🎵 3 PATTERNS Demystify ALL the CHORD CHANGES in Jazz Standards (Almost)
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- เผยแพร่เมื่อ 15 มิ.ย. 2024
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In this week's lesson you'll learn how to decode a jazz standard by learning 3 rules. Look for these 3 patterns you'll be able to understand (almost) any standard in a few seconds.
🎬 Harmony & Theory Playlist
• Harmony & Theory
Chapters
00:00 Intro
00:17 3, 6, 2, 5, 1
03:40 2, 5 to 4 with Backdoor
09:00 2, 5 to Relative Minor
12:04 Free PDF
12:18 A Beautiful Friendship
15:54 A Certain Smile
19:03 A Child Is Born
21:45 Last Thing...
22:40 End Music & Bloopers
Get Your Sax Together is a fun and informative channel, packed with free online saxophone lessons. My name’s Jamie Anderson and I’ve been a pro saxophonist since 1996. I release new content every Sunday at 7am UK so you can Sax Up Your Sunday! Subscribe and 🔔 click the bell icon (set to ALL) to get notified when new content is released. Thanks for watching! Jamie 🎷
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When we did counterpoint secondary dominants (classical stuff), We'd write the original chords, and underneath write ii of IV, V7 of IV - IV. So you had context in the home key but also the function of the chords
👍🏻
So this is all it was all along after all with some substitutions and passing chords?
The jazz progressions I mean?
Great lesson. Learned a lot as a guitarist too. Thank you
You're welcome
Harmony. Got to love it. Once you go around the circle and define every reason why every note/chord works, you come to realize that any note can work anytime, anywhere and the only real question is "Does it sound good?" This is a very cool screen you've got setup there. Great Fun, love the thinking and enthusiasm. Thanks much.
😊
The way I write down the 2-5 to 4 looks like this: iim7/IV - V7/IV - IVmaj7
Thanks 🙏🏻
Pure gold. You are the man Jamie!
Thanks 🙏🏻
What a great video Jamie!!🎉 thanks so much and I’ll wacht it again
Ta 🙏🏻
This may be the single most helpful video I've seen in a long while. Thank you so much!!
Glad it was helpful!
A lot of great stuff covered here, Jamie. Your videos are SO well done. 👍
Thanks so much!
Thanks Jamie! Chocked full of good information! I definitely had to pause a few times to be able to understand what was being taught.
Glad it was helpful!
Great video Jamie! It's a really meaty one this one but amazing how u showcased the fact that most jazz could simply be broken down into those 3 patterns and that it need not be overly complicated! Thanks!~
Glad you enjoyed it!
Thank you Jamie! Great lesson.
My pleasure!
I've understood everything. Are you a kind of wizard?
🤣
Im a guitar player..and this make perfect sense..but the cavot is you must know something about substitutions,tritone subs and sec doms..GREAT LESSON..
🙏🏻
Fabulous lesson Jamie. One to watch several times 😎
Glad you enjoyed it
thanks for the pdf, fantastically explained
Hey man! Nothing you don’t already know, but thanks! 🙏🏻
Excellent clear explanation
Glad it was helpful!
Interesting lesson, Mr Anderson. Thanks a lot.
Glad you liked it!
Thanks for another great video!
My pleasure!
A really great lesson!
☺️
This is great stuff
Ta
great video !!!! thx and keep on
Thank you too!
Damn. An awesome lesson. Thank you so much Jamie.
Sure thing Gareth, and there’s more of where that came from with the YTBSP vid!
Well explained!
Thank you
GREAT STUFF!
Thanks! 🙏🏻
😅 awesome, need to watch your extended version
Comes out tomorrow.
Good lesson, helpful. Most other "teachers" are either not on my wavelength or not answering my category of questions. But this lesson got down to business for me. Even so, I'll need to watch multiple times to grasp it all.
👍🏻
Great info! I like how these rules are really based on the story of the progression. Not just snapshots of a chord to analyze, but a common narrative that we come across time and again in jazz.
