the blue note.
That's true George, the pentatonic can be a useful musical scale
Pentatonics are very useful, especially as you get more advanced. And they can definitely be a useful and easy way for a beginner to sound pretty good pretty quickly. But, they (along with the blues scale) also have a tendency to be a bit of a trap. Beginning players can get comfortable with pentatonic licks and can get very stuck there. Definitely a great tool, just make sure it’s not your *only* tool…or you will sound like you only have one tool. 😁
I can't memorize all interval keys
I just discovered you and I thank you so much! HUGE help!
-chords reading and construction
-ii-V-I major and minor
-standarts
absolutley minimum
Learning to play off mistakes. If you play a wrong note you can turn it into a grace. Or you can repeat it to build tension.
Very helpful thanks
Fantastic! Great lesson.
Great encouraging lesson!
The best way to get the chord changes is to play the melody. Keep it close when you do solo use it as a gift
Chords and scales ar two concepts of the same thing. (Mark Levine)
Great information!
thank you, you are a great master !!
I love you do this man. Thats it. Keep it up:) thank thank you thank you
I learnt so much in that one video. It was extremely informative. Thanks lots.
Thank you so much , This is really useful I find that these type of videos really help me to stay focused on what to learn next and not getting overwhelmed and lost in music theory
This video is incredible, thanks!
Glad you liked it!
2:08 I just wish you’d explain what that means and how to do it...
I play bass, all my theory comes back to chord tones and fret board shapes. I spend a lot of time on counting/clapping out rhythms to make sure I am in sync with the percussion. Anything beyond that is just fancy icing for the odd flourish.
Aside from that sometimes something just works, and I am sure it can be explained by some theory or another, but me not knowing that doesn't effect how it sounds. My only goal is to make a pleasing sound that works with the other sounds and is in time.
Do you mean to say that you don't play by ear at all?
@@klapsigaarenbasgitaar1931 No, at what point in my comment do I mention anything about playing by ear or by sheet music?
Most of my bass playing I work out by ear.
I also play violin, most of that I do through sight reading.
@@thenobleandmightybeaver4411 Well my question was just to understand you better oh Noble and Mighty Beaver. Because of the thing you wrote about chord tones and fret board shapes, theoretically you could play basslines without using your ears (entirely if you would use a metronome together with the drummer). I know that there are people who get away with that, even playing solo's like that: memorising scales and playing their notes almost at random. And if it works for the music, why not? That's what I meant, I was not referring to playing sheet music.
Can you speak a bit faster ?
Totally agree that chords should be the primary focus for jazz musicians. If I were teaching jazz, I’d tell the new player to focus on the tritone and the P4/P5 intervals and build outwardly from there. Why? They’re the 3rd and 7th of most chords. I once played in a big dance band, and all I played were 2-note chords using these intervals.
Wow this is so nicely explained.. Thank you
My pleasure 😊
- Chord substitutions and passing chords, ( tritone subs, secondary doms, secondary diminisheds, related 2 chords.....).
- tensions and their alterations ( altered scale ).
- more chord progressions : ( backdoor and regular 2-5-1s, 1-6-2-5s , cycle of fifths ).
- some theory to add colour such as coltrane changes, circle of fifths, bebop scales, modal mixture ( borrowed chords ).
- Exploring also different rhytms such as odd time signatures and polyrhythms.
- non-functional harmony if you prefer to break the rules and only guide yourself by your ears and sens of music.
- Modal, tonal, atonal, 12 tone serialism and free Jazz but also chord scales and sophistication.
-Lydian chromatic concept to finish my list.
That's all I have, I think...
Please guys, give me more to learn if you have as I would love to increase my musical and theoretical palette !
I would also add learning standards/songs, both by ear and lead sheets (preferably by ear, so that you can get better at transcription). It's helped me tremendously in learning different techniques and different licks because you're exercising your listening and composition skills, you're being introduced to new techniques in articulation or breathing (depending on your instrument) and different musicians' styles. AND it makes practice time more fun 😁 100% recommend this
@@catlover8360 I totally agree with you, it helps a lot !
great channel
Knowing your major, minor and dominant pentatonics is useful too. You can play these over and chord sequence.
I think its quite very important to hear intervalls. The junction between the written and the heard music leads you through!
Recentely i started playing in a school big band, and what i did not excpect was the fact that one must play improvisations there! so i must learn to do this really fast and hense appreciate your video!
Great vid, thank you
Hey, my pleasure!
Finally, someone who takes something complex and keeps it simple and to the point. Excellent video.
i think learning, chord tones over the fret board, playing the dorian mixolydian modes, should be a very good beginning, a vidéo with an exercice to learn arpeggios all aver the fret board could be very helpful thanks
Awesome
So you say that you know jazz musicians that can play at, let's say Andrew Speight's or Brian Lynch's level, but they can't read and don't know much theory? Would you please list a couple names? I'd like to check them out. Charles McPherson, Chris Potter?
Hey there, I'm thinking of some local musician I know who I won't name. However, Stan Getz has been quoted to say that he never studied music theory, and I've also read that he may have not read music.
Lydian?
Every jazz player needs to know how to build a chord
100%
Thanks
Nice summary, but these concepts could easily take years to master for young beginner/intermediate players in middle school or high school. Your intro makes it seem like people don't need "a ton of music theory" to improvise successfully; but I'd consider some of what you cover here intermediate to advanced. Again, nice summary.