Do you recognize the chords? Is there one that I left out? - Let me know what you think :) Content: 0:00 Intro 0:22 The chords that are not a II V I 0:50 Secondary Dominants - Identifying and Playing 1:48 Function of a Secondary Dominants 2:13 #1 V of V 2:22 Example in C Major 2:58 Where they are in the form (ABAC + AABA forms) 4:05 Examples to hear V of V as Lydian and as "normal" dominant 4:22 #2 Secondary Dom7th that resolves to a major chord 4:45 Secondary II V Cadence 5:18 A Chord in the song vs A chord in a solo 5:52 #3 Secondary Dom7th that resolves to a minor chord 6:36 #4 Tritone Substitutions 7:18 Lydian Dominant on Tritone subs 7:34 Example in a Jazz Standard 7:45 #5 Secondary Diminished Chords 7:57 Example in a Standard + Reharmonization 8:45 Scale Choices for secondary diminished chords 8:57 #6 IVm chords 9:25 Basic IVm in C major 9:48 Example in a Standard 10:05 #7 Backdoor Dominants 10:18 It is a minor subdominant! 10:50 Scale choice and example in a song 11:11 #8 bIImaj7 and bVImaj7 11:23 bII - Neapolitan Subdominant 11:53 Standard Example You Stepped out of the dream and Suspension use 12:25 bVImaj7 12:53 #9 #IVdim 13:05 Rhythm Changes example and voice-leading 13:30 Scale Choice for #IV dim 13:44 #10 bIIIdim 14:00 Typical Progression and Scale choice 14:40 #11 Reharmonized #IV dim chords 15:07 How it works 15:20 In a song: I remember you 15:40 Stella By Starlight 16:14 Understanding Jazz Harmony in Jazz Standards 16:35 Like the video? Check Out my Patreon Page
Wow, rapid fire nuggets of theory here. I held on for dear life, I'm going to have to spend some more time with these. Compelling information, Thank You...! 😎
What a great lesson!!! So much important informations in one lesson! Good for understanding standards, good for improvising, good for composing! Thank you very very much!!!
Wow, pretty speedy and jam packed! I can go back over the video a half a dozen times, but more examples on each would also be good - you know, different tunes, keys and contexts. Thanks so much!
I love this video. The grand tour of functional jazz harmony beyond the basic handling of a major and minor 2-5! I think it has pretty much all the theory you need to play traditional jazz. Of course, knowing theory (like knowing grammar) is different from playing the music (speaking the language) but it sure helps.
Well...thanks so much! This is just an overwhelming bunch of information, but it's so useful to have it in a sixteen minutes video (of course as a starting point). Amazing job!
Circa 1962 began my musical journey. Dad gave me a Sears Silvertone at age 10. Started Piano lessons 1970 My first lesson I learned 2 arpeggios Bmin7b5 and C6. Of course later added D Dim 7. Took lessons untill 1976. Took jazz piano and guitar 20 years ago. One day I was giving a whiteboard lesson on the Diatonic Sevenths ..Cmaj7- Bmin7b5. Then I realized that Hoagy Carmichael In the original music writing of Georgia on my mind had started out with chords F maj7 then went to Emin7b5. Etc .It's still up on You tube..I realized that Hoagy had wrote a 7 3 6 2 5.progerssion. I didn't even know what secondary dominants were..He starts .F to Emin7b5.. (R b3 b5 b7).(E G Bb D). It goes on to Dim 7( the 6 of the F scale). the 6 in the F progression. 2 is next Gmin7 ( G ...then the 5 C7. Lately I've started analyzing songs like Autumn leaves which has small amount of the harmonic minor in it .in Bb key signature it starts out in Gmin. The only 5 chord in G natural minor is DFAC.. Dmin7 which is not true dominant chord. It has to have an F# in it. I guessed..really did.. I knew that the melody had an F# leading tone in it..I also knew that the song did a temporary movent to the harmonic minor After much research and head scratching I realized that the D7 had to be five of a minor. So putting all the info together. It had to be the A harmonic minor. First I want to put the easiest way to remember the harmonic minor. First I write out the Amin natural. From the C major scale up a minor 3rd. A B C D E F G A. Obviously no F# which would be needed by the D7. But just lower the 7th from G to F#.. voila..the harmonic minor fits. Finally Fini.
