How to Analyze Chords - Essential Jazz Theory
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- เผยแพร่เมื่อ 28 ธ.ค. 2024
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When you made the mistake at the G major key change I questioned everything I knew about music theory; until you corrected it of course lol
@fjf sjdnx ja ja ja ja
SAME LOL
Hi Jeff. I just stumbled on your video. You're so right! My jazz teacher turned me on to this secret years ago... Jazz guitarists don't think in terms of single chords; we think in terms of locked blocks of chords! Even to this day, when my band (I play for the GC Swing Band) tosses me a new tune's chart, the first thing I do is dissect it just as you show in this video. I also have "cheat cards" that I carry in my chart case, that I use when our band leader throws us a curve ball and wants us to play a song live that we've never rehearsed. By using this method, I can improvise a guitar part on the spot. Works like a charm. Your videos are golden. Keep up the good work.
I'm musically in love with this dude. One of the best teachers here
hahaha thanks!
Good lesson! I think C+7 at 10:00 is not considered as V/VI in Ab, but with that "+" it's a pure dominant (V-I progression in the Fmin harmonic key). G7 at the end is the secondary dominant of C7 which is the secondary dominant of Fm7 (V7/V7/VIm7)
Fortunately there are at least 2 ways to describe these.
Yours is valid, and so is viewing the C7#5 as V7/vi, plus the voice leading to the key is good also insofar as C7#5 has the tonic of the key, Ab in it (enharmonic G#)
C+7 C E G# Bb
I figure you mean perfect cadence when you say "pure dominant," but most, in my experience only, don't say "in the key of F harmonic minor" unless you're speaking of a modal song, in which the song is only using harmonic minor, then, in that case, that is appropriate/easiest description.
And the G7 C7 Fm7 is a cycle of fifths common in jazz harmony and turnarounds, to me at least.
I like to think the G7 at the end is just the secondary dominant of the secondary dominant (C7)
yes, I think it's called the V of V
Qyniuq exactly
so essentially, the V of the V of the VI? or am I totally wrong? (student probs)
Yes, Five of Five.
actually it's the V7/III, C is the 3rd in Ab
I spent a couple years in music college but had to withdraw due to nerve damage in my fretting hand. Still, my comprehension wasn't where it should've been and that always sat poorly with me. I've always wanted to go back and complete my diploma and your videos are really helping me get there. I've subscribed and I've been more actively studying than I have in years. Thank you for helping me stay invested in the academic side of music.
Did you guaduate now??
@@mistersalmon555 Wow this feels like a lifetime ago. I ended up completing an environmental science degree instead. However I have certainly moved much farther forward with my music career as I now own a small studio and have resumed my private studies as a bassist. Now I'm going to have to rewatch this video what a treat, thanks for the reminder.
@Rendell05 sounds dope man! Congratulations on your environmental science degree! 👏
Really great stuff here. The key changes walk up as the 1, 3, 5 and major7 of Ab. Ab, C, Eb, G. That's deceptively simple. The key change to E can just be thought of as the #5 of Ab. This last radical key change leads back to the tonic so that is easy to remember. I like the analysis below that the G to C at the end is really the 2, 5 of F minor, the 6th of Ab as you mentioned. Thanks for clearing a lot of stuff up. I never knew how to diagnose modulation so easily.
The version in the latest Real Book uses G-7b5 and C7b9 in the last measure turn around to to top. Sound pretty good. This lesson was excellent and really helped with how to interperate the fake book sheets. Thanks, Jeff
Terrific analysis of "All the Keys There Are"!
Thanks, Richard. Glad you liked it!
Thanks for this. I've been playing rock and roll and blues all my life and I'm trying to get a grip on jazz. This really helps me on how chord progressions work. Thanks God bless, rock on.
