It's hairband that I use as a mute for open strings, but it does not really do anything when it is behind the nut- I sometimes use it while recording or practicing legato.
I feel like I've free roamed into the area of the map where the enemies are like 5 levels higher than me, but I can't go back because I need the gear I came for.
If I learned anything from my 25 years of practicing guitar and some jazz is that if you are not hearing what is happening the theory might not be much help so never forget to practice your ear when learning new scales and ideas. If you can’t hear it it’s much harder to play as well.
I’m 3 years to late to this but thank you jens! I just recently have gotten into playing swing and jazz music and found myself struggling to not not sound like a blues player when jamming with it. Your lessons have really helped me understand some of the dynamics of this beautiful genre more. Thank you
Man, you have to have the absolute best music lessons on TH-cam (or anywhere I've seen on the internet). They're super informative, avoid hyping up topics and give logical exercises and background for progressing. Thank you so much for all the work that you put in to these lessons.
@@roosterball69 Yes, I know about all of these "musical ingredients", BUT...... "A-minor pentatonic over everything really fast" is just way cooler and very rock 'n roll ;)
Dear Jens, i think that you are the only teacher that speak very clear the language of jazz guitar. With your precious video i'm gonna work too much with my guitar and at the same time i have a clear vision of my work. Thank you very much!
Reading some of the comments, I see that for some of us, this is way advance; however, you have to understand that he (Jens) is trying to pack a lot of information on these videos and it's actually to make it easier for us. What I do is WATCH IT AGAIN! AND AGAIN! Then one day I go "ooh!!!" Thanks!
I think most of the players who are confused with this probably tuned out half-way through, which is tempting, although interesting if you have at least a little knowledge of jazz chord construction and usage. The gold is in the summing up. I'll come back to this again to make sure it's embedded, but this was great. Thanks Jens.
This is an amazing lesson. If you find it confusing, as I did, I'd recommend watching his melodic minor video and knowing your major scale plus arpeggios. It starts to click into place at that point and you realise that Jen's videos pack in weeks if not months of tuition . You just have to watch, pause and rewatch over again.
I tried watching this a year ago and couldn’t really follow along...now after a year of learning theory with you and beyond, I’ve come to rewatch and I can understand a bit more now! 😀
This is his foundational harmony lesson in my view. Refined and expanded in his Melodic minor, tritone, harmonic minor lessons. But this one is very important. And if anyone gets lost - start using a part of this lesson. Make friends with the major scale and its arpeggios. Then move on to melodic minor. Then harmonic. Easy does it.
#1 Get a looper pedal. #2 Play through a particular chord sequence, and hit "loop". #3 Work your scale over the top of the sequence, noting what works, and writing those bits down. That is what you practice and that is how you develop your voice in terms of using this stuff. Stay with it for numerous years, and then enjoy the applause from the two people at the bar who are listening to you play this elevator/on hold-with-the-bank, music.
I binged most of your videos pretty hard last year. Turns out it was still a bit over my head despite 4 semesters of classical music theory and one semester of jazz comping. Now I am going back through all of your stuff and find that I am getting a lot more from it. This is to say: very useful stuff, once you finally have the mental space to process it all.
I like the way that you position which scales should be used. I think the key trick here will be to do as you've described -- play through the various changes to get both the fingering and sound underneath the fingers. Even good intermediate players may not be able to readily switch between the various scales on the fly. Songs move quicker than our ability to analyze->select->perform. Even if it's only portions of a second, you're still behind the song! Investing time to analyze and characterize the changes in a song helps get that baked in, so when you get "the move" down, you can focus on the finer aspects, not just hitting the right notes. Well done, Jens! Thanks.
Jens, thank you for this video. This lesson, for me, is one of the most enlightening jazz guitar videos I have seen. It is incredibly dense with great information, with no fluff whatsoever, and presents a comprehensive way of thinking about improvising.
I really like to learn from a guy that tells you "all you have to do if you" and then unfolds material I will need two lives to integrate completely. Respect man!
But I am really annoyed by youtubers telling me to subscribe. I will tho, only this time. This shit has morr value than 2 years in an academy, am I rediscovering the wheel?
This is one of the best guitar lessons on youtube if you persist with it. Rome wasn't built in a day :) The section at 8:10 really brought it all together. Top drawer stuff, thank you for your work Jens
Hi Jens, In my opinion, this is by far the most effective synthesis you have produced to date. I do agree with the direction you give. Tkx again for everything you share.
@@JensLarsen Of course! The three chords in the beginning, Dm7 G7 and Cmaj7, it sounds dubious and different when I play it by the head. What are those chords you're playing?
This video is amazing, the real meaning of youtube overhere. You encorage me to learn the basis of jazz after long time running away from the music theory behind it, you know, there are lots of people like me that havent studied ever the musical theory, it would be years of learning and you just give all of us a 13 min video with a solid basis to start a concrete learning to the magic behind music :) Thank you so much
Jens, you are the master of understatement with your titles... This is a great lesson, a system designed to use and modify rather than a set of "closed" rules. I continue to be amazed at the outgrowth you build into your pieces. Thank you again,
Those are the big 3, no question. - hats off to Jens for very clearly setting out the "Pareto Principle" for jazz soloing - 20% of the possible input producing 80% of the gain. Students need to know what to put on the priority list and why - it's amazing how much of the study material out there doesn't make it sufficiently clear and that's a crucial failing - jazz is hard and if you don't direct your energy where it's most effective, its going to be a very hard and long road.
Basically what he is saying is master diatonic scales/chords. Maj, min, min, Maj, Dom, min, dim, Maj. Play the arpeggios and practice soloing over each chord. Then do the same for Harmonic Minor and Melodic. Great way to practice! Because im more of a rocker, I study more of the sounds of Modes, but for Jazz this really keeps things simple.
I am a bass player and this is an excellent lesson. I am studying with a world-class teacher. One thing that I am finding out is that you have to have the basic knowledge to understand what is going on. Therefore I write out my major scales, major chords, and II, V, I in every key (every morning). I will soon add the minor, dominant, and minor 7 flat 5 chords. This is all without picking up my bass. As my knowledge increases everything I see starts to make more sense. Sheet music, chord progressions, note selections, arpeggios. You must understand the basics of music cold (as in instantaneously). Try doing algebra or advanced math without having a firm grasp of addition or multiplication or fractions or decimals. Work on your BASICS and watch your understanding of every aspect of music grow. Blessings
Hey Jens, I just wanted to say thanks for putting out these videos! I’ve been playing guitar for over 15 years, and I’ve just recently started to divulge into the music theory behind it. You definitely know how to make your lessons to the point about everything, and you don’t dance around the idea of what it is. Keep making great content my friend! 🎼
that Bø E7(b9) Am6 is so good... like, people don't understand there are different voicings to play the same series of notes, but that one is especially nice... i also love how we both love harmonic minor, (b)9 of all the altered 7 chords, & minor6 chords.. which i figured out myself recently, then have been noticing you making the same kind of choices in your writing as i do in mine, & i'm like "hmm, maybe i'm( or should i say /we're) really actually onto something here..." ha.
I thought I struggled with maths.................... "Just let me hear some of that rock and roll music Any old way you choose it .................... :)" Do we really need to know this stuff to be able to play music?
You are 1000% in agreement with me rn. it was already mush, staying up late as hell, but this was just like...Straight up turned into mashed potatoes. If u watched this and were like "I literally understand everything he just said, 100%" I gonna have my "Bullshit" button ready to push. This was the most challenging video I've seen in a while for some reason. Time to sleep and if I actually have the courage to try again in the morning, THAT in itself would be an actual victory. Ded
This is pure gold. Thank you so much for this! All this chords, scales and even the way you talk ... It´s just great. (I can´t believe videos like this have 312 dislikes! Millennials have nothing to do these days.) #Guitar #JazzIsNotForEverybody #UntilGrowUp
My mission is to watch this video every day, practice some element of its content and to tease out some piece I did not understand. Thank you from a sax player.
I've seen a lot of channels, but now its the first time that I have the feeling to get it to another level. You teach it very clearly!!! Thanks for that Jens.
1. I'm a drummer and bass player yet I'm 100% subscribed and will be sharing this content! 2. Mad respect for your insight and the way you approach teaching this subject amidst the sea of overwhelming information that is the Internet. 80/20 master! Peace
very useful, thank you Jens, you are a humble and generous guy who is willing to share your experience with us all, truly appreciated your efforts, learning music should be like this, thank you
I just stumbled across Jens learning some new things, advancing technic while under Covid stay at home orders in Michigan. Great lesson, go through it slowly and write things down to get to an understanding. I like the use of C Major scale for the lesson, we should all get that. I need to get the the two minor scales here and use them as I have avoided them for some time. I have always been focused on the using the modes and scales associated with the chords. I guess that is diatonic? Thanks for all you provide.