Ahhhh, that proud day when you finally understand a Jens Video. It's been a long year, and I feel that the answer to being intimidated by Jazz is to swim in it. Back to listening to Windflower by Ellis and making major flat 6 scale practice sheets. (edit: I'm learning beautiful love along with the song you recently posted this week, guess what has a III 7 in the second bar?)
Extremely useful and well explained, thanks for sharing this! This is exactly what I am studying right now in Italy,and I like to learn also the English musical terms. Grazie!!!
This is my favourite of all your videos Jens. Really good explanations. I have a book that does something similar, called Hearing the Changes by Jerry Coker, and one thing it does that would be awesome to add to this video description is list a bunch of tunes with examples of each. It would be great to have more examples beyond the ones you mentioned. Thanks again!
Over a 4# dim I think it sounds really good to play a harmonic minor off the 5th of the key (rather than the 3rd). It sounds good to my ear and the reason it works I think is because, for example, in an F blues, the B dim is resolving to a F7 with C in the bass, which is basically have a Cm6 chord. So C harmonic minor will resolve to Cm6 really nicely. Try it and see.
@@pickngrimace2726 Yeah that sounds good. Both that scale and the harmonic minor off the 3rd have 5 notes in common with the key which is probably why they sound equally good to my ear over a tune like All the Things You Are. The harmonic minor of the 5th only has 4 notes in common with the key, which is why it doesn't sound quite as good on that tune. I don't know my harmonic major around the neck well though. Sometimes I play a harmonic major unknowingly when I play a VI-I with a flat 9 as the only altered note. I probably need to work on that a bit.
One of my absolute favorite videos of yours! Been looking for a good video on subs and next step harmony for a long time. Would love another one of these on more advanced harmony too, ie Chick Corea.....
Thanks, great video! I'm planning on teaming up with a guitarist friend of mine very soon to make some vids about particular sequences that are common to many standard tunes (many of which you mention here).
I am assuming all of this is in one of the 2 books I have of yours.It is a lot of material, and I still am not sure of which scales goes with what chord, except for the altered V chord( up a half step and then harmonic minor). I have studied this before, but have difficulty retaining it. Great informational lesson. It's the first step. I do chord solos, sometimes with backing tracks, when I perform, but get lazy when I blow, ( stay in the tonic, and some pentatonic stuff, and arpeggios) I will try and take bite size chunks of this info and use it. I have 2 pieces, "round midnight", and "Killer Joe" that I have crafted solos and also a part for improv. I need to get off my ass and work!!!!! hahaha thanks again.
Thanks Gary! This is not in the books. They are about creating lines not analyzing harmony :) Maybe a later book... The way to learn this is really to recognize it in the songs you already know, otherwise it is just meaning less information (I think)
All of this is very useful,but I kept waiting(and never heard)the one that gives me the most trouble:altered dominants.V7b9,V7b9#5,or just V7#5.All very common.I’m sure you have a reason for leaving them off your list,but I would include them just because of the utility.
There are almost no standards that have altered dominants, altered dominants are usually a reharmonization you add on top while soloing. I also have really a lot of videos on altered dominants and how to play them, but actually it sounds like you are mixing up dominants in a minor key with an actual altered dominant?
Jobim has many altered dominant chords as part of his writing.He clearly likes that sound.You really can’t solo on his canon without knowing how to deal with them properly.
@@alainapollard4939 Well, if it is an altered dominant then it comes from the altered scale and to really say that a dominant is altered in a song then it will have the b5 and/or the #9 in the melody. That is fairly rare. Otherwise, you just hear a dominant from minor which is something else. The 3 examples you listed are more dominants belonging in, or borrowed from a minor key. I know a few of Jobim songs, and he does use more modern harmony sometimes like the odd tritone sub but I can't think of an altered dominant?
Hi Jens I really like the weird shape white and brown guitar you have on the wall.... Very cool!!!! BTW, I'm working on Oleo but the chord after the EbMaj7 is an Ab13 or an Eb-6 but I do see the Edim chord sometimes after the EbMaj7. Can you substitute the Edim for the Ab13 and the Eb-6? I guess you would need to use the Eb Melodic Minor for the Ab13 or Eb-6, right?
