II V They are all II V II V is II V I VI II V is .... II V Vm I is II V in the subdominant key I II7 is II V in the dominant key with II in first inversion I IV7 is II V in the flattened leading note key

Outstanding information and presentation, still highly relevant for any student of jazz. Thank you!

I just hope his videos won't be taken down by record labels for educating people in the arts of jazz :)

So lucky to live in a time when this type of educational content is free for all. Thank you kindly

Well done sir. This is what people like me want too watch videos that uncloak and demystify an emotional energy force of freedom infinity and expression. That is better known as jazz.

This is a massive chunk of jazz theory, thank you a lot. I played keyboards in a cheesy "lounge jazz" group as a teenager. We played mostly realbook stuff and a lot of the progressions can be found there in several forms. It's great to see them defined and analysed here. Your channel actually became one of my favourites very fast!

Thrown at first by ALL lower case Roman numerals, but soon realized what you were doing. Overall very good!

Completely over my head at this time. I will tune back when I am ready. Keep the videos coming, there is no one teacher who is right for everyone.

WOW! Great intro to jazz!!

Thank you so much for making this video lesson and posting it for free. I play rhythm on an acoustic archtop guitar in a jazz / swing band and am always trying to expand my knowledge base. Your lesson was great.

Nick You aré awesome. From now on You will be my jazz gurú. I have no words to. show You my gratitude

Great video the musical examples really bring it to life....thanks

Fantastic! I love the use of examples....and more than one for each progression! Thank you!!

Nick eres el tipo!!!...congratulations for your master class

Magnificent. The best way to understand the progressions (besides from playing them) is to listen to them in examples. Thank you very much!

Really well presented my friend,and extremely knowledgeable. Thankyou for your time,and effort ,as even i can understand it.

you have done a beautiful work! I'm not only see your videos, I practically studying them! great!

A big hug from Italy, I have just discovered you and your videos are simply what I need

Common cord progression in jazz piano. That is exactly what I need! Thank you!

This video is a wonderful contribution and you are a superb teacher! I'm so grateful for this video.

Great video and presentation...wonderful examples!

Great information. Great presentation. Your obvious passion for this music is also greatly appreciated. Thank you.

This video is excellent.Thank you so much.

So inspiring, these videos are so helpful, thanks so much. I bought some of the triad pair lessons, these vids send me right back to the real book shed.

This is fantastic. You have distilled this information on chord movement perfectly. Thank you.

OUTSTANDING ! Thank you.

Aaargh! Take the A Train is by Billy Strayhorn!

Brilliant analysis of jazz harmonic ingrediants!

Nick your videos are great. Your presentations are not cold and distant but very engaging for those such as myself who have struggled with the theoretical aspects of music. You break the theory down into bite size pieces that can be digested and understood by anyone. Your passion for music and the respect that you have for the composers, artists etc....is evident. Your passion is contagious. I was wondering if you could take some Black Gospel songs and break down the theoretical aspects . Black Gospel plays an important part in the landscape of modern music. It is an art form that is often times dismissed. There are many composers in this genre of music who have influenced many jazz and blues artists, seeing that many have gotten their start in the church. Again Thank you

The lively explanation makes the difference.

Extremely helpful thank you

This channel is a well of knowledge and inspiration. Thank you Mr. Homes and keep it up ;0)

Thanks for all the great information. However I do take exception to, and found confusing, your use of all lower-case Roman numerals instead of the usual designation of uppercase for Major chords and lowercase for minor chords.

Outstanding video; I understand your notation and very helpful, thank you.

Gratitude to you for this awesome video! Great lessons to be learned here. Some great gratitude should also go to Billy Strayhorn who was the composer of Take the A Train which I'm currently learning!

incredible production value and information

Thank you, love it all

Brilliant presentation !

The part 1 is a killer, Nick. So many tunes and styles! Give the guy a:👍

Outstanding!

"Commonest?!" God damn it.

Awesome collection of chord progressions thanks!

Dawn, this video should be my first video for learning jazz! Love the examples rather than bunch of theory.

Thank you, very instructive...

Bravissimo!! Applauses!

Superb! Thank you v. much!

amazing thanks !!!

Love your vids man!

Muchas Gracias !

Thank you so much for these videos. Perfect

love your channel.... thank you

Very very helpful lesson, Than You!

Thanks for class lesson.

