Hats off : i already know all the basics but this is, by far, the clearest, shortest and yet comprehensive introduction to Jazz. You nailed it and you deserve a big round of applause. Excellent.
@@Learnjazzstandards Could you do a chord analysis of "Body and Soul"? I recently learnt a lovely solo (I'm a sax player) and I've found parts of this song a bit challenging to interpret.
@@Learnjazzstandards Holly shit you are straight up the best jazz teacher , that I ever learned from! Thank you for teaching it made easy to learn, subbed
Bravo, Brent. You successfully simplified, demystified and clarified how jazz lines are created. You did this by using just enough music theory to educate without overwhelming and showed how to get started on the journey of improvisation with practical examples that demonstrate what it sounds like to play over chord changes. This, teamed with guide tones, a heart to experiment and ears to imagine what they're about to play, can take a beginner to the next level in a short amount of time. I'm in love with jazz music (have been my whole life), and after watching this video, I'm eager to pick up my guitar and create something that sounds like what I feel.
It's weird, I know the modes and can play them, and 2 5 1 chords, in all the keys on the piano, but I just never put it together that you play Dorian with 2 and Mixolydian with 5! Thanks for the enlightenment!!😁
What helped for me immensely, is to just learn jazz language, then make as many variations of it and apply it to the chord it is meant for in a tune. The best is when you learn ii-V-I lines, to just learn that piece of language for the ii, for the V and for the I seperataly (or how you spell it) Also when you do that, always sing
I really enjoyed your explanation. I would like to add something that I found to be helpful. If you are playing in the key of C major for example and you impose a G Major scale, you will shift into the Lydian mode. You're playing all the same notes except that the 4th note F is now #4 or F# and that provides a nice outside scale note that will pop out in the course of the improvisation. You can then shift back to the Ionian at any point to bring the whole thing back home. So when playing over a major chord try playing the major scale whose root is a perfect 5th above the key that you're in. Another way of accomplishing this and adding additional color tones would be to play a major pentatonic scale a whole step up from the key of the moment. (or the minor pentatonic a half step lower than the parent key). If C major is the chord, play the D major pentatonic (or B minor pentatonic - same notes ). When doing this, the notes that would be emphasized would be B which is the major 7th of a C chord. D which is the 2nd (9th), E which is the 3rd, F# which is the # 4 ( # 11 ) and A which is the 6th (13 ). Since the pentatonic scale has no leading tone like a major scale, it works great. A D major scale for example would have a C# in it and that note played against a C natural is likely to set one's teeth on edge. Playing the D major pentatonic avoids that minor 2nd interval. So, in the key of C, think major pentatonic a whole step up. Adding this to the arsenal of chromaticism that you demonstrated should get people visualizing jazz improvisation as something within their grasp.
Why talk about modes when the tonal center is crystal clear C major? This confuses beginners. It's more suited to just talk about starting C major in the root of each chord, as it outlines the guide tones of each chord.
Thank you. This is arguably the best improvisation video I have ever seen. No going up and down the scale. No copy/paste licks. Just musical theory and how to apply it. The most valuable thing is that the similar concept can be used for blues or any music, you just use a different note to resolve to the chord tones that's not chromatic.
The amount of theory you covered in such a short time, in such a simple easy to understand manner was just mind blowing! You've got some serious teaching skills!
