Thanks! Don't forget to tune in next week as well, the lesson (on chord substitutions) is already up and will be released on Nov. 17.

Thanks Andre. Aren't a & b the same? Being able to play something on-the-fly implies you can play it without thinking, no?

@@MangoldProject I guess the goal is that I see "Am11" on the sheet and my fingers just know what to do, just like I type words on a keyboard. I'm wondering what I should memorize in order to get there. Should I memorize: "an Am11 has a 1, 3, 5, a 7 and a 9 and an 11 added to it, do it the Herbie Hancock way and take the 1 and the 5 in the left hand, where you might as well omit them, and leave the 3, 7, 9 and 11 in the right hand" (and obviously, do this really fast, until it becomes subconscious). Or should I memorize the shape that my hand makes when I play 3, 7, 9 and 11 together, and associate that with the symbol "Am11"? With the second approach, I might not even remember how to arrive at that hand shape, but I know it's a minor 11 chord.

In jazz there's no such thing as just "C" - it's either Cmaj7 or C7 in the original sheet music. The first cannot be changed to C13, the latter can. Swap only chords of the same type for the same type (major for major, dominant for dominant, minor for minor). This should reduce your options dramatically. There are also other considerations such as voice leading, or a particular "motion" that you're trying to execute which is more important than the immediate chord (Charles Mingus once said there are no wrong notes in jazz, only wrong resolutions). We'll probably work through a tune or two in a few lessons, once we've covered all of functional harmony (which, by the way, is not all of jazz-related harmony ;) ).

@@MangoldProject Thanks for the reply. I know in Jazz there isn't a "simple" C. I was talking more in general, not in the jazz context specifically, sorry for the confusion. Like for example in trying to reharmonize a simple kid's song. There seems to be and infinite way of choosing chords, alterations etc. I'll take the advice that you're mentioning here However it would be very valuable (if you can) to talk more in depth on why some chords substitutions work better than other in a given context. I feel many channels (not yours specifically, you're one of the better ones without a doubt) when they teach advanced chords is usually "Listen to this pretty chord, now listen to this other nice chord" and so on, then they put it together and sounds wonderful but they usually don't go in depth in explaining why these alterations work together, or why they didn't choose some other alterations, or why some types of chords don't go well together

@@albertosierraalta3223 Ah, yes, that's going to be discussed in a video on scale-chord duality (around lesson 12 or so, if I can count :) ). Basically, the idea is that you should be asking yourself "what scale am I playing in?" and choose your chords based on that.

@@MangoldProject That sounds cool man. Can't wait! Thanks again for this series and all your videos in general. They've helped a lot of people including myself💪🙏

@@albertosierraalta3223Sure. And there's one possible more answer to your question: they cheat. They learn a sequence of 2, 3, or 4 chords that sounds good together and they play it over and over. This sometimes is also why their voice leading is perfect on-the-fly (because they've already played those chords *in that order* many times before). There is no "shame" to that, by the way. Again, imitation is the sincerest form of flattery, true as ever in music as well.

Yes, I'm basically almost-randomly running up and down on the notes that make up the C major scale, avoiding the "avoid note" (fourth degree, F) and mostly-avoiding the root (C). Just try any pattern with the notes D, E, G, A, B, and it will sound pretty good (you can also think of it as playing the G pentatonic scale).

You almost confused me :) Bb and A = major 7th E and F = minor 9th

A C13 is missing one white note (B), because it's C E G Bb D F A. The F is also omitted because it clashes with the E (minor 9th interval). Even so, inversions are not useful concepts when you have so many notes. If you keep just the "important" ones - Bb, E, A (7th, 3rd, 13th) - you can have a bit more flexibility and try to invert, but again, inversions are just not very useful. This actually gives me an idea for a video ...

Yea, but you said to add more and more note to make it more interesting. But i will wait for the next video you will upload. Love your video ❤​@@MangoldProject

there's a link to the course playlist in the description.

Is it because you started on E and walked up the Emaj scale?

I'm referring to a minor 9th *interval*, meaning 13 semitones. The interval between E and F an octave above it is a minor ninth (just count up 13 semitones from E). No need to bring in scales.