Hi Jens, Thank you for your incredible videos! Quick question, I hope. When moving to the IVmaj 7 chord in tunes do you treat the IV chord differently say in Autumn leaves where you move from the Imaj7 directly to the IVmaj 7 versus in Donna Lee where the IVmaj chord is approached by a ii-V7 which momentarily tonicizes the IVmaj7 chord. In Autumn Leaves playing lydian over the IVmaj7 sounds good to me where as in Donna Lee the IVmaj7 playing ionian sounds more 'appealing'. Although they are both functionally IVmaj7 chords. This may be because of the temporary tonicizing of the IVmaj7 by the preceding ii-V7 of IVmaj7. I'm wondering what your thoughts might be on this. Thanks again so much for you wonderful videos!
Good question! It depends on the context, but in both examples really going for a lydian sound is a bit misplaced, so it doesn't really matter too much, because that one note is anyway just a passing note. You can treat it as a tonic, but if it i followed by a minor subdominant that is a bit odd.
@@JensLarsen Hi Jens, Thank you for your reply. Maybe my question wasn't clear. I meant that the if a IV (let's say an F maj7) chord is preceded by a I (Cmaj 7) chord then playing F lydian over the IV (F maj7) chord sounds melodically more appropriate because you are playing the mode from the parent key. However if the IV is set up with its relative ii-V7 then the ionian mode of the IV (F maj7) chord seems to 'fit' better because the natural fourth of the IV chord (B flat in this case) is in both the ii (G-7) and the V7 (C7). I do realize that the fourth note in the case of F maj7, B or B flat in this example, is just a passing note. But it makes a big difference in the color of the phrase dependning on which you use. Thanks again for all you do!
Hello~I want to ask a question why the IVm imply the melodic minor? it means IVmmajor7 ? I usually take it as borrow from minor key, so I play the IVm dorian~(like modal interchange） Am I wrong? thank you your video~very useful !
There is not one scale that fits all IVm chords, it depends on the chord. If it is Fm7 in Cmaj7 then it is indeed Cm Aeolian, but most of the time the IVm chords are Fm6 or Bb7(#11) and both of those take melodic minor. You can often also tell from the melody, for example There Will Never Be Another You or It Could Happen To You.
I am actually curious about your reasoning with the harmonic minor starting on the 3rd in the case of #4 dim chords. I recently transcribed part of Bill Evans solo on Night and Day and in the descending sequence of (in Eb): | A-7b5 | Ab-7 | G-7 | F# dim7 | F-7 | Bb7 | (etc). On the A-7 b5 he is playing Cmin language with F naturals. If we were to use your concept, then we would be using G harmonic with F sharps. Also on the F# dim he is playing whole half diminisehd scale lines. Am I confusing concepts here? Maybe because in this case the #4 is a half diminished? Thanks as always for your videos and content.
Regarding the first part of your question - why Jens said that over #4dim you can play iii melodic minor, think #4dim = b3dim = rootless VII7b9. So in the key of C, you have F#dim (or Ebdim) which is the same as a rootless B7b9, the V of E melodic minor. Due to their inherent symmetry, a diminished-7 chord can resolve to the harmonic minor starting a half step above any note in the chord. So a F#dim could also resolve to G-, Bb-, and Db . Your choice might depend on what the bass player is doing and what makes sense in a particular tune. Why _harmonic_ minor? Because the b9 of Vb9 corresponds to the b6 of the minor key it belongs to and of course the maj-3 of the Vb9 corresponds to the maj-7 of the same key. Why minor? Not sure. I suppose it could also resolve to an E melodic major, but I haven't tried it and I'm getting tired.
Een heel mooie lessie, Jens :-) What about some clips especially for Solo-Fingerstyle-jazz? Combining melodylines with a Walking Bass or (most important) Soloing alone in a duo Situation: How can I switch from comping maybe a sax or a singer to a Full sounding Guitar Solo without losing energy, intension, and richness of Sound.
So, in Donna Lee is the F7 a secondary dominant of the ii; the Bb7 a V of V; and the Dbm7 a IVm? ...okay that's as far as I've got in an attempt to analyse this tune.
I understand the theory, but find it difficult to recognize the function of these chords 'on the fly'. I suppose learning the situations by heart doesn't make much sense. It comes with experience, doesn't it? Is it possible that you have proffered a lesson on this subject a few years ago?
