the ii-V-I with key changes was a curveball for me. so it started with a I, then did a ii-V-I but with the vi of the original I as the new I. then did a ii-V-I with the IV of the original I as the new I. that's a lot of figuring. i guess jazz is known for many key changes? what if u just pick a I and stick with it, is the song then too boring?
Knowing the 2 5 are interchangeable so I worked on staring on different degrees like the 4th 5th 3rd and use the altered dominants tension notes differently as I resolve to the 1....I practice resolving to the one also on different degrees as I leave the 5 chord and create a full phrase instead of just one resolving note when I arrive at the one!...I create many different altered dominant licks to the 1...take a 251 example I really like and switch it up and get many out of it!!!...thanks to your advice...the 251 minor also.
As a classical musician, I feel like a very small child watching these videos. But they are enormously helpful in unlocking for me what was always a very closed door... or, to change the metaphor. providing a road map to a very much undiscovered country. Big thanks! Sincerely, Just Another Little Lamb/Clarinetist Lost in the Woods
I find it fascinating how separate classical and jazz schooling seems to be what regards to improv. Kudos to you for expanding your horizons and taking the plunge!
@@learnspanish4456 Thanks so much. I think the focus tends to be in classical training to be absolutely perfect; e.g., if you make the tiniest bauble in an audition you're finished. Doesn't leave much room to breathe/make mistakes.
Everybody watching this: All the Things You Are, On Green Dolphin Street, How High the Moon, It Could Happen to You, What is This Thing Called Love, Bye Bye Blackbird, literally any other standard. Brent: THERE WILL NEVER BE ANOTHER YOU
Hey thank you for this wow! I’ve had years of theory but that was years ago. I still play jazz piano but I have to say your style of explanation is so incredibly comprehensively built and easy to understand my God in heaven. I’m super grateful for you thank you my teacher will be too! Ha ha
Merci for this. I'm a piano Noobie that never knew music theory. I'm learning 2-5-1 now, but I'd really like to learn the fingering and the voicings. You just reinforced my quest, and even though you were playing that funny looking thing with strings, it really helped motivate me on my quest.
I am now understand what’s the 2-5-1 related to the piece, thanks bro , you are my Jazz standard teacher, .. I already subscribed and following, thanks again.
I've played 2-5-1s all my life ...I don't read music ,so this IS like rocket science. The progression has always just seemed normal to my ear. BTW...still watching
Great job, Brent. I do it like this, but also consider I am in a key, let’s say, C, so I can play melodies in C, emphasizing the 2-5-1 chord tones of course. Thanks!
Great lesson and super usable. Can I ask you and the group, which would be 3 tunes thats have great 2 5 1 solo examples using voice leading and enclosures? Thanks again for a great lesson.
This is a great lesson and wow! I finally understand what voice leading means thanks to your simple explanation. Thank you! I would like to ask, though, when you play G7 around the 2:11 mark, why do you play it as G7add13 (or is it add6)? I was trying to follow along on my guitar to play the chords you were calling out, but they didn't sound the same and I had to stop and figure out what was up. Do you do it that way to challenge our ears, or is that just the way jazzers do, applying extensions to a base chord without really specificying? Maybe I'm not at the right level, but it's confusing when the chord being spoken is not quite the chord being played. It sounds pretty though. I've noticed a lot of 2 5 1 lessons don't really take much time to clarify when variations, inversions, extensions, and passing chords are being used. It's difficult for a concrete thinker to learn from such abstracted demonstrations, but we all gotta try to adapt as students, right?
Those extensions make it more colorful and give you more opportunity to voice lead. That E will go down to the D in Cmaj 7/9. Most of the time that's it 🎸
Hi brent, after i learning guide tones and remember them all over fretboard do i need to also learn scale & arpeggios? (i play on guitar btw) or should i just learn the jazz languages ? Without memorize the scales, arpeggios, etc. Also how much hours is recommended for daily exercise? Thanks !
Hi Ridho! A few quick answers: 1. Chord tones are more important than scales, but scales can be helpful for conceptualizing some chord/scale theory. 2. Definitely, learn jazz language by ear! It's not one or the other though. 3. As long as you are productive and having fun! I always just recommend being consistent with how often you practice.