16:02 Great brakdown of the concepts but the Bb and Ab are not from the chromatic scale (every note is technically from the chromatic scale, so that won't suffice), they're actually from Ab melodic minor scale (Ab Bb B, Db, Eb, F, G, Ab)... the 7th mode of melodic minor is used over V7alt chords (in this case, Ab melodic minor scale starting and ending on G can be used over G7alt chords). The lick over the G7 starts "in" with 3-5-3-1 but then has more of that "out" sound by implying it turns into G7alt with that b3-b9-b7 lick resolving to the 3rd of Cmaj7. I know it's a beginner's video but it's ok to give people a flavour of the variety of scales used. After all, you've gotta master the scales to be able to play proficiently. Source: Mark Levine's Jazz Piano Book
Nice approach!! in the last measure in the last example, the Bb-Ab-G-F pattern, I think it might be helpful to show how those "chromatic" notes are also upper extensions of the G7 chord though? That #9-b9 sound. Anyway, I like the overall approach again :)
While no where near as convenient, I just experimented with Band-in-a-Box and I can do the same looping, slow-down, transpose, etc. My "guitar-practice computer" is too old to run SongMaster, so this alternative will work in the mean time. Still, Thanks What's-Up-Brent. ;-)
Hey Brent, thank you for this! I've been going to jazz jams in my local town and have been feeling stale. I really appreciate this, and I'm off to practice your ideas now!
If someone told me 15 years ago to just find the modes that match the chord you’re playing, then flavor with a bit of chromatic spice…I wouldn’t still be watching these beginner videos 15 years later. God I feel dumb now 😅 Then again, never got to have any formal training and I’m a lifelong self-taught musician that always had to learn by ear and find whatever resource I thought useful at the time
I play the flute since childhood improvising everything by ear. Recently picked up on playing the piano. Im trying to harmonize melodies now that i can play lore than one tune at the time but im getting stuck with having to find out each chord using only my hearing. I know how to read notes and thats about where my theoretic knoedge ends. Would any of you be able to recomend me a book or some video here to get a basic understanding of chords so that i can actually follow these great videos? (E.g. in this video i read G7 and a Cmaj7 arent they both major? How can i know what which sign means? Is it normal for chords not to start at the tune in which they are written down (e.g. cmaj starting on E?) Thanks in advance!
Yeah but what happens when you need to play in Bb mixolydian or G Dorian for example? I know the answer but for someone who doesn't you've only told half the modes story.
Wow! That was simple and effective. Even for a piano player who already has a bit of experience, this introduction was smooth as hell. Especially the transition from the more formal and rule based functional harmony to the free chromatic approach notes and enclosures was very educative also for me. Great tutorial 👍
Absolutely brilliant exposition. I love understanding this from the bottom up, even though I'm not instinctively a jazz lover. I discover through this that I don't like enclosure at all, and that is an obstacle for my liking jazz. Nevertheless it's very satisfying to have the jazz language demonstrated and explained .
As well as how to also start to understand what jazz is all about, Today I learned what the actual names of the modes mean. Its so simple! Yet it sounds so complex and unapproachable if you're just starting out.
I didn't quite catch when the resolution is supposed to happen. Am I supposed to start each melodic phrase on a chord tone, or does it not matter where I start as long as I end the phrase on a chord tone?
Well done. I know all my scales and chords, but have been having difficulty starting with jazz theory. This is a really good introduction which demystifies what's going on with the licks.
Firstly, I will never be able to play this stuff, but oh, did that make a lot of sense. My only music education is 55 years ago at school when everything was 7 note scales in a major key (flattened third was just too sad). You have truly unlocked the other 5 notes for me.
Now it makes sense to me how those jazz guitarists utilize all those chromatic notes without sounding totally weird and off. This is one of the most valuable beginner jazz guitar lessons on TH-cam. Thanks a million! :)
No you're not dumb, you were never taught the language of music "theory" that is almost entirely Twelve Tone Equal Temperament SYSTEM, and they start teaching that in the middle too. Music edu is like getting spelling tests for 3 years and then they teach the letters of the alphabet and even worse there's about 4 skills to learn simultaneously treated as 1 skill instead of learning the 4 skills 1 at a time, good for extra misery IMO. See phone apps for; Sight Reading, rhythm training, ear training. SEARCH: Music Theory (12 TET is a language system like English or Japanese or German, no one calls any of them theories.) SEARCH: music interval names, know that a "third" is not a fraction, but a distance between 2 notes that is a count of tones between them that includes both ends. A "third" is 3 notes and a "fifth" is 5 notes and that is further complicated by accounting for different amounts of half tones between the two notes, terms like Major, minor, augmented, diminished, perfect, deal with those counts of half tones between two notes. I've left out the basis / inspiration of 12 TET of super simple Overtone Series as every one does out of extreme cruelty. There's also physics of music, few ever talk about the obvious and most important feature of knowing what is going on.