I think all it takes is experience analyzing and playing a lot of songs. Then it gets very easy, but if you don't know songs with these progressions then it is impossible to remember (and you don't actually need it anyway....) This is certainly a topic I have covered before, this lesson is more extensive and I don't think I have made a video where I am linking each type to a song. I am hoping I can use it as a reference to answer peoples questions as well 😀
For me, committing songs to memory was a step I needed to take to recognize stuff beyond a ii-V. In my workshop we did an 'off-book' series -- no sheet music allowed. Memorizing songs forced me to abstract the parts of the song down to fewer blocks. Only then did I start to realize the II7 (five-of-five) was a 'thing' and where it was typically appearing -- I began to hear it in the rest of the repertoire.
deltadada that sounds like it was a good workshop. I'm trying to do something similar on my own. Listening to songs on TH-cam and putting them onto my transcribe! software so that I can slow down the melody or even loop it as I learn it and write it down on manuscript paper. Did they have you write down the notes too or just play what you heard? I not saying one is better than the other, but wanting to know what they suggested. I'm on the piano instead of a guitar. The chords are hard for me to hear so right now I'm only putting the melody down that I hear, then figuring out what key it is in and then getting the chords of the song straight from my ireal pro software to make it easier for now. I think I may be able to figure out the chords on my own, but it is a slow process right now.
I’m having a hard time seeing/hearing the bIImaj7 as a IV minor. I was under the impression that the IV minor family are chords derived from F melodic minor in (C major), like for example, Dm7b5, Bb7#11, Abmaj7#5. Am I wrong in thinking this? Thanks for a great video.
Fm7 and Abmaj7 are minor subdominants that are not from melodic minor. And you can also look at it like this: 1: it contains a the IVm triad, 2: it is not a dominant because it does not contain a B, it contains a C. 3: It is not a tonic because it contains an F.
And you never come across that in a song. It is used as a tool to create lines not to understand harmony (since it mixes subdominant and dominant areas of the key)
Jens, do you have a video where you explain terms like second-dominant? I am getting into these really complicated theories. Be appreciated if you could recommend me one.
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Do you recognize the chords? Is there one that I left out? - Let me know what you think :)
Content:
0:00 Intro
0:22 The chords that are not a II V I
0:50 Secondary Dominants - Identifying and Playing
1:48 Function of a Secondary Dominants
2:13 #1 V of V
2:22 Example in C Major
2:58 Where they are in the form (ABAC + AABA forms)
4:05 Examples to hear V of V as Lydian and as "normal" dominant
4:22 #2 Secondary Dom7th that resolves to a major chord
4:45 Secondary II V Cadence
5:18 A Chord in the song vs A chord in a solo
5:52 #3 Secondary Dom7th that resolves to a minor chord
6:36 #4 Tritone Substitutions
7:18 Lydian Dominant on Tritone subs
7:34 Example in a Jazz Standard
7:45 #5 Secondary Diminished Chords
7:57 Example in a Standard + Reharmonization
8:45 Scale Choices for secondary diminished chords
8:57 #6 IVm chords
9:25 Basic IVm in C major
9:48 Example in a Standard
10:05 #7 Backdoor Dominants
10:18 It is a minor subdominant!
10:50 Scale choice and example in a song
11:11 #8 bIImaj7 and bVImaj7
11:23 bII - Neapolitan Subdominant
11:53 Standard Example You Stepped out of the dream and Suspension use
12:25 bVImaj7
12:53 #9 #IVdim
13:05 Rhythm Changes example and voice-leading
13:30 Scale Choice for #IV dim
13:44 #10 bIIIdim
14:00 Typical Progression and Scale choice
14:40 #11 Reharmonized #IV dim chords
15:07 How it works
15:20 In a song: I remember you
15:40 Stella By Starlight
16:14 Understanding Jazz Harmony in Jazz Standards
16:35 Like the video? Check Out my Patreon Page
Wow, rapid fire nuggets of theory here. I held on for dear life, I'm going to have to spend some more time with these. Compelling information, Thank You...! 😎
Haha! Thanks Donald, it is indeed a lot of info in a very short time, and I did try to keep the video as short as possible
What a great lesson!!! So much important informations in one lesson! Good for understanding standards, good for improvising, good for composing! Thank you very very much!!!
