If you want to check out which 3 Scales you need to know for Jazz then take a look here: kzfaq.info/get/bejne/hKumdb2FqZPKZqc.html 🙂👍
@spottheturtle95686 жыл бұрын
I have by no stretch mastered jazz, but of all the channels on this platform, this one is the best I've found.
@JensLarsen6 жыл бұрын
Thank you very much! Glad you like the videos!
@jazzyhendrix48882 жыл бұрын
Absolutely 💯
@stankowalski45744 жыл бұрын
Mr. Larsen...you, sir, are like an encyclopedia of all things related to jazz guitar. Thank you for this ! The kind of information you bring in such a concise, clear manner would cost thousands of dollars and hundreds of hours in a traditional music school. You are priceless. May you always be blessed with success and good fortune.
@Rishabhgreenday7 жыл бұрын
thank you for existing!
@JensLarsen7 жыл бұрын
You're welcome, though it is hard for me to take credit for that, I'll pass it on to my parents! 😀
@joemkoenen5 жыл бұрын
Jens...can't thank you enough for sharing your musical knowledge in this way. I find your lessons to be clear and concise. Thank you!
@RobKandell Жыл бұрын
I’m just a country, folk, and rock player looking to broaden his horizons into jazz. You, sir, have given one of the best primers on functional harmony I’ve ever heard.
@GlennJimenez2 жыл бұрын
Hello Mr Larsen I’ve been viewing your videos as inspiration for expanding my guitar playing past boring shred and cliched blues licks I’ve been playing basically since birth. Please continue to produce content. You do a good job!
@JensLarsen2 жыл бұрын
Thank you! Great that you like the videos 🙂
@stephen07936 жыл бұрын
Just want to say, you kick all the other guitar youtubers' butts IMO. Just joined on Patreon because I really want to improve and your content kicks butt
@JensLarsen6 жыл бұрын
Thank you very much Stephen! I am really happy you want to support the channel! I will send you a welcome message on Patreon. Do join the FB group as well if you can 🙂
@coltrane2323 Жыл бұрын
These videos are so good. Pretty much everything I know Jazz, I have from you
@JensLarsen Жыл бұрын
Great that you can put it to use! 🙂
@josephyahr79085 жыл бұрын
Rare indeed are jazzers who speak (communicate verbally) as well as they play. You're one of them! You should be under UNISCO's protection...cheers!
@JensLarsen5 жыл бұрын
Thank you very much, Joseph! Really glad to hear that!
@andercoyote4170 Жыл бұрын
Jens, this lesson is guitar gold. Thanks.
@JensLarsen Жыл бұрын
Glad it was useful!
@jamessidney28515 жыл бұрын
Thanks for laying it out in such a straightforward way, Jens. I think you are one the best jazz guitar teachers on KZfaq right now, especially for students who are a little more advanced and I am learning a ton from you. One thought about this lesson: a great example of the IV minor progression concept is found in Cherokee: the Ab dominant that happens in the 7th measure. It is proceeded by an Eb chord (the IV major). Everybody who solos on Cherokee quickly figures out by ear that the easiest way to accommodate that Ab7 is just to switch from Eb major to Eb minor. For me it’s a really good illustration of the concept and one that always unlocks it for my students.
@JensLarsen5 жыл бұрын
Thanks James! The IV minor thing is very very common in Standards. The one in Cherokee is indeed very clear like the one in There Will Never Be, It Could Happen, But Not For Me, Stella By Starlight etc.
@philipmateo38165 жыл бұрын
I cannot thank you enough Mr. Larsen! You really put these concepts in ways that are understandable and not intimidating! Such a great teacher!
@JensLarsen5 жыл бұрын
You're very welcome, Philip! Great to hear that you find the videos useful!
@bohnulus5 жыл бұрын
Hi jens, this demonstration is awesome... more of this please!!!!! Grouping chords into FUNCTION!!!
@JensLarsen5 жыл бұрын
Glad you like it! 🙂
@jamesmclachlan1126 Жыл бұрын
Many thanks for your input as always. Very educational and, more importantly, useful.
@JensLarsen Жыл бұрын
Glad it was helpful 🙂
@danielhutchinson70737 жыл бұрын
Thank you so much again, Jens. Riffs are spilling out of my guitar just listening to you play/speak for a few minutes. Please always keep doing what you're doing. You're an asset to the cause!
@JensLarsen7 жыл бұрын
Thank you Daniel! I am glad you can convert it to music! 🙂
@danielhutchinson70737 жыл бұрын
I don't think you would consider it music! But it's exciting to learn such new tricks. Utmost respect; you light the way.
@maxmoves647 жыл бұрын
Jens, you are the Stephen Hawking of the guitar world and beyond :) So much information in all your videos and i just wish i had started when i was younger. Not so much time now to learn this immense amount but i soldier on :)
@JensLarsen7 жыл бұрын
+mark robins Haha Thank you! I don't think my contribution is really find ingen new things as it is passing on what is already there. But I appreciate the compliment! It is never too late to check out new things!keep at it! ☺️
@rockguitarmodes3 жыл бұрын
I think the great thing you did in this video was link the changes to specific jazz standards. As soon as you played m7b5 m7 I thought “bridge, ‘Night and Day’ “ It’s really useful to be ‘hear’ the changes in the context of tunes rather than in the abstract
@JensLarsen3 жыл бұрын
Great! That is exactly what it should be :)
@emmoiv6 жыл бұрын
So as I understand it: There are different ways of getting back to the tonic other than II-V. tonic: IM, iii7, vi7. subdominant: ii7, IVM7, vi7. dominant: V7, bII7 "IV minor": iv, bVII7, ii7b5, bVIM7 or bIIM7. These chords usually lead to dominants or tonic. "#IV": biii dim, #iv dim, #iv7b5, vii7b5-IIIalt. These chords usually lead to tonics or subdominants. Modulations: up M3, down M3 are common examples. I appreciate this video and have just subscribed. I am trying to sharpen my ears and "hear the bigger picture" with chord changes and this is helpful to that end.
