I love these longer form videos. It's focused, instructive and each section builds upon the other. I think it's even better than the Q&A sessions, though those are great too!
Thank you Regi! I am glad to hear that! They are fun to do, though this was a bit too long and took too much editing (I shaved off 35-40 minutes..) I guess I need to plan it better before filming it 😀
I'm looking for a wider discussion of the use of the #IV dim chord. I only found your video on its use as a suspension of the I chord. Just extrapolating from what you've said there and here, does the #IV chord come from the half-whole diminished scale starting from the IVth degree? So you can use the Dom7b9 arpeggios of Eb, F#, A, C as subs over these sorts of changes in the key of G? It sounds ok to me.
No tonal music comes from the dim scale, since it is atonal. The #IV is from the IV with a raised root pointing towards the 5 of the scale, but it can resolve both up and down. When you understand something in a key then think from the scale of the key and see what you need to alter. Does that make sense? I know it's a bit short.. I am actually shooting a video on #IV dim chords right now, it will be up soon 😃 But is is more practical than theoretical though.
Excellent man. Purdie vibe right there. The Dan we're so particular. Especially with the drums. I think it's the core reason why their music never gets old.
This is subtle but it just shows how much you care more about teaching than ad revenue, I've never seen only 3 ads in a video more than an hour long! Thanks for your continuous teaching and support!
Of course man, what you teach is unique, fairly easy to grasp assuming you've been playing for a bit, not to mention INSANELY applicable to other styles
I'm hooked! I've been watching your videos most of the day (when I can). So much great material ...loving the pentatonic concepts. You really have opened my eyes to what is possible with simple tools - triads, five note scales. I'm hopeless at remembering scale patterns, your techniques make me visualise structures differently, the connections become much easier to see...amazing videos. You make it all sound great and look so easy. Thanks again. We are lucky to have such a skilled teacher.
Really enjoyed this video Jens, really helped with an aspect I have been trying to get into my playing but didn't have a good structure or context for. I kind of like this format you are using for this too, where you have a context and are using a specific idea but it's open a little bit for improv during each section breakdown. I'ld like to see a lesson on modal interchange with a similar format. great way to teach
also that resolving to the upper structure was an idea I heard and was trying to work on but had no idea how to "identity" what it was called so it wasn't working out. thanks for that too
Thank you Bradley! I don't really use modal interchange that much. In fact I was thinking about making a video about how I think it doesn't make too much sense 😁 But who knows, I am anyway really happy you like the format and can use it!
Jens Larsen the only way I think it works it like how you used g maj and g Lydian and the arpeggios you could use over the g. maybe use some of those chords as passing g chords. could open doors harmonically. that's the only way I see using it, were you already have the context and it's more of an option rather than a basis. Nick Johnston does it rather well
Which you can do just fine without calling it modal interchange and trying to make it into something that explains harmony and is used to analyze songs. We all do stuff like that, but most of us don't think of it as a mode thing, it's a sound. In fact I have it in a lot of videos already, but I relate it to each different sound rather than one big undefined topic.
A sound I like (and I got this from you) is over the E7alt to use a Caug triad from the A Harmonic minor scale. I target the 13trh and then play the rest. It's a bit inside as the other two notes are the root and 3rd but I like I still like it. Thanks, these videos are simply incredible.
Hi Jens Great video. I am looking/listening for chords to transition between the GMaj to the Bbm in bars 1 through 3. In other words I am trying to find nice Xs in this progression GMaj X Bbm Eb7. Please help. I sense that there is something deeply important to learn in the harmony of the first 4 bars of OON.
@@JensLarsen I’m not saying there is anything missing. I assume you are referring to the Bb-7 as the “too much”. Even if I were to play it as | G | G | Eb7| Eb7|, as some do, I would still want to explore harmony that transitions between the G to En7. This is the sort of thing I like to get into my ear to better understand any tune. But unlike other progressions I am having difficulty doing that with those first 4 bars. That is why I think there is something deeply important to learn from those first bars.
