What would you consider the most basic Music Theory to check out? Or a good exercise? Content: 0:00 Intro - The Basics Are What is Holding You Back 0:21 Three Layers of understanding what is going on 0:37 High-Level Tricks with no foundation. 1:14 Learning the instrument and tying it to Music Theory 1:50 #1 Using Other Arpeggios Over A Chord 2:35 How To Relate an upper-structure to a root note 3:09 Analysis of "The Fake Michael Brecker Lick" 3:39 Build your options from knowing what it is. 3:56 Exploring diatonic sus4 triads 4:26 #2 Pentatonics Over Extended Chords 4:54 Bm Pentatonic over Cmaj7 5:24 How Theory Can Help You Use this better. 6:03 #3 Understanding How Chord Progressions Move 6:25 Fm6-Cmaj7 example 7:01 Voice-leading and how you use it. 7:56 #4 How Do You Learn This? 8:14 Not when you solo, but maybe in on the Bus? 8:47 Connecting different types of information 9:05 Like the video? Check out my Patreon Page!
I think the triads in root pos. And all inversions is important. All of the four qualities are great sounds. I dont know why, but playing them in all 12 and calling out the function of each of the notes, really does sth to your mind:)... also I wanna quote Mr Bill Evans : " being clear with the problem is 95% of solving it". And " everything comes down to being clear with the basics:). Mr Jens I love your channel , is amazing how much I've learn from you and the way I've grown following your thinking and exercises. You deserve the world:). Im really greateful for this .. thank you thank you thank you( said jimi at monterrey) . Cheers sir!
Recently I have been trying to further solidify my understanding of scale patterns. I feel if I were to get a perfect perspective of the patterns then I could more quickly identify the different keys. Box 9 off of the Aeolian mode sixth string route for example. I've also been making intervallic connections. I would rather take my car and pay attention to my driving. Thanks for the concern. Hope your doing well also. Shifting Majors and minors also seems to work well for chord voicing. Passing polytonal chords between dominant lydians? At least that's what I thought I did. Very unusual chord, sounds even stranger by itself.
Hi! I was wondering if you could upload or send me a link showing «Do you think they’re any good» live. I love the recording of it too, but it would be awesome to watch it live! Best regards reddikken
Hi Jens: Recently was in a heated debate concerning modal compared to Jazz chordal Melody. I realize now and would like to correct a mistake. When agreeing with you said Jazz was for the most part chordal harmony when it is in fact chordal Melody. Although a famous that shall go unnamed Jazz guitarist said the Bass line was the most important part of the song. JP. The upper part is Melody and the lower part is Harmony. Piano right hand plays Melody and left hand plays Harmony. Got it!
this channel is so fucking amazing. I love your style as a teacher but I'm still really just a beginner and instead of just taking off into the dust with theory that's beyond me, you find ways to constantly have topics that are relevant to my actual playing without being a rehash of a previous video of yours or something. good man
Jens, I don't know how you do this, but every time I see a new video from you it seems to cover something I've been trying to figure out recently. Thank you for clearing the fog so often!
I like that Bmin pentatonic on a Cmaj7 :p! But you are absolutely right about knowing WHY it sounds good. You have to know that that D versus the F# note (from the Bmin) have a very different color to add to the music. It's about how every note sounds according to their context. Thanks for putting emphasis on this, I think this is where people with an own musical voice seperate themselves.
like he said...you must take the time to study different scales/modes..ect what what possible CHORDS...or what note can possibly function as the LEADING TONE....whether it's C Maj7 or C7...it's still E into F ( 3 into 4) The SECOND ARPEGGIO...not the maj7 or b7 I can even play C AUGMENTED into F MAJOR/D min ( chords).. not so much changed keys.... it helps if you also know and familar with different pentatonic scales example....I KNOW I can play B min pentatonic and D DOMINANT pentatonic and E DOMINANT pentatonic and will still be within all the notes of A melodic min... Im still in C MAJOR/Amin But I also know...D min/FMAJOR CHORDS...are RELATIVE to each other. NOT KEYS...just CHORDS I dont have a problem playing C Mix b2 into the F MAJOR chord... why would I do that...becuase I know 3, 5, b7, b9 = Full diminished but what im going to do is play Bb min...or Bb full diminished into the F MAJOR chord...as if Im playing F Harmonic MAJOR i also know the C maj7 or C7 would be from B Harmonic min b2 or B melodic minor b2 it;s going to over lap in different ways.... now im going to use the b7 of C7 to play into the B minor chord...if I want Bb diminished into B minor. or I can play G FULL diminished into B min or D min.lmao it;s actaully simple...i KNOW I can stack a Maj3 Below any full arppegios to obtain a DOMINANT CHORD.... Eb7.....F#7......A7......C7
Hi Jens! Thanks a lot for your great videos! One quick suggestion. I think you can modify the position of captions relatively easily. I think top of screen captions will help, as bottom of screen captions cover your hands/ fret, which makes it more difficult to follow when using closed captions. Maybe you want to consider this! Thanks!!