@JensLarsen6 жыл бұрын
+emmoiv Yes! There are more ways to resolve to the tonic than through a dominant. Glad you like the video ☺️
@emmoiv6 жыл бұрын
I edited my post to include the tonic, subdominant and dominant functions. Are there any common chords that fill these roles that I left out? Also: a bit more complicated: What functions do year hear in bars 7-10 of "I Fall in Love too Easily"? VII7-IValt / III7 / #ivm7b5-VIIalt / III7 Is this III7 sort of a tonic here? I appreciate any response, thank you for your teaching.
@JensLarsen6 жыл бұрын
+emmoiv Looks pretty ok. The VI chord can actually be both tonic and subdominant ☺️
@arjunbanerjee34754 жыл бұрын
Wouldn't have had the confidence to really start practicing jazz guitar without you Jens! You're single handedly one of the most positive things about the internet
@stevejohnston13312 жыл бұрын
haha.......freaky .......just put on reading glasses and the blue letters were very 3D on that red back ground ...haha ha....very cool Mr Larsen .ps -the arps and triad stuff from your other vids is really helping ..thanks
@JensLarsen2 жыл бұрын
😁 Thanks :)
@alessandroferrara-chitarra23747 жыл бұрын
really useful device to better understand what we play
@JensLarsen7 жыл бұрын
Thank you! 🙂 Glad you like it!
@findmads5 жыл бұрын
Please do a video about how to internalize theory so you can play freely. To free yourself from theory once you have learned it..... How to train your ear to play intuitively to be able to react to cords while soloing without having to think about theory... Hope you understand what I'm getting at. Thx
@JensLarsen5 жыл бұрын
That's pretty simple. You don't think about theory when you play, you do that while you practice. Once you know the piece you improvise over you don't have to think about the theory.
@zoaltamam3 жыл бұрын
I can’t believe I haven’t seen this video so far, being subscribed to this channel for a long while now! Mr. Larsen, you have probably made THE best jazz progression video in the world here! This clarifies a lot of the confusion that beginner and intermediate jazz players face while looking at some songs. Thanks very much for doing this.
@JensLarsen3 жыл бұрын
Thank you very much! I made this study guide a while back, you might find that useful: jenslarsen.nl/how-to-analyze-songs-music-theory-and-functional-harmony/
@JensLarsen7 жыл бұрын
Is this how you analyze chord progressions as well? Or is yours better? 🤔
@EugeneYV766 жыл бұрын
Thank you Jens! One question - so there is only one way to use chord progression?- when you improvise (playing solo) no need to play every chord, if you see chord progression you can improvize on root chord only? Is it possible to use chord progression as substitution of long lasting chord? For example I have |C|C| - can I easy replace it with |C Dm|G7C| or with |CFmaj|F#dimC|? Very often I can see that jazz musicians sing along with playing (Andrea Oberg: kzfaq.info/get/bejne/h9R5h9OkzZqWe6c.html). How to do it? How to get prehearing of what you will play in next second? Can you make video in this topic?
@piotr88536 жыл бұрын
He surely knows this licks well and just recreates them (mby slightly changing) or/and sings what he hears from this guitar. This singing may be very helpful in other ways such as expression or satisfaction of the player.
@khbgkh5 жыл бұрын
@@satchrules101 You can play the E if you would like but Jens tends to navigate towards more interesting and more strongly defining notes.
@DrJoshGuitar5 жыл бұрын
Music. Ooo I can answer that: The 5th is not necessary to define a major or minor chord. Only the root, 3rd and 7th is necessary
@alexberben8442 жыл бұрын
AMAZING INFO...BIG THANKS..🎸🎶✨🥂
@JensLarsen2 жыл бұрын
Glad it was helpful!
@Huginnm2 жыл бұрын
Coming from someone who just plays and has no idea what Jazz actually is (too ignorant to assume to know the difference) all I know is that these concepts does not only apply to jazz but in generally all western music. Your lessons in diatonic Chord progressions have been a godsend and is the only one I've seen so far that has M7/m7 progressions instead of the same major/minor ones, which led me here. That said, I have a rather dumb question: Why do the topics only cover Maj7? Is it pointless to talk about Minor chord progressions knowing that one can always substitute VI as the I for the minor version? Sorry for the dumb question.
@JensLarsen2 жыл бұрын
Thank you 🙂 Because minor keys are more complex to an audience who have been spoonfed modes and chord scale theory.
@TheErod1944Channel7 жыл бұрын
I know this isn't the subject of the video BUT, your guitar has Wonderful Intonation......
@JensLarsen7 жыл бұрын
+The Erod1944 Channