I’ve been playing guitar for most of my life. I have been dabbling with an attempt at jazz playing here and there and although I’m not proficient by any means it has taught me a lot and I haven’t even broken the surface, but learning these things has been immensely beneficial as a guitar player and musician overall. Thank you for your content! And that guitar you are playing here! Beautiful instrument. I bet it feels niiiiice to play. I just wish I was better at remembering chord shapes/names etc. It’s like math to my brain. I’ve just never been good at remembering things like that. I “hear” it and “feel” it more than I can “think” it….if that makes any sense Peace!
Interesting choices. I want to say that when I was starting out, ~30 years ago, my guitar teacher had me learn Straight No Chaser. From there, Satin Doll or How High the Moon, then maybe Blues for Alice, followed by a ton of Charlie Parker songs, until I was ready for Giant Steps.
Anyone wanting to transition to Jazz should come directly to your site. In my opinion your approach to learning Jazz is unmatched anywhere on line. You have a gift for articulating the Jazz idiom and making it accessible to those who might feel intimidated by Jazz. You are a great teacher, thanks for doing this!
This is really welcome. Early days for me and there's enough here to keep me going for some time but it's given me a good sense of direction in the face of so many unhelpful TH-cam suggestions. Thank you.
Another way to look at that #IVdim7 is a substitution for a IV7(b9). It’s a prolongation of the subdominant functional zone. In this case, you’d call it Fbdim7 and end up with a triple flat diminished seventh (Ebbb) but it’s valid.
Another way to look at it, is that the Edim7 shares common tones with C7, which is the dominant of F. The bass should resolve by step chromatically to F, so the chord would be Bb7/F instead of root position... which resolves deceptively again by walking up to G7 (which is a V/ii, not a VI7... never heard of that either), a deceptive resolution to C, which turns back around to F, then home to Bb.
@@RTGrimmer That's pretty slick. You're calling for a V7/V which resolves into a second-inversion tonic. I never thought of using secondary dominants to point at inversions. Thanks for that. Measures 7-12 are a I VI II V which you correctly noted as I V7/II IImi V7 I including the secondary dominant on the key's M6. Diminished-dominant interchange is the queen of tonal harmony. Here are two more: Eb7 Bbdim7 Bb7 and Eb7 A7alt Bb7.
Yes on standards 1 and 2. Substitute another tune for standard 3. The harmonic rhtythm is too quick for beginners. How about Fly Me to the Moon, All the Things You Are or Softly as in a Morning Sunrise?
Any advice on Sonnymoon for two? I'm trying to match the changes to the original version but it feels like they're playing the changes sometimes a bar longer or even omitting chords, most likely my ear. Thanks !
Interesting, I've always considered the A section of Autumn leaves as a cycle of 5th progression (the chords always leaping a fifth down), not really starting in the relative major and going to G minor in the end. Of course both of these statements are true (cycle of 5th, relative major + minor). Is the argument for thinking about this in the second way (as presented in the video) is that jazz relies heavily on 2-5-1s, so the progression is dissected into the 2-5-1 building blocks? Thanks!
It is a fifths cycle. This instructor is confused... the relationships are dominant/tonic relationships, which describe a cycle of 5ths, not a cycle of "4ths" which would be subdominant/tonic relationships. Never heard of a "cycle of 4ths" until now.
It's just stepping the E flat 7 root up to E (on the same fingering) and then the B flat 7 chord has an F as its fifth so you're effectively walking E flat to E to F.
dim7 chords are stacks of minor thirds, so any of the notes can be the root and they have two tritones. in Bb, the notes are E, G, Bb, Db. Notice that the Db is a half step below the 3rd of the tonic Bb7, the G is a half step below the 7 of Bb7, the Bb is the root of the tonic chord, and the E is a half step below the fifth of the Bb7. So you’ve got 3 notes all a half step below the chord tones of the I7 and the root of the I7. So there’s a very strong tendency for that to resolve to the I7 chord. There’s actually even more to it than that because of the implied substitute dominant, but that’s basically what’s going on.
absolute noob question about sonnymoon for two: why is the seventh in the I chord a minor seventh? I'm a bit confused because if I only read the chart I would've played the major seventh there.