@@danielsheltraw8773 yes, but I think that what you want to learn is to go from Gmaj7 to Eb7. That is not something you will learn by adding a passing chord, that will just obscure that transition. I guess I don't really understand why you want to add chords in order to understand the progression?
@@JensLarsen Good question. Hearing intervening chords (the more options the better) imcreases my awareness of the musical landscape. This isn’t an easy thing to talk about casually. At least not for me.
Cool lesson :) I find myself using the lydian #9 sound on longer periods of I M7 rather than the augmented scale. Maybe this is something I can check out..
Thank you Jayden! Yeah the Lydian #9 sound is great! Still need to put that in a video :) You should mess around with some Augmented stuff as well though! It's great and fairly out there :)
Hi Jens, thanks for another excellent lesson. What is the reason for the rule about only using the Lydian dominant scale for a non-resolving alt dom 7th chord. I first came across this a few years ago on Emily Remler's bebop video, but I have never understood it. Cheers!
You're ver welcome! That is not really the rule, but it is most common to use that for those dominants, and using the lydian b7 scale as a normal dom7th scale when they resolve is less common.
Hey jens. Could you do a video on superimposing quartal structures and how to use them? Ie there are 3 three note quartal structures; CFBb, CF#B, CFB. There's a section in the advancing guitarist about it.
Well, I actually covered that in this video th-cam.com/video/RcioU2aHha8/w-d-xo.html With some discussion on how to apply them. But I might do one of these longer form videos on it at some point too. What do you think?
Jens, what's your decision making on when to use triads for arpeggios instead of just 7ths, 9ths, etc chords for arpeggios? Is it in instances like using a C major Arpeggio over a Bb7 to get a Lydian sound? Thanks for the video
There's no real rule for how I decide that, but in general it's nice to have structures with fewer notes because they are more flexible. As I talk about in the video, they also work as small passages of a certain color that change every time you change triad.
This is a great lesson. I'm so grateful that you share your knowledge. The open triad part at the end was so beautiful. can the concept of triad pairs be applied to sus chords? could you do some more lessons on sus chords or add9 chords? PS: i really liked the format where you link the times in the video.
Thank you! Yes you can do triad pairs with Sus4 chords I guess. I never tried it though. I wonder how that would work in a scale... I'll get back to you on that :) Open triads rule! I really love those lines! I am looking for a way to do add9 chords (or Coltrane patterns actually, but that is sort of the same thing C D E G)
So there are 7 possible triad pairs with sus4 triads possible. I will have to look a bit more to get an idea about what they would be useful for as a sound. The problem is that the triad pairs should not have common notes and that get's a bit strange for the sus triads.
Hi Jens, thanks again for sharing your huge knowledge. If I would stay around the corner I'd be your student. So the distance makes me to ask you if you could do a video to the song "Very Early". I'm working on it at the moment and I would be happy to get some information what scale choises you have. Thanks a lot in advance. I really apreciate your vids. All the best from Germany
Thanks Wolfgang! Very Early is a beautiful tune, but maybe a bit high level to do a video on 😃 The scales in there are fairly straight forward from the chords and the melody though? Are there specific points you have trouble with?
In the beginning it reminds me bit to Giant Steps. In the A section I quiet understand the harmony until bar 8. What relation has the Bb9#11 to Cj7 in bar before and to Dj7 the bar after? Is it just a skip to a new key of D? Am7 is the minor IV of D, right? F#m B13 are pointing to Em, right? The rest is V-I In the B section I really don't understand the Bb13 in bar four. The rest should be all V-I, until Dm-C/E-F-G7 which is all in Cmaj, right? Many questions, I know. Thanks a lot for your time!! ;-)
The song is pretty much in C all the way, but it does step away a few times. The Bb7 is a IV minor chord in C major. The relation to Dmaj7 I am not really sure, it's a bit like a #IV dim type sound, but not really. The same goes for the Bb7 going to Bmaj7. It's the kind of song where you can't explain all the changes as functional, similar to a Wayne Shorter composition.
Here is another outstanding Lesson, of course as a student, one has to be on the tip his nose so to speak. Perhaps a reintroduction of this material could be helpful. Admittedly you must be active studying to keep up understanding but once again, Brilliant!