A suggestion for 5:50 the Roman Numeral analysis: ii/IV, V7/IV, IV ("2 of 4, 5-seven of 4, 4"). At least, that's what I used in college theory and still use for my own purposes and teachings. ;)
The extra chords at 21:26, I think they could still fit into the rules.
- The D7#5 at m10 is basically a III7#5 - vi - III7#5 - vi - II7 etc. It functions as a V7 of the relative minor, so maybe that's sorta rule 1? Or a better yet, just extending rule 3 (m8-9 repeats for 10-11 and 12-13). Oh yeah it's definitely repeating rule 3!
- The D7alt at m22 fits the backdoor 2-4 rule. It's basically a modified V7/IV (same notes as Bbalt/D).
- The Gb6 at m26 is a variation of the D7#5 from m8, 10, and 11. Rule 3 for sure!
Anyway, I really appreciate the opportunity/challenge to geek out about this stuff. Jazz is so much fun!
Cool man. Nice comment.
@@GetYourSaxTogether Thx man. Nice video!
@@GetYourSaxTogether another option for the ii-Vs outside the key is to put (ii-V) in brackets before the target chord, this is how "Jazz Skills" does it and it is the least confusing way I've seen. So you might have
Cmaj | F#m7b5 B7b9 | Em
written as
I | (ii-V) | iii
@@retrocool cool thanks. 🙏🏻
Excellent
Thank you! Cheers!
best jazz tutorial I've seen
Thank you so much!
I think i follow your examples but you went to fast on the ireal pro examples so I am going to watch this again and again! This is helping me understand the chord symbols and progression used in ireal pro a lot better. I will also go back to the inner circle to find the bonus video. Thanks Jamie!!
Yup. Play a bit then pause!
This is great for someone with a classical background
Oh cool!
Very new to me … and now in my bucket list
Awesome!
Incredible I know the bare minimum about music theory, as someone recently interested in chord progression this lesson is amazing even I understood almost everything time to practice! Thanks.
Glad it was helpful!
Excellent. Clear as a bell! This will definitely improve my song chord analysis. As usual, have a coffee. Maybe even a beer.
Thanks! 🙏🏻
Good good stuff
Glad you enjoyed
@GetYourSaxTogether thank you for this awesome information. I've been analyzing many jazz, bebop, all kinds of progressions and they all comply, and are easier to memorize knowing where they are likely going now. Improvising has also been enhanced. Thanks 😊
Excellent tutorial & very informative. Would love to know where you got the Blue Note prints in the background 🙂
They’re custom canvases.
@@GetYourSaxTogether many thanks for sharing!
Im so exicted that I actually can understand everything youre talking about
Yay!
5:52 some people notate that as "ii of IV, V of IV, IV"
Ta.
Think this one is way above where I’m at Jamie…Thought I knew a fair amount of chords but am definitely lost now..🤪🤪Good content though! 😁👍
Take a look at my theory playlist and work from there! 👍
Had to go to the Fridge and grab another IPA at about the 10 min. mark ( thinking: "What is a Back Door progression really"?), and it occurred to me that a ii m7 voiced with the third in the Base ( with or with out a b5) and a V7 voiced with a #9 in the Base? I was also thinking a lot about Newton and Einstein and maybe we are using "Mechanics" to understand "Relativity"?
Thanks for that Mate! Truly a Lightbulb in the Head Moment!
Cheers,
Jack
Ok Jack! Your back door dominant usually has a natural 9 in the extensions though, and a V7 over its sharp 9 gives you the equivalent of a flat 9.
I mean you could also see it as a deceptive cadence. Like in the key of G the F7 to G is like a V to vi(in this case VI) in Bb since the F7 pulls to Bb
Can you do a hall of fame video on the to sax solos on the song planet of the New Orleans by dire straits?
I can add it to the list.
Im glad he didnt start like so many videos and spend 15mins recapping basic music theory like dorian is the second degree of diatonic.. which i heard like 100x before.