Jeff, this is a great video. I had never really understood this song before, I'm glad I took the time to see this video. It's actually quite interesting to see how simple and yet complex this song is. I mean, first, if you take the modulations, they have the form of an arpeggio, don't know if you've noticed it. It goes "Ab-C-Eb-G". Second, it's just thirds and sevenths! I mean, IT'S JUST THIRDS AND SEVENTHS! You start with an F-7, third note Ab, which is the seventh of the next chord, Bb-7, and then go to Db, which is its third.
I'll really start practicing improvising with only thirds and sevenths after that...
Again, great video! Cheers, mate xx
Ramon! Those are great insights. Music is amazing, isn't it? Thank you for your comment and for watching. Good luck!
good to have you around!! Thanks Jeff
Glad to be here ;)
Excellent breakdown. A lot of this stuff most people may know BUT it's how you condense it and 'spoonfeed' it to us makes your clips very informative!
Great job here. I think the final G7 C7 can be envisioned as the cycle of fifths leading back to the F7 at the start of the tune, which is part of that cycle.
You make a lot of sense that has completely been overlooked in all my years of guitar playing. Thanks
Jeff's a great teacher, saxophonist, and composer!
+Warren Keller Thanks for the kind words, Warren!
Hey Jeff, I really like your videos. Straight, to the point, and very easy to follow. Just wanted to let you know you're doin' TH-cam right!
Nice analysis! In my charts, the ending is G-7b5 and C7b9, which makes it a minor 2-5-1 in Fm. So in this case, I'd consider it a Fm: II7 V7 Im
There’s FINE at AbMaj7 put it the score. The last measure (G7 C7) it’s simply a turnaround to go to the head again and again. The song is in Ab. 😉
There's a joke I've heard several times that jazz is just (VI)II V I but I never really understood how true it was until I understood changing tonal centres - excellent video!
It's amazing how you manage to explain that all in so clear and simple manner! Cool, mate!
This is great! It would be nice to hear the chords when you talk about those progressions and key changes. So, moving on to the improv part: what scales and modes would you use, and when would you change them? Only when the key center changes?
I like to think of the G7 in this context as leading to the C7 in the last bar, which in turn leads to the F minor. Sure, the C7 is not the root, but there is still a strong V-I pull there in the turnaround...Kinda like the blues where you have 1-4-5 movements, but the chords are all dominants.
It does indeed lead to the C7. We can call it a secondary dominant aka V7/V
Jeff Schneider that is what I would have called it. It was interesting to see that you called it the II7/VI as I'd never even thought of it that way which reminded me of why vi, ii, V, I works.
Thanks Jeff your analysis makes sense to me more especially the secondary dominant which are some what very tricky.
Glad to hear it Andile!
This was a very helpful video Jeff. I'm taking jazz piano and this is one of the important tools that I am learning. I'll check out your other videos to see if they apply to jazz piano as well before subscribing.
I followed it Jeff, very great fast work you make of it. Thank you
Love your videos Jeff. I think it would be easier to simply describe the progression as a basic circle of 5ths progression throughout (or circle of 4ths) depending on how you count it . The chords that don’t fit in the original key e.g the first G is simply a continuation of the cycle but the 3rd of ‘G’ has been raised to create G major (instead of what should be (Gb major) this is because the melody allows it. The circle then continue until the Cminor 7 which is simply a C with the 3rd flattened (because again the flattened 3rd occurs in the melody). The circle then continues .....etc. Anytime there is an accidental in the music the composer simply uses it as an opportunity to modulate and then continues the cycle of 4ths. The ending is just a chromatic drop from Ab to G then finishing on the Subdominant (IV) of G again ending with simply a cycle of 4ths.
Thanks, this is very clear. Where can I find some examples of this? Please let me know
Great video Jeff, just watching this make a whole lot clear, this is the first video of yours I've come across I must watch your others.
Thank you Reuben. Glad you found me!
This is a perfect analysis.You should do more like this.Thank you for this upload.
This is just what I needed. As a follow up, can you give a brief example of how to solo through the Key changes. Thanks Jeff.
Great stuff man. TO understand the song and improvise freely you need to do this..thanks for reminding me.