Thank you Henry! I get why you like it, and I like the format too, but it simpply does not make any sense on TH-cam. 14K views in 5 years. If I had kept making videos like this you would never have heard of me 😁 (and a 1 hour video would give my editor a heart attack)
@@JensLarsen I'm just catching up on your videos (although a pianist, but learning much from you). May I ask a question? On a major chord, if one doesn't want a Lydian sound, and omits the 4th as an avoid note, there aren't two triads with no common notes in the remaining six notes. Do you think one can use two note groups, say the triad of the original chord (so in the key of F, FCA) and then the 3 other notes as a group (GDE), and alternate them the way one would if they were both triads, with some effect? Or must they both be triads to be effective (in which case one would have to go Lydian)? Many thanks.
Nice! Been working on this tune for a while, needed this!! Other songs for long vids I'll remember April, the way you look tonight, Sunday, four, how high the moon...Ill stop there lol E7alt to Amin7 are ya ever thinking A harmonic minor over E7alt ? Saw D diminished so i guess yes?...just wondering tho. Cheers!
Thanks Russ!Sunday? What tune is that?I do use Harmonic minor on an E7 resolving to Am but I had to choose because at that point the video was already getting too long. 😀
Jens, there's no such thing as one of your videos being too long. Thanks! I thought I was using it when i get to that part. Just wanted to make sure it wasn't something else! Sunday! Sonny Criss does a killer version off The Complete Imperial Sessions, Sonny Stitt does an uptempo version on the album Don't Call Me Bird, and a mellow version off Night Letter album (
A veritable encyclopedia, this lesson. Bb major over E altered sounds gorgeous. For the sake of clarity: I know the chord Ab aug, but what exactly is Ab aug + Bb major? I may have missed something.
Outstanding Jens. Not only have I been working on this song, but you've provided some really good insights, especially on the triads. Thanks!
Glad it was helpful!
I love these longer form videos. It's focused, instructive and each section builds upon the other. I think it's even better than the Q&A sessions, though those are great too!
Thank you Regi! I am glad to hear that! They are fun to do, though this was a bit too long and took too much editing (I shaved off 35-40 minutes..) I guess I need to plan it better before filming it 😀
I'm looking for a wider discussion of the use of the #IV dim chord. I only found your video on its use as a suspension of the I chord. Just extrapolating from what you've said there and here, does the #IV chord come from the half-whole diminished scale starting from the IVth degree? So you can use the Dom7b9 arpeggios of Eb, F#, A, C as subs over these sorts of changes in the key of G? It sounds ok to me.
No tonal music comes from the dim scale, since it is atonal. The #IV is from the IV with a raised root pointing towards the 5 of the scale, but it can resolve both up and down. When you understand something in a key then think from the scale of the key and see what you need to alter.
Does that make sense? I know it's a bit short..
I am actually shooting a video on #IV dim chords right now, it will be up soon 😃 But is is more practical than theoretical though.
Hooray! I'll be looking forward to that video.
I see what you mean, I think. I'll play around with the idea and see what comes of it. Thank you!
Excellent man. Purdie vibe right there. The Dan we're so particular. Especially with the drums. I think it's the core reason why their music never gets old.
This is subtle but it just shows how much you care more about teaching than ad revenue, I've never seen only 3 ads in a video more than an hour long! Thanks for your continuous teaching and support!
Glad you like the videos, Jesse 🙂
i realize it is kinda randomly asking but does anybody know of a good site to watch new series online ?
@Princeton Edgar Lately I have been using flixzone. You can find it by googling :)
@Dean Roy Yup, I've been using Flixzone for since march myself :D
@Dean Roy thank you, I signed up and it seems like they got a lot of movies there :D I appreciate it!
As soon as my man Jens strums that Gmaj7 chord, my mind is immediately flooded with inspiration. Thanks buddy!
Thank you! I am glad you find the video inspiring and useful! 🙂
Of course man, what you teach is unique, fairly easy to grasp assuming you've been playing for a bit, not to mention INSANELY applicable to other styles
you're such a blessing!
thank god for you
You're very welcome! Thanks for checking out the video!
