5 Theory Tricks That Will Save You Years Of Practice
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- เผยแพร่เมื่อ 29 ก.ค. 2024
- Music Theory can seem very scary for a Jazz beginner, and you will come across people insisting it is bad for your creativity, but in reality, it is a great help when it comes to learning Jazz, and it helps speed up the learning process.
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Content:
00:00 Limited Learning
00:33 #1 Thinking In Keys
02:19 #2 Chunks of Chords
03:21 #3 Not Thinking ALL The Chords
04:29 #4 The Power of Diatonic 3rds
06:17 #5 Functions: Putting Chords On A Shopping List
09:02 Level Up Your Comping With 3 Exercises
09:15 Like the video? Check out my Patreon page!
My name is Jens Larsen, Danish Jazz Guitarist, and Educator. The videos on this channel will help you explore and enjoy Jazz. Some of it is how to play jazz guitar, but other videos are more on Music Theory like Jazz Chords or advice on practicing and learning Jazz, on guitar or any other instrument.
The videos are mostly jazz guitar lessons, music theory, song analysis, and videos on jazz guitars.
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What is the most important theory to learn? 😎
Here's the most important exercise: th-cam.com/video/2Ze22BNftAA/w-d-xo.html
Hello Mr. Larson, I really like the way you teach tonality. I get from your videos that you had a good education in classical counterpoint and harmony as well. Was that part of your regular curriculum or did you do this separately later? To answer the question: I think the actually most important theory if you REALLY want to get into any music that uses multiple piches at the same time is counterpoint. And I don`t mean the thing that is limited to the palestrina-style. What I mean is thinking of intervals as the fundamental building blocks of harmonic music, not "chords", because those are already an abstraction to simplify things. This might not be the most USEFUL theory at the start because it takes a while to pay of. But for example, if you look at a very complex chord like Cmaj79add6, then the voicing has an extreme effect on the sound of the chord, way more than with triads. Compare (ascending) C-G-D-A-E-B with G-A-B-C-D-E. One is a cluster, the other one a stack of fiths. Thinking of both chords as "only" being Cmaj79add6 does not capture this at all.
Sorry for this longwinded text, I simply don`t know how to put this into less words. All the best!
Family of four dominants
@@tioliak Yeah, absolutely. The concept I was taught is very much related to Barry Harris’s Dominant Family’s idea, but it takes it a step farther and says that the dominant ‘wheel’ or family necessarily implies a Subdominant and Tonic ‘wheel’/family. In this way, we can understand harmonies of any chord quality being necessarily ‘pulled’ through the subdominant>dominant>tonic paradigm (because subdominant chords are ‘dominant’ to dominant chords ex. Dmin goes to G7 because harmonies built from D are ‘dominant’ to those with root G).
I like this model as well, it’s internally consistent and intuitive to me. In fact, I’ve become so dependent on this model for the past 6 years that I’ve become completely dependent on it for understanding how progressions in jazz ‘work’. BUT to Jens point, this explanatory model is NOT the experience of listening to our playing jazz, it’s a way for our minds to organize information. At the end of the day, itdoesn’t matter what you call it, it’s about what it sounds like. Think about A+C+E+G. Is that harmony A-7 or and CMaj6? Or is it Emin +5 add 11 or some kind of G chord with a ton of extensions? Doesn’t matter to somebody who has no idea what I’m talking about, shouldn’t really matter to me as long as I can play it and hear it when I want.
Sorry for the lecture, I’m a teacher.
@@brianhenneberry376 Well I guess you know that so I am writing for the people that read this and are not that well versed in theory yet, but if that group of notes is Am-7, Cadd6 or Emb13 11 is a question of context and what notes are structural and what are embellishments. The thing I find very confusing about jazz-theory is how it seemingly doesnt distinguish between structural notes and embellishments. Like, if you have the progression Cmaj7-Fadd6-G7-Cmaj7, an "a" appearing over the first chord has a different sound than if it appeared in Am-Dm-E7-Am. And this is a difference that is audible even to people that have no theoretical background even if they cannot put it into words., otherwise it would not be possible to even percieve a tonic.