This was an excellent video in conjunction with Rick Beatos father's day video. I got allot of good info from Rick but no theoretical explanation so I do allot of exploring and experimenting which can get frustrating.. these two videos have opened up my practice sessions immensely! I am making lines that make me smile☺🤘🏾
The only reason I suck and probably always will at identifying rapidly the chird notes in a scale is the guitar neck itself. I am also a piano player, and all the notes are spread out in front of you, easy to read at any moment. No wonder we always search for shortcuts at the guitar neck and tricks with scale forms and not the notes itself, as with its notes repeating itself in various places and not in line like on keyboard it is just often beyond the average brain learning time if not playing 8 hours a day.
Nice timming since i just got my fretting hand injured, i'm gonna stay away from my guitar for a few weeks. Thanks for these ideas i can work on Jens !
Thank you Jens, very good topic! I once came across a video of Chris Standring saying 'play Bm penta over Cmaj chord', and that's when I first thought this way about scales over chords - that we are picking certain notes that sound strong together from Lydian scale to emphasize the specific sound and at the same time outline the chord
So all we need to know is all the notes in all the chords and how they relate to every other chord, mode, scale and arpeggio in all keys and in every position. Got it.
Hey Jens, I have a Ibanez AS53 TKF Semi Hollow Body Electric Guitar and it sounds pretty good with my Vox AC15C2, I primarily use it only for my Jazz lessons. (still learning Jazz - only newbie) however, do you think it would be best to change the humbuckers to Seymour Duncan SH-4/SH-2? I can't emulate a great Jazz sound with the current humbuckers. Maybe recommend a particular neck humbucker? I prefer not to buy a real jazz guitar just yet because only when I improve will I be able to make a more informed decision on that purchase. Love the channel.
It's hard to say, somethings with sound are also technique. My Ibanez has an SD Seth Lover pickup which I really love and they are not crazy expensive.
What's your opinion on seeing the fretboard and thinking of chord/scale relation in function and intervals rather than the specific note? I find it much easier to treat every key as one through the numeric functions, due to the easy transposability granted by the guitar. If I'm back tracking a lick I came up with, I'm thinking that I'm starting from a b13 rather than the note. What shortcomings do you find in approaching the guitar this way? If I have to transcribe to other instruments I will of course switch to perceiving the sound as notes. Thanks for the quality content Jens!
I don't really have an opinion. I don't think like that because I spend my time communicating with other musicians who don't play guitar so this is essential to me and what I do seems to work just fine.
What I used to do (it's years ago now) was to record a C7 (135b7, nothing more) pedal and then improvise, in turn, with all the one-note formulas throughout the chromatic scale. What's the point of improvising with only the 3rd degree of a dominant function? Wouldn't that just sound incredibly bland and "inside" to you? Yes, but it will help your ear to really internalize that specific sound and it will help you appreciate chord tones more. Then when you start to expand with b2/b9 you really have that dominant sound internalized and can really appreciate the expansions you are making. Then I would do the same with all the major and minor triads. I made notes and analyses along the way. The C major triad sounded inside, while the B major triad sounded very outside and dissonant. Recording is essential. Unless you are a musical genius (then you wouldn't be reading this anyhow!) it would be impossible to stay completely objective while playing and improvising. Especially when exploring new sounds like this, that's why recording one's own playing is so valuable.
Man you have so many videos I have to ask where I should I start and focus to get a solid practice regime with jazz I really like jazz blues, bebop, modal but I just don't know where to start I love all your content though but a suggestion would be appreciated
Best way to memorize all these fundamentals would be great. Example: start with all major triads, then add 7ths, Then add 9nths. (I don’t know if this is best way I’m just giving example)
As I say in the video, if you start with learning the basic notes in the scale and practice building diatonic chords while actually knowing what notes are in there then you will get the overview. I would not practice stuff like this using major triads out of context. Maybe this video is useful for some ideas on what to work on as well: th-cam.com/video/j37vDF6FHjg/w-d-xo.html
Hi mate, good point I actually. I look at dm7 as As the first inversion of fmaj7 same Gm7 as the Bb, or D7 f#dim. Can that be correct? It's just the notes are almost the same and it really easy to visualise
What would you consider the most basic Music Theory to check out? Or a good exercise?