Question: Do you use Spread or open voiced triads in your solos?
Jens Larsen spread, allows for some great intervals and unexpected sounds while also opening you up to access parts of the neck easier
So I guess that is a yes Parsa? 😁
If my calculations are correct, then yes :).
What's the diference ?
What is the difference between triads and open voiced triads?
Very informative! Thanks you for sharing.
Thank you very much Danny!
I'm hooked! I've been watching your videos most of the day (when I can). So much great material ...loving the pentatonic concepts. You really have opened my eyes to what is possible with simple tools - triads, five note scales. I'm hopeless at remembering scale patterns, your techniques make me visualise structures differently, the connections become much easier to see...amazing videos. You make it all sound great and look so easy. Thanks again. We are lucky to have such a skilled teacher.
You are very welcome Danny! It is really great to hear that you can use the videos!! 👍😃
Super lessen. Dank u zeer. :)
Graag gedaan!
Really enjoyed this video Jens, really helped with an aspect I have been trying to get into my playing but didn't have a good structure or context for. I kind of like this format you are using for this too, where you have a context and are using a specific idea but it's open a little bit for improv during each section breakdown. I'ld like to see a lesson on modal interchange with a similar format. great way to teach
also that resolving to the upper structure was an idea I heard and was trying to work on but had no idea how to "identity" what it was called so it wasn't working out. thanks for that too
Thank you Bradley! I don't really use modal interchange that much. In fact I was thinking about making a video about how I think it doesn't make too much sense 😁
But who knows, I am anyway really happy you like the format and can use it!
Jens Larsen lol
Jens Larsen the only way I think it works it like how you used g maj and g Lydian and the arpeggios you could use over the g. maybe use some of those chords as passing g chords. could open doors harmonically. that's the only way I see using it, were you already have the context and it's more of an option rather than a basis. Nick Johnston does it rather well
Which you can do just fine without calling it modal interchange and trying to make it into something that explains harmony and is used to analyze songs. We all do stuff like that, but most of us don't think of it as a mode thing, it's a sound.
In fact I have it in a lot of videos already, but I relate it to each different sound rather than one big undefined topic.
A sound I like (and I got this from you) is over the E7alt to use a Caug triad from the A Harmonic minor scale. I target the 13trh and then play the rest. It's a bit inside as the other two notes are the root and 3rd but I like I still like it. Thanks, these videos are simply incredible.
Thanks Phil! I am glad to hear that! 🙂
Hi Jens
Great video.
I am looking/listening for chords to transition between the GMaj to the Bbm in bars 1 through 3. In other words I am trying to find nice Xs in this progression GMaj X Bbm Eb7. Please help. I sense that there is something deeply important to learn in the harmony of the first 4 bars of OON.
Yes, there is something to learn, but it is not that there is a chord missing. If anything there is one too much.
@@JensLarsen I’m not saying there is anything missing. I assume you are referring to the Bb-7 as the “too much”. Even if I were to play it as | G | G | Eb7| Eb7|, as some do, I would still want to explore harmony that transitions between the G to En7. This is the sort of thing I like to get into my ear to better understand any tune. But unlike other progressions I am having difficulty doing that with those first 4 bars. That is why I think there is something deeply important to learn from those first bars.
@@danielsheltraw8773 yes, but I think that what you want to learn is to go from Gmaj7 to Eb7. That is not something you will learn by adding a passing chord, that will just obscure that transition. I guess I don't really understand why you want to add chords in order to understand the progression?
@@JensLarsen Good question. Hearing intervening chords (the more options the better) imcreases my awareness of the musical landscape. This isn’t an easy thing to talk about casually. At least not for me.
awesome long form lesson. would help if you did a small run through of a song your giving a lesson on in the beginning. love your stuff
Thank you! I sometimes do, but then again Out of Nowhere is such well known standard 🙂
@@JensLarsenHe's saying your lesson seems to come out of nowhere.