Such a great explanation. I'm a (new-ish) piano player who didn't want to learn classical, just Jazz and improv. I found this covered a lot of detail that others miss out. I'm assuming a good way to learn/practice this would be to do this exercise in all 12 keys?
Excellent! But, for people who is starting, I think it´s better to call the single notes in Arabic numerals (2,, 5, 1) and the chords in Roman numerals (II, V, I). Only to avoid confusions! Thanks for your channel!!!
Learn Jazz Standards Nice video, thanks! This is a real, not rhetorical question. I can play rock and some classical stuff and luckily had lessons at a formative age - really no substitue. But jazz has always been hard for me. BUT - I can hum or sing jazz riffs - convincing ones, with ease. Is it a good idea if I stumble finding the notes on my guitar, to merely hum the solos and then find the notes on guitar, on the theory that "anything you can hum or sing you can play?" Thanks.
I am a musician guitar 56years piano 25 I've been trying to break jazz no matter what I do you go to far from the rules it will be dissonant unless we wake up beatovin
So if chord progression is C, F, G , C Then we can start playing C note and find a path (using diatonic or chromatic notes but emphasize scale tones) to get to F note when the chord changes to F... then do the same from F to G and so on... would this be a correct way to think of it as a starting point? Basically play the root of the chord being played and find a way to the root of the next chord?
I like this approach quite a bit to 'understanding' these concepts. That being said I feel one thing what is left out is...LISTEN to a lot of Jazz to burn it in. All the ideas and theory in the world won't help you if you don't feel it. It's like knowing all the English grammar in the world without being exposed to English speakers. Similar to language, the rhythm of the music is what makes it unique to other forms. This you only get by listening and absorbing.
You're doing a great job at breaking it down for beginners, I love that! As a jazz-fusion guitarist myself I just wanted to point out that the Cmaj7 chord you're playing in this video is actually a Cmaj7/9 (because in the chord you're also playing the D note, 3rd fret of B string), also commonly known as Cmaj9 chord, if I'm not mistaken. Whatever, small details, probably irrelevant to the great points you explained in this video. Great job! 🙂
Hey George, glad you enjoyed the video! Something to be aware of is that if you look at a lead sheet for a jazz standard, usually you will just see chords labeled as 7ths, because it's assumed in jazz that you can add any of the possible extensions or alterations to those chords - the 9th being an acceptable one over a maj7.
Excellent, It really does give a good starting point to explore from. Can you tell me if it is preferable to resolve to the third on the downbeat? on the first beat of the bar? other beats of the bar? Thank you.
Thank you! It’s a great lesson. Would that principle when you are not thinking about what scale to play but how to resolve to the nearest guide tone apply to any chord progression or it’s only for 2-5-1s?
Hats off : i already know all the basics but this is, by far, the clearest, shortest and yet comprehensive introduction to Jazz. You nailed it and you deserve a big round of applause. Excellent.
This is one of the best starter improvisational tutorials I've seen! It even explained things I did not see (clearly) before. Well done!
Thanks! Glad it helped.
@@Learnjazzstandards Could you do a chord analysis of "Body and Soul"?
I recently learnt a lovely solo (I'm a sax player) and I've found parts of this song a bit challenging to interpret.
@@Learnjazzstandards Holly shit you are straight up the best jazz teacher , that I ever learned from! Thank you for teaching it made easy to learn, subbed
Agreed, very clear and concise
Agreed.
Teaching is an ART and you apparently mastered that art.👏🏿👏🏿👏🏿
Thank you!