Thanks for getting to the point
👍
I've never seen such a rushed video on TH-cam packed with so much unexplained musical theory! 99% of the kids who use TH-cam barely know which way around to hold their instrument. Which is usually a guitar. They've heard of musical notation but that's about as far as they've got. This stuff can only be understood by people who basically already know it, because there are vast amounts of music information that people need to understand what you are talking about which you are simply not supplying. you are just presuming they know it which sort of undermines the point of making the video in the first place because you're only making this for people who really already know this stuff or most of it.
The 99% of kids will quite literally not have a clue what you are talking about! They'll hear occasional words they recognize so they will be fairly certain you're speaking in English😅 but that will be about as far as they can get with this video.
I've been watching it for a while and at first I thought it was a joke. To summarize what I'm saying it's far too much too quick too unexplained.
That would be talking about modes which is slightly off-topic
@@Philrc that’s why I’ve got an entire zero to hero free series on TH-cam explaining music theory from the ground up. If you do a TH-cam video on Shakespeare you don’t start by explaining what words and grammar are, do you?
As I’m writing this (unnecessary) message to you I’m not explained what the word “writing” means. It’s required knowledge. Knowledge I’ve already provided elsewhere. It’s not a beginners video. Many of my videos are.
@@GetYourSaxTogether
My point was simply to say that most of the kids on TH-cam will not have a clue how to process this information it's beyond them entirely. I know. I have tried to offer little bits of music information to some of the more confused sounding kids myself. They generally think that anybody doodling on a pentatonic scale is a musical genius. And your video and its title makes it suggests that you are talking to people who don't understand the structure of jazz standards. Anyway it doesn't really matter it's not important or anything, I was just surprised to see a video with so much unexplained relentless musical information packed into it.
Thank you I'm going to have to digest all this and really rework with the sax something that I play instinctively but with white walls hindering my flow sorry for the google translation the point is not the clearest either 😁
You're welcome
I never thought of the backdoor like that. So you can kinda use the whole modal interchange
Yeah. That’s a good way of looking at it.
Yes yes yes!!!! When I was in Music College (Music School in the US and Music Major for those who did it)
The magic music theory secret was: 136251 or I iii vii ii V i . Of course I’m not getting into V/V or ii/V or even IV/V. This sums up like a month of music theory I in college.
That’s mate for making this video! I’m surprised after 30 years I still remember this like it was last week!
Cool man 👌🏻
mDeck Mapping Tonal Harmony has a great way to notate 25 to 4 like so: ii7/IV V7/IV I/V7. On the left side of the slash you see the function - in this case the 251 - on the right side of the slash the I is written in regards of the tunes actual key.
Thanks!
This is the notation system I immediately thought of … I don’t get why you’ve written “I/V7”, though … ?! I/IV, or simply IV, would make more sense … ?!
Im not s sax player..but I would love lesson on those other 7standards.I play guitar...can get s lesson on this it has my eyes open..thanks
I guess join the inner circle on the free trial.
For us "pentatonians" - bluesguitaristas:
If you play a song in C, you use the chords C - F - G and the Dm, Em and Am. (And also the Bm7b5)
(C has it's A minor equivalent, as also F --> Dm and G --> Em.)
If then, C is 1, D is 2, E is 3, F is 4, G is 5, A is 6 B is 7 (and C, the octave in the C Major Scale.
The cords are then CMaj7, Dm7, Em7, FMaj7, G7, Am7 and Bm7b5. ALL the chords only have notes from the C Major scale.
If you change the chords, you have to change the scale, and if you change the scale you have to change the chords. (At least in this context.)
1. is Major - 2. and 3. is minor - 4. and 5. is Major, - 6. is minor and 7. is minor7b5 (flat 5)
(Whenever you play a major scale, you can use this to memorize the chords. For example in Bb: BbMaj7, Cm7, Dm7, Etc.Maj7. Within minutes you'll be using the numbers instead of the chord names. It's a lot easier.)