Glad you enjoyed it!
Wow, pretty speedy and jam packed! I can go back over the video a half a dozen times, but more examples on each would also be good - you know, different tunes, keys and contexts. Thanks so much!
Glad you like it! :)
I love this video. The grand tour of functional jazz harmony beyond the basic handling of a major and minor 2-5! I think it has pretty much all the theory you need to play traditional jazz. Of course, knowing theory (like knowing grammar) is different from playing the music (speaking the language) but it sure helps.
Well...thanks so much! This is just an overwhelming bunch of information, but it's so useful to have it in a sixteen minutes video (of course as a starting point). Amazing job!
Glad it was helpful!
Watching this again after 2 years and I find it incredibly useful!
This is so good.... years of learning in a 16 minute video :)
Awesome lesson, Jens. I was struggling a lot with the Backdoor-dominant, but now it's all clear to me. Thanks :)
Glad it was helpful! Good luck with the audition!!! :)
@@JensLarsen Thanks a lot Jens :D I hope it will work out!
Circa 1962 began my musical journey. Dad gave me a Sears Silvertone at age 10. Started Piano
lessons 1970 My first lesson I learned 2 arpeggios Bmin7b5 and
C6. Of course later added D Dim 7. Took lessons untill 1976. Took jazz piano and guitar 20 years ago.
One day I was giving a whiteboard lesson on the Diatonic Sevenths ..Cmaj7- Bmin7b5. Then I realized that Hoagy Carmichael
In the original music writing of Georgia on my mind had started out with chords F maj7 then went to Emin7b5. Etc .It's still up on You tube..I realized that Hoagy had wrote a 7 3 6 2 5.progerssion. I didn't even know what secondary
dominants were..He starts .F to Emin7b5.. (R b3 b5 b7).(E G Bb D).
It goes on to Dim 7( the 6 of the F scale). the 6 in the F progression.
2 is next Gmin7 ( G ...then the 5 C7. Lately I've started analyzing songs like Autumn leaves which has small amount of the harmonic minor in it .in Bb key signature it starts out in Gmin. The only 5 chord in G natural minor is DFAC..
Dmin7 which is not true dominant chord. It has to have an F# in it. I guessed..really did.. I knew that the melody had an F# leading tone in it..I also knew that the song did a temporary movent to the harmonic minor After much research and head scratching I realized that the D7 had to be five of a minor. So putting all the info
together. It had to be the A harmonic minor. First I want to put the easiest way to remember the harmonic minor. First I write out the Amin natural. From the C major scale up a minor 3rd. A B C D E F G A. Obviously no F# which would be needed by the D7. But just lower the 7th from G to F#.. voila..the harmonic minor fits. Finally Fini.
Ahhhh, that proud day when you finally understand a Jens Video. It's been a long year, and I feel that the answer to being intimidated by Jazz is to swim in it. Back to listening to Windflower by Ellis and making major flat 6 scale practice sheets. (edit: I'm learning beautiful love along with the song you recently posted this week, guess what has a III 7 in the second bar?)
Haha! That's great Ryan!
Jazz chords are fundamental to making progression and sounding unique I believe! Awesome work as always!
Thanks RC!
@@JensLarsen You are very welcome indeed!
Beautifully and simply explained . 👏
Thank you! :)
Extremely useful and well explained, thanks for sharing this!
This is exactly what I am studying right now in Italy,and I like to learn also the English musical terms.
Grazie!!!
Glad you like it!
Nice mini-encyclopedia! Even having played forever, this is a very good review!
Thank you! That ended up being what I wanted to make it, so that is great to hear! :)
THis is the kind of Lesson that inspires me, so I transcribed just to you Cannel
This is my favourite of all your videos Jens. Really good explanations. I have a book that does something similar, called Hearing the Changes by Jerry Coker, and one thing it does that would be awesome to add to this video description is list a bunch of tunes with examples of each. It would be great to have more examples beyond the ones you mentioned. Thanks again!
Over a 4# dim I think it sounds really good to play a harmonic minor off the 5th of the key (rather than the 3rd). It sounds good to my ear and the reason it works I think is because, for example, in an F blues, the B dim is resolving to a F7 with C in the bass, which is basically have a Cm6 chord. So C harmonic minor will resolve to Cm6 really nicely. Try it and see.