Jeff..great VIDEO. I use the descending minor 3rd rather than counting up a major 6. very fast hack. it's also just a half tone lower than the b7.
I knew this song modulated a lot, but this makes it into a complete jazz lesson. Thanks!
Really great video, and even though a lot of people would consider this nerdy, personally I enjoy it a lot and I think you should have more videos like this. You should have at least a million subscribers with content this good, so hopefully you get there someday.
Very well done. Totally makes sense. If I had this in my youth I would have jumped ahead at a much quicker pace. Keep on with your teaching. You have a good talent for it.
Woooow This is literally the song I have been trying to learn!
Nice clear approach (mostly) considering the complexity of this progression. One thing you could add is giving us the Chord sounds on a piano as you work through it so we actually hear what's going on. After all, these concepts allude to sound and harmony and we should be developing ear skills and translating notation into sound. Nice work.
I watched a minute of this video like a year ago and stopped lol. It’s making a lot more sense now
If C+ is the V/VI, that's in the key of Ab, so maybe better to show the return to Ab at that point, otherwise it looks like you're saying C+ is V/VI in Eb still.
Maybe your bIIIdim7 could better be seen as a VIdim7. That way you get VI II V I (in which case it would rather have been spelled Fdim)
Your videos rock!
Diatonic means : Within the MAJOR scale built from the Major scale to create the chord formula: Maj min min Maj Maj min Dim. All chords are built & constructed with Major 3rds (2 whole steps) and/or minor 3rds (1 1/2 steps).....thus DIA which means 2 and Tonic which means "tone" TWO tones are used to build all of the chords creating the "DIATONIC" chords in the Diatonic chord progression as built from the Major scale which is also a series of whole steps & half steps making the Major scale formula of : Whole Whole HALF Whole Whole Whole HALF.
Jeff Schneider = Pure inspiration !
+Tobbe Bergman Thanks, Tobbe!
I'm italian. I understood almost all. Great tutorial. Thanks a lot!
Thanks, Jeff, for the really insightful lesson. Cheers!
Have no idea what youre talking about YET but im thankful it is there for future reference :-)
Jeff / all other online teachers - 300k views - its a clue that doing this type of clear analysis on the top 50 jazz jam tunes would lead to millions of views! Ok get to it. -)
I wish i had known your channel early!!! At least, I have learned it all by myself. Your lessons are simply very interesting and sick!!!!
Thanks, Ian. Glad you found me!
Wow. Amazing lesson. Need to go back to basics with learning all the keys before doing this.
Hi Jeff, I was wondering if you could comment on whether there is any 'protocol' / logic / etc, in modulating to the new key. What I mean is that the first new chord (ie. in bar 6, the G7) seems to have no relation to the old key and yet still works. Is it simply that the following chord(s) give it its new home - and hence you could go pretty much anywhere and it may or may not jar but it doesn't matter cos it irons out after the fact? So, can you go anywhere you want like this, or is there a bit more to it? (is the fact that it usually changes key centre by a third relevant, or just a coincidence you use as a memory tip?)
play and find out!
Thanks Jeff, you always make everything easier. I appreciate your knowledge
What did you do to make your mouse do that circle thing? Thanks
hi, I think dominant7 posibilities are V7(so si re fa) and III7(mi so# si re). So G7 is also III7 in C minor. C minor key is not so far from A flat major key(A flat (4 flats) to E flat(3 flats)).
Nice video and great explanations, and hey not one dislikes yet! In addition to reading charts I would like to learn about common jazz soloing tricks, patterns and approaches as well.
For sure! Explore my channel to find some tips along those lines, and be sure to subscribe so you're notified when I do more soloing tips in the future. Thanks for the comment!
Classically that last G would be the V of C which is the V of F-. A sequence of dominants resolving to another dominant for continuous key changes.
George Gorbs It's like that in jazz as well, don't know why he didn't say that
Excellent explanation. Very helpful.