Content:
0:00 Intro - The Basics Are What is Holding You Back
0:21 Three Layers of understanding what is going on
0:37 High-Level Tricks with no foundation.
1:14 Learning the instrument and tying it to Music Theory
1:50 #1 Using Other Arpeggios Over A Chord
2:35 How To Relate an upper-structure to a root note
3:09 Analysis of "The Fake Michael Brecker Lick"
3:39 Build your options from knowing what it is.
3:56 Exploring diatonic sus4 triads
4:26 #2 Pentatonics Over Extended Chords
4:54 Bm Pentatonic over Cmaj7
5:24 How Theory Can Help You Use this better.
6:03 #3 Understanding How Chord Progressions Move
6:25 Fm6-Cmaj7 example
7:01 Voice-leading and how you use it.
7:56 #4 How Do You Learn This?
8:14 Not when you solo, but maybe in on the Bus?
8:47 Connecting different types of information
9:05 Like the video? Check out my Patreon Page!
If you want to check out the Fretboard videos: th-cam.com/video/REfktHlrBSI/w-d-xo.html
I think the triads in root pos. And all inversions is important. All of the four qualities are great sounds. I dont know why, but playing them in all 12 and calling out the function of each of the notes, really does sth to your mind:)... also I wanna quote Mr Bill Evans : " being clear with the problem is 95% of solving it". And " everything comes down to being clear with the basics:). Mr Jens I love your channel , is amazing how much I've learn from you and the way I've grown following your thinking and exercises. You deserve the world:). Im really greateful for this .. thank you thank you thank you( said jimi at monterrey) . Cheers sir!
Recently I have been trying to further solidify my understanding of scale patterns. I feel if I were to get a perfect perspective of the patterns then I could more quickly identify the different keys. Box 9 off of the Aeolian mode sixth string route for example. I've also been making intervallic connections. I would rather take my car and pay attention to my driving. Thanks for the concern. Hope your doing well also. Shifting Majors and minors also seems to work well for chord voicing. Passing polytonal chords between dominant lydians? At least that's what I thought I did. Very unusual chord, sounds even stranger by itself.
Hi!
I was wondering if you could upload or send me a link showing «Do you think they’re any good» live.
I love the recording of it too, but it would be awesome to watch it live!
Best regards
reddikken
Hi Jens: Recently was in a heated debate concerning modal compared to Jazz chordal Melody. I realize now and would like to correct a mistake. When agreeing with you said Jazz was for the most part chordal harmony when it is in fact chordal Melody. Although a famous that shall go unnamed Jazz guitarist said the Bass line was the most important part of the song. JP. The upper part is Melody and the lower part is Harmony. Piano right hand plays Melody and left hand plays Harmony. Got it!
A lot of people don't like Mondays. I love them as they bring another great lesson from Jens.
Thanks, Willy :)
0:54 Best way to explain concepts. Jens's editing skills are at another level now.
Thank you! I actually have an editor who is a genius, I can't take credit for that :)
@@JensLarsen Luciano Poli is doing a very good job then!
He certainly is!
Thanks, I was looking for new ideas to keep me awake at night.
Haha! Sorry about that :) I was going more for helping sleepless nights 😄
Camera work, vocabulary, explanation.... everything is just perfect man, thank you \m/
Thank you! :) Glad to hear that!
this channel is so fucking amazing. I love your style as a teacher but I'm still really just a beginner and instead of just taking off into the dust with theory that's beyond me, you find ways to constantly have topics that are relevant to my actual playing without being a rehash of a previous video of yours or something. good man
Thank you! :) Really glad to hear that!
Jens, I don't know how you do this, but every time I see a new video from you it seems to cover something I've been trying to figure out recently. Thank you for clearing the fog so often!
Thank you! It is great that the videos stay relevant to you 🙂
the most basic Music Theory to check would be using drop 2s on a tune and trying to connect them within 1 or 2 positions on the neck, Thanks Jens
I like that Bmin pentatonic on a Cmaj7 :p! But you are absolutely right about knowing WHY it sounds good. You have to know that that D versus the F# note (from the Bmin) have a very different color to add to the music. It's about how every note sounds according to their context.
Thanks for putting emphasis on this, I think this is where people with an own musical voice seperate themselves.
