Jazz Standard: Autumn Leaves - Harmonic Analysis (Guitar Lesson JA-522)
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- เผยแพร่เมื่อ 11 เม.ย. 2014
- Guitar Lesson Tutorial: Autumn Leaves -
More Info: www.justinguitar.com/en/JA-520...
In this guitar lesson we'll be doing a harmonic analysis of the jazz standard Autumn Leaves, popular one for people getting into jazz. LOTS MORE INFO ON THE WEB SITE including recommended listening, tip sheets and much more! Hope you enjoy them!
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This is my first introduction to harmonic analysis in jazz... loving the theory and the pace and depth you're getting us into it. Thank you so much. I'm really looking forward for more.
Justin, you're a legend, honestly! I found you 10 years ago, and now i've been through all the Jazz theory, coming back to your simple and clear explanations is invaluable whenever I need to check over something is just great. You should get an award for the best online guitar teacher!
Thank you so much for this! I've know the scales and chords for years, but never understood where the 'not in the scale' notes and chords came from! So kind of you to present this, and so skillfully done.
A lesson MASTERPIECE! Well done Justin!
such a great help. I really appreciate you taking the time in these free videos for ppl like me to benefit around the world. Im finding my love for jazz guitar after playing classical music for years. this is awesome!
THAT was a lesson.
Wonderfully explained. Seriously, you have the gift.
Thank you, Justin, and keep up the great work!
Oh man that's great, thank you so much for that, been waiting for this type of analysis forever, my sax teachers have never been able to explain that to me so clearly.
An info worth a million
You just answered about 5 questions that I didn’t even know I was asking. Just want you to know that you have the best guitar channel on youtube. Thanks a boat load.
WOW! I have to say, I took a course (Jazz outreach program) at Sydney Conservatorium and we studied this song! and I was still baffled to this day and you just made me understand it in literally minutes!!! You're great mate!
Excellent analysis, thank you.
Incredibly helpful, I can't thank you enough!!!! The modal interchange explanation makes so much sense and solves so many mysteries for me. THANK YOU!!!
Nicely presented Justin
Amazing. Thanks!
Wow! A really good explaination about how to use the scales on this song! I like this song and played it very often. Now I'm looking forward to get more usefull hints on this or other songs. Thanks a lot!!
Very good, thanks!
Great explanation Justin! Yes, it's difficult, but I love the way you do this (and other video's as well). I am a fan. Indeed, I agree, a little theory is necessary, but then it is all about listening, sounding good and having fun! In the beginning you must practice, practice and practice. In the end you will enjoy. Thanks!
Thank you so much Justin!!! You are the best.!!!
This is a fantastic lesson. Cheers Justin!
Really great! The explanation is really detailed and makes sense. Thanks Justin
Very educative, thanks a lot
You broke down a number of things I had hang-ups on. I appreciate this video very much. The theory is starting to make much sense to me now and I think you explained it as you would to a baby. Thank you so much!^^
Love these harmonic analysis videos!
I would like to thank you for the great video and lesson you gave me! Thanks for the time you dedicated to it!
Big thanks Justin, just what I needed.
Thanks for these videos 👍😊 This was fantastic and very useful!
Amazing lesson, Thank You.
Everything is so clear.
Thank you Justin. The best guitar tutor I have ever known
What a great lesson! Thank you very much!
Wahou ! What a lesson ! Really interesting and well explain... i imagine that is a hard stuff to explain by video... for me it's work i think... i'm trying to apply it to an another easy jazz standard to see if i had understand. ..... thanks a lot !!
Justin, your blackboard explanation is very helpful.
Excellent analysis, btw. Really well done and really helpful. Also liked the bit about playing the chords as arpeggios. Good warm up and practice drill as well.
Awesome lesson!!!
Great lessons, thanks.
Great. very useful and well explained.
Great lesson !
Really cool. Starting jazz guitar. Bringing back my old piano theory. Interesting . Cheers
thank you so much for this, you're very informative and so helpful
amazing teacher!
Thanks Justin, you help a lot
Great decoding!
Thanks really much man!! I really liked it, and I learned a lot :)
Great Stuff, Thanks
Great lesson, thank you. The Melodic and Harmonic minor description gave me a “why didn’t I make that connection” moment. I’ll look 👀 at them differently from now on. Thank again, mate. Cheers
Nice done Justin
Excellent!!
Thank you very much Justin! :D
Thanks a lot for these great lessons Justin. I'm a flamenco player and I want to improve my knowledge on harmony and understand better whats going on. I've never studied theory and sometimes my brain really starts to hurt(like you always mencion) But your and other channel are a big help! Thanks a lot mate and keep em coming!
excellent explanation!
Hola,Justin. Desde Santiago de Chile. Recibe un cordial y atento saludo. Excente exposición. Gracias . Vida al Jazz por siempre.
cool lessons!