Jens, this is extraordinarily helpful. You have started with an endpoint: "here's what you need to play *most* jazz" and reverse-engineered the requirements to do so. This gives the jazz-student, like myself, an idea where I fall on the continuum of knowledge needed to get to the endpoint, and what to spend time working on. I often find myself mired in the minutiae of technique and arcane theory only to realize that I'm missing the bigger picture: developing a coherent and sensible method of study that will give me the most useful results and benefit my actual playing. Thanks for the great work!
Lot's of great info here. STEP ONE: Listen to as much jazz music as you can. Scales are only the building blocks of melodic ideas. You must know what "jazz" is supposed to sound like before you employ scales etc. You must learn the jazz "vocabulary". Many people seem overwhelmed and rightly so. If you are not familiar with jazz tunes you're gonna be lost.
I see a lot of comments bellow about the theory in this video being too difficult and going at a fast pace. I disagree and I'm actually happy that there are video's on TH-cam like this, that are not aimed at total beginners and don't last 30 minutes to explain 4 chords. I'm a professional player, but play mostly everything pop and easy standards, if needed. I'm always looking to upgrade my jazz skills, but never really have the time or motivation, since there are so many fun things to do in music.. And life : ) But when I do have the spirit, videos like this help, because it's an easy and quick overview. It's stuff that I mostly know, but sparsely use, so it's good to have it summed up like this and have 'ahaaaa, I forgot about that' moments. The only thing that would have been better is have short melodic lines or licks for every example. Now you're just stating the facts and move on. Let's hear some playing with the theory. Just one or two simple examples per cadence. No tabs needed.
@@maxmustermann-hf7vw I don't think I agree with you, it covers 99% of the chord progressions you will encounter in mainstream jazz and shows how you cover those with 3 scales and the diatonic chords in those. That's also what the title promises right?
Jens Larsen's videos are always very good, but this is undoubtedly one of the coolest videos I've ever seen !!! Extremely relevant information, presented in an objective and clear way !!! Very nice to have the subtitles in Portuguese !!! Your Brazilian fans thank you !!!
Thank you very much! I am glad you found it useful! If you have any suggestions for topics or things you are looking for the feel free to let me know 👍
It is an honor to receive, in response, a comment from Jens Larsen !!! Your videos cover a number of key subjects for a musician of any instrument and any musical genre !!! I searched your channel and did not find a video on slash chords. This is a suggestion: video about slash chords, if possible with portuguese subtitles !!! In advance thank you for the attention !!!
Thanks so much for making this video. I'm a classical musician coming to jazz now and it makes me feel better that all the scales I already know are useful. 😛
Well, this is somewhat of a relief to me because, being new to guitar and music theory (1 year, self-taught), I was beginning to feel pretty apprehensive about the time investment required to learn scales/modes beyond those we first learn in association with the major scale, let alone reach technical proficiency... Don't get me wrong, I'm totally into just enjoying the journey but as I have no serious musical ambition and really only want to be conversant in the medium this approach seems like a healthy compromise. Happy Holidays!
Thanks so much, Jens. You sure did pack a lot of info in 13 minutes. My jazz teacher taught me to use the major scale this way... He said when I see a II-V-I, just start the scale from the root note of the I-chord. That's pretty much what I've been doing since 2013, and it seems to work. But now you've given me more to chew on. At 52 years of age, and playing guitar since 1973 (but jazz only from 2012), you teach me something new every day. Thanks.
Oh yes, Jens, I agree. Perhaps a lot of people, instructors as well, try to make jazz more difficult that it needs to be, to maintain the jazz mystery? They often use high-brow words like "sophistication", as if one scale or mode is more "sophisticated" than the next. To my mind, theory is just that... theory. The real test is whether or not your playing sounds good; does it sound musical; it it musically pleasing and satisfying? If not, then even if the theory is correct, it doesn't really work. I like your approach. It works!!!
Jens, this is easily the most useful improvisation video out there. Pair this video with a ‘music theory terminology’ video, and I think this is the only TH-cam tutorial any beginner/ intermediate guitar player actually NEEDS. Thank you for being great! Fart smellow!
Jens, you're a fine dedicated teacher. I agree on what you said about the 3 basic scales covering a great range in Jazz. I use these a lot myself. Further I study the octotonic (sequences) and pentatonic as altered scales as wel. Like playing Bb mi penta over G7 alt.Keep up your fantastic work, loved your lesson on the drop 2 voicings, very informative, greetings Vic.
everything breaks down to the Major Ionian scale/mode it's even constructed in the last octave of the Harmonic series! Forget about learning 1000000 different Lydian scales in my opinion understand submediants counterpoint and develop an ear for tension notes like b9 #4 b6 etc. played over various chord progression settings! great lesson!
I agree and disagree. I agree with having an ear for hearing tension notes. I disagree that ionian is all you need. You need to learn the others too and in every position if you want to become proficient in jazz guitar.
It's late at night and I could honesty follow the content of this video very easily because it comes from the experience of playing music! You may not realise but after a while of studying with your expertise and delivery style your videos calm me down and then if I wake in the middle of the night I'll just run a part of the info over a set of changes in my head and I'm a better person in the morning. True story!
I have absolute zero knowledge in jazz. I don't even know how to play normal guitar except for the basic notes. But you sir, helped me alot with this video. Im glad i started with this from zero. Obviously i didn't understand anything but i wrote it down anyways because it showed me what to study. I will definitely master the 3 basic scales. The Major scale, the harmonic minor and the melodic minor. Thanks again for this awesome video. Definitely helpful for those who wants to learn jazz.
Thanks Alex! That's great to hear that you can use it on another instrument! Of course sorry to hear that you can't play guitar anymore, but the change to sax must be nice as well?
Sorry to hear about the carpal. Could you elaborate a bit on how it happened for all us guitar players could find it very useful. I have often wondered why not more guitarists have carpal. Is there something you did wrong in your technique or maybe stretches that can help prevent this?
While listening to Jens and watching him effortlessly move to the chord shapes he refers to is educational, inspirational, and more, sometimes I wish I had one of those handheld language translators with a setting for "Jazz to English."
I use the tetrachords on adjacent strings as the basis for chord scales, 1 to 1V on one string and V to V111 on the next. Admittedly, I only play Irish trad dance music, but I found it settled my position transitions on guitar.Anyway ,Lars,you probably already know this. I enjoy your easy teaching style very much. Slan!
@@JensLarsen I was taught that there are three master scales: The major, the harmonic minor, and the fixed melodic minor, which is really just a major with a flat 3rd. The modes from all of these will give you 98% or more of what you want for melody and lead lines, particularly the fixed melodic.
But: i guess i could profit a lot going to understand your system better. Have to learn it in small piecec. Thanks a lot for this vid. Its great advice !!!
I've just organized my scales according to Joe Pass as: major, minor, and dominant. Major and minor each have two structures, maj7 and maj7+ then mi7 and mi7(b5) respectively while dominant has three structures: x7, x7+, and xo7. I figure that covers everything so I'm just going to learn those chords with the sound of all available tensions and I should be good.
I think you forgot min/maj7... It's good to organize your scales that way. You lost me with xo7. Assuming + is augmented. Dominant7, dominant7 augmented 5, sooo dominant 7 dim5? Like 1 3 b5 b7?
@@CMM5300 x is any letter. xmin(maj7) is minor - it's a harmonic variation in minor, at least that's from where it's derived. I see what you mean in that dominant is neither major nor minor but you can't call min(maj7) major nor mixolydian so it has to be minor. It's not worth a whole class on its own. Edit: I just realized that you're right - I didn't mention that variation. Really, there are probably dozens of variations I left out. xo7 is diminished. Diminished is often a substitution for dominant. You can build a diminished from a dominant's b9, 3, 5, or b7. Often, when theory/jazz guys see a diminished or x7(b9), they'll interchange the two scales. Sometimes diminished is used as a chromatic passing chord too, or just for suspended effect as in the intro to "Volare". + is augmented because the whole tone scale gives you a major third and a minor seventh - dominant. It's a variation of dominant just as the major seventh in harmonic minor doesn't make the scale not minor. x7(b5) is not fundamentally different from x7+ other than the melody is probably emphasizing the lower note. The whole point is to make it simple for yourself. Its easier for me to think of three chord families than the other extreme of even calling inversions separate 'chords' like some websites will have you think.
@@Hexspa I was unsure how you was labeling the chords and organizing your scales. I personally think of min/maj7 as a different scale category with different sets of pentatonics. (1 b3 4 5 7) for example works great for melodic minor harmonic minor.... you had 3 different dominant7's listed. That's what confused me. I've been doing just one category for dominant scales. Altered dominant 7 of coarse. I have ran Into unusual dom7 and dim7s before with not so common chords scales. Dim7 natural3... dom7 b5.... i didn't know if you had other categories for reasons I didn't know. I tend to categorize chords in this way. Dim7, min7b5, min7, min/maj7, dom7, maj7, aug7 And have my scales arranged to play over each chord category. Most people think of major and augmented as the same category. Same thing with diminished and minor. Maybe I should simplify things....