@@brianhenneberry376 Nice discussion! I'm a teacher either :)
As a teacher, one should simplify things so the students can understand easier. IMO, the Barry Harris' teaching method is THE EASIEST TO UNDERSTAND amongst all. No such thing called "subdominant".
Is there a thing called the G dominant scale? YES, it's the G7 scale: GABCDEF
Is there a thing called G dominant chord? YES, it's the G7 chord: GBDF
Is there a thing called G subdominant scale?
Is there a thing called G subdominant chord?
It was a great revelation to me that the extensions over a chord in a lead sheet are as much about what not to play as they are about what to play. When you see for example, b13, #5, or b9 on a dominant 7, you definitely don’t want to hit a natural 13th, 5th, or 9th. Often, wherever the chart came from, or who transcribed it, they were looking at the melodies and horn parts over the basic triad and writing everything in the chord symbol. Just stick with 3rds and 7ths as much as possible.
Had you been my theory teacher 50 years ago, I'd have stayed with it. Feeling blessed to have come across your channel.
Thank you! That is really motivating to hear
You’re the best Jens! Thank you!
Music theory is a sublime and gratifying field of philosophy. I took theory at 16 in high school and encountered nothing as practical and intriguing until i studied logic and mathematics in college. Still, music theory is the best.
Love this. When I was 16 I went to a Jamey Aebersold camp, my first trip on my own. I was placed into the most beginner combo, but the highest level theory course that by David Baker. I didn’t understand how famous he was until years later. Tom Harrell also taught at that camp. When the instructors played solos, students would record them. When Harrell played, the other instructors would record him. This was back in the 1970’s.
Many jazz lead sheet arrangers write chord extensions when they are not necessary or appropriate. It is always important to see if the b9 on that C7 chord is actually in the melody or reflective of the key you are in. Often it isn't and the extension may sound cool individually but make no sense in terms of the key, melody and voice leading etc.
Thank you for giving me some context! Now I have a roadmap for learning jazz!
What a fantastic video have a wonderful weekend ❤❤❤❤❤❤😊😊😊😊😊😊
Thank you! You too!
You are a good teacher, only a European could explain things in such a great way. Many guitarists think you have to go to a great school to find the best teachers, which worked for many players that became successful. Over time, those teachers retire or pass away. You have to be able to teach yourself to an extent to get to a certain level of comprehension and studying and practice is the only way. Things don't come by osmosis and wasting time believing that is wasting time. Knowledge is power, without it, you are left in rhe dust. There is no simple or easy way, you have to have a foundation or you will be frustrated and lost as in any other field. Trying to fake knowledge and experience is a comedy, really playing is the reality of communication, feel, knowledge, creativity.
Very interesting ideas, nice explaining and understandable exsamples. Thank you very much!
You're very welcome!
Amazingingly helpful Jens! And well-produced!!
Glad it was helpful!
Great video, Jens!
Thank you, Adam! Glad you like it 🙂
Thinking in key centers dramatically improved my playing when I started to do it. I love your tips.
Great to hear!
Thank you so much for all your posts Jens. I think I've been following your channel since you started and appreciate very much all I've taken from it.
Always helpful......good work Jens......!!!
Glad you think so!
Another great video! Thank you. I look forward to having the time to work through this.
Glad you like it, Kevin 🙂
Thanks you!!! This is great
Glad you like it!
Great video, Jens. There are still people out there saying that musicians don’t need theory. I may just direct them here. 😂
We can always use a few trolls in the comment section 👹👺
We can always use a few trolls in the comment section 👹👺
Thank you, Brother Jens⭐🌹⭐
Excellent ideas Jens
Thank you, Jens, for this great video!