So instead of having the C-F-G chords only, and a few other chords, we know fit, but we don't know why, we have 5 more chords to chose from:
C-Dm-Em-F-G-Am-Bm7b5-C - And they make sense!
Every note in the C Major scale has it's chord. This is the diatonic scale, and all these chords are derived from the C Major-scale.
That's the numbering.
In C 36251 will be:
Em7 - Bm7b5 - Dm7 - G7 - CMaj7
2-5-1
Dm7 - G7 - CMaj7
2-5-->4 -->backdoor
Gm7-CMaj7-FMaj7 --> Fm7 - Bb7 - CMaj7
Gm7-CMaj7-FMaj7 --> Fm7 - CMaj7
etc
2-5 to relative minor
Bm7b5-E7-Am7
A couple of typos in there I think, but thanks. ☺️
The 2-5 to relative minor is as if Am is one. So Bm7b5 to E7 to Am
Is to 2 5 1 to Am....
If I'm wrong do it the other way lol
@@midi1529 Ah, so that was what the Maestro (so gracefully) meant with "a couple of typos" 😁
Will try to correct. Thanks!
Love the lesson but how do you know what is 1 in your 3 6 2 5 1 ? Thanks
That’s the key.
"I'm gonna consult my notes."
🤣
I love your theory lessons. This kind of thing is super important to even get just a light grasp of, if you want to play jazz. And you don’t always have to play your sax.😂
Thanks 🙏🏻
So the harmony is either moving 3625 -,1 ,The 2/5 of 6 or the 2/5 of 4 with a Backdoor to sec dom 5 of 5 to 1
Not quite.
what software do you use to show the notes and chord names in the video?
Chordie
@@GetYourSaxTogether cool - thanks!
So 36251 or 25 to IV with backdoor
And 25 to relative minor..
I admittedly have been seeing these patterns over and over and this theory lesson made perfect sense. Now I must use this... ugh
You got this!
You mentioned in the 2/5 to the relative minor that the second chord, the Secondary Dominant following the half diminished chord, usually it had a flatted 9th, but I’m accustomed to this being an Alt chord. So in the key of C, b half diminished to E7, I’d play that as an alt E7, so with a C in it. That seems to move nicely to a minor. Am
Anyway I’m so accustomed to thinking of that as being an alt chord, I was a bit surprised when you just mentioned it usually as a b9.
Great video, by the way. This is the first one I’ve seen from your channel. Looking forward to the others.
Well, an alt chord has a flat 9, so no biggie! Thanks for watching 🙏🏻
@@GetYourSaxTogether An alt chord has maybe a flatted 9th. It’s no biggie, but I’ve always thought alt there, so just interested if someone has a different thought. I tried it out, and definitely like the b 13th there. Really enjoyed the video! Thanks for your response.
@@ewallt alt works great and I’ll often use that.
it's all purple, yellow, and blue, baby!
😂
Chicago:
25 or 6 to 4 ?
Maybe that song is the band members writing/figuring out the song.
Good video.
Nah. The guy had been up all night trying to write a song. Finally found an idea around 3:35AM…literally 25 or 2(6) minutes to 4(AM). The song is quite literal.
Thanks 🙏🏻
I write (ii - V)-> IV
👍🏻
4:22. I’m a Innie, and I’m still taking piano lessons. I got what you were talking about in 1), but losing you in 2). Key of C, why is II G, and not D? D is the second note of the C scale. Is G chord II because it has a D in the G chord?
Ask me in the ICM. 👍🏻
@@GetYourSaxTogether which heading in ICM makes the most sense?
@@ph2738 ask in the monthly Q and A topic.
5:50 Common notation for G-, C7, F (in the key of C) would be ii/IV, V7/IV, IV.
Ok thanks. 🙏🏻
Not sure how you've got the D7 as the secondary dominant with Am7...this is the G secondary dominant very confusing it's the E7 dunno why you put a D7 otherwise love this lesson.
I can answer this kinda stuff in the inner circle membership. Too long for TH-cam comment!