Bravo, Brent. You successfully simplified, demystified and clarified how jazz lines are created. You did this by using just enough music theory to educate without overwhelming and showed how to get started on the journey of improvisation with practical examples that demonstrate what it sounds like to play over chord changes. This, teamed with guide tones, a heart to experiment and ears to imagine what they're about to play, can take a beginner to the next level in a short amount of time. I'm in love with jazz music (have been my whole life), and after watching this video, I'm eager to pick up my guitar and create something that sounds like what I feel.
This is a most excellent primer on jazz improvising!
Totally demystifying.
Your extraordinary generosity is very much appreciated, sir.
Thank you!
It's weird, I know the modes and can play them, and 2 5 1 chords, in all the keys on the piano, but I just never put it together that you play Dorian with 2 and Mixolydian with 5! Thanks for the enlightenment!!😁
What helped for me immensely, is to just learn jazz language, then make as many variations of it and apply it to the chord it is meant for in a tune. The best is when you learn ii-V-I lines, to just learn that piece of language for the ii, for the V and for the I seperataly (or how you spell it) Also when you do that, always sing
In the ocean of jazz, this is a beautiful boat launch. Thanks.
I really enjoyed your explanation. I would like to add something that I found to be helpful. If you are playing in the key of C major for example and you impose a G Major scale, you will shift into the Lydian mode. You're playing all the same notes except that the 4th note F is now #4 or F# and that provides a nice outside scale note that will pop out in the course of the improvisation. You can then shift back to the Ionian at any point to bring the whole thing back home. So when playing over a major chord try playing the major scale whose root is a perfect 5th above the key that you're in.
Another way of accomplishing this and adding additional color tones would be to play a major pentatonic scale a whole step up from the key of the moment. (or the minor pentatonic a half step lower than the parent key). If C major is the chord, play the D major pentatonic (or B minor pentatonic - same notes ). When doing this, the notes that would be emphasized would be B which is the major 7th of a C chord. D which is the 2nd (9th), E which is the 3rd, F# which is the # 4 ( # 11 ) and A which is the 6th (13 ). Since the pentatonic scale has no leading tone like a major scale, it works great. A D major scale for example would have a C# in it and that note played against a C natural is likely to set one's teeth on edge. Playing the D major pentatonic avoids that minor 2nd interval. So, in the key of C, think major pentatonic a whole step up.
Adding this to the arsenal of chromaticism that you demonstrated should get people visualizing jazz improvisation as something within their grasp.
Are the names of the chords in the intro are wrong or am i tweaking? not hating i just dont know whats going on?
Why talk about modes when the tonal center is crystal clear C major? This confuses beginners. It's more suited to just talk about starting C major in the root of each chord, as it outlines the guide tones of each chord.
Thank you. This is arguably the best improvisation video I have ever seen. No going up and down the scale. No copy/paste licks. Just musical theory and how to apply it. The most valuable thing is that the similar concept can be used for blues or any music, you just use a different note to resolve to the chord tones that's not chromatic.
holy shit, I finally start to understand jazz thanks to you. keep up the amazing work, you're a channel is a gem!
Thanks!
I can see (Some of) the light at the end of the first tunnel…
Wish I had this 30 years ago! This is inspiring me to pick up my instrument again. Thank you!
That's great!
7:21 'I always go to chord tones first before I talk about scales in general' not in this video though lmao
The amount of theory you covered in such a short time, in such a simple easy to understand manner was just mind blowing! You've got some serious teaching skills!
Thank you!
So really, in jazz, there are no "outside" notes? I love it, and subbed!