Very helpful video jam packed with info! I'm getting to work right away. It was really freeing for me to realize that all the modes ( Ionian, Dorian etc.) are just the common major scale starting on a different degree of the scale. So, if you learned the major scale, you've also learned the 7 modes. Also, A tri-tone substitution is just an exremely altered dominant and can be treated that way instead of thinking of a chord a tri-tone away. eg. B7 is really F7 flat 5 flat 9.
3 minutes in and hes gone over about 12 chords with less than a second of attention to each - good sign it's beyond my depth. I'll check back in a couple years for the next 3 minutes.
Hey no problem, not everything is for beginners. I am between beginner and intermediate. I have the major and minor chords and positions memorized and can calculate (but not muscle memory) the 7th and maj7th chords but lack the technical ability to fret them as fast as I visualize on the fretboard. Where would you suggest I look for help with this hurdle?
buy a keyboard! you learn much faster. guitar is a more complicated fractal piano. if you know your major chords, it's just a matter of learning minor, extensions, altered, dominants/7ths. It's really not bad. The harder part is committing them to muscle memory and being able to play them intuitively, instantly, and in succession in time.
The keyboard is an excellent idea - anyone who wants to be serious on any instrument should have some familiarity with the keyboard which lays it all out in a very linear and visual format. Doesn’t need to be an expensive keyboard to achieve this purpose.
Down with the flu today, but I am really curious about how you work on and see this? I find this approach much more useful for jazz than modes at least...
great videos Jens! Love your approach. In regards to diminished chords, in what situations would you use the symmetric diminished and dominant scales? Do you prefer to use harmonic minor? Thanks, André (ps hope you get well soon!)
Thank you André! I almost never use the diminished scale on dim chords, and when I do it is a some what conscious "reharmonization" The diminished scale is not really a part of tonal music so if you go by what you "naturally hear" then that isn't it (of course we should not always limit ourselves to what is "natural" in our culture etc. but still..) I use dim scale a lot on dom7th chords, but it is again a special effect or sound on top of a song.
Hello Jens, I use the modes to play out of the chord shapes to get the flavour of the chord. I understand that all modes relate to Ionion, so playing out of the Ionion scale are you saying arpeggios are more useful than modes? I thought that was how jazz used to be made before modal jazz arrived?
+mrsunlite if you are playing a song with chords in progressions then it is more useful to understand the chords in the key than assigning a mode to each one.
Jens Larsen Thanks, just trying to get the distinction between modes or arpeggios within the major scale. I guess I play off the chord tones and sometimes add parts of the scale for whichever mode of the parent Ionian that may be. Are we talking the same thing?😀 If I played phygrian or lydian over a Ionian I would consider that modal.
Thank you jens :) it's been 3 days now I've been watching your videos and applying it on my guitar playing practice. Especially replacing backtracking tracks for Metronome :) it was a huge help. Thanks again. Now looking forward on this lesson Cheers from the Philippines 🇵🇭
@@JensLarsen I see, the major 3rd of G is B, which gets you the major 7th sound found in C harmonic minor. B dim has B, D, F, Ab, which are all in C harmonic minor.... Crazy that you can improvise with this in real time but it's starting to become clearer! Thank you for your quick reply.
*Disclaimer: if you've began diving into chord scale theories on your own. Just stop this video is literally all you'll need.* Wow. I've began to methodically construct chord/scales relationships in RELATION to the chord progressions. I've seen this lesson before starting this journey. I didn't realize just how thoroughly you've beat me to the punch. Good job man. Just... *wow*.
Jens Larsen Jens Larsen I have a very solid background in music theory. Straight A's, top of my class. When I started learning jazz (recently) I was feeling fairly overwhelmed. I began studying different standards and analyzing players scale choices given the context of the music and I thought I'd never see the light at the end of the tunnel. Turns out the light is minor scales lol. Kostka would be proud of your methodical and practical approach! This is probably just a remnant of ideas my professor gave me but, is this a fair enough generalization: The Harmonic Minor scale is generally used when there is a 'real' cadence happening (ironically, a weaker sounding one to my) and the Melodic Minor is used when the cadence doesn't necessarily round up the form but offers a nice bit of color? Also what did you mean by double diminished #iv? Is that just a name for Ger+6th I'm forgetting?
Thanks! I am not sure what you mean with Melodic minor when the cadence "and the Melodic Minor is used when the cadence doesn't necessarily round up the form but offers a nice bit of color" I think you will find that the altered scale is used very often in strong cadence places in the form, like then middle of a song or the final cadence at the end of the melody. Mind you this is how it is used in a solo and probably not how you will find it in a standard. Double Diminished is another way of describing Ger+6. The Ger+6 is often described as minor subdominant with a #IV, but if you explain it not as an altered IVm but as an altered #IV you get the double diminished 3rd. I am using that expression because that is what they taught us here, and (to me) the strongest sounding note in the chord is the #IV. Does that help?
Jens Larsen yes sir! It's all coming back to me. My other question could have been phrased simpler. Have you noticed any real connection between the form of the piece and which minor scale you find performers or yourself employing? Understandably the Melodic Minor would be used in strong cadential points in the form because of all the tensions but from what my wimpy ears can tell I hear people using the harmonic scales more around the end of the sentence/period You'd think that it'd be the place to have the more exciting lines (or, perhaps it's just more noticeable to me when they use Melodic Minor in the middle of a sentence BECAUSE I'm not expecting it). I know there's no "hard and fast" rules to this type of thing but I'm essentially just asking if you've noticed a correlation in scale choice and where in the tune the soloist is jamming. Sort of the same way classical composers used cadential 64 chords if that makes sense. (I'm totally geeking out that you actually replied btw ❤️ you're helping me become what I want to become it's kind of a big deal to me 😂)
No worries! I always try to reply (if the comment isn't hostile or very silly) I don't think that there are rules for where melodic minor is used vs where harmonic minor is used. In any case this will probably vary quite a lot from soloist to soloist and also from period to period. If you want to check out differences then listen to Scofields "Not You Again" The different soloists are all over the map with scale choices and Brad Mehldau is fairly far out.
Thank you! I love this approach. I've started to discover that it's better to know how to use a couple of things really well and be able to really speak with them than know tons of modes. Too many modes can be difficult to wrap your head around because you have so many options for each chord and you're often thinking more about the roots constantly moving (prescribing a mode to each chord) instead of building a melody in the key that moves through the changes. By simplifying the thinking, you can focus on being genuine and creative with your melodies.
I had the same thought as 13thAMG. Looking at the explanation of Jens and Lunar orbit I recognize the chord, very much used in brazilian music, just don't think it is a good way to write it. FmMaj lead me to think in a minor third together with a major third, not a major 7th. I've seen written as FmM7 and Fm7+, which I think are more explicit. But anyways, great lesson Jen and lots of information to digest. Regars from Brazil.
Once you are beyond triads in your understanding of chords, Maj is never referring to the 3, but rather the 7. Minor always refers to the fact that the chord has a b3 in it. Maj is telling you that the 7 is straight out of the major scale (as opposed to the b7 when it is NOT qualified with the Maj adjective). mi always refers to the type of 3, Maj always refers to the type of 7.
Thanks, 12 minutes of my life I could have saved if I had read your post first :) Too bad he couldn't have started out with this and avoided the verbal diarrhea altogether. This is how you separate the best players from guys like Jens that are just good, the best don't droll on, they just cut to the chase.
@@allenmayers3642 You are an ass hole. He's teaching a lesson and most of us want to know the logic behind why you would use a certain scale and any other knowledge Jens has to impart along the way. You obviously are also a beginner trying to learn or you would not be watching this lesson so who the hell are to be judging? ! And the best players are often incapable of being good teachers. Jens is. Cutting to the chase as you put it without explaining the concepts is not useful to a student.
Thanks yet again for simplifying a topic and creating an effective strategy for approaching such a huge topic as jazz scales. Coming from a “classical” background and directly encountering the endless scales and modes with the underlying theory can be intimidating to say the least. I appreciate the way this vdeo - like so many of yours - pulls key essentials out and creates a way of looking at the theory of jazz scales for improvisation that is not only clear and readily undertstood but very practical. Still - gonna take a LOT of practice! (Thank goodness it’s great fun).
this channel to some extent has given me an understanding of jazz..jazz is very difficult for me, but I started to love jazz guitar when I reached the age of 40. One time...jazz was the music I hated..now jazz and blues are my idol. .hahahahahaha .azman from malaysia
Jens I really love your stuff, and after years of wondering what music I want to put my heart into, this style (as represented by you and your interpretation) makes me feel like musically I am home! Thanks for your efforts and some heart in a world that can be a bit heartless and full of hate! Keep it up and blessings to you!