It works great on a blues, but not in a song in a major key. Too many out of key notes that don't support the function of the chord.
@@pickngrimace2726 Yeah that sounds good. Both that scale and the harmonic minor off the 3rd have 5 notes in common with the key which is probably why they sound equally good to my ear over a tune like All the Things You Are. The harmonic minor of the 5th only has 4 notes in common with the key, which is why it doesn't sound quite as good on that tune. I don't know my harmonic major around the neck well though. Sometimes I play a harmonic major unknowingly when I play a VI-I with a flat 9 as the only altered note. I probably need to work on that a bit.
Thank you!
You're welcome!
One of my absolute favorite videos of yours! Been looking for a good video on subs and next step harmony for a long time. Would love another one of these on more advanced harmony too, ie Chick Corea.....
Really great video !! Thank you Jens!
Glad you like it!
Thank you for this video. It helps a lot!
Really glad to hear that 🙂
Great vid, Jens!
You're very welcome!
Thanks, great video! I'm planning on teaming up with a guitarist friend of mine very soon to make some vids about particular sequences that are common to many standard tunes (many of which you mention here).
That's great! Go for it!
I would really like to watch a more specific video about #IVdim and bIIIdim! Anyway, very good video as always!
Maybe this one: jenslarsen.nl/secret-play-diminished-chords/
Thank you so much!!
I am assuming all of this is in one of the 2 books I have of yours.It is a lot of material, and I still am not sure of which scales goes with what chord, except for the altered V chord( up a half step and then harmonic minor). I have studied this before, but have difficulty retaining it. Great informational lesson. It's the first step. I do chord solos, sometimes with backing tracks, when I perform, but get lazy when I blow, ( stay in the tonic, and some pentatonic stuff, and arpeggios) I will try and take bite size chunks of this info and use it. I have 2 pieces, "round midnight", and "Killer Joe" that I have crafted solos and also a part for improv. I need to get off my ass and work!!!!! hahaha thanks again.
Thanks Gary! This is not in the books. They are about creating lines not analyzing harmony :) Maybe a later book...
The way to learn this is really to recognize it in the songs you already know, otherwise it is just meaning less information (I think)
@@JensLarsen You should do a book on harmony! Your explanations are very good.
@@iainctduncan Maybe I will at some point :)
Thank you again!
You're very welcome!
Thnx Jens
Fantastic review Jens!
Thank you Rick!
This is a master class!
Haha, Thanks! I wanted to make it shorter, but failed 😁
Jens Larsen thank you for share
Great video! Loved it
Glad to hear it!
-Nice video) thanks for your job)
Glad you like it! :)
All of this is very useful,but I kept waiting(and never heard)the one that gives me the most trouble:altered dominants.V7b9,V7b9#5,or just V7#5.All very common.I’m sure you have a reason for leaving them off your list,but I would include them just because of the utility.
There are almost no standards that have altered dominants, altered dominants are usually a reharmonization you add on top while soloing. I also have really a lot of videos on altered dominants and how to play them, but actually it sounds like you are mixing up dominants in a minor key with an actual altered dominant?
Jobim has many altered dominant chords as part of his writing.He clearly likes that sound.You really can’t solo on his canon without knowing how to deal with them properly.
@@alainapollard4939 Well, if it is an altered dominant then it comes from the altered scale and to really say that a dominant is altered in a song then it will have the b5 and/or the #9 in the melody. That is fairly rare. Otherwise, you just hear a dominant from minor which is something else. The 3 examples you listed are more dominants belonging in, or borrowed from a minor key.
I know a few of Jobim songs, and he does use more modern harmony sometimes like the odd tritone sub but I can't think of an altered dominant?
Thanks!
Glad you like it 🙂
Nice touch, the #11 idea is the #11 diminished
#11 is more of an extension than a functional scale degree :)
Hi Jens I really like the weird shape white and brown guitar you have on the wall.... Very cool!!!! BTW, I'm working on Oleo but the chord after the EbMaj7 is an Ab13 or an Eb-6 but I do see the Edim chord sometimes after the EbMaj7. Can you substitute the Edim for the Ab13 and the Eb-6? I guess you would need to use the Eb Melodic Minor for the Ab13 or Eb-6, right?