Cool lesson :) I find myself using the lydian #9 sound on longer periods of I M7 rather than the augmented scale. Maybe this is something I can check out..
Thank you Jayden! Yeah the Lydian #9 sound is great! Still need to put that in a video :) You should mess around with some Augmented stuff as well though! It's great and fairly out there :)
Hi Jens, thanks for another excellent lesson. What is the reason for the rule about only using the Lydian dominant scale for a non-resolving alt dom 7th chord. I first came across this a few years ago on Emily Remler's bebop video, but I have never understood it. Cheers!
You're ver welcome! That is not really the rule, but it is most common to use that for those dominants, and using the lydian b7 scale as a normal dom7th scale when they resolve is less common.
Thanks Jens. I often play some kind of Lydian dominant line over a V-I and it usually sounds ok, so I'll just keep doing it!
+MrJimzovich the difference between mixolydian and lydian dominant is one note, so that is not so strange ☺️
Hey jens. Could you do a video on superimposing quartal structures and how to use them? Ie there are 3 three note quartal structures; CFBb, CF#B, CFB. There's a section in the advancing guitarist about it.
Well, I actually covered that in this video th-cam.com/video/RcioU2aHha8/w-d-xo.html
With some discussion on how to apply them.
But I might do one of these longer form videos on it at some point too. What do you think?
Jens Larsen thanks jens you da best
Jens, what's your decision making on when to use triads for arpeggios instead of just 7ths, 9ths, etc chords for arpeggios? Is it in instances like using a C major Arpeggio over a Bb7 to get a Lydian sound? Thanks for the video
There's no real rule for how I decide that, but in general it's nice to have structures with fewer notes because they are more flexible. As I talk about in the video, they also work as small passages of a certain color that change every time you change triad.
i looooove you jens 😚😚
Haha! Thanks!
This is a great lesson.
I'm so grateful that you share your knowledge.
The open triad part at the end was so beautiful.
can the concept of triad pairs be applied to sus chords?
could you do some more lessons on sus chords or add9 chords?
PS: i really liked the format where you link the times in the video.
Thank you! Yes you can do triad pairs with Sus4 chords I guess. I never tried it though. I wonder how that would work in a scale... I'll get back to you on that :)
Open triads rule! I really love those lines!
I am looking for a way to do add9 chords (or Coltrane patterns actually, but that is sort of the same thing C D E G)
So there are 7 possible triad pairs with sus4 triads possible. I will have to look a bit more to get an idea about what they would be useful for as a sound.
The problem is that the triad pairs should not have common notes and that get's a bit strange for the sus triads.
Excellent!
I look forward to it
Hi Jens, thanks again for sharing your huge knowledge. If I would stay around the corner I'd be your student. So the distance makes me to ask you if you could do a video to the song "Very Early". I'm working on it at the moment and I would be happy to get some information what scale choises you have. Thanks a lot in advance. I really apreciate your vids. All the best from Germany
Thanks Wolfgang! Very Early is a beautiful tune, but maybe a bit high level to do a video on 😃 The scales in there are fairly straight forward from the chords and the melody though? Are there specific points you have trouble with?
In the beginning it reminds me bit to Giant Steps. In the A section I quiet understand the harmony until bar 8. What relation has the Bb9#11 to Cj7 in bar before and to Dj7 the bar after? Is it just a skip to a new key of D? Am7 is the minor IV of D, right? F#m B13 are pointing to Em, right? The rest is V-I
In the B section I really don't understand the Bb13 in bar four. The rest should be all V-I, until Dm-C/E-F-G7 which is all in Cmaj, right? Many questions, I know. Thanks a lot for your time!! ;-)
The song is pretty much in C all the way, but it does step away a few times. The Bb7 is a IV minor chord in C major. The relation to Dmaj7 I am not really sure, it's a bit like a #IV dim type sound, but not really. The same goes for the Bb7 going to Bmaj7.
It's the kind of song where you can't explain all the changes as functional, similar to a Wayne Shorter composition.
Here is another outstanding Lesson, of course as a student, one has to be on the tip his nose so to speak. Perhaps a reintroduction of this material could be helpful. Admittedly you must be active studying to keep up understanding but once again, Brilliant!