#3 -- How is B7b5 the ii of C? And how is E7 the V of C? Sounds to me like the key that was being referrred to was A major, not C major. Bmin would be the ii of Amaj7, and E7 would be the V7 of Amaj7. Am I wrong? If I am, I'm confused.
That’s right. It’s a minor ii V in A minor.
Example #3 is very confusing because the staff says we're in the key of C.
Ah.
the PDF link where it asks for my email, seems to be broken. Just says "This value seems to be invalid" !!!!!! That's what it says when I enter my normal email address.
Hmm. Works for me. Sorry about that. If you can be arsed, email info@getyoursaxtogether.com
@@GetYourSaxTogether works today! thanks for this great video and PDF !!!!
Those patterns are applied to major scales. What about patterns for Minor scales? For instance.. Blue Bossa
Blue bossa has minor 251s and major 251s.
@GetYourSaxTogether Thanks for the comment! I really enjoy your channel even though I don't play the sax. I was wondering if the 2nd and 3rd rules can also be applied to minor-related tunes within the context of chord progression?
@@davidguitarchannel3963 minor is kinda a different thing.
@@GetYourSaxTogether Is there any forumla for Minor keys over well known patterns
@@davidguitarchannel3963 too much for me to answer on YT comments I’m afraid!
Hi I'm from Nigeria
My country is not in the list of countries shipping and delivery can be made to....
Sorry about that. 😢
It's a lot of "secondary" dominants and ii-V's
Yup 👍🏻
A cultured man doesn't talk with his hands
Huh?
How can a six be major in a major scale?
It’s not. The chord isn’t anyway.
You don't "modulate" to the IV chord. That is within the key and the harmony doesn't stay with that chord in way that in can be treated as modulation to another key. The "ii-V" to the IV is just a secondary dominant of the IV with the "ii" being appended to that secondary dominant for added harmonic motion. Thus ii-V of IV. The transition to the iv is a kind of brief modulation to the parallel minor key, which, when resolving back to I, is a plagal cadence. "Backdoor dominant" is really a misnomer, since dominant chords are supposed to resolve down a fifth, which this chord doesn't do. The resolution is really from the subdominant to I, the "backdoor dominant" really just being another voicing for iv that is in the shape of a dominant chord but doesn't function as such.
Are you asking or telling? 😉
@@GetYourSaxTogether , I guess I would have to say that I am critiquing some of the ways you explained these concepts.
I think the point here is that different people think of these harmonies in different ways. So if somebody chooses to think of it for ease of use as being a 25 to a new key temporarily, that’s fine. That’s what they should use. The important thing is that they understand that theoretically and that they can hear it when listening to a track. There are many examples of great musicians whose way of hearing these things and thinking of them, vary greatly. One example that comes to mind right now is Pat Martino’s concepts.
@@fintanoneill2493 it is not fine. Meanings of terms matter. If there is no consensus on what terms mean, there is only confusion. There are specific features that define what a modulation in key is. A ii-V by itself does not necessarily denote a modulation. You can add a ii-V to any chord, and jazz does a lot of this. The original versions of many standard tunes did not use nearly as many secondary dominant chords as we now see in fake books. Many of those secondary dominants and secondary ii-Vs were added by jazzers. The video example specifically does not call the ii-V of IV a modulation. Such a progression might be a modulation, depending upon the melody and the harmony that follows this progression, but you would not describe it as ii-V of IV. You would describe it as ii-V to a new tonal center. On the other hand, there is such a thing as tonicization, a brief shift implying a different tonal center, but this really requires the melody to contribute to the effect of a shift in tonic to really get the point across. In the example in the video, he is not discussing melody or even voice leading.
@@davideichler5105 whatever you wanna call it, we all know what it is. I think you’re overthinking it and being a little pedantic. It’s what comes out your horn that matters at the end of the day, not the brain food. You know what that sound is. So do I. 🤷🏻
So... they al are progressions by fifths, only changin the starting point or where to cut the loop. 😅
Sorta I guess.
V7 of ii is more accurate in that first example.