Thanks! You are a great teacher I think
Muchas Gracias !
Thanks Justin, it is pretty hard to grasp the first time. We need the encouragement. Like anything, you have to do it again and again before the light comes on.
Thank you so much sir for these lessons
It's a pleasure. Cheers 😊
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Yeah dude, more of these please!
Thank you sir!
More of these analysis' would be awesome!
I have found justin to help me more than anyone else
Super lesson. A bit over my head, but a great lesson to come back to again until I have got it all down. The good part is that I can see what more I need to do to grasp it, it is not too far away to figure out. I had heard people mention changing keys, like five or so times in "All the Things You Are", but I never understood how they knew the key had changed, or why it helped to know that. Thanks again.I will check out your basic music theory book. I suspect I know a lot of it, but enough will be new to make it worthwhile. In live lessons, I have paid more for almost nothing to take away.
Thanks!
A little added evidence in support of using Harmonic Minor over B7b9 in that third to the last measure is the use of the
G-natural note in the melody.
Wonderful Video! Thank you!!
this got me a bit confused as F (which would be the 2 in E harmonic minor) is in that measure as well. Any thoughts on that would be really appreciated!
I have never heard a better way of explaining this stuff, this video is great.
I finaly get it :-)
Pal! i used to be a tenor sax player...now i´m playing guitar with more solid theoretical approach to the intervals...and this is very usefull and well explained....and free! unbelievable! so pls keep working on this lessons you have talent for teaching!!! chears from Argentina! Sorry for my poor english!
Justin .GOOD .
You're a great teacher and you kinda look like Norm MacDonald the comedian/actor!
bassist here, this one lesson blew my mind in a good way. I've wondered for ages how modulated between keys works and im starting to get some answers,
I am not an educated musician, but this lesson has really added great value!!!
Please keep the Jazz Standards coming Justin, so good
Joel French , do you know that name of the book?
I've been looking at Autumn Leaves recently. I'm looking forward to watching this video through in it's entirety later today!
Did you?
More of this!
thanks!
hey Justin great! video thanks a lot; very well explained. Can you do the same analysis with Donna Lee please?!
hy very helpful Harmonic Analysis. You should post this kind of analysis with another standards jazz because help a lot thanks
Great lesson. Thanks I've got a lot out of it. I've noticed that there are quite few different ending passages out there in the sheet music for this tune -- I have one with a chromatic descending sequence from E minor to CMaj7 before the B7b9 to E minor cadence. I guess they could be subs for the A7 section though. As to the G#, it could be heard as part of an E7#9 chord which is a good sub for the E minor as you can play minor pentatonic over it with the regular minor third and it sounds fine ('cause that's in there too). Joe Pass subbed a 7#9 in for a minor in some contexts.
Your are by far the best educator on the web, thank you . But could you use lower case roman numerals for the minor chords and upper case roman numerals for the major chords?
Please do more of analysis' of jazz standards, it's really interesting.
Excellent class. Thanks. Past the aspirin.....
Excellent video!
I just need to ask, what about the versions that include a chromatic walkdown from E-7 to Db7 instead? How can I analyze that?
Thank you very much!
I like the humour in the story about the guys sitting in the audience appreciating the use of the half whole diminished scale although it doesn‘t sound good 😂
Thank you very much...it has been very useful for me to understand how the menor 251 was built...i also tend to see this piece Mainly in e minoría moré than in g major, as it has this minor feeling ...is there any theoretical reason for you to do so¿or just to make it easier¿ thanks again
I did manage to learn s few thing on this one even though it's over my head! Over time I will master it!!
So did you master it yet?
@@shikhindahikar8488 In term of music theory yes, In terms of the mechanics, I' afraid not! But , I'm still learning. In fact I'me strapping n my guitar right now!
thank u
great guitar knowledge, easy to follow, I wish I could have you as an uncle, (Uncle Just) your a great teacher , you really know your stuff. I just have one question......Can you do the chords to Visions by Stevie Wonder? But again Im lovin what you do..Thanks!!
I'm just starting the video and looking forward to Jason's comments but here's a fun fact. His sheet music is from the Real book which I have but I have read online that most professional musicians play this tune in Bb. This is probably the first jazz tune I hav given serious attention so I have both versions. Now back to Jason....
like? No. I LOVED this lesson!
This was very helpful. I learned a lot. Thanks!
Excellent vid. Thanks Justin. Really well done and very helpful. And the song IS G Maj...not E min.