Glad you like it 🙂
I havent been watchin ur vids lately but man your editing has become real great. Content is deep as always
So much food for thought, very useful!
Glad it was helpful!
Thanks!
Thank you for your support, Tom
Thank you 🙏
You’re welcome 😊
Thanks for this Jens 👍😊
Glad it was useful!
@@JensLarsenIt was! 😊
Powerful lesson!
🙏🙂
Thank you Jens
2nd half a little complicated but first half very helpful and practical 😁
Glad you like it 👍
All the talk of minor subdominants started confusing me so I did a google search on minor subdominants… of course, one of the first links took me to your website and a written lesson on minor subdominant chords and harmony. 😂. Very helpful and then the video made more sense to me. Thanks.
Glad I could help!
I’ve book marked this because it’s full of great and useful information!
Glad it was helpful!
Thanks. The overview of chord types is great. Would it be possible to explain the more exotic ones (beyond the vanilla major/minor 2 5 1. Or if it already exists to put links to videos in the description box? Thanks!
Which chord types do you mean? a II V I is a progression, not a chord type.
@@JensLarsen I meant different types of chord movements subdominant dominant to tonic using the more exotic chord subtypes rather than the simplest possible major and minor 2 5 1s. I noticed you have some related written info online. Thanks!
Thanks for this. It's going to take some processing on my part. 😺
You got this!
Watching this again....
So. First of all I loved the video. Then I finally analyze what I've been doing melodically for years. I have been substituting IVm7 arpeggio over the dominant chord. Not sure why this works. My best analysis is that it works out to be a dominant seven flat 9,11,b13. I don't know LOL all I know is I like it. Maybe you could shed some light?
Great that it is useful! I would not limit myself to thinking in substitutions and just try to figure out what works 🙂
Thanks Jens. Then I won't worry about why I like the sound of a flat 5 on a minor 7th chord either😊
@@janehutchison1063 it's the same reason 😁
I’ve discovered jazz thanks to Polyphia, thank you my friend. I’m fascinated by how colorful this music is. I love metal and blues, but they’re too basic for me.
Tak!
Fint at du kan bruge det til noget 😎
@@JensLarsen du snakker lidt for hurtigt på dine fine videoer (altså for mig som hyggeguitarist ...). Men du har en god måde at forklare på og bruger humor virkelig godt.
@@rolfhjmark5956 Tusind tak! 🙂
Where I seem to have the most difficulty simplifying changes is in a lot of Wayne Shorter tunes. A lot of the changes seem to jump between random chords that don’t seem to relate to each other. Though, I’ve noticed when I listen to the solos they don’t seem to follow the chord changes, but stay in the tonal center. Then there’s Pat Martino when he solos over Oleo on the Live at Yoshi’s album, instead of following the changes in the A section, he solos over a static Cmi9.
Don't try to make modal harmony into tonal harmony 🙂
@@JensLarsen Are you referring to the Wayne Shorter’s tunes?
@@davidkeller6156I'd imagine. Wayne was a miles davis disciple, who was the king of modal jazz
@@davidkeller6156 yes
@@JensLarsen Ok! In the tunes I’m looking at the changes don’t seem very modal. Maybe I’m missing something.
back in the 70s here in singapore there was no internet, and the schools like berklee were in the states, and the few jazz teachers in singapore were either self taught or learned bits and parts from whatever books they could find, including myself, i taught myself to play changes at first by just reducing everything to their key, worked but gavea skimmey sound when used exclusively, still better than nothing
the fewer still teachers or players who went overseas to MI or Berklee charged too much for really basic info, so i skipped that altogether, i wanted to pursue a degree in jazz at berklee, but my mother forbade it, citing lack of money, i learned only in the last few years she lied.
i am now a total failure as a guitarist (as evidenced in my own videos) and more importantly as a composer, a local journalist told me straught to my face that i am definitely NOT a musician! i didnt have the right to call myself one. kindness is a singaporean trait, u see.
thank you for letting me write about myself. a van gogh hidden in plain sight, or a worthless non artist? you decide. as long as i get no patrons, my destiny at aged 61 is set for failure unto death.