Ok.
Isnt jazz just an exuse to play all the wrong nites?
All the wrong “nites” eh? Sure.
How do you get to 94.2% ? I'd love to see the maths here.
Yup. I took the total number of chords in the first 10 standards in the iReal pro, then worked out what percentage of them were explained by my three rules. That’s science. 😉
@@GetYourSaxTogether My skepticism îs blown away :) I'll even watch the video.
@@evennorthug2585 nah, why not just comment without watching it, that makes more sense. 😉
@@GetYourSaxTogether I guess, what the title points to, is that the vast amount of songbook standards, progressions and chord variations can be boiled down to a handful of basic principles. This is a highly relevant approach, also for the beginner. Tonal coherence, or the feeling of key, seems to include tonic roots at pitches 0, 3, 6 and 9, and dominants do. at 1, 4, 7, and 10. If I was to campaign, I'd dramatically promote the tritone. Got the idea from a crop circle, but that would hardly qualify for a doctorate.
Good content. However, one of the few streams in which you didn't take a saxophone in your hand 😉
That's true!
All the things your are
☺️
I’m confused by the parentheses. It doesn’t look like it would affect the preceding chords. This looks like the Nashville Number System but that uses parentheses for rhythms.
I'm responding only because I've seen no other answer, so please take this with the knowledge that my understanding is incomplete.
In the chord notation I've been taught over the years, including Roman numeral notation, parentheses are used for a number of purposes, typically to clarify something or to provide additional information.
For example, B(b9) as opposed to Bb9 makes it clear that the flat refers to the 9, not the chord.
Another use is to indicate that an extension is added without including all of the lower extensions. For example, C7(13) means the 9 is not present, so C, E, G, Bb and A, but with no D. It's generally assumed that the 11 is to be omitted on a major chord, in other words C13 is the same as C9(13).
Another one that was once explained to me is to identify a chromatic note. This might be something like ii7(#11) where the #11 is non-diatonic, just to remind the reader that it's an altered extension.
There's no rigidly defined syntax for chord notation such as exists in programming languages. Apart from the general rules, many of the finer details seem to be left up to the arranger's style and experience about how to communicate which notes are intended and which omitted in a clear, concise manner.
This is a topic that I've come to terms with over the years. The above is some of the understanding I've reached; it seems to work but I'm sure it's imperfect. However, I hope it helps more than it adds to the chaos, and if someone with more definite knowledge can offer better, please do!
Thanks. 🙏🏻
Made my head spin like a math problem. Couldn't even make it past minute 3.
Don’t worry about it. ☺️
When you first get into this it's confusing...look up harmonized scale and start from there it will be ok
Also look at the circle of 5th s..and the the tune All the things you are
Demystifying?
Hello peoples!! "Music" is FLUID MOVEMENT...LIQUID WATER IS FLUID..FROZEN WATER IS NOT LIQUID MOVEMENT... therefore typical pop sounds are generally frozen sounds in time... classical and jazz and other styles are liquid MOVEMENT of sometimes all 12 colors not 5...
We've become very accustomed to 5 note sounds with we or 4 corresponding chords...think about it...jazz, blues too is a full garden, common pop music is a cute common bouquet...how's that??
🙏🏻
Moved a little fast for me. Any one of the progressions could have been it’s own video, for my tiny brain.
Yeh. Pause and think as I talk it’s a lot!
Everything is there though 😊
Whuuuuhhhh ?????????
🤣
I just stumbled across this channel but I think this guy broke into my basement and stole my album collection and mounted it on his wall. Just kidding about the crime part but I do own most of those albums!
Cool man. Welcome. 🙏🏻
2 5 to 4... not modulation. Modal interchange.
If you say so.
or, the diatonic cycle of fifths 😂
Incorrect
If you want to be pedantic.
@@javierrodriguez4218 What?!?! How dare you!!!
👍🏻
Man you said it so fast in the intro I thought I heard you say "watching g** s** together...." AHAHA I'm sorry
🤣
@@GetYourSaxTogether thx for being a good sport.