It's not really a substitute, but you can go from IV back to I using a IVm(or a backdoor dominant like Ab7) or using a #IV
Review the blue! It’s so pretty
Actually, Richard was not looking for me to do that. My patrons requested one so I published a discussion of the guitar there yesterday :)
You are awesome!!
Thank you! Glad you like the video!
Hi Jens, Thank you for your incredible videos! Quick question, I hope. When moving to the IVmaj 7 chord in tunes do you treat the IV chord differently say in Autumn leaves where you move from the Imaj7 directly to the IVmaj 7 versus in Donna Lee where the IVmaj chord is approached by a ii-V7 which momentarily tonicizes the IVmaj7 chord. In Autumn Leaves playing lydian over the IVmaj7 sounds good to me where as in Donna Lee the IVmaj7 playing ionian sounds more 'appealing'. Although they are both functionally IVmaj7 chords. This may be because of the temporary tonicizing of the IVmaj7 by the preceding ii-V7 of IVmaj7. I'm wondering what your thoughts might be on this. Thanks again so much for you wonderful videos!
Good question! It depends on the context, but in both examples really going for a lydian sound is a bit misplaced, so it doesn't really matter too much, because that one note is anyway just a passing note.
You can treat it as a tonic, but if it i followed by a minor subdominant that is a bit odd.
@@JensLarsen Hi Jens, Thank you for your reply. Maybe my question wasn't clear. I meant that the if a IV (let's say an F maj7) chord is preceded by a I (Cmaj 7) chord then playing F lydian over the IV (F maj7) chord sounds melodically more appropriate because you are playing the mode from the parent key. However if the IV is set up with its relative ii-V7 then the ionian mode of the IV (F maj7) chord seems to 'fit' better because the natural fourth of the IV chord (B flat in this case) is in both the ii (G-7) and the V7 (C7). I do realize that the fourth note in the case of F maj7, B or B flat in this example, is just a passing note. But it makes a big difference in the color of the phrase dependning on which you use. Thanks again for all you do!
Hello~I want to ask a question
why the IVm imply the melodic minor? it means IVmmajor7 ?
I usually take it as borrow from minor key, so I play the IVm dorian~(like modal interchange）
Am I wrong?
thank you your video~very useful !
There is not one scale that fits all IVm chords, it depends on the chord. If it is Fm7 in Cmaj7 then it is indeed Cm Aeolian, but most of the time the IVm chords are Fm6 or Bb7(#11) and both of those take melodic minor. You can often also tell from the melody, for example There Will Never Be Another You or It Could Happen To You.
I am actually curious about your reasoning with the harmonic minor starting on the 3rd in the case of #4 dim chords. I recently transcribed part of Bill Evans solo on Night and Day and in the descending sequence of (in Eb): | A-7b5 | Ab-7 | G-7 | F# dim7 | F-7 | Bb7 | (etc). On the A-7 b5 he is playing Cmin language with F naturals. If we were to use your concept, then we would be using G harmonic with F sharps. Also on the F# dim he is playing whole half diminisehd scale lines. Am I confusing concepts here? Maybe because in this case the #4 is a half diminished? Thanks as always for your videos and content.
Yes, there is a difference between #IVdim and #IVø. They are both #IV but don't take the same scale.
Regarding the first part of your question - why Jens said that over #4dim you can play iii melodic minor, think #4dim = b3dim = rootless VII7b9. So in the key of C, you have F#dim (or Ebdim) which is the same as a rootless B7b9, the V of E melodic minor. Due to their inherent symmetry, a diminished-7 chord can resolve to the harmonic minor starting a half step above any note in the chord. So a F#dim could also resolve to G-, Bb-, and Db . Your choice might depend on what the bass player is doing and what makes sense in a particular tune. Why _harmonic_ minor? Because the b9 of Vb9 corresponds to the b6 of the minor key it belongs to and of course the maj-3 of the Vb9 corresponds to the maj-7 of the same key. Why minor? Not sure. I suppose it could also resolve to an E melodic major, but I haven't tried it and I'm getting tired.
Does this mean you're keeping the Heeres Custom Blue?
No, I just filmed this right after I had picked it up 😁
Secondary dominant i used this idea most of the time
That's great!
@@JensLarsen yeah your vedios are awesome.