Well, instead of trying to watch a video on Jazz theory and chord analysis where you want to learn the chords then maybe check out this study guide for Jazz chords: jenslarsen.nl/how-to-learn-to-play-jazz-chords-study-guide/ That might be exactly what you are looking for :)
One of the most helpful lessons on jazz soloing basics. Many of these things I found myself from practice, but you explained it all very clearly and systematically. Thank you!
Great video. For non-guitarists watching this it should be pointed out that you still have to learn the 3 scales in all 12 keys! - due to the 'graphical' nature of a guitar fretboard C Major (and the 2 minor scales you mention) can easily be transposed to any of the other 11 keys, so one scale 'shape' fits all keys (you just need to know where the root notes are on the fretboard) - not so any other instrument
Jens Larsen I've been playing guitar for 3 years but I have a very basic understanding of theory. But lately I've been trying to get into jazz. Can you suggest any gateways to learn jazz as if I were a beginner? Thanks
Learn the major scale in all positions and keys, learn the diatonic seventh arpeggios in each position and all the notes of each scale by heart (that's obviously a long project) At the same time start learning simple songs like Blue Bossa, Take The A train etc. I have a beginners playlist on the channel if you are interested?
Jens Larsen You are the most condescending person I’ve ever seen. I know ALL of that. That does not mean I understand chord theory in depth. This IS me trying to learn jazz. You are not teaching. You’re spouting out the things you already know. And you’re so self righteous and stupid that you talk down to everyone when your teaching methods fail
Thank you so much for clarifying what approach I should take to fast track my learning so that I can play without spending so much time on practicing each mode!
Hi Jens thank you for this clear and great lesson only a question:the work you suggest with the major scale ( diatonic thriads and arpeggios) is the same method of study to apply to the melodic and the harmonic minor? I ask you just to organize better my study
Yes I practice the same things in melodic and harmonic minor as I do in major. Usually I will spend a period just focusing on one of those scales and then use that when I practice technique/warm up
You’re throwing out rapid fire chord theory with a name of a scale at the end. Anyone who can grasp this probably doesn’t need to watch this. Try helping us who aren’t music theory majors.
Learning the language of jazz demands hard work. Progress in this style of music cannot happen unless we accept the enormity of our ignorance and embrace each small piece of progress. You don't need a degree, you need discipline.
It's helpful to us because it's a technique for limiting the multitude of information to 3 scales, and where they fit. There are obviously other ways to handle these progressions, but the method in this video WILL work and will get you there quicklyish. But obviously there's more to music than what's here. This is just a way to limit the information to crucial things within the method. It helped me because I never used the harmonic minor stuff over diminished, never thought of them that way... I also wasn't aware of a few of the melodic minor subs he used, had been playing those sorts of progressions differently, it worked, but i want to try his way too for some sightly different notes.
I've just realized that the series of scales over the minor 251 you describe here is natural minor to harmonic minor to melodic minor. Very interesting. That makes the finger pattern changes easier to remember and understand. You are a great teacher, Jens. (Also this video has had 97 thousand views so far. Amazing!)
Haha! I never thought about that either :) Funny how that works, though I don't think it will help a lot with soloing. And yes: 97K in a month is far out! 🙂
Well, it will help me, because the finger pattern changes will be easier to remember (and therefore to stop thinking about). Also it helps me to see where the tensions are, since it is much clearer to me now that there are really very few fundamental harmonic changes from chord to chord. I'm sure those are second nature to you, but for me I'm still trying to integrate them, so that I can let my ears guide me (rather than thinking too hard about where to put my fingers).
If you like this video then check out: *9 Surprising Pentatonic scale secrets on a Blues*
th-cam.com/video/0w7l-GcT_QI/w-d-xo.html
Man! This guitar you're playing is which model and brand? That sound of her is very good!
Thank you! It's an Ibanez AS2630
Jens Larsen what are you using as your Fretwrap? I've never seen one like that
It's hairband that I use as a mute for open strings, but it does not really do anything when it is behind the nut- I sometimes use it while recording or practicing legato.
I have an acoustic guitar will it work?
I feel like I've free roamed into the area of the map where the enemies are like 5 levels higher than me, but I can't go back because I need the gear I came for.
Britmysta this is such a good comment
Literally me when I only have lvl 1 gear in a pubg match where the circle is two small and there are still 8 enemies
All talk no walk 🌍❤️😂😎
Same 😐
This is such an apt description. :)
I`m still confused, but now on a higher level..
That was what I was going for :)
That's kind of how jazz goes. It never gets easier the parts just get more complex
Hahaha, you put in a very funny way
You are hilarious! But I feel ya!!
If I learned anything from my 25 years of practicing guitar and some jazz is that if you are not hearing what is happening the theory might not be much help so never forget to practice your ear when learning new scales and ideas. If you can’t hear it it’s much harder to play as well.
I’m 3 years to late to this but thank you jens! I just recently have gotten into playing swing and jazz music and found myself struggling to not not sound like a blues player when jamming with it. Your lessons have really helped me understand some of the dynamics of this beautiful genre more. Thank you
Really glad to hear that Drew 🙂 Go for it!
Man, you have to have the absolute best music lessons on TH-cam (or anywhere I've seen on the internet). They're super informative, avoid hyping up topics and give logical exercises and background for progressing.
Thank you so much for all the work that you put in to these lessons.
You are very welcome. I am glad you like them 🙂
You must be Jazz Cat already my friend, even to be able to follow this. And if you can follow this what is there to learn?
A minor pentatonic over EVERYTHING and very very VERY fast ;)
Right on! I usually prefer Em pentatonic though 😄
@@roosterball69 Yes, I know about all of these "musical ingredients", BUT...... "A-minor pentatonic over everything really fast" is just way cooler and very rock 'n roll ;)
@@roosterball69 :D :D :D :D Exactly! :D :D :D but Really really fast, like Yngwie, even during soft ballads ;)
i prefere the cromatic scale over everything. i just say its advanced 12 tone jazz, so ppl dont know that i suck
Check out Pat Martino.
Dear Jens, i think that you are the only teacher that speak very clear the language of jazz guitar. With your precious video i'm gonna work too much with my guitar and at the same time i have a clear vision of my work. Thank you very much!
Thank you very much Giuseppe I am very glad to hear that :)
Reading some of the comments, I see that for some of us, this is way advance; however, you have to understand that he (Jens) is trying to pack a lot of information on these videos and it's actually to make it easier for us. What I do is WATCH IT AGAIN! AND AGAIN! Then one day I go "ooh!!!" Thanks!
Thanks, Eliseo! Glad you stick with it!
Um, you just gave like 6 months of lessons for $1000s in a few minutes. Bravo, bravo, sir!
Thank you very much! Glad you like it! :)
I think most of the players who are confused with this probably tuned out half-way through, which is tempting, although interesting if you have at least a little knowledge of jazz chord construction and usage. The gold is in the summing up. I'll come back to this again to make sure it's embedded, but this was great. Thanks Jens.
Thank you very much! Really glad you found it useful! 🙂
This is an amazing lesson. If you find it confusing, as I did, I'd recommend watching his melodic minor video and knowing your major scale plus arpeggios. It starts to click into place at that point and you realise that Jen's videos pack in weeks if not months of tuition . You just have to watch, pause and rewatch over again.
Thank you Alistair! That's very nice of you to say so :)
This is one of the most practical presentations ever for developing a "tool belt" to draw from when playing. Thanks- awesome lesson Jens!
Glad you like it 🙂
I tried watching this a year ago and couldn’t really follow along...now after a year of learning theory with you and beyond, I’ve come to rewatch and I can understand a bit more now! 😀
That's great! Most of what you need is to know a bunch of jazz standards. Then it starts to make sense 🙂
This is his foundational harmony lesson in my view. Refined and expanded in his Melodic minor, tritone, harmonic minor lessons. But this one is very important. And if anyone gets lost - start using a part of this lesson. Make friends with the major scale and its arpeggios. Then move on to melodic minor. Then harmonic. Easy does it.
#1 Get a looper pedal. #2 Play through a particular chord sequence, and hit "loop". #3 Work your scale over the top of the sequence, noting what works, and writing those bits down. That is what you practice and that is how you develop your voice in terms of using this stuff. Stay with it for numerous years, and then enjoy the applause from the two people at the bar who are listening to you play this elevator/on hold-with-the-bank, music.
That's a million dollar lesson, Jens!
Thank you very much André!
I binged most of your videos pretty hard last year. Turns out it was still a bit over my head despite 4 semesters of classical music theory and one semester of jazz comping. Now I am going back through all of your stuff and find that I am getting a lot more from it. This is to say: very useful stuff, once you finally have the mental space to process it all.
Thanks Luke! Glad you are getting something out of them!