But in your 2nd example at about 5:50, you are not connecting using the guide tones. You are going from a B in the Dm7(but there is no B in a Dm7) to the 1 in the G7 and from an Eb in the G7(but there is no Eb in a G7) to an E(the 3rd) in the CMaj7.
Plum Hunter The B is the 3rd in G7, he’s just anticipating the G7 by an 8th note and approaching that 3rd by a half-step below (Bb) The E is also just being approached by a half-step below (Eb) In this case think of the chord tones as “target notes” and it’s very common to approach target notes from a half-step below or various other enclosures. Hope this makes helps.
@@ryanbrayguitar2473 thanks for that info, Ryan. Then what does the term "voice-leading" mean then? Land on a target note, but what note you come from doesn't matter. Just call it targeting or whatever. it is either voice-leading(guide tone to a guide tone) or it is not. Or pick an example that is truly voice-leading like Bret's 1st example.
Plum Hunter voice-leading inherently means that what note you come from matters. Mainly to smooth out the transitions ie Bb to B makes more sense and will sound better than F to B. That interval of F to B won’t be as smooth and will be somewhat jarring as opposed to the Bb which, by being a half-step below, is essentially a leading-tone to B. The guide-tones themselves just happen to be the notes that most characterize the chords and provide us with a sense of motion. Therefore by outlining and targeting those notes we’ll here the changes more definitely and by using voice-leading this outlining will be more smooth and appealing to the ear. Hope this helps and doesn’t just convolute everything more. Lol
@@ryanbrayguitar2473 so go for voice-leading using target tones if possible on both ends. If it doesn't sound good, pick another note. I know rule #1 is to play want sounds good. But why have any rules in jazz(or maybe just a few rules that really are "rules" - or is this a new "alternative" rule? Words have to mean something or they will be ignored and whatever the words are attached to, like a rule or law, will be discarded over time; and whatever system the rules are attached to, will become less valued and possibly ignored, and even ridiculed, parodied - pick a demeaning word or phrase whose definition and impact are agreed upon)
What you are trying to impart here, as a lesson, is a confusing range of shop talk for those who already know what a third, seven, etc. are. I would be equally confused if I heard these explanations from maestro John Williams. Of course, you know what you're talking about; there's no doubt in my mind. The problem is you don't know how to teach it in an intelligible manner so that most of your audience of beginners can grasp it. Sorry for being so blunt about these comments, I mean no disrespect.
How do you practice ii-V-I's?
With your videos
Thanks for the great video
play the lick over them
the ii-V-I with key changes was a curveball for me. so it started with a I, then did a ii-V-I but with the vi of the original I as the new I. then did a ii-V-I with the IV of the original I as the new I. that's a lot of figuring. i guess jazz is known for many key changes? what if u just pick a I and stick with it, is the song then too boring?
Knowing the 2 5 are interchangeable so I worked on staring on different degrees like the 4th 5th 3rd and use the altered dominants tension notes differently as I resolve to the 1....I practice resolving to the one also on different degrees as I leave the 5 chord and create a full phrase instead of just one resolving note when I arrive at the one!...I create many different altered dominant licks to the 1...take a 251 example I really like and switch it up and get many out of it!!!...thanks to your advice...the 251 minor also.
As a classical musician, I feel like a very small child watching these videos. But they are enormously helpful in unlocking for me what was always a very closed door... or, to change the metaphor. providing a road map to a very much undiscovered country. Big thanks! Sincerely, Just Another Little Lamb/Clarinetist Lost in the Woods
Thanks! Happy to help.
I find it fascinating how separate classical and jazz schooling seems to be what regards to improv. Kudos to you for expanding your horizons and taking the plunge!
@@learnspanish4456 Thanks so much. I think the focus tends to be in classical training to be absolutely perfect; e.g., if you make the tiniest bauble in an audition you're finished. Doesn't leave much room to breathe/make mistakes.
lol...I like the little lamb analogy. Welcome to our neck- of- the- woods.