16:02 Great brakdown of the concepts but the Bb and Ab are not from the chromatic scale (every note is technically from the chromatic scale, so that won't suffice), they're actually from Ab melodic minor scale (Ab Bb B, Db, Eb, F, G, Ab)... the 7th mode of melodic minor is used over V7alt chords (in this case, Ab melodic minor scale starting and ending on G can be used over G7alt chords). The lick over the G7 starts "in" with 3-5-3-1 but then has more of that "out" sound by implying it turns into G7alt with that b3-b9-b7 lick resolving to the 3rd of Cmaj7. I know it's a beginner's video but it's ok to give people a flavour of the variety of scales used. After all, you've gotta master the scales to be able to play proficiently.
Source: Mark Levine's Jazz Piano Book
Nice approach!! in the last measure in the last example, the Bb-Ab-G-F pattern, I think it might be helpful to show how those "chromatic" notes are also upper extensions of the G7 chord though? That #9-b9 sound. Anyway, I like the overall approach again :)
Your teaching is really immaculate.....Keep it up brother 🥰🥰😍😍🤩😊😊
Thank you so much 😀
While no where near as convenient, I just experimented with Band-in-a-Box and I can do the same looping, slow-down, transpose, etc. My "guitar-practice computer" is too old to run SongMaster, so this alternative will work in the mean time. Still, Thanks What's-Up-Brent. ;-)
This is literally the best starter video to explain improv I've ever seen! I will be using it to teach ! Thank you!!!
Hey Brent, thank you for this! I've been going to jazz jams in my local town and have been feeling stale. I really appreciate this, and I'm off to practice your ideas now!
You have a gift for teaching!!!
By the way, the Dmin7 chords sound like Dmin9 when you play the guitar. Is that correct?
If someone told me 15 years ago to just find the modes that match the chord you’re playing, then flavor with a bit of chromatic spice…I wouldn’t still be watching these beginner videos 15 years later. God I feel dumb now 😅
Then again, never got to have any formal training and I’m a lifelong self-taught musician that always had to learn by ear and find whatever resource I thought useful at the time
I play the flute since childhood improvising everything by ear. Recently picked up on playing the piano. Im trying to harmonize melodies now that i can play lore than one tune at the time but im getting stuck with having to find out each chord using only my hearing. I know how to read notes and thats about where my theoretic knoedge ends. Would any of you be able to recomend me a book or some video here to get a basic understanding of chords so that i can actually follow these great videos? (E.g. in this video i read G7 and a Cmaj7 arent they both major? How can i know what which sign means? Is it normal for chords not to start at the tune in which they are written down (e.g. cmaj starting on E?)
Thanks in advance!
Yeah but what happens when you need to play in Bb mixolydian or G Dorian for example? I know the answer but for someone who doesn't you've only told half the modes story.
This video has cleared up 30 or 40 years of confusion for me. Holy cow, dude. Thank you!
This is absolutely the best jazz improvisation tutorial out there! Thanks for this...I'm off to practice!
Awesome! Thank you!
Wow! That was simple and effective. Even for a piano player who already has a bit of experience, this introduction was smooth as hell. Especially the transition from the more formal and rule based functional harmony to the free chromatic approach notes and enclosures was very educative also for me. Great tutorial 👍
Thank you! Glad you like it
That C chord shape sounds pretty clunky in a nylon classical guitar if you strum it.
Very comprehensive yet highly understandable. One of the best lessons I've seen to date.
Very good!!!!
this was a good video!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Absolutely brilliant exposition. I love understanding this from the bottom up, even though I'm not instinctively a jazz lover. I discover through this that I don't like enclosure at all, and that is an obstacle for my liking jazz. Nevertheless it's very satisfying to have the jazz language demonstrated and explained .
Knowing it is one thing.
Knowing how to explain it is something else.
You lost me after about a minute and a half.
Agree with Alex Jones' comment. Excellent starter. Finally something I can share with people who don't understand how Jazz works.
Thanks! I appreciate that
As well as how to also start to understand what jazz is all about, Today I learned what the actual names of the modes mean. Its so simple! Yet it sounds so complex and unapproachable if you're just starting out.