Certainly! Context is everything! :)
like he said...you must take the time to study different scales/modes..ect
what what possible CHORDS...or what note can possibly function as
the LEADING TONE....whether it's C Maj7 or C7...it's still E into F ( 3 into 4)
The SECOND ARPEGGIO...not the maj7 or b7
I can even play C AUGMENTED into F MAJOR/D min ( chords)..
not so much changed keys....
it helps if you also know and familar with different pentatonic scales
example....I KNOW I can play B min pentatonic
and D DOMINANT pentatonic and E DOMINANT pentatonic
and will still be within all the notes of A melodic min...
Im still in C MAJOR/Amin
But I also know...D min/FMAJOR CHORDS...are RELATIVE to each other.
NOT KEYS...just CHORDS
I dont have a problem playing C Mix b2 into the F MAJOR chord...
why would I do that...becuase I know
3, 5, b7, b9 = Full diminished
but what im going to do is play Bb min...or Bb full diminished
into the F MAJOR chord...as if Im playing F Harmonic MAJOR
i also know the C maj7 or C7 would be from B Harmonic min b2 or B melodic minor b2
it;s going to over lap in different ways....
now im going to use the b7 of C7 to play into the B minor chord...if I want
Bb diminished into B minor.
or I can play G FULL diminished into B min or D min.lmao
it;s actaully simple...i KNOW I can stack a Maj3 Below any full arppegios
to obtain a DOMINANT CHORD....
Eb7.....F#7......A7......C7
Awesome job on showing what you should prioritize first in a rather broad and complex topic! Great work!
Glad you like it! :)
@@JensLarsen Thank you for the content as always!
Such a good video. It should become the most viewed video in the history of jazz educational videos !
Thank you Daniel! We'll see how well it does, but I somehow doubt that it is catchy enough to become that :)
Excellent lesson. Thank you Jens.
Thanks, zenncatt. Glad you found it useful!
5:20 This is really gold tip! I wish someone told years ago
Thanks, Rodolfo. Glad you found it useful!
very helpful, thanks!!
You're very welcome 🙂
Excellent Video Jens.... love your Channel!!!
Thank you very much! That is great to hear!
Quality teaching as always, Jens!
Thank you! Glad you like it 🙂
holy crap that sweet double stops intro bossa
Thank you Darko :) I really like playing that song in a latin feel :)
New camera lately? The video/lighting looks sooo clean! And thank you for the lesson!
Thank you! yes, this is one of the first videos with my new Sony camera.
Great video! Important topic and very well explained!
Thank you 😊
Very helpful! Thank you very much!
Glad you like it 🙂
Hi Jens! Thanks a lot for your great videos! One quick suggestion. I think you can modify the position of captions relatively easily. I think top of screen captions will help, as bottom of screen captions cover your hands/ fret, which makes it more difficult to follow when using closed captions. Maybe you want to consider this! Thanks!!
Glad you like the video! I can't change the position of the captions on TH-cam, sorry 🙂
This was an excellent video in conjunction with Rick Beatos father's day video. I got allot of good info from Rick but no theoretical explanation so I do allot of exploring and experimenting which can get frustrating.. these two videos have opened up my practice sessions immensely! I am making lines that make me smile☺🤘🏾
That's great to hear Harlan! Rick is a super guy and a lot of his videos have great info!
Harlan Harvey whats ricks fathers day video?
Fantastic! Another great lesson 🙌
Always great to hear that you find it useful!
Man, this was a great one.
Thank you very much Perry!
The only reason I suck and probably always will at identifying rapidly the chird notes in a scale is the guitar neck itself. I am also a piano player, and all the notes are spread out in front of you, easy to read at any moment. No wonder we always search for shortcuts at the guitar neck and tricks with scale forms and not the notes itself, as with its notes repeating itself in various places and not in line like on keyboard it is just often beyond the average brain learning time if not playing 8 hours a day.
Very interesting lessons here!
Thank you! I am glad you like it!
Do you have some new camera setup or something? It looks absolutely stunning
Thanks for noticing! Yes, I bought a new camera which was like 10 steps up from my old one!
I have a slight idea on using a relative minor or ii iii vi on a major Chord
Hey Jens. I love that short lick you played in the very beginning of this video. What was that?
The new camera looks incredible.
Thank you very much Michael!
The lick in the beginning was just a part of a solo on I'll Remember April, not something special :)
Nice timming since i just got my fretting hand injured, i'm gonna stay away from my guitar for a few weeks. Thanks for these ideas i can work on Jens !