Improvising is forbidden in classical whereas in Jazz it's mandatory
Everybody watching this: All the Things You Are, On Green Dolphin Street, How High the Moon, It Could Happen to You, What is This Thing Called Love, Bye Bye Blackbird, literally any other standard.
Brent: THERE WILL NEVER BE ANOTHER YOU
I like the process you have for learning the 2-5-1 progression! The way you break it up makes it easy to follow and easy to understand. Great job!
Wauw, I'm a simple blues guy, interested in jazz and that was a great help! Now I go practicing! Thanks man!!✌🎶
Happy to help!
Love dat voice leading.Sounds as Mr Sandman which ends on the 6 note.
🙏
This was so helpful! Thank you for making so simple, clear, and concise! Bravo!
Hey, my pleasure! Thanks for watching.
Hey thank you for this wow! I’ve had years of theory but that was years ago. I still play jazz piano but I have to say your style of explanation is so incredibly comprehensively built and easy to understand my God in heaven. I’m super grateful for you thank you my teacher will be too! Ha ha
This was so comprehensive, easy to understand and really helpful. I'll be using this with my students. Thanks mate!
It's great to know this has helped you! You may visit our site for more resources: www.learnjazzstandards.com/
Thanks a lot. voice leading will help me a lot with smoother piano progressions. Clear and audible explanation
Glad to hear that!
Thanks for this straightforward explanation. It opens up my mind to a lot of things. Can't wait to practice!
Merci for this. I'm a piano Noobie that never knew music theory. I'm learning 2-5-1 now, but I'd really like to learn the fingering and the voicings. You just reinforced my quest, and even though you were playing that funny looking thing with strings, it really helped motivate me on my quest.
I am now understand what’s the 2-5-1 related to the piece, thanks bro , you are my Jazz standard teacher, .. I already subscribed and following, thanks again.
Thank you for subscribing!
Incredibly good lesson, good job man!
Best video I have seen lately with real valuable info. 👍
Yes, indeed, this clip helps me a lot... to fill the gap of my theoretical brokenness of music.
I've played 2-5-1s all my life ...I don't read music ,so this IS like rocket science. The progression has always just seemed normal to my ear. BTW...still watching
Just learn the licks by ear!
@@Learnjazzstandards Yep...right there with you! Thanks
I am jealous of both of you.. no years neither conceptions I do have dropping my jaw...
Super helpful, thank you!
Thank you so much!
Great job, Brent. I do it like this, but also consider I am in a key, let’s say, C, so I can play melodies in C, emphasizing the 2-5-1 chord tones of course. Thanks!
Great lesson and super usable. Can I ask you and the group, which would be 3 tunes thats have great 2 5 1 solo examples using voice leading and enclosures? Thanks again for a great lesson.
nice supplement to Abersold Volume 3 (for piano practice of the progression in all 12 piano voicing)
Gold
I like to practice my walking bass lines over 2-5-1 and other progressions using bass backing Tracks.
Great explanation, thanks
I've been using iReal Pro, it has exercises on this topic.
I don't know why I hesitated this long to invest in the app :/
@@serseriherif9530 ikrrrr it's such an awesome app!!
@@serseriherif9530 yet it is too much for me ... just am listening in it... put my horn down
thanks, learned a lot.
there will be another you
This is a great lesson and wow! I finally understand what voice leading means thanks to your simple explanation. Thank you!
I would like to ask, though, when you play G7 around the 2:11 mark, why do you play it as G7add13 (or is it add6)? I was trying to follow along on my guitar to play the chords you were calling out, but they didn't sound the same and I had to stop and figure out what was up. Do you do it that way to challenge our ears, or is that just the way jazzers do, applying extensions to a base chord without really specificying? Maybe I'm not at the right level, but it's confusing when the chord being spoken is not quite the chord being played. It sounds pretty though.
I've noticed a lot of 2 5 1 lessons don't really take much time to clarify when variations, inversions, extensions, and passing chords are being used. It's difficult for a concrete thinker to learn from such abstracted demonstrations, but we all gotta try to adapt as students, right?
