First of all, I've said it before and I'll say it again - if I were younger, I'd be knocking on your door wanting to be your student! That said, I have one comment to make about your Circle of Fifths explanation. Goes without saying, I love it, but the way I think of going to the ii chord is by thinking of it as the V of the V (as opposed to jumping two spaces, which of course, is the same thing). This way, it makes more sense to me that you would want what I've heard people call a "strong change", or a V-I change, twice (if you see the ii-V change as a V-I in the V key, meaning, D to G is a V-I in the key of G). One thing I find with this way of thinking about it, is that it lets you keep going further back in the V direction, so for example, you can do a vi-ii-V-I (all V-I's in their respective keys) and, lo and behold, what do we have here? A I-vi-ii-V! Am I making sense?
@@rachelsmename6 As my teacher, you mean? That's a reflection on me, not him. I'm 69, and I don't think I have the capacity to do any more serious learning on the guitar. You must admit it takes a fair bit of work, and I simply can't practice the way I used to. And, quite frankly, to have someone like like him as your teacher, you need to be willing to put in the work, and I'm not sure I am at my age. I know it's not an ambitious thing to say, but, there you have it!
Like your lesson........I had a theory book once that showed you how to look at a jazz progression and add chords in front and behind the existing chords to add color and extend the progression. Lost the book.....Do you have lessons that address that concept.....REALLY would appreciate your response.....thanks
Your first V chord demoed had a #11 in its voicing. Please play the actual chord voicings shown in your accompanying notation in order to illustrate and audiate the lesson.
Yes you can. There is no real thinking involved, except in deciding what you are going to practice this day, and for how long, every thing else simply becomes muscle memory, thousands of reps,
Sound like you know your stuff but still waaaaaay more than I can handle. Don't know anything and all these words I don't know at all makes it seem hopeless.
I don't like chords based on 3rds generally. They sound muddy. particularly in the lower range on the piano. I like using minor thirds on their own, 4ths on their own, fifths on their own. Diminished minor triads (is that the right word C Eb Gb) You have another issue: Lots of jazz/folk is based on pentatonic scales, and whenever you change chords, you are using a different pentatonic scale. So when you do this, what happens to your ii, V, I In the small amount of blues I've played (a large subset of Jazz, yes?) progressions are often I IV V You are burying a simple concept in lumps of theory. I don't wlant to carry around a wheel of fiths, and do an hour of calcuating to figure out which go with autumn leaves. I need a way to see a note track without lead augmentation, and be able to come up with a plausible chord accopaniment, WITHOUT calculation.
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Excellent video. Amazed how you covered so much in less than 20 minutes 🙂
Thanks Chris! Glad you found it helpful
This is a great intro to 2-5-1 - a really well thought out lesson! 🤩🌟🌟
Thanks so much, glad you found it helpful!
First of all, I've said it before and I'll say it again - if I were younger, I'd be knocking on your door wanting to be your student! That said, I have one comment to make about your Circle of Fifths explanation. Goes without saying, I love it, but the way I think of going to the ii chord is by thinking of it as the V of the V (as opposed to jumping two spaces, which of course, is the same thing). This way, it makes more sense to me that you would want what I've heard people call a "strong change", or a V-I change, twice (if you see the ii-V change as a V-I in the V key, meaning, D to G is a V-I in the key of G). One thing I find with this way of thinking about it, is that it lets you keep going further back in the V direction, so for example, you can do a vi-ii-V-I (all V-I's in their respective keys) and, lo and behold, what do we have here? A I-vi-ii-V!
Am I making sense?
Why would you need to be younger to see him as your student? I'm 64 and I don't mind having a much younger teacher.
@@rachelsmename6 As my teacher, you mean? That's a reflection on me, not him. I'm 69, and I don't think I have the capacity to do any more serious learning on the guitar. You must admit it takes a fair bit of work, and I simply can't practice the way I used to. And, quite frankly, to have someone like like him as your teacher, you need to be willing to put in the work, and I'm not sure I am at my age. I know it's not an ambitious thing to say, but, there you have it!
Like your lesson........I had a theory book once that showed you how to look at a jazz progression and add chords in front and behind the existing chords to add color and extend the progression. Lost the book.....Do you have lessons that address that concept.....REALLY would appreciate your response.....thanks
Fantastic lesson to give us pleasure and want to learn more.
Thank you so much.
My pleasure!
Your first V chord demoed had a #11 in its voicing.
Please play the actual chord voicings shown in your accompanying notation in order to illustrate and audiate the lesson.
I will never be able to think as fast as is necessary to play this material fluidly, but thank you for the content and information.
Hey Michael! I’ve seen many musicians who felt the same way prove themselves wrong. I believe it’s possible for you 😀
@@Learnjazzstandards thank you very much! I appreciate the support.
The more you try it, the better you will get…
You can man listen listen listen
Yes you can. There is no real thinking involved, except in deciding what you are going to practice this day, and for how long, every thing else simply becomes muscle memory, thousands of reps,
at 6:44 thats not dm7, or am I wrong?
Yeah I think I'm right. Your playing a d9
Sound like you know your stuff but still waaaaaay more than I can handle. Don't know anything and all these words I don't know at all makes it seem hopeless.
I don't like chords based on 3rds generally. They sound muddy. particularly in the lower range on the piano. I like using minor thirds on their own, 4ths on their own, fifths on their own. Diminished minor triads (is that the right word C Eb Gb)
You have another issue: Lots of jazz/folk is based on pentatonic scales, and whenever you change chords, you are using a different pentatonic scale. So when you do this, what happens to your ii, V, I
In the small amount of blues I've played (a large subset of Jazz, yes?) progressions are often I IV V
You are burying a simple concept in lumps of theory. I don't wlant to carry around a wheel of fiths, and do an hour of calcuating to figure out which go with autumn leaves.
I need a way to see a note track without lead augmentation, and be able to come up with a plausible chord accopaniment, WITHOUT calculation.