What many music teachers have failed to teach me, you did in just 15 min. Thanks :)
+CO8izm Happy to help!
Very helpfull, very good explained. I would like to see en learn what happens when a song is in minor or in a different mode (Dorian, lydian etc).
fantastic video!
Thanks!
This was really good! The C+7 should be a C7b13, that way the dominant chord retains the perfect 5th. I think if you alter any of the chord tones of a dominant chord, then it is no longer a dominant chord and therefore can't fulfil the role of a dominant chord. Rather than just raising the fifth, simply re-write the chord- while still employing the oddness of the #5, except now it's a (b6)b13, crucially you have your dominant chord plus the unusual tone is preserved.
Andrew Booth The essence of the dominant chord is the tritone within it, created by the 3rd and 7th. The root and the 5th are not needed to fulfill the harmonic motion of V7-I. Go to a piano and play a full G7 to Cmaj7. Now just play the B and F from G7, then move the B up to C, then move the F down to E. See?
Hey Jeff! Thanks for the good insights
what are the main purposes of analyzing the chords for? are they for soloing?..great lesson
It's for knowing what's actually happening in the harmony, and what that entails.
In jazz like this it's essential for the soloist to know what he can play over it. For the keyboardist/guitarist it's important for things like chord substitutions. For bassists it's important for creating/improvising a bass line.
It's important for the same reason it's important to know the chords of a pop song, you can't improvise without knowing what's going on.
For those who know "pre-jazz" theory and want to get through this video more quickly and/or want to understand this piece better:
-*Go and change the Roman numerals to their respective cases* (it helps with understanding; trust me) *and ignore sevenths while numeraling, except in dominant chords.* They're not important for functional harmony, except in dominants (and namely secondary dominants).
-The first four bars has a progression in fourths. This is very common in jazz--and in fugues etc., pieces often modulate by fourths or fifths because they are a stable interval.
-If you're confused about the D♭Maj7 chord going into G7, it's because tri-tone root changes are acceptable in jazz. More formally explained, it's because the D♭Maj7 chord is sort-of like a "passing chord" (think passing tones) into G7--and actually, the D♭Maj7 chord functions as a Neapolitan chord (relative to C) in this context. So instead of IV in A♭ or ♭II in C, the corresponding Roman numeral to this is actually just a capital letter N and it functions in C.
-CMaj7 going into Cm7 is parallelism.
-The second eight bars are a repeat of the first eight bars' chord progression, but transposed a fourth below.
-The "modulation" is comprised of a bunch of chromatic mediants.
-It actually modulates at the Caug7 chord to A♭. (Once again, it's a chromatic mediant: both the C and the A♭ chords are chromatic mediants of E, actually--and the C has an augmented fifth because that creates an enharmonically common tone between all three chords.)
-There's parallelism again with D♭Maj7 into D♭m7. Then, the root goes down by semi-tones until it reaches B♭m7. This chromatically-descending progression is even more common than the aforementioned tri-tone progression.
-The D♭m7 going into Cm7 can best be explained as non-functional modulation.
-Bdim7, of course, is part of the C harmonic-minor scale; so, it works. However, it goes right into B♭m7 rather than back up to Cm7. This is a *deceptive* non-functional progression--but it works because it continues the trend of semi-tones.
-To "make the loop" (and also to avoid excessive repetition), the semi-tone progression stops as the tune arrives back into the key of A♭.
-The G7 is not a diatonic chord in A♭. It works, though, because it firstly starts the trend of chromaticism back up in order to "spice up" the tune; but it also works because it's an abbreviated Neapolitan progression that resolves to G for two beats (namely to the G7 chord).
-Immediately thereafter, the G7 and C7 function respectively as tertiary and secondary dominants to Fm.
*Edit:* so a tertiary dominant technically isn't a real thing in functional harmony...but this is jazz...and fourths are very common in jazz chord progressions, as previously mentioned. You can best think of it as a secondary dominant that resolves to another secondary dominant (hence, I used "tertiary dominant"). For official numeraling, don't do V/V/vi (although that's how it's working in this context). Instead, write V/IV and then V/♭VII.