I like the way that you position which scales should be used. I think the key trick here will be to do as you've described -- play through the various changes to get both the fingering and sound underneath the fingers. Even good intermediate players may not be able to readily switch between the various scales on the fly. Songs move quicker than our ability to analyze->select->perform. Even if it's only portions of a second, you're still behind the song! Investing time to analyze and characterize the changes in a song helps get that baked in, so when you get "the move" down, you can focus on the finer aspects, not just hitting the right notes. Well done, Jens! Thanks.
Thank you very much Kenneth! I completely agree: You need to prepare songs and know the progressions well in advance to be able to solo on it!
Jens, thank you for this video. This lesson, for me, is one of the most enlightening jazz guitar videos I have seen. It is incredibly dense with great information, with no fluff whatsoever, and presents a comprehensive way of thinking about improvising.
Thank you very much! Glad you find it useful! 🙂
I really like to learn from a guy that tells you "all you have to do if you" and then unfolds material I will need two lives to integrate completely. Respect man!
But I am really annoyed by youtubers telling me to subscribe. I will tho, only this time.
This shit has morr value than 2 years in an academy, am I rediscovering the wheel?
Thank you! Be careful though, most of my videos will require you to think for yourself and work on it and I ask people to subscribe in most videos. 🙂
This is one of the best guitar lessons on youtube if you persist with it. Rome wasn't built in a day :) The section at 8:10 really brought it all together. Top drawer stuff, thank you for your work Jens
Really glad you like it :)
Hi Jens,
In my opinion, this is by far the most effective synthesis you have produced to date.
I do agree with the direction you give.
Tkx again for everything you share.
+Christian SYLVOZ Thank you very much Christian! I am glad you find it useful ☺️
I'm pretty lost. But it might be because I'm high.
Well come back and give it a try when you are sober?
@@JensLarsen Of course! The three chords in the beginning, Dm7 G7 and Cmaj7, it sounds dubious and different when I play it by the head. What are those chords you're playing?
the only way i play ,lost and high
Funny shit!!!
I thought you needed to be high to understand it
This video is amazing, the real meaning of youtube overhere. You encorage me to learn the basis of jazz after long time running away from the music theory behind it, you know, there are lots of people like me that havent studied ever the musical theory, it would be years of learning and you just give all of us a 13 min video with a solid basis to start a concrete learning to the magic behind music :)
Thank you so much
You're very welcome, Felipe! Glad you can put it to use and make some music 👍
Jens, you are the master of understatement with your titles... This is a great lesson, a system designed to use and modify rather than a set of "closed" rules. I continue to be amazed at the outgrowth you build into your pieces. Thank you again,
Those are the big 3, no question. - hats off to Jens for very clearly setting out the "Pareto Principle" for jazz soloing - 20% of the possible input producing 80% of the gain. Students need to know what to put on the priority list and why - it's amazing how much of the study material out there doesn't make it sufficiently clear and that's a crucial failing - jazz is hard and if you don't direct your energy where it's most effective, its going to be a very hard and long road.
Very true! This is indeed what I am trying to get across! Thanks Steve! 👍🙂
Steve Cadge No wonder most people do not like jazz. Does one have to drink, smoke, take heroin, and commit adultery to like jazz?
Basically what he is saying is master diatonic scales/chords. Maj, min, min, Maj, Dom, min, dim, Maj. Play the arpeggios and practice soloing over each chord. Then do the same for Harmonic Minor and Melodic. Great way to practice! Because im more of a rocker, I study more of the sounds of Modes, but for Jazz this really keeps things simple.
Exactly! 👍😎
This is one of the most straightforward and concise explanations of this stuff I have ever heard. I will be revisiting this over and over.
Glad you like it 🙂
I am a bass player and this is an excellent lesson. I am studying with a world-class teacher. One thing that I am finding out is that you have to have the basic knowledge to understand what is going on. Therefore I write out my major scales, major chords, and II, V, I in every key (every morning). I will soon add the minor, dominant, and minor 7 flat 5 chords. This is all without picking up my bass. As my knowledge increases everything I see starts to make more sense. Sheet music, chord progressions, note selections, arpeggios. You must understand the basics of music cold (as in instantaneously). Try doing algebra or advanced math without having a firm grasp of addition or multiplication or fractions or decimals. Work on your BASICS and watch your understanding of every aspect of music grow. Blessings
Hey Jens, I just wanted to say thanks for putting out these videos! I’ve been playing guitar for over 15 years, and I’ve just recently started to divulge into the music theory behind it. You definitely know how to make your lessons to the point about everything, and you don’t dance around the idea of what it is. Keep making great content my friend! 🎼
Thank you very much Dylan! That's great to hear! I will do my best to keep making videos! :)
that Bø E7(b9) Am6 is so good... like, people don't understand there are different voicings to play the same series of notes, but that one is especially nice... i also love how we both love harmonic minor, (b)9 of all the altered 7 chords, & minor6 chords.. which i figured out myself recently, then have been noticing you making the same kind of choices in your writing as i do in mine, & i'm like "hmm, maybe i'm( or should i say /we're) really actually onto something here..." ha.
my brain melted
Oh dear? No lasting damage I hope 🙂
I clicked the wrong page.
I thought I struggled with maths.................... "Just let me hear some of that rock and roll music
Any old way you choose it
.................... :)" Do we really need to know this stuff to be able to play music?
@@ljr8819 no
You are 1000% in agreement with me rn. it was already mush, staying up late as hell, but this was just like...Straight up turned into mashed potatoes. If u watched this and were like "I literally understand everything he just said, 100%" I gonna have my "Bullshit" button ready to push. This was the most challenging video I've seen in a while for some reason. Time to sleep and if I actually have the courage to try again in the morning, THAT in itself would be an actual victory. Ded
This is pure gold. Thank you so much for this! All this chords, scales and even the way you talk ... It´s just great. (I can´t believe videos like this have 312 dislikes! Millennials have nothing to do these days.) #Guitar #JazzIsNotForEverybody #UntilGrowUp
Thank you very much Carlos! I think some people click on it expecting to learn jazz in 10 minutes, and that is of course not what it is about 🙂
My mission is to watch this video every day, practice some element of its content and to tease out some piece I did not understand.
Thank you from a sax player.
Go for it 🙂
I've seen a lot of channels, but now its the first time that I have the feeling to get it to another level. You teach it very clearly!!! Thanks for that Jens.
You're very welcome! I am glad you like it! 🙂
1. I'm a drummer and bass player yet I'm 100% subscribed and will be sharing this content!
2. Mad respect for your insight and the way you approach teaching this subject amidst the sea of overwhelming information that is the Internet. 80/20 master!
Peace
Thank you very much David! Really glad to hear that you like the video 🙂
very useful, thank you Jens, you are a humble and generous guy who is willing to share your experience with us all, truly appreciated your efforts, learning music should be like this, thank you
Thank you very much! Very nice of you to say so!
I just stumbled across Jens learning some new things, advancing technic while under Covid stay at home orders in Michigan. Great lesson, go through it slowly and write things down to get to an understanding. I like the use of C Major scale for the lesson, we should all get that. I need to get the the two minor scales here and use them as I have avoided them for some time. I have always been focused on the using the modes and scales associated with the chords. I guess that is diatonic? Thanks for all you provide.
You're very welcome William! I am glad you like the video
Jens, this is extraordinarily helpful. You have started with an endpoint: "here's what you need to play *most* jazz" and reverse-engineered the requirements to do so. This gives the jazz-student, like myself, an idea where I fall on the continuum of knowledge needed to get to the endpoint, and what to spend time working on. I often find myself mired in the minutiae of technique and arcane theory only to realize that I'm missing the bigger picture: developing a coherent and sensible method of study that will give me the most useful results and benefit my actual playing. Thanks for the great work!
+Rob B Thank you Rob! I am glad you find it useful! ☺️ it is indeed very easy to get lost in some small set of details
wow, for about 41 yrs 10mins and 15secs thought about scales. it was this moment you made it way more simple. thank you... haha useful
+jeffrey centra You're very welcome Jeffrey 😁Glad you found the video useful!
Lot's of great info here. STEP ONE: Listen to as much jazz music as you can. Scales are only the building blocks of melodic ideas. You must know what "jazz" is supposed to sound like before you employ scales etc. You must learn the jazz "vocabulary". Many people seem overwhelmed and rightly so. If you are not familiar with jazz tunes you're gonna be lost.
Very true! listening to jazz is essential! 🙂
I see a lot of comments bellow about the theory in this video being too difficult and going at a fast pace. I disagree and I'm actually happy that there are video's on TH-cam like this, that are not aimed at total beginners and don't last 30 minutes to explain 4 chords. I'm a professional player, but play mostly everything pop and easy standards, if needed. I'm always looking to upgrade my jazz skills, but never really have the time or motivation, since there are so many fun things to do in music.. And life : ) But when I do have the spirit, videos like this help, because it's an easy and quick overview. It's stuff that I mostly know, but sparsely use, so it's good to have it summed up like this and have 'ahaaaa, I forgot about that' moments. The only thing that would have been better is have short melodic lines or licks for every example. Now you're just stating the facts and move on. Let's hear some playing with the theory. Just one or two simple examples per cadence. No tabs needed.