Unfortunately, this is for alto sax players. For keyboard and guitar, a song like A Beautiful Friendship is written in the key of Eb, which, for alto sax, is C.
It’s the theory that matters more than the key. If you understand these concepts it’ll help you play in ANY key.
I disagree.. it is 93.783615 %
🤣
I’ve not idea what your talking about .. lol ..
Find my theory playlist and start at the beginning!
These are the major scale harmony modes, and yes Jamie goes over at the beginning 🙌
FJB!
Can’t say I get that Joan?
The way you say your channel it sounds like 'you're watching g ay s ex today'. Just saying
Ha! 🤣
I love your videos, but this is ridiculous. Here is the rule, but you can have variations, or you can substitute chords. You should just say that you can play whatever you want as long as it sounds good to you.
"play whatever you want as long as it sounds good to you.." that's about one of the worse pieces of advice to dispense to any beginner musicians. I guess that works if you mean to teach ppl that it doesn't matter even if you sound like shite, but just play whatever makes you happy 😂😂 If so, yeah ok you do u. 🤣🤣
Honestly I’m not sure what your point is?
1. Do you full understand all the underlying principles of functional harmony and jazz sequences?
2. If you don’t, a lot of this won’t make sense so start there.
3. If you do - then can’t you see the central message of the video? Standards are chock full of recurring patterns (with small variations)
This is not even close to play whatever you want. Honestly I’m scratching my head. I don’t mean to be disparaging but I can only assume you don’t understand the basics of how jazz harmony moves so it seems ridiculous to you. I’ll be the first to admit that jazz harmony theory takes a bit of work and I DID start by saying that it was more of a music college level lesson this time.
@@GetYourSaxTogether Jamie I understand Jazz Harmony and it’s not just you on TH-cam, but the rule is there is no rules. Here is a III-V-I and these are the scales and chord tones that work with this progression, but wait you can change this note and you can raise or lower this note and they all work. Wait, you don’t like the V chord you can substitute that chord and it still works. My point is that you need to train and trust your ears to hear what sounds good with the chords.
@@GetYourSaxTogether Also if you hit a note that doesn’t sound good, just put it on the upbeat and that note will work too.
@@markrondinelli9582 Jazz is a language, similar to English. Technically, you could say any random gibberish that you like, but no one who already speaks English -- with it's rules, idioms, various lexicons, slang, modern grammatical norms, etc -- would understand you, or agree that it sounds "good." Jazz is exactly the same. All professional jazz musicians understand these rules, idioms, lexicons, slang, grammatical norms, etc. If you don't, then you will be viewed by jazz musicians the same as someone speaking gibberish. Regardless of whether you personally enjoy the way your gibberish sounds.
These rules are not "whatever you want," and no one who truly understands jazz harmony would claim this. IV-vii-iii-vi-ii-V-I comes directly from the circle of fifths, which is as mathematically elegant as it is aesthetically pleasing. Backdoor dominants come directly from the undertone series (the reverse of the overtone series). These and other rules have developed and evolved naturally, just as any other language has evolved. Modern jazz harmony contains input from western music theory and harmonic principals going back centuries, plus African harmonic and rhythmic principals (including call and response which directly led to work songs, field hollers, spirituals, and blues), and much more, but those are the main components.
Also, not any random change will be accepted. It takes a lot for a new harmonic trend to catch. Coltrane changes and modal jazz are great examples which came along relatively late in the development of jazz.
So, what about youtubers who make videos helping people learn English? Do they also trigger you? Do you comment on their videos, "This ridiculous...You should just say that you can say whatever you want as long as it sounds good to you." If not, why not?
The atom is 2 5 1. 3 6 2 is really 2 5 1 on the 2 chord.
Well, yeah.
That's how I learnt it too but this is an interesting and possibly easier way to play
More to the POINT is : flat5 of 5 or 5/5 : Thanks ! 5 of 5 modulation
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#5/5 ⭐️