-The reason I say V/♭VII rather than V/♭vii is because ♭VII requires less accidentals than ♭vii in G--despite that it actually resolves to Fm7 rather than F--and the reason the loop works when going from "G" back to A♭ is because it's one semi-tone higher and that sort-of brings a resolution to the previously-descending progression.
Aedan McBride changing the cases of the roman numerals is needless. The chord symbols tell you all you need to know, it's not that complicated
I just realized vi -> ii -> V -> I -> IV is just going down a perfect 5th each time :o
jorijndg Yeah! It's called a circle progression and it's one of (if not the) strongest chord progressions there is!
Very widely taught to jazz students. I got the same treatment at GIT. But at the time I was just beginning to learn jazz, and while I agree it is a valuable tune to analyze, it's a little overwhelming in the key changes, for a beginner. At least I found it so, and avoided it for a long time for that reason. I don't know if I agree with the analysis of the G7 in the last bar, either. Isn't it simpler to just think of it as a dominant to the C7 that follows? Even though they are both dom chords, you still get that strong V to I cadence.
What scale do you play on the C+7? And one the last 3 chords? When you write those V7/VI chords does not the target scale / key apply already?
nice and clear explanation of the analysis of the chords, but the last two chords G7 and C7 there I learned to name the G7 as between dominant, such as a dominant of a dominant of the sixth, what do you think about that?
Another way of looking at it is that the Dbmaj7 in bar 5 is also in the key of C. Why? Well it could be two bars of G7 with just a tritone sub on the first chord. Same with the Abmaj7 in bar 13. That way it fits into 4 bar passages rather than a 5 and a 3
This is excellent teaching.Please do more
Thanks! Will do.
Jeff, you might add a video to this analysis to indicate the mode used for soloing over the chords. Since the numbering system is used the associated mode would make a great study. IMHO. I think...
The G7 is the tritone sub. of C#7 and C#7 consist of almost all the tones of the preceding Dbmaj7 (so it's merely an inversion of it).
The G7 is a tritone of the Dbmaj7th which sets up the move to Cmaj7th.....Cmin7 is the minor III chord of Ab. as well as the VI minor of Eb.....so we can consider Cmin7 being in the same key as the Key Signature of Ab rather than being in the key of Eb Major.
(G7 - C7) At the end of the day is sounds like a turn around sooooo I would just call the V of VI its a common turn around leading back to the F min because even though F is a minor chord it's acting as a deceptive resolution vi instead of I
Hi Jeff, in this song : (4/4) BbM7 | Fm9 Bb13 | EbM7 | Ebm6 | Dm7 | G7(b13) G7 | Cm7 | F13 F9 | what will be | G7(b13) G7 | when analyzing chords ? Thanks in advance.
You just changed my life.
Hey, I really love your videos and your drive to teach, keep on doing what your doing.
hi JEFF 9:55 why we have a C "+" 7 and not just C7 ? thank you!
al brin The + means the 5th of the chord (G in this case) is raised by a half step, making it a G#. This is done to add color to the chord, and also serves to pivot the song from the chord before the C+7 (Emaj7, which has a G#) to the chord after it (F-7, which has an Ab, enharmonic to G#).
so when the key center changes, can i play that key center for all the measures that this key center lasts?
I am actually looking at this piece also. It was great to see your perspective on the chords. Just an idea for a future vid, maybe consider analysis like this, but also go through what approach you would apply in a solo. As a young jazz improvisor, I would basically take those tonal centres, and when I Ab major, I would solo using Ab major scale. When in Eb, Eb scale. But, I have become more aware of modes now...so that gives more options...But from a sax perspective, it would be interesting to see your approach to improv over a tune. I am looking into mixing Scales / Modes / Arpeggios / Pentatonics / Substitutions (eg use a Db7 arpeggio over a G7 chord) during improv...but not entirely there yet. Not too mention chromatics!