Thank you very much Martijn! 👍🙂
well the thing is... the title is kinda misleading thats all.
@@maxmustermann-hf7vw I don't think I agree with you, it covers 99% of the chord progressions you will encounter in mainstream jazz and shows how you cover those with 3 scales and the diatonic chords in those.
That's also what the title promises right?
I agree to your comment, some videos are not aimed at total beginners and we have to be clear on that.
I I had a very nice moment following your demonstration .Thank you Jens
Thank you very much Andre! Very happy to hear that!
Man, this guy is no joke. That was a wealth of knowledge in a short amount of time.
Thank you :)
Jens Larsen's videos are always very good, but this is undoubtedly one of the coolest videos I've ever seen !!! Extremely relevant information, presented in an objective and clear way !!! Very nice to have the subtitles in Portuguese !!! Your Brazilian fans thank you !!!
Thank you very much! I am glad you found it useful! If you have any suggestions for topics or things you are looking for the feel free to let me know 👍
It is an honor to receive, in response, a comment from Jens Larsen !!! Your videos cover a number of key subjects for a musician of any instrument and any musical genre !!! I searched your channel and did not find a video on slash chords. This is a suggestion: video about slash chords, if possible with portuguese subtitles !!! In advance thank you for the attention !!!
Thanks! I actually have a video on that: th-cam.com/video/SkqeHCvTO14/w-d-xo.html It's a bit old and doesn't have subtitles. Sorry about that 🙂
nailing it lately with material that makes jazz feel a lot less daunting to beginners!
Thank you Alexander Potts! 🙂 I am glad you can use it to see the bigger picture!
Thanks so much for making this video. I'm a classical musician coming to jazz now and it makes me feel better that all the scales I already know are useful. 😛
Thank you very much Michelle! 🙂 Yes you should be fine with those 3, just don't forget that we play the ascending version of the scales all the time 😁
Even better!
Well, this is somewhat of a relief to me because, being new to guitar and music theory (1 year, self-taught), I was beginning to feel pretty apprehensive about the time investment required to learn scales/modes beyond those we first learn in association with the major scale, let alone reach technical proficiency... Don't get me wrong, I'm totally into just enjoying the journey but as I have no serious musical ambition and really only want to be conversant in the medium this approach seems like a healthy compromise. Happy Holidays!
+pixelatedparcel Glad to hear that ☺️ Potentially this could save you a lot of time. Hope you have a nice Christmas too!
Thanks so much, Jens. You sure did pack a lot of info in 13 minutes. My jazz teacher taught me to use the major scale this way... He said when I see a II-V-I, just start the scale from the root note of the I-chord. That's pretty much what I've been doing since 2013, and it seems to work. But now you've given me more to chew on. At 52 years of age, and playing guitar since 1973 (but jazz only from 2012), you teach me something new every day. Thanks.
Oh yes, Jens, I agree. Perhaps a lot of people, instructors as well, try to make jazz more difficult that it needs to be, to maintain the jazz mystery? They often use high-brow words like "sophistication", as if one scale or mode is more "sophisticated" than the next. To my mind, theory is just that... theory. The real test is whether or not your playing sounds good; does it sound musical; it it musically pleasing and satisfying? If not, then even if the theory is correct, it doesn't really work. I like your approach. It works!!!
Thanks Jack! 🙂
Jens, this is easily the most useful improvisation video out there. Pair this video with a ‘music theory terminology’ video, and I think this is the only TH-cam tutorial any beginner/ intermediate guitar player actually NEEDS. Thank you for being great! Fart smellow!
You cover EVERYTHING in this! Arpeggios, scales, exercises to practice. And most importantly, harmony! Thanks for teaching me the last few years!
Jens, you're a fine dedicated teacher. I agree on what you said about the 3 basic scales covering a great range in Jazz. I use these a lot myself. Further I study the octotonic (sequences) and pentatonic as altered scales as wel. Like playing Bb mi penta over G7 alt.Keep up your fantastic work, loved your lesson on the drop 2 voicings, very informative, greetings Vic.
Thanks Victor! Glad to hear that you find the videos useful! 🙂
everything breaks down to the Major Ionian scale/mode it's even constructed in the last octave of the Harmonic series! Forget about learning 1000000 different Lydian scales in my opinion understand submediants counterpoint and develop an ear for tension notes like b9 #4 b6 etc. played over various chord progression settings! great lesson!
Thank you Andrew! 🙂
Agree - absolutely.
What do you mean?
I agree and disagree. I agree with having an ear for hearing tension notes. I disagree that ionian is all you need. You need to learn the others too and in every position if you want to become proficient in jazz guitar.
major, harmonic & melodic minor are the primary scales in Baroque music too
Yes, they are the basis for pretty much all tonal music 🙂
You’re right of course but I can’t recall seeing the pure minor / Aeolian in Baroque; renaissance music used it.
I love your videos.
It's late at night and I could honesty follow the content of this video very easily because it comes from the experience of playing music! You may not realise but after a while of studying with your expertise and delivery style your videos calm me down and then if I wake in the middle of the night I'll just run a part of the info over a set of changes in my head and I'm a better person in the morning. True story!
Thank you Mastaneh! That really makes my day 🙂
I have absolute zero knowledge in jazz. I don't even know how to play normal guitar except for the basic notes. But you sir, helped me alot with this video. Im glad i started with this from zero. Obviously i didn't understand anything but i wrote it down anyways because it showed me what to study.
I will definitely master the 3 basic scales. The Major scale, the harmonic minor and the melodic minor.
Thanks again for this awesome video. Definitely helpful for those who wants to learn jazz.
Thank you! I am glad you found the video useful! :)
I can't play guitar any more (carpal tunnel syndrome), but this actually helps my sax playing.
Thanks Alex! That's great to hear that you can use it on another instrument! Of course sorry to hear that you can't play guitar anymore, but the change to sax must be nice as well?
Thanks, yes it's fine. The "inner jazz voice/line" is always developing, just have to use a different expressive tool now!
Me too
Sorry to hear about the carpal. Could you elaborate a bit on how it happened for all us guitar players could find it very useful. I have often wondered why not more guitarists have carpal. Is there something you did wrong in your technique or maybe stretches that can help prevent this?
My dude Cookie Monster chillin on the nut
Seeing Danish/ English TH-camrs is great.
Tak Sander!
While listening to Jens and watching him effortlessly move to the chord shapes he refers to is educational, inspirational, and more, sometimes I wish I had one of those handheld language translators with a setting for "Jazz to English."
I use the tetrachords on adjacent strings as the basis for chord scales, 1 to 1V on one string and V to V111 on the next. Admittedly, I only play Irish trad dance music, but I found it settled my position transitions on guitar.Anyway ,Lars,you probably already know this. I enjoy your easy teaching style very much. Slan!
Since major is a mode of natural minor, we could say there are three scales:
* Natural minor
* Harmonic minor
* Melodic minor
Yes, but that would be a bit superficial and not really help you describe the content that I cover in the video
@@JensLarsen I was taught that there are three master scales: The major, the harmonic minor, and the fixed melodic minor, which is really just a major with a flat 3rd. The modes from all of these will give you 98% or more of what you want for melody and lead lines, particularly the fixed melodic.
But: i guess i could profit a lot going to understand your system better. Have to learn it in small piecec. Thanks a lot for this vid. Its great advice !!!
I've just organized my scales according to Joe Pass as: major, minor, and dominant. Major and minor each have two structures, maj7 and maj7+ then mi7 and mi7(b5) respectively while dominant has three structures: x7, x7+, and xo7. I figure that covers everything so I'm just going to learn those chords with the sound of all available tensions and I should be good.
You should do what you think works for you 🙂
I think you forgot min/maj7... It's good to organize your scales that way. You lost me with xo7. Assuming + is augmented. Dominant7, dominant7 augmented 5, sooo dominant 7 dim5? Like 1 3 b5 b7?
@@CMM5300 x is any letter. xmin(maj7) is minor - it's a harmonic variation in minor, at least that's from where it's derived. I see what you mean in that dominant is neither major nor minor but you can't call min(maj7) major nor mixolydian so it has to be minor. It's not worth a whole class on its own.
Edit: I just realized that you're right - I didn't mention that variation. Really, there are probably dozens of variations I left out.
xo7 is diminished. Diminished is often a substitution for dominant. You can build a diminished from a dominant's b9, 3, 5, or b7. Often, when theory/jazz guys see a diminished or x7(b9), they'll interchange the two scales. Sometimes diminished is used as a chromatic passing chord too, or just for suspended effect as in the intro to "Volare".