Thank you Henry! I get why you like it, and I like the format too, but it simpply does not make any sense on TH-cam. 14K views in 5 years. If I had kept making videos like this you would never have heard of me 😁 (and a 1 hour video would give my editor a heart attack)
@@JensLarsenYou have an editor?
@@sheilamacdougal4874 this video is 6 or 7 years old. I have an editor now, but I didn't back then
@@JensLarsen I'm just catching up on your videos (although a pianist, but learning much from you). May I ask a question? On a major chord, if one doesn't want a Lydian sound, and omits the 4th as an avoid note, there aren't two triads with no common notes in the remaining six notes. Do you think one can use two note groups, say the triad of the original chord (so in the key of F, FCA) and then the 3 other notes as a group (GDE), and alternate them the way one would if they were both triads, with some effect? Or must they both be triads to be effective (in which case one would have to go Lydian)? Many thanks.
Nice!
Been working on this tune for a while, needed this!! Other songs for long vids I'll remember April, the way you look tonight, Sunday, four, how high the moon...Ill stop there lol
E7alt to Amin7 are ya ever thinking A harmonic minor over E7alt ? Saw D diminished so i guess yes?...just wondering tho.
Cheers!
Thanks Russ!Sunday? What tune is that?I do use Harmonic minor on an E7 resolving to Am but I had to choose because at that point the video was already getting too long. 😀
Jens, there's no such thing as one of your videos being too long. Thanks! I thought I was using it when i get to that part. Just wanted to make sure it wasn't something else!
Sunday! Sonny Criss does a killer version off The Complete Imperial Sessions, Sonny Stitt does an uptempo version on the album Don't Call Me Bird, and a mellow version off Night Letter album (
Thanks Russ! I'll give those recordings a listen!
A veritable encyclopedia, this lesson. Bb major over E altered sounds gorgeous. For the sake of clarity: I know the chord Ab aug, but what exactly is Ab aug + Bb major? I may have missed something.
Thank you Hubert! It is indeed a lot of info 😀
Ab aug + Bb major is a triad pair: th-cam.com/video/RVjqS7R5HEQ/w-d-xo.html
Thanks also for introducing me to the augmented scale which I'd never used before. Same with lydian augmented, a devil of a scale.
If you make the Eb7b9 a Ebm6 it become a D7b9 with b9 in the bass. And D7 leads back to…….G
Anyone know if Bbm7-Eb7b9 is original changes?
Making it a dominant is a bit lame, right?
I believe the original is 2 bars of Eb7
for D7 Dim i thought triads would come from Db7 family no? (Db, G, Bb, E, etc)
Hi Jens I am one of your viewers. I would like to ask you one question. Does music need to study and learn a lot for it or anyone who could.
I am sorry, I don't understand you question?
"Eb7 is a tritone substitution of A7". And indeed it is followed by a D7 (actually Am7 D7). (mesure 13)
Was that unclear?
Wikipedia reference:
en.wikipedia.org/wiki/Augmented_sixth_chord#German_sixth
Thanks Jens! You're right German chord ;) Love from Colombia!
Thanks Daniel!
HI 26.6.17. JENS AFTER AN HOUR OF CLASS THE BEER IS HOT, CAREFULLY
Haha! Thanks It's ok if you drink during the video! 😁
THANKS FRIEND SALUTE, CONGRATULATIONS, I DO NOT
DRINK ALCOHOL
SALUDOS. GRACIAS...
THANKS FRIEND SALUTE, CONGRATULATIONS
SALUDOS. GRACIAS...
Nice videos/lesson, but the talking & explanation are lengthy it makes your videos so long.....
+Arc Kevin iloh DJazzApostle you can check out the Thursday lessons they are a lot shorter than these ones ☺️
Here's a playlist: th-cam.com/video/JeB7gttSwL4/w-d-xo.html
Information overload...I already lost the context of thesong after some minutes of being stuck into cordal and
substituional analysis .....
It does say "advanced" in the title though?
Too much talking