Lost me this time Justin, but it's certainly interesting I will share this video with some friends
That was the best explanation of harmonic analysis ever. Also, I never realized a harmonic minor was there for building harmonies(to get the V chord in there) and the melodic minor was used to build harmonies but it's obvious once you explained it that way. I learn so much from you Justin. BTW, I get now the harmonic minor is there to get the V chord in the scale but what specifically makes the melodic minor better for building melodies?
before i explain, some scale theory:
harm. minor: 1, 2, b3, 4, 5, b6, 7, 8
mel. minor ascending: 1, 2, b3, 4, 5, 6, 7, 8
mel. minor decending: 1, 2, b3, 4, 5, b6, b7, 8 (which is just the natural minor)
some would say the minor third interval that exists between the b6 and 7 of the harmonic minor is too wide and a bit awkward for melody lines, especially in vocal music (it's sounds phrygian). so, back in the Baroque days, they took that b6 and raised it to its major equivalent, thus birthing the melodic minor. because the only difference between the melodic minor and the major scale is the b3, they also converted it to a natural minor when going back down the scale to retain the minor feel. however, today many jazz musicians will use the ascending melodic minor pattern in both directions to great effect so it's really just a matter of taste if you want to go up melodic and down natural. hope that helped :) feel free to ask another question
Which book is in this video ? Or did you do the booklet (found it the realbook Hal leonard)
Hi Justin, first of all thanks for taking time to teach the guitarist community.
Just a quick one (I hope), why do you mention B7 is not you expected for a III chord, but you take E- as your VI chord when on your tip it says E-7 ?
Cheers
I really recommend you guys study the berklee books on harmony. There are four, and they describe a method for analysing any chord progression and knowing how it relates to the melody. You can analyse almost any jazz tune with that method, and it will help you to improvise and to write your own tunes. Also check out Mark Levine's book "The Jazz Theory Book", i love this one even more, because it describes almost every tool used by the greatest jazz musicians and gives examples on every single subject, refering to a classic recording each time. But remember none of this will help you much if you don't learn songs by ear and transcribe!
Justin I have heard people say this song should be thought of as in eminor not g.. not just on this site.. did the original writers ever discuss this... that would seem to be the authority. oh yes the only way this works is a direct quote. btw I worked out the four note chord for the distonic chords of emin harmonic. also I totally agree that to be true to the song the half dimished scale does not totally fit with the song. I am not a fan of outside playing for the most part, but it does perk up the ears. I have subscribed to your channel.
I really enjoyed the analysis (and learned something)! Thanks so much
Can you tell us some of your favorite versions of this tune?
How about looking on the web site as suggested?? you might find them there and a whole lot more! ;)
good job. I leard this song (bass player) according to this chords and today I wanted to play it with my friends but didn't work at all, because everybody plays it in Bb major
Just a quick thought to help un-confuse those who are lost. When using Roman Numerals, I IV V etc (capitol letters) represent MAJOR chords, and when correctly notating, one should use ii Vi Vii (small case letters) for representing MINOR chords. If you are confused about chart notation, perhaps this might help. Sorry Justin if I stepped into your limelight here. Didn't mean to intrude.
There are a few different methods of doing a harmonic analysis. You are using the classical method which is using lower case roman numerals for minor chords. When analizing according to the contemporary and the Jazz method you use capitol roman numerals with extensions like min7 or -7 ,maj7...used to give more detail about the specific chord quality. So i´d say his notation is right in this case, as he`s analizing Jazz :) .
12tone has made an excellent video on why it has been practical to use upper case and lower case Roman Numerals for Major and Minor Chords in the past, however he and many others tend to use additions like IVmin nowdays. Is it a big Deal? No. May it be confusing? Most certainly. Please check out his video if you want to find out more.
A fun one to dissect. The first note and follow it. The lyrics are a bit somber and some of the renditions seem a bit peppy.
Thanks for the video and the page man! I have a question, wouldn't it be simple to just look at it from the key of E minor? Thanks!
+Daniel Alberto Gutiérrez Stewart This is a good question. I was thinking the same thing!
It is in E minor, the first three chords are 2 5 1 in the relative major of G major. It flips back and forth and ends on the tonic chord E minor.
This answered some issues I was having with songs being written in "a key" but never played by the rules. I know that the "rules" arent really rules, I need to try and avoid falling into that assumption! But this raises even more questions...How is a song like this written? Are they using theory to find what chords they can use because they want to change key now (for whatever reason), or did they just stumble upon good sounding chord progressions and now were explaining why it works after the fact?
More than likely after the fact. If you look into the history of the song you'll find that a French writer had written the poem, (for the French Version - Mercer wrote the english lyrics). I guess the poem was part of a play which became part of a screenplay and a composer was commissioned to put the words to music. So, he probably broke the original lyrics down metrically and then it was probably an intuitive process with the feel of the imagery of the poetry.
Well, i know this is an old comment. The way that i understand it is that when you change the key you are using notes that aren't in it. The more "odd" notes you add, the sourer the sound will be. A theoretical approach for key changes is the circle of fifths (or fourhts), where you add only one note at a time. Here for example, we are in G major. The key changes with the less additions of new notes are the changes to the major key of the fourth (C) and the fifth (D), which is the case here.
thank you justin.. take notes youtube teachers..