+ is augmented because the whole tone scale gives you a major third and a minor seventh - dominant. It's a variation of dominant just as the major seventh in harmonic minor doesn't make the scale not minor. x7(b5) is not fundamentally different from x7+ other than the melody is probably emphasizing the lower note.
The whole point is to make it simple for yourself. Its easier for me to think of three chord families than the other extreme of even calling inversions separate 'chords' like some websites will have you think.
@@JensLarsen Sorry, Jens, didn't see your reply. Thank you for your videos and inspiration. Believe me, I'm still learning what works for me! Cheers.
@@Hexspa I was unsure how you was labeling the chords and organizing your scales. I personally think of min/maj7 as a different scale category with different sets of pentatonics. (1 b3 4 5 7) for example works great for melodic minor harmonic minor.... you had 3 different dominant7's listed. That's what confused me. I've been doing just one category for dominant scales. Altered dominant 7 of coarse. I have ran Into unusual dom7 and dim7s before with not so common chords scales. Dim7 natural3... dom7 b5.... i didn't know if you had other categories for reasons I didn't know. I tend to categorize chords in this way. Dim7, min7b5, min7, min/maj7, dom7, maj7, aug7
And have my scales arranged to play over each chord category. Most people think of major and augmented as the same category. Same thing with diminished and minor.
Maybe I should simplify things....
The BEST breakdown of chord scales on TH-cam.
Thank you Javier!
Very helpful video jam packed with info! I'm getting to work right away. It was really freeing for me to realize that all the modes ( Ionian, Dorian etc.) are just the common major scale starting on a different degree of the scale. So, if you learned the major scale, you've also learned the 7 modes. Also, A tri-tone substitution is just an exremely altered dominant and can be treated that way instead of thinking of a chord a tri-tone away. eg. B7 is really F7 flat 5 flat 9.
8:40 what you need to work on
True! :)
3 minutes in and hes gone over about 12 chords with less than a second of attention to each - good sign it's beyond my depth. I'll check back in a couple years for the next 3 minutes.
True! Roy, this will only make sense to you if you are already trying to learn jazz songs 🙂
Hey no problem, not everything is for beginners. I am between beginner and intermediate. I have the major and minor chords and positions memorized and can calculate (but not muscle memory) the 7th and maj7th chords but lack the technical ability to fret them as fast as I visualize on the fretboard. Where would you suggest I look for help with this hurdle?
buy a keyboard! you learn much faster. guitar is a more complicated fractal piano. if you know your major chords, it's just a matter of learning minor, extensions, altered, dominants/7ths.
It's really not bad. The harder part is committing them to muscle memory and being able to play them intuitively, instantly, and in succession in time.
The keyboard is an excellent idea - anyone who wants to be serious on any instrument should have some familiarity with the keyboard which lays it all out in a very linear and visual format. Doesn’t need to be an expensive keyboard to achieve this purpose.
@@amphibian87 This is good advice, for anyone. Jazz Piano is literally slowed down Blues piano.
Down with the flu today, but I am really curious about how you work on and see this? I find this approach much more useful for jazz than modes at least...
great videos Jens! Love your approach. In regards to diminished chords, in what situations would you use the symmetric diminished and dominant scales? Do you prefer to use harmonic minor? Thanks, André (ps hope you get well soon!)
Thank you André! I almost never use the diminished scale on dim chords, and when I do it is a some what conscious "reharmonization" The diminished scale is not really a part of tonal music so if you go by what you "naturally hear" then that isn't it (of course we should not always limit ourselves to what is "natural" in our culture etc. but still..)
I use dim scale a lot on dom7th chords, but it is again a special effect or sound on top of a song.
Hello Jens, I use the modes to play out of the chord shapes to get the flavour of the chord. I understand that all modes relate to Ionion, so playing out of the Ionion scale are you saying arpeggios are more useful than modes? I thought that was how jazz used to be made before modal jazz arrived?
+mrsunlite if you are playing a song with chords in progressions then it is more useful to understand the chords in the key than assigning a mode to each one.
Jens Larsen Thanks, just trying to get the distinction between modes or arpeggios within the major scale. I guess I play off the chord tones and sometimes add parts of the scale for whichever mode of the parent Ionian that may be. Are we talking the same thing?😀
If I played phygrian or lydian over a Ionian I would consider that modal.
Thank you jens :) it's been 3 days now I've been watching your videos and applying it on my guitar playing practice. Especially replacing backtracking tracks for Metronome :) it was a huge help. Thanks again. Now looking forward on this lesson
Cheers from the Philippines 🇵🇭
Thank you Julius! 🙂 Glad you enjoy the videos!
I literally cannot stop watching your videos. Too good man.
My last remaining brain cell just went into a coma - "If we summed this up..." 8:11
Thanks, Jen's⚡👍⚡😀⚡👍⚡
You're very welcome! I am glad you like it! 😁 Hope you don't get any lasting side effects!
Grande aula! Parabéns e obrigado por disponibilizá-la. Um abraço
Thank you very much! I am glad you like the videos 🙂
why do you use harmonic minor over dominant 7th and diminished chords if neither of those chords have a major 7th in it (like harmonic minor does)?
Because I am not using it from the tonic. I am using C harmonic minor over G7(b9) and B dim 🙂
Does that make more sense?
@@JensLarsen I see, the major 3rd of G is B, which gets you the major 7th sound found in C harmonic minor. B dim has B, D, F, Ab, which are all in C harmonic minor....
Crazy that you can improvise with this in real time but it's starting to become clearer! Thank you for your quick reply.
You need to practice it until you don't have to think about it :) It's not that difficult actually.
You deserve more thumbs up for asking an actual question based on the actual content covered in the video, bravo to you Sammy!
@@zardeh63 :)
*Disclaimer: if you've began diving into chord scale theories on your own. Just stop this video is literally all you'll need.*
Wow. I've began to methodically construct chord/scales relationships in RELATION to the chord progressions. I've seen this lesson before starting this journey. I didn't realize just how thoroughly you've beat me to the punch. Good job man. Just... *wow*.
Thank you very much! I am glad you like it! Chord-Scale theory is often not a great way to understand music in my experience 🙂
Jens Larsen Jens Larsen I have a very solid background in music theory. Straight A's, top of my class. When I started learning jazz (recently) I was feeling fairly overwhelmed. I began studying different standards and analyzing players scale choices given the context of the music and I thought I'd never see the light at the end of the tunnel. Turns out the light is minor scales lol. Kostka would be proud of your methodical and practical approach!
This is probably just a remnant of ideas my professor gave me but, is this a fair enough generalization: The Harmonic Minor scale is generally used when there is a 'real' cadence happening (ironically, a weaker sounding one to my) and the Melodic Minor is used when the cadence doesn't necessarily round up the form but offers a nice bit of color?
Also what did you mean by double diminished #iv? Is that just a name for Ger+6th I'm forgetting?
Thanks!
I am not sure what you mean with Melodic minor when the cadence "and the Melodic Minor is used when the cadence doesn't necessarily round up the form but offers a nice bit of color"
I think you will find that the altered scale is used very often in strong cadence places in the form, like then middle of a song or the final cadence at the end of the melody. Mind you this is how it is used in a solo and probably not how you will find it in a standard.
Double Diminished is another way of describing Ger+6. The Ger+6 is often described as minor subdominant with a #IV, but if you explain it not as an altered IVm but as an altered #IV you get the double diminished 3rd.
I am using that expression because that is what they taught us here, and (to me) the strongest sounding note in the chord is the #IV.
Does that help?
Jens Larsen yes sir! It's all coming back to me. My other question could have been phrased simpler.
Have you noticed any real connection between the form of the piece and which minor scale you find performers or yourself employing? Understandably the Melodic Minor would be used in strong cadential points in the form because of all the tensions but from what my wimpy ears can tell I hear people using the harmonic scales more around the end of the sentence/period You'd think that it'd be the place to have the more exciting lines (or, perhaps it's just more noticeable to me when they use Melodic Minor in the middle of a sentence BECAUSE I'm not expecting it).
I know there's no "hard and fast" rules to this type of thing but I'm essentially just asking if you've noticed a correlation in scale choice and where in the tune the soloist is jamming. Sort of the same way classical composers used cadential 64 chords if that makes sense.
(I'm totally geeking out that you actually replied btw ❤️ you're helping me become what I want to become it's kind of a big deal to me 😂)
No worries! I always try to reply (if the comment isn't hostile or very silly)
I don't think that there are rules for where melodic minor is used vs where harmonic minor is used. In any case this will probably vary quite a lot from soloist to soloist and also from period to period.
If you want to check out differences then listen to Scofields "Not You Again" The different soloists are all over the map with scale choices and Brad Mehldau is fairly far out.
Thank you! I love this approach. I've started to discover that it's better to know how to use a couple of things really well and be able to really speak with them than know tons of modes. Too many modes can be difficult to wrap your head around because you have so many options for each chord and you're often thinking more about the roots constantly moving (prescribing a mode to each chord) instead of building a melody in the key that moves through the changes. By simplifying the thinking, you can focus on being genuine and creative with your melodies.