This will sound mean to a lot of folks but it’s the truth. If you need more than the sound and video to figure out the chords then you’re not even ready to start playing jazz standards. Finding a video on 7th chords will be a more productive use of your time. Sorry if that’s a let down but it’s the truth you need to hear.
I usually think of Blue Monk as a first blues, but Sonny Moon is obviously easier - good tip! By the way, how are you color coding the chart? Is that a feature in Finale, or Sibelius? It looks very cool, and easy to read.
Yes. It’s a super easy head to learn/pick up on even if you’ve never heard it before. So it’s a great head in that regard. And it’s straight ahead blues progrsssion - no fancy stuff…
Honestly, I’ve never heard it at any jam session I’ve been to, but this is a common jazz blues (12-bar blues) chord progression, so I’m sure the band can easily play along if you play the melody.
Hi Kay, I'm playing a custom-made Victor Baker. You can find out about its specs in this video: th-cam.com/video/ym2XbAVD9Ec/w-d-xo.html Thank you for watching!
I’ve been playing guitar for most of my life. I have been dabbling with an attempt at jazz playing here and there and although I’m not proficient by any means it has taught me a lot and I haven’t even broken the surface, but learning these things has been immensely beneficial as a guitar player and musician overall. Thank you for your content! And that guitar you are playing here! Beautiful instrument. I bet it feels niiiiice to play. I just wish I was better at remembering chord shapes/names etc. It’s like math to my brain. I’ve just never been good at remembering things like that. I “hear” it and “feel” it more than I can “think” it….if that makes any sense Peace!
Interesting choices. I want to say that when I was starting out, ~30 years ago, my guitar teacher had me learn Straight No Chaser. From there, Satin Doll or How High the Moon, then maybe Blues for Alice, followed by a ton of Charlie Parker songs, until I was ready for Giant Steps.
Anyone wanting to transition to Jazz should come directly to your site. In my opinion your approach to learning Jazz is unmatched anywhere on line. You have a gift for articulating the Jazz idiom and making it accessible to those who might feel intimidated by Jazz. You are a great teacher, thanks for doing this!
Great choice of standards - with built-in learning potential and progressive growth !
Much appreciated!
Brent, as always, you are the man! Thanks for making such a big impact in the community 🙏❤️🔥
Thanks, Lawrence! I appreciate it
BTW - Great clarity of explanations with split camera views of the music sheet and fretboard. Well done !
Thanks, Jerry! Glad you like it
This is really welcome. Early days for me and there's enough here to keep me going for some time but it's given me a good sense of direction in the face of so many unhelpful TH-cam suggestions.
Thank you.
Wonderful!
Your information is always great , new guitar looks great and sounds great too , happy New Year!
Thanks, Louis!
Awesome. This is exactly what I started looking for like 2 days ago. Good timing. This is very helpful. thank you.
Thanks! Glad it's helpful
Brent, really nice! Great lesson, great post...Would you consider doing a drill down on some older John McLaughlin numbers like 'Binky's Beam'?
Great advice, Brent. But you have to go back to opening with "Let's do this thing!". I miss it! It was your funny trademark. Don't give up the funny.
Another way to look at that #IVdim7 is a substitution for a IV7(b9). It’s a prolongation of the subdominant functional zone. In this case, you’d call it Fbdim7 and end up with a triple flat diminished seventh (Ebbb) but it’s valid.
Another way to look at it, is that the Edim7 shares common tones with C7, which is the dominant of F. The bass should resolve by step chromatically to F, so the chord would be Bb7/F instead of root position... which resolves deceptively again by walking up to G7 (which is a V/ii, not a VI7... never heard of that either), a deceptive resolution to C, which turns back around to F, then home to Bb.
@@RTGrimmer That's pretty slick. You're calling for a V7/V which resolves into a second-inversion tonic. I never thought of using secondary dominants to point at inversions. Thanks for that. Measures 7-12 are a I VI II V which you correctly noted as I V7/II IImi V7 I including the secondary dominant on the key's M6. Diminished-dominant interchange is the queen of tonal harmony. Here are two more: Eb7 Bbdim7 Bb7 and Eb7 A7alt Bb7.
Thank You ❤️
Thanks!!!!! Great vid!!!!!!!
Thank you!