It’s insane how many people think theory is “ bad” for playing or bad for creativity.
Nothing could be further from the truth.
Hi Jens. I on one of your videos about a year ago with a similar question, and I’m still unsure of your model for assigning function. At 8:07 you identify Bb7 as a minor subdominant, and I don’t get the logic. I understand that the chord is from Cmin, but how is it subdominant?
When studying jazz harmony at uni I was taught ‘wheel substitution’ as a means of understanding harmonic function. Basically, this model proposes in all instances where C is considered tonic:
Eb Gb and A are tonic
Db, E, G, and Bb are dominant
D F Ab and B are sub dominant
So in the case of a back door cadence in C for instance, Ab is subdominant, Bb is dominant, and C is tonic, functionally identical to a ii-V-I or a ii-bII7-I tritone sub, etc. I’ve been using this model to understand ‘what’s going on’ in music for a long while now.
I don’t understand your model, but I recognize that it is more widely accepted and want to understand the logic it uses to classify function. Please help! Sorry for the long post!
Can you go listen to an Fm7 with a Bb bass, maybe resolve it to Cmaj7? 🙂 Your ears will know
I agree with Brian. In the key of C, Bb7 is a (backdoor) dominant, not a subdominant
I don’t think I’m ‘right’, I recognize that Jens thinks in a way that I don’t (and in a way that I know other jazz musicians think). I was explaining my thought process, and Jens gave me an exercise to point me in his direction. I appreciate it btw, I heard subdominant to tonic, but I’m still not sure if that’s because I’m ‘hearing’ F-7/Bb rather than Bb7 sus 2 sus 4, if that makes any sense. But I think the point is ‘think’ with your ears.
@@brianhenneberry376 exactly! Ears and voice-leading is the wat to go, don't listen with your eyes 🙂
Learnt from Barry Harris: Db7, E7, G7, and Bb7 come from the same diminished (Ddim, Fdim, Abdim, and Bdim). That's why they are called "The Brothers and Sisters" or "The Family of Four Dominants"
So IMHO, the Bb7 serves the dominant function
Well, I think I'm going to have to watch this many times. I understand some of the theory but I don't think I can think theory that quickly. If I take out all those "unnecessary" chords won't I sound like a rock player? Excellent video.
No because we rock players don`t use functional harmony. Okay, maybe the neoclssical metal-stuff, but I started with actual baroque music and can`t stand that :D
The thing with "thinking theory quickly" is a really just a matter of time. I studied musicology and had a very thourough education in theory. After a while I stopped to even think in theory, I went back to just play what I "feel" or hear in my head, but what I feel/hear was simply miles better than compared to what I did before learning theory.
Good luck on your journey.
Jens, Brian from San Francisco California here. I saw a recent video of yours. A ll V l in C had a suspension A flat M&13, a backdoor dominant AM713, and then a BM713 as the resolution chord substituting for C M7th. I'm studying the Berklee college arranging book and was wondering how you came to these conclusions that did seem to work, but why? Is the A major a diminished flat 3 away, and the A flat an augmented sound? The B major, perhaps a 4th up then a flat V sub down again? Thank you for any explanation,reply, or links. PS I watch a lot of your video's, they are excellent. I have a Sheraton and a Harmony 1310 as my jazz guitars. I have an Ampeg reverb rocket I like for clean sounds on the accordion chanel.
Hi Brian,
Try this one: th-cam.com/video/mLknv2XF-Yw/w-d-xo.html
Спасибо, привет из России!!!
Hi Jens! Thanks for the video.
I've got a question: In a II-V-I :
Can I replace any subdominant for a minor subdominant or a #IV subdominant? Instead of Dm7 play Fm7? And then resolve G7-Cmaj7? And the same for dominants?