Exactly Jake! 🙂
Jens, can you explain what is minor major????
How can a minor be major?
("FmMaj"???)
+13thAMG Yes. The tonic chord in F melodic minor : F Ab C E. An Fm chord with a Maj7
I had the same thought as 13thAMG. Looking at the explanation of Jens and Lunar orbit I recognize the chord, very much used in brazilian music, just don't think it is a good way to write it. FmMaj lead me to think in a minor third together with a major third, not a major 7th. I've seen written as FmM7 and Fm7+, which I think are more explicit. But anyways, great lesson Jen and lots of information to digest. Regars from Brazil.
Once you are beyond triads in your understanding of chords, Maj is never referring to the 3, but rather the 7. Minor always refers to the fact that the chord has a b3 in it. Maj is telling you that the 7 is straight out of the major scale (as opposed to the b7 when it is NOT qualified with the Maj adjective). mi always refers to the type of 3, Maj always refers to the type of 7.
Its a minor chord with a major 7th. So for example an A minor major would be A ( root) C (minor 3rd) E (5th )and G sharp ( major 7th )
Listen to the final chord of the James Bond Theme 😉 (it has even an added 9th... FmMaj9). The recording is in Em btw...
Money shot: 8:35.
This is what I came for
Thanks, 12 minutes of my life I could have saved if I had read your post first :) Too bad he couldn't have started out with this and avoided the verbal diarrhea altogether. This is how you separate the best players from guys like Jens that are just good, the best don't droll on, they just cut to the chase.
@@allenmayers3642
You are an ass hole. He's teaching a lesson and most of us want to know the logic behind why you would use a certain scale and any other knowledge Jens has to impart along the way. You obviously are also a beginner trying to learn or you would not be watching this lesson so who the hell are to be judging? ! And the best players are often incapable of being good teachers. Jens is. Cutting to the chase as you put it without explaining the concepts is not useful to a student.
Thank You, wonderful video
Glad you like it! ☺️
Thanks yet again for simplifying a topic and creating an effective strategy for approaching such a huge topic as jazz scales. Coming from a “classical” background and directly encountering the endless scales and modes with the underlying theory can be intimidating to say the least.
I appreciate the way this vdeo - like so many of yours - pulls key essentials out and creates a way of looking at the theory of jazz scales for improvisation that is not only clear and readily undertstood but very practical. Still - gonna take a LOT of practice! (Thank goodness it’s great fun).
Thank you very much Warren. That's really encouraging to hear!
Glad you also enjoy the journey!
this channel to some extent has given me an understanding of jazz..jazz is very difficult for me, but I started to love jazz guitar when I reached the age of 40. One time...jazz was the music I hated..now jazz and blues are my idol. .hahahahahaha .azman from malaysia
Great lesson!
Thank you! 👍🙂
Jens I really love your stuff, and after years of wondering what music I want to put my heart into, this style (as represented by you and your interpretation) makes me feel like musically I am home! Thanks for your efforts and some heart in a world that can be a bit heartless and full of hate! Keep it up and blessings to you!
It would be really helpful to show the tabs of the chords to make it easy because some of the chords are shown differently in different places...
Well, instead of trying to watch a video on Jazz theory and chord analysis where you want to learn the chords then maybe check out this study guide for Jazz chords: jenslarsen.nl/how-to-learn-to-play-jazz-chords-study-guide/ That might be exactly what you are looking for :)
You read my mind. 👌🏾👍🏾
+Mike Allen Thanks Mike!
One of the most helpful lessons on jazz soloing basics. Many of these things I found myself from practice, but you explained it all very clearly and systematically. Thank you!
Thank you very much, Alexey! I am really glad you find it useful!
Great video. For non-guitarists watching this it should be pointed out that you still have to learn the 3 scales in all 12 keys! - due to the 'graphical' nature of a guitar fretboard C Major (and the 2 minor scales you mention) can easily be transposed to any of the other 11 keys, so one scale 'shape' fits all keys (you just need to know where the root notes are on the fretboard) - not so any other instrument
Can I get the tabs for that happy birthday
Haha! No, sorry 🙂
*plays happy birthday randomly in the middle of a jazz gig* lol
You wouldn't be the first 🙂
Yes, would love to see the tabs for that lick on 10:19 :)
Haha! Congrats on making it that far in my video! 😁
Jens Larsen Haha, of course man, I'll actually learn it when I can, no need for tabs! Thanks for the video, man!
I wish I could understand this.
I guess this will only make sense to you if you are already trying to learn jazz songs 🙂
Jens Larsen I've been playing guitar for 3 years but I have a very basic understanding of theory. But lately I've been trying to get into jazz. Can you suggest any gateways to learn jazz as if I were a beginner? Thanks
Learn the major scale in all positions and keys, learn the diatonic seventh arpeggios in each position and all the notes of each scale by heart (that's obviously a long project)
At the same time start learning simple songs like Blue Bossa, Take The A train etc.
I have a beginners playlist on the channel if you are interested?
Jens Larsen thanks, and yeah I'll check it out
Jens Larsen
You are the most condescending person I’ve ever seen.
I know ALL of that. That does not mean I understand chord theory in depth.
This IS me trying to learn jazz. You are not teaching. You’re spouting out the things you already know.
And you’re so self righteous and stupid that you talk down to everyone when your teaching methods fail
Thank you so much for clarifying what approach I should take to fast track my learning so that I can play without spending so much time on practicing each mode!
+Ken Lee You're very welcome Ken! I am glad you found it useful ☺️
With these 3 scales we actually learn 21 scales! And that's amazing!
Hi Jens thank you for this clear and great lesson only a question:the work you suggest with the major scale ( diatonic thriads and arpeggios) is the same method of study to apply to the melodic and the harmonic minor? I ask you just to organize better my study
Yes I practice the same things in melodic and harmonic minor as I do in major. Usually I will spend a period just focusing on one of those scales and then use that when I practice technique/warm up
Jens Larsen thank you .. i will adopt the suggestion.. 👍🏻
I think i’ll stick to the blues lol
Haha! Well, if you start looking into some jazz pieces you will get there quite fast 🙂
Teach us more on bebop please.... 😇😇😇
Maybe browse through this playlist: th-cam.com/video/vfJK_8QcS5Y/w-d-xo.html
Or let me know exactly what you are looking for! 🤔
i think i rewatched the video tens of times in the last week, really thanks for being open with your knowledge
The best Channel on the TH-cam. Thanks a lot!!!!!!!!!!!!!!!!!!!!!!!!!
You’re throwing out rapid fire chord theory with a name of a scale at the end. Anyone who can grasp this probably doesn’t need to watch this. Try helping us who aren’t music theory majors.
Well, seems to me that anybody who is trying to jazz pieces will know what it is about, but if you are not then it probably won't make sense to you?
just pause the video nerd he has all the chords on the screen
I disagree. I found the information in the video extremely useful.
Learning the language of jazz demands hard work. Progress in this style of music cannot happen unless we accept the enormity of our ignorance and embrace each small piece of progress. You don't need a degree, you need discipline.
It's helpful to us because it's a technique for limiting the multitude of information to 3 scales, and where they fit. There are obviously other ways to handle these progressions, but the method in this video WILL work and will get you there quicklyish. But obviously there's more to music than what's here. This is just a way to limit the information to crucial things within the method.
It helped me because I never used the harmonic minor stuff over diminished, never thought of them that way... I also wasn't aware of a few of the melodic minor subs he used, had been playing those sorts of progressions differently, it worked, but i want to try his way too for some sightly different notes.
Get well soon!
+Guitar Dev Thank you very much! I did manage to recover in the meantime ☺️
Guitar Dev ññ
What language is this ????
I was going for English? 😀
Lmao
@@JensLarsen Great job! I appreciate that you speak multiple languages, unlike most of us Americans.
Jazz speak, maaan!!!
Lol!
Jens, I really like your teachings and style. Most videos I have to speed up, yours I have to slow down, so much info to mentally download!
Glad you like it 🙂
I've just realized that the series of scales over the minor 251 you describe here is natural minor to harmonic minor to melodic minor. Very interesting. That makes the finger pattern changes easier to remember and understand. You are a great teacher, Jens. (Also this video has had 97 thousand views so far. Amazing!)
Haha! I never thought about that either :) Funny how that works, though I don't think it will help a lot with soloing.
And yes: 97K in a month is far out! 🙂
Well, it will help me, because the finger pattern changes will be easier to remember (and therefore to stop thinking about). Also it helps me to see where the tensions are, since it is much clearer to me now that there are really very few fundamental harmonic changes from chord to chord. I'm sure those are second nature to you, but for me I'm still trying to integrate them, so that I can let my ears guide me (rather than thinking too hard about where to put my fingers).
Now it's at 176,185 views!