Yes on standards 1 and 2. Substitute another tune for standard 3. The harmonic rhtythm is too quick for beginners. How about Fly Me to the Moon, All the Things You Are or Softly as in a Morning Sunrise?
Thanks
Any advice on Sonnymoon for two? I'm trying to match the changes to the original version but it feels like they're playing the changes sometimes a bar longer or even omitting chords, most likely my ear. Thanks !
Very helpful. Thanks a lot!
Glad it was helpful!
Interesting, I've always considered the A section of Autumn leaves as a cycle of 5th progression (the chords always leaping a fifth down), not really starting in the relative major and going to G minor in the end. Of course both of these statements are true (cycle of 5th, relative major + minor). Is the argument for thinking about this in the second way (as presented in the video) is that jazz relies heavily on 2-5-1s, so the progression is dissected into the 2-5-1 building blocks?
Thanks!
It is a fifths cycle. This instructor is confused... the relationships are dominant/tonic relationships, which describe a cycle of 5ths, not a cycle of "4ths" which would be subdominant/tonic relationships. Never heard of a "cycle of 4ths" until now.
Can you explain the theory behind the gospel trick of using the #4 dim chord?
It's just stepping the E flat 7 root up to E (on the same fingering) and then the B flat 7 chord has an F as its fifth so you're effectively walking E flat to E to F.
dim7 chords are stacks of minor thirds, so any of the notes can be the root and they have two tritones. in Bb, the notes are E, G, Bb, Db. Notice that the Db is a half step below the 3rd of the tonic Bb7, the G is a half step below the 7 of Bb7, the Bb is the root of the tonic chord, and the E is a half step below the fifth of the Bb7. So you’ve got 3 notes all a half step below the chord tones of the I7 and the root of the I7. So there’s a very strong tendency for that to resolve to the I7 chord. There’s actually even more to it than that because of the implied substitute dominant, but that’s basically what’s going on.
absolute noob question about sonnymoon for two: why is the seventh in the I chord a minor seventh? I'm a bit confused because if I only read the chart I would've played the major seventh there.
Do you have the tabs of the chords?
This will sound mean to a lot of folks but it’s the truth. If you need more than the sound and video to figure out the chords then you’re not even ready to start playing jazz standards.
Finding a video on 7th chords will be a more productive use of your time. Sorry if that’s a let down but it’s the truth you need to hear.
So nice lessons! And your guitar sounds so warm too. What is the brand?
Thank you so much! It's a custom-made Victor Baker. You can find more details in this video: th-cam.com/video/ym2XbAVD9Ec/w-d-xo.html
good
Nice to see a young guy like yourself that takes an interest in quality music instead of a lot of the junk that's out there today.
I usually think of Blue Monk as a first blues, but Sonny Moon is obviously easier - good tip! By the way, how are you color coding the chart? Is that a feature in Finale, or Sibelius? It looks very cool, and easy to read.
Thanks! It's a post-production thing. I digitally color it after the score is done.
Is Sonnymoon for Two really a jazz standard commonly played at jam sessions?
Please keep up the excellent info you share, loving it!
I heard it played at a jam session at a club on Haight Street in San Francisco about 30 plus years ago!
Yes. It’s a super easy head to learn/pick up on even if you’ve never heard it before. So it’s a great head in that regard. And it’s straight ahead blues progrsssion - no fancy stuff…
Honestly, I’ve never heard it at any jam session I’ve been to, but this is a common jazz blues (12-bar blues) chord progression, so I’m sure the band can easily play along if you play the melody.
Perfect fourths, not major fourths. And that G7 is a V7/II not a VI7.
A good one. That Guitar is Beautiful! Who built it?
Thanks! It's a custom-made Victor Baker. You can find more details about it in this video: th-cam.com/video/ym2XbAVD9Ec/w-d-xo.html
@@Learnjazzstandards Awesome, Thanks!
What guitar are you playing??
Hi Kay, I'm playing a custom-made Victor Baker. You can find out about its specs in this video: th-cam.com/video/ym2XbAVD9Ec/w-d-xo.html
Thank you for watching!
Just about ALL forms of American music comes from the Blues.
[Min.7:40] Sorry to say that the last 8 bars are just a repeat of the first 8 bars (not the "first 2 bars", like you said). 😊