I didn't quite catch when the resolution is supposed to happen. Am I supposed to start each melodic phrase on a chord tone, or does it not matter where I start as long as I end the phrase on a chord tone?
Well done, bright clear, thank you for this video👍👌
You are welcome!
Well done. I know all my scales and chords, but have been having difficulty starting with jazz theory. This is a really good introduction which demystifies what's going on with the licks.
Glad it helps!
Very pedagogical approach.. understandible and simple as anybody can progress it's skils..Thank you
You are welcome
This is so good. It shows step by step how jazz improv is put together. Almost like a mathematical proof. Thanks so much
Great lesson for entry level guys like me.
Firstly, I will never be able to play this stuff, but oh, did that make a lot of sense. My only music education is 55 years ago at school when everything was 7 note scales in a major key (flattened third was just too sad). You have truly unlocked the other 5 notes for me.
I'm glad it helped!
Certainly the best jazz 🎺 lesson I've met online. You're a fantastic teacher. Greetings from Kampala and God bless. 😊😊👌👌👌
Thank you! 😃
always even numbered notes to slide up or down to odd numbered notes ?
So do you just play the important notes in the chords scale
Like others, we know this, but reinforcement is never done!
Now it makes sense to me how those jazz guitarists utilize all those chromatic notes without sounding totally weird and off. This is one of the most valuable beginner jazz guitar lessons on TH-cam. Thanks a million! :)
This goes a LONG way to demystifying Jazz. Very good stuff.
Thanks!
I must be dumb, because I still don't understand. The thirds, halves, naturals... too much nomenclature for me.
No you're not dumb, you were never taught the language of music "theory" that is almost entirely Twelve Tone Equal Temperament SYSTEM, and they start teaching that in the middle too. Music edu is like getting spelling tests for 3 years and then they teach the letters of the alphabet and even worse there's about 4 skills to learn simultaneously treated as 1 skill instead of learning the 4 skills 1 at a time, good for extra misery IMO.
See phone apps for; Sight Reading, rhythm training, ear training. SEARCH: Music Theory (12 TET is a language system like English or Japanese or German, no one calls any of them theories.) SEARCH: music interval names, know that a "third" is not a fraction, but a distance between 2 notes that is a count of tones between them that includes both ends. A "third" is 3 notes and a "fifth" is 5 notes and that is further complicated by accounting for different amounts of half tones between the two notes, terms like Major, minor, augmented, diminished, perfect, deal with those counts of half tones between two notes. I've left out the basis / inspiration of 12 TET of super simple Overtone Series as every one does out of extreme cruelty. There's also physics of music, few ever talk about the obvious and most important feature of knowing what is going on.
You're indeed the best online jazz insructor. Your explanation is easy to understand. Thank you for sharing your skill and knowledge
This is bloody brilliant. Well done. Exceptional.
WIsh TH-cam had a "love" button!
This is the grammar of music and this is where I fall
Seriously good. Thank you.
Those are not fancy names they are Greek scales.
Wow, this was just great. You demystified jazz for me.
Awesome!
Such a great explanation. I'm a (new-ish) piano player who didn't want to learn classical, just Jazz and improv. I found this covered a lot of detail that others miss out. I'm assuming a good way to learn/practice this would be to do this exercise in all 12 keys?
Absolutely! Thank you for your feedback
Bradley Bradshaw's brother?
Brilliant explain👌👍👍💪 Thanks!!
This channel is fucking gold
This was great! Absolutely clear. I learnt a lot.
Thank you!
Great to hear it, thank you!
Excellent! But, for people who is starting, I think it´s better to call the single notes in Arabic numerals (2,, 5, 1) and the chords in Roman numerals (II, V, I). Only to avoid confusions! Thanks for your channel!!!
Hmmm: very interesting video!
Great lesson thanks Brent!
amazing
Thankyou!
Learn Jazz Standards Nice video, thanks!