Good vid. Thanks!

Thanks for the awesome video

I wonder how you can build many clips with the great quality like this. When i see the notifications of your Chanel, it will be great.

Thanks for this

Thank you so much! I Love all your Tutorials, which are made with such an amount of knowledge, passion. Also love the cartoons. Great! Howe Can you produce such a number of high quality educational Videos?

Thanks it's a very good analysis.

I guess we usually wrote the chords : C triangle or M (C major 7), C7 (C dom 7,9), cmin (c minor, if the c was a bit big the min told the color and I guess allowed for player choice alteration ), c-7 (or -7b5 or -9 etc to denote specific alts), I guess rarer chords were more or less written long like CMajmin9 IMHO tunes are mainly better learned by avoiding roman numerals. Learning the tune in the most common key and memorizing the sections that refer to other implied key centers is I think the most organic and keeps the heart in the tune and the solos sound less like an excercise when the mind reverts to roman numeral analysis on stage. SirDuke composed likely with Roman numeral/scale tone number analysis at times yes, but he knew he needed the blowers that layed down the guts and troof and played the game of conforming to or breaking away from the harmony structure to make the tune live. Lots more thoughts on this but I gotta hit the hay. Having to transpose on the spot to keys that are uncomfortable to Bb and Eb instruments are rare.

Brilliant presentation. You should be teaching at Berklee a class called "Jazz / Straight No Chaser"

your tunes choice is well...just great ,

Awesome!!

Awesome

In Satin Doll there is also a triton intervallic relation (progression) from D7 to Ab-7 in the harmonic sequence between G and G flat (V of G = D7 and II of G flat = Ab-7).

Amazing content!

Thank you so much

Amazing videos sir!

very nice, thanks a lot,

Awesome!!!!!

really helpful video!

Fantastic video. `````lots of thumbs up

Very nice and handy...

Good stuff

Please use uppercase vs lowercase in your Roman numerals for major vs minor

The most obvious example of I iv ii V iii iv ii V would be "rhythm changes", second only to the 12-bar blues in common usage as a jazz vehicle.

Thanks

Amazing :)

love to play misty .

Needs a thumbs up option more for the hand writing! Amazing

This is sooo damn helpful Thanks man

Love you

#3 "Always look on the bright side of life". And verse goes II-V-I-VI (same progression, starting in II instead of I)

Always really love your videos man, but I really think you should use UPPER case numerals for major chords and lower case for minor. Standardisation is important. x

some good stuff here :) If I had any request it would be to play the examples on the piano, and a bit slower. Some of the examples move quickly and because there's no 'progress bar' on the sheet music its easy to lose track, especially if you are a beginning. I'll definitely be using that I > II7 progression with the flat 6 as a melody note, so thanks for that :)

While I agree with my classically trained friends that capital roman numerals would be better, one of the interesting things about music theory is how many different ways there are to describe the same thing. Go with it... this is an old topic....nomenclature.

Love the vid, but gotta give Strayhorn the creds for A Train!

Presumably the - represents m.

This is faaantastic! So here’s a question: do all these progressions work in reverse? And if not, why? Tradition? The laws of physics? I wonder what you think. Thank you so much for this great work!

Hi Nick, great content! Do you have this lesson on your jazzduets website?

Thank you for your channel. I think was Billy Strayhorn the composer of "Take the A train" isn't it?

I believe Take the A train is by Billy Strayhorn, am I wrong? Great video!

A Train is Strayhorn.

I"m a jazz musician. Is it possible this perspective is regional? In Cherokee, for example, Fmi7 to Bb7 is a ii V in the key of Eb. Ebmin7 to Ab7 is a ii V in the key of Db.

That Bb chord in swing 42 is cool

00:16 the communist chord progressions in jazz

I’m a classically trained oboist trying to break into jazz theory with saxophone. I’m used to seeing minor chords lower case and major chords upper case. Super confusing making the transition!

Bravo! Please use uppercase vs lowercase in your Roman numerals for major vs minor! Thanks so much!

Hey Jazzduets, loved your videos! I would love to translate some captions to spanish for you. I tried to do it with the KZfaq tool, but the contributions were disabled. Do you think there is a way I can help? Maybe enable the contributions, or send me the transcrips so I can translate and then you can add the captions.

Could you please use "capital" letters in your Roman numeral analysis for major chords!!! Thanks.