Een heel mooie lessie, Jens :-) What about some clips especially for Solo-Fingerstyle-jazz? Combining melodylines with a Walking Bass or (most important) Soloing alone in a duo Situation: How can I switch from comping maybe a sax or a singer to a Full sounding Guitar Solo without losing energy, intension, and richness of Sound.
Thanks! Here are a few chord melody lessons: th-cam.com/video/32QgdXfEs0I/w-d-xo.html
So, in Donna Lee is the F7 a secondary dominant of the ii; the Bb7 a V of V; and the Dbm7 a IVm? ...okay that's as far as I've got in an attempt to analyse this tune.
Yep! And then the 2nd half has a cadence to VI and a #IVdim 🙂
But you got it! 👍👍
@@JensLarsen Thanks for your reply!
I understand the theory, but find it difficult to recognize the function of these chords 'on the fly'. I suppose learning the situations by heart doesn't make much sense. It comes with experience, doesn't it? Is it possible that you have proffered a lesson on this subject a few years ago?
I think all it takes is experience analyzing and playing a lot of songs. Then it gets very easy, but if you don't know songs with these progressions then it is impossible to remember (and you don't actually need it anyway....)
This is certainly a topic I have covered before, this lesson is more extensive and I don't think I have made a video where I am linking each type to a song. I am hoping I can use it as a reference to answer peoples questions as well 😀
For me, committing songs to memory was a step I needed to take to recognize stuff beyond a ii-V. In my workshop we did an 'off-book' series -- no sheet music allowed. Memorizing songs forced me to abstract the parts of the song down to fewer blocks. Only then did I start to realize the II7 (five-of-five) was a 'thing' and where it was typically appearing -- I began to hear it in the rest of the repertoire.
@@deltadada exactly! 👍
deltadada that sounds like it was a good workshop. I'm trying to do something similar on my own. Listening to songs on TH-cam and putting them onto my transcribe! software so that I can slow down the melody or even loop it as I learn it and write it down on manuscript paper. Did they have you write down the notes too or just play what you heard? I not saying one is better than the other, but wanting to know what they suggested. I'm on the piano instead of a guitar. The chords are hard for me to hear so right now I'm only putting the melody down that I hear, then figuring out what key it is in and then getting the chords of the song straight from my ireal pro software to make it easier for now. I think I may be able to figure out the chords on my own, but it is a slow process right now.
@@rachelsmename6 Keep at it, it will come! :)
I’m having a hard time seeing/hearing the bIImaj7 as a IV minor. I was under the impression that the IV minor family are chords derived from F melodic minor in (C major), like for example, Dm7b5, Bb7#11, Abmaj7#5. Am I wrong in thinking this? Thanks for a great video.
Fm7 and Abmaj7 are minor subdominants that are not from melodic minor.
And you can also look at it like this: 1: it contains a the IVm triad, 2: it is not a dominant because it does not contain a B, it contains a C. 3: It is not a tonic because it contains an F.
Gø and Gdim7 or Gdim.. er der en forskel ?
ja, b7, bb7 og en treklang
@@JensLarsen tak
This is a damn good video
Thank you Randal! 🙂
Can you relate this to the Barry Harris family of dominants?
Not really. I don't consider that real music theory to be honest :)
And you never come across that in a song. It is used as a tool to create lines not to understand harmony (since it mixes subdominant and dominant areas of the key)
🎓👍👏👏👏👏👏💥2020✌🎯
420 views. Nice
Thank you! Yes, that is nice :)
Jens, do you have a video where you explain terms like second-dominant? I am getting into these really complicated theories. Be appreciated if you could recommend me one.
@@nhatanhnguyenang3638 Actually, I thought I was explaining that in this video? 🙂 In the first few sections.
I couldn't really get things but i'm assuming that secondary dominant chords are Vs of ii( which is the vi?)
Really thanks for the effort you put in the video anyways, i really enjoy watching your jazz lessons
Confusing
Unclear
Дженс!Ви популярніший за Трампа,Сороса,і Зеленського в міріад разів...!!!🙂🙂🙂
I doubt that, but glad you like the videos :)
you speak to fast my fried, !!!!!!!!!!!!!!!!!!!!!
You can slow down the video to 75% if it is har to follow my English 🙂
Thank you!
You're very welcome! Glad you like it!