Sorry to hear that, I hope you get better soon :)
Thank you Jens, very good topic! I once came across a video of Chris Standring saying 'play Bm penta over Cmaj chord', and that's when I first thought this way about scales over chords - that we are picking certain notes that sound strong together from Lydian scale to emphasize the specific sound and at the same time outline the chord
Glad you like it! Yes,that’s a neat way of getting that sound.
So all we need to know is all the notes in all the chords and how they relate to every other chord, mode, scale and arpeggio in all keys and in every position. Got it.
Well, I would leave out the modes personally, but in general knowing the notes is a good thing if you want to understand other music theory :)
Hey Jens, I have a Ibanez AS53 TKF Semi Hollow Body Electric Guitar and it sounds pretty good with my Vox AC15C2, I primarily use it only for my Jazz lessons. (still learning Jazz - only newbie) however, do you think it would be best to change the humbuckers to Seymour Duncan SH-4/SH-2? I can't emulate a great Jazz sound with the current humbuckers. Maybe recommend a particular neck humbucker? I prefer not to buy a real jazz guitar just yet because only when I improve will I be able to make a more informed decision on that purchase. Love the channel.
It's hard to say, somethings with sound are also technique. My Ibanez has an SD Seth Lover pickup which I really love and they are not crazy expensive.
What's your opinion on seeing the fretboard and thinking of chord/scale relation in function and intervals rather than the specific note? I find it much easier to treat every key as one through the numeric functions, due to the easy transposability granted by the guitar. If I'm back tracking a lick I came up with, I'm thinking that I'm starting from a b13 rather than the note. What shortcomings do you find in approaching the guitar this way? If I have to transcribe to other instruments I will of course switch to perceiving the sound as notes. Thanks for the quality content Jens!
I don't really have an opinion. I don't think like that because I spend my time communicating with other musicians who don't play guitar so this is essential to me and what I do seems to work just fine.
Thank you, please let me know if this changes.
What I used to do (it's years ago now) was to record a C7 (135b7, nothing more) pedal and then improvise, in turn, with all the one-note formulas throughout the chromatic scale. What's the point of improvising with only the 3rd degree of a dominant function? Wouldn't that just sound incredibly bland and "inside" to you? Yes, but it will help your ear to really internalize that specific sound and it will help you appreciate chord tones more. Then when you start to expand with b2/b9 you really have that dominant sound internalized and can really appreciate the expansions you are making.
Then I would do the same with all the major and minor triads. I made notes and analyses along the way. The C major triad sounded inside, while the B major triad sounded very outside and dissonant.
Recording is essential. Unless you are a musical genius (then you wouldn't be reading this anyhow!) it would be impossible to stay completely objective while playing and improvising. Especially when exploring new sounds like this, that's why recording one's own playing is so valuable.
as a theory novice what do you mean with "all the one-note-formulas throughout the chromatic scale"? what did you exactly use to solo over the C7?
Man you have so many videos I have to ask where I should I start and focus to get a solid practice regime with jazz I really like jazz blues, bebop, modal but I just don't know where to start I love all your content though but a suggestion would be appreciated
Try this: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/
Best way to memorize all these fundamentals would be great. Example: start with all major triads, then add 7ths, Then add 9nths. (I don’t know if this is best way I’m just giving example)
As I say in the video, if you start with learning the basic notes in the scale and practice building diatonic chords while actually knowing what notes are in there then you will get the overview. I would not practice stuff like this using major triads out of context.
Maybe this video is useful for some ideas on what to work on as well: th-cam.com/video/j37vDF6FHjg/w-d-xo.html
Jens Larsen awesome, thank you!
What I currently do not understand (but can hear) is why one chromatic sequence works and the other doesn't.
That most likely has to do with which note it targets (in realtion to the chord) and where that target note is placed in the bar and in the phrase.
How does one contact you about pricing for skype lessons?
I don't have time to teach via Skype at the moment. TH-cam and gigs are taking up all my time 🙂 sorry.
Hi mate, good point I actually.
I look at dm7 as As the first inversion of fmaj7 same Gm7 as the Bb, or D7 f#dim.
Can that be correct?
It's just the notes are almost the same and it really easy to visualise
Thanks! The Fmaj7 doesn't have a D, so in that respect Dm7 is not an inversion of Fmaj7.
@@JensLarsen sorry, a Dm7 with an A on the bass 😅.
Dm7 is still a different set of notes than Fmaj7 :)
@@JensLarsen yes they are, but they share notes , how come that an Fmaj7 is also a dm9?🤔
@@DaddySantaClaus Because Fmaj7 is a Dm7(9) without a root, but that does not make a Dm7 an Fmaj7
0:50 - 0:55 lol
C7= Gmi7