Those extensions make it more colorful and give you more opportunity to voice lead. That E will go down to the D in Cmaj 7/9. Most of the time that's it 🎸
Wish you would show this on piano and what you're actually playing
should you practice this with both hands on piano or just the right
Hey Fabricio, I'm not a piano player, but I know that it can be helpful to be able to do this.
for starters I would practice chords with my left hand and melodies with my right.
Off the subject, where do you get a Monk T-shirt?
🔥👏👏👏
Hi brent, after i learning guide tones and remember them all over fretboard do i need to also learn scale & arpeggios? (i play on guitar btw) or should i just learn the jazz languages ? Without memorize the scales, arpeggios, etc. Also how much hours is recommended for daily exercise? Thanks !
Hi Ridho! A few quick answers:
1. Chord tones are more important than scales, but scales can be helpful for conceptualizing some chord/scale theory.
2. Definitely, learn jazz language by ear! It's not one or the other though.
3. As long as you are productive and having fun! I always just recommend being consistent with how often you practice.
Got it, thank you so much.
Its very difficult
Didn't know Brooks Koepka was a jazzer.
But in your 2nd example at about 5:50, you are not connecting using the guide tones. You are going from a B in the Dm7(but there is no B in a Dm7) to the 1 in the G7 and from an Eb in the G7(but there is no Eb in a G7) to an E(the 3rd) in the CMaj7.
Plum Hunter The B is the 3rd in G7, he’s just anticipating the G7 by an 8th note and approaching that 3rd by a half-step below (Bb) The E is also just being approached by a half-step below (Eb) In this case think of the chord tones as “target notes” and it’s very common to approach target notes from a half-step below or various other enclosures. Hope this makes helps.
@@ryanbrayguitar2473 thanks for that info, Ryan. Then what does the term "voice-leading" mean then? Land on a target note, but what note you come from doesn't matter. Just call it targeting or whatever. it is either voice-leading(guide tone to a guide tone) or it is not. Or pick an example that is truly voice-leading like Bret's 1st example.
Plum Hunter voice-leading inherently means that what note you come from matters. Mainly to smooth out the transitions ie Bb to B makes more sense and will sound better than F to B. That interval of F to B won’t be as smooth and will be somewhat jarring as opposed to the Bb which, by being a half-step below, is essentially a leading-tone to B. The guide-tones themselves just happen to be the notes that most characterize the chords and provide us with a sense of motion. Therefore by outlining and targeting those notes we’ll here the changes more definitely and by using voice-leading this outlining will be more smooth and appealing to the ear. Hope this helps and doesn’t just convolute everything more. Lol
@@ryanbrayguitar2473 so go for voice-leading using target tones if possible on both ends. If it doesn't sound good, pick another note. I know rule #1 is to play want sounds good. But why have any rules in jazz(or maybe just a few rules that really are "rules" - or is this a new "alternative" rule? Words have to mean something or they will be ignored and whatever the words are attached to, like a rule or law, will be discarded over time; and whatever system the rules are attached to, will become less valued and possibly ignored, and even ridiculed, parodied - pick a demeaning word or phrase whose definition and impact are agreed upon)
Plum Hunter good luck on your journey ✌🏻❤️
good video but you need to show the chords tho
Engineer here, rocket science is easier
Mister Sandman: The making of (voice leading part)
no visual applications play your guitar in the camera
habla mucho
aaaand you lost me on the first step with that chart.
This is a guitar lesson why are you teaching with sheet music 🤨
What you are trying to impart here, as a lesson, is a confusing range of shop talk for those who already know what a third, seven, etc. are. I would be equally confused if I heard these explanations from maestro John Williams. Of course, you know what you're talking about; there's no doubt in my mind. The problem is you don't know how to teach it in an intelligible manner so that most of your audience of beginners can grasp it. Sorry for being so blunt about these comments, I mean no disrespect.
Show the damn chord on the guitar dude, you are not good looking, show the damn guitar!!
Does someone here owe you something, Edgardo? Lol. Just move on to the next search inquiry and find your happy space. All good bruh.
😝🤪😜