This is a real, not rhetorical question. I can play rock and some classical stuff and luckily had lessons at a formative age - really no substitue. But jazz has always been hard for me.
BUT - I can hum or sing jazz riffs - convincing ones, with ease. Is it a good idea if I stumble finding the notes on my guitar, to merely hum the solos and then find the notes on guitar, on the theory that "anything you can hum or sing you can play?"
Thanks.
4:08 yeah it's me ! what do you need ? :)
Great teaching ! By the way I love your guitare ... what is it please ?
Thank you very much! It's a custom-made Victor Baker. You can find the details in this video: th-cam.com/video/ym2XbAVD9Ec/w-d-xo.html
Excellent. Thanks
Great lesson, so much to learn here. Thank you Brent!
David baker lick! 13:51
I am a musician guitar 56years piano 25 I've been trying to break jazz no matter what I do you go to far from the rules it will be dissonant unless we wake up beatovin
you are amazing
So if chord progression is C, F, G , C
Then we can start playing C note and find a path (using diatonic or chromatic notes but emphasize scale tones) to get to F note when the chord changes to F... then do the same from F to G and so on... would this be a correct way to think of it as a starting point? Basically play the root of the chord being played and find a way to the root of the next chord?
Thank you so much. This was a very helpful explanation for me. I like your videos.
...the best kick off jazz impro tutorial I've ever seen, even it's so easy. That's maybe because it's braught out just simple and straight.
Congratulations!
I like this approach quite a bit to 'understanding' these concepts. That being said I feel one thing what is left out is...LISTEN to a lot of Jazz to burn it in. All the ideas and theory in the world won't help you if you don't feel it. It's like knowing all the English grammar in the world without being exposed to English speakers. Similar to language, the rhythm of the music is what makes it unique to other forms. This you only get by listening and absorbing.
are you a genius or what?👍
Try as I may, I somehow just can’t get myself to sound wrong enough to pass for Jazz. 🤪
You're doing a great job at breaking it down for beginners, I love that! As a jazz-fusion guitarist myself I just wanted to point out that the Cmaj7 chord you're playing in this video is actually a Cmaj7/9 (because in the chord you're also playing the D note, 3rd fret of B string), also commonly known as Cmaj9 chord, if I'm not mistaken. Whatever, small details, probably irrelevant to the great points you explained in this video. Great job! 🙂
Hey George, glad you enjoyed the video! Something to be aware of is that if you look at a lead sheet for a jazz standard, usually you will just see chords labeled as 7ths, because it's assumed in jazz that you can add any of the possible extensions or alterations to those chords - the 9th being an acceptable one over a maj7.
@@Learnjazzstandards Very true, great point, but most beginners are probably not aware of it. ;-)
Really great synthesis, maybe some purist is disturbed when you reveal his "secrets" ;-)
Excellent, It really does give a good starting point to explore from.
Can you tell me if it is preferable to resolve to the third on the downbeat? on the first beat of the bar? other beats of the bar? Thank you.
If chromatic scale could be used over any cord why do musicians even talk about any other scale?
Wonderfully explained, well done!
Many thanks!
Thank you! It’s a great lesson. Would that principle when you are not thinking about what scale to play but how to resolve to the nearest guide tone apply to any chord progression or it’s only for 2-5-1s?
What an eye-opener. Thank you!
Glad you enjoyed it!
You're great! Thanks!
Thank you too!
Who is this guy?
Thanks 🙏 ❤❤❤❤
Brilliant! I get it now!! Thanks
Great! Thanks
best explaination, thanks so much
Glad it was helpful!
Its so crazy the enclosure example sounds so out of place, but in context it completely changes
2nd year into playing guitar and I actually understood all this :) Well done.
That’s a huge compliment, thank you!
Secondly, great intro lesson. But... Firstly, DAMN, that is a great sounding guitar!!!! Holy moley!!!
Thanks!
Now that's what I call a breakdown of how it's done ... Simplified thanks Brent 🎸