Yes, for sure! Thanks for the suggestion.
how would you deal with inverted chords, how would you notate them?
I think those last 2 chords are a 5-1 in C (III of Ab). You could write the G as a V/III to to III.
This and the chord scale... game changer! Thank you so much.
Nicely explained. Great advice. Thanks
Wouldnt the key indicator be placed in front of the V7-VI in mm. 24? Since the VI is pertaining to the key of Ab and not E, which it was moving from.
I''m not a musician - just an interested listener and I love to learn something about the theory behind what I hear, and your videos are great (and even if they are mostly beyond me, I can still pick up some of it). BUT for the less musical of us, can you please include some actual playing amongst the words. I can't "hear" the chords in my head like you can but if you just played the basics at some point in this video, it would be so much more accessible to some of us.
brit1958ian all you have to do is listen to the tune while looking at him finished chart, your ears will start to pick up on the movement
Yes please play the song, some of us learn by watching much faster
I know music, but would agree whole heartedly with your idea, but of course that would take a more detailed presentation. Is he sitting in front of a keyboard or guitar - I guess not. Would be nice also to print the chord notes right over notes in the song but would also take a more complex presentation. Looks like we got what we got. Pretty good though, ha. I'm happy it's still free. ciao.
Time for you to become a musician my friend. Get a trumpet and learn to read music and improvise. Then if you want move onto guitar. I made a huge mistake starting on guitar 🎸
You should really consider becoming a musician lol. If you're interested in music theory and you also want to hear the chords in your head... that's a perfect mindset!
great thankyou is the Bdim the tritone substitute
Thank you Jeff for that succinct deconstruction. Enthuses me to try it,
thanks Jeff your video helped me get abetter understanding of chords and how to analyze them
So happy to hear that, Jonathan. Thank you for watching!
can you think of the Dflat major chord as a I chord and the first chord as a iii chord
Exhaustive! Thanks for doing this work and sharing it.
Very nice lesson. Thanks
I really enjoyed this video, it clarifies so much. But...how does this work into my playing? Where do I apply my analysis in my improvisation?
Hi Jiten, Thanks for your question. Think of this analysis like learning grammar for a language. The analysis of a tune provides context to your improvisation. It helps you realize form. It helps you remember the chords. Ultimately, it helps you mentally organize the information.
Excellent, many thanks Jeff!
What would you label the dim7 chord that occurs in the 6th measure of a blues? An example:
F7 | Bb7 | F7 | Bb-7 F7 |
Bb7 | Bdim (this one)| F7 | D7 |
G7 | C7 | turnadround ect..
+Glen Ackerman Great question, Glen. That's a diminished passing chord. I'd probably label it #IVdim7
+Jeff Schneider - I'd call it a IV7b9, just to remind myself that all the other chords tones remain the same.
This is really helpful! Are you going to have more of these? I know a lot of people would benefit from it.
Jeff, you are a great teacher. Thanks
G7 at the end is a extenden dominant (non diatoninic dominat chord goes to another non diatonic)
would it be fair to say a further shortcut would be to identify Maj7 chords as either 1's or 4's ? Or would that lead to unnecessary confusion?
+Tom Mizner Thanks for the question, Tom. Not necessarily, because if you're in the key of C minor for instance, an Eb Major 7 chord would be labeled as IIIMaj7. Make sense?
You validate my confusion ;) Great job here.
Can you do a video explaining overtones please? I know you touched on them in an earlier video, but I was just wondering if you could go more in depth with it. I'm having trouble reaching anything above a high Bb, and I'm kind of lost on what I should be changing in my embouchure, throat, air, tongue, etc.
+Danye West I'm working on an in depth overtone tutorial as we speak. Stay tuned!
Thanks Jeff. Its a very hepfull lesson
Great video. What is the program you are writing the analysis on? Is it just a picture viewer? Seems like a smooth system. I would love to know, thanks.