Are they interchangeable or there are certain rules? (Of course I am trying them as well...)
Thanks!
You can, if it fits the context, a chord symbol is a very crude description of what is going on 🙂
Wow! Thank you for this, the most usefull video ever.
I would really apriciate if you could help me decide wether to buy a Ibanez AS 200 1981 model. I have the oppurtunity to get one for around 20.000 usd.
Is this still a great guitar?
Should I rather buy a new JSM 10/20 ?
What should I be aware of/check, before buing?
Hope you have the time to anwer, any help is much apriciated.
Thanks
Thank you!
I don't know what an AS200 usually goes for, but 20K sounds really expensive to me?
@@JensLarsen I see I have misspoken, that should be 2 K. Not 20.
@@andersestes That seems much more reasonable, but I still don't know what the value of an '81 AS200 is 😁
@@JensLarsen That's alright. Is was more curious whether you find it to be a great guitar or not
@@andersestes I am sure they are fine. The neck on the AS200 I tried was not as nice as the one on my AS2630, but that is just personal preference.
I dont get how the IIV to VI is Dm7b5 to G7b9 then the IIV to IV is Bbm7 to Eb7
You need to give me a timestamp in the video for that
Jens - do you have a separate TH-cam channel that is all about how to make slick TH-cam videos? If not, consider it!
Probably he pay an editor
1:19 I know Chinese language so I can understand hahaha
😁
I get dragged into these videos thinking that I'm going to finally understand music. These types of videos start out with the suggestion that this is going to be simple and easy and before too long so much jargon and higher level concepts are dragged in that these videos are useless to me. I haven't done the most extensive search for the simplest and best explanatory sources of music but I'm beginning to think it's like finding a needle in a haystack
It is difficult to give too specific advice because everybody is different and at different levels, but maybe check out this post: jenslarsen.nl/how-to-learn-jazz-guitar-suggestions-to-begin-studying/
I’d go backwards if I found a jargon and concepts that I haven’t heard before. I’d go back until I can find the simplest bits of it to the lowest point of my knowledge (it ain’t much, but it’s an honest work) Then I step up tiny bit by bit (I mean tiny microscopic bits and pieces) until I arrived and I fully understand as well as using it. I know too damn well that ain’t easy but once you got it under your finger, you’ll understand. I am still struggling as well (badly) myself, so you’re not alone my friend. Keep on keeping on. Cheerss!!
@@JensLarsen Thanks for the reply. I know it's difficult for people accomplished at anything to go backwards and revisit their own newbie phase and flesh out a step by step process without skipping over taken-for-granted concepts. It's also possible they never started at the extreme dullard level some of us begin at, or understand our slow comprehension. It's frustrating that I pick up so many things so easily but things like music, math, electronics, etc are such a slog. I bought a used guitar several months ago that's sitting in my closet that I am intimidated to even touch
@@dallenwade if guitar is so new then don't focus on theory focus on learning songs. Theory is only useful to understand the music you already know
Thanks bro @@JensLarsen
Huh ? You lost be at Wheels
You should spend years learning. No shortcuts.
Not saying that theory is bad but the most original Musicians who have ever live were not schooled, like in Miles Davis' case he dropped out of the most prestigious school (probably) in order to really learn how to play so there is something to be said about education. In most cases it kills originality. I constantly hear about people in school who could never come up with the things that so called "ignorant" Musicians could.
People should stop dumbing down jazz. If you want to do that, go play Top 40 or worse, hip hop. Knowledge in all fields is very important. Maybe you're a savant, but chances are, you aren't. So do a little work - it isn't that hard.
Love your stuff Jens but always have to close my eyes watching your videos coz all the unecessary effects are distracting. Just sayin...
Thanks for the great lesson Jens!👍
Glad you like it 🙂
You talk to much my friend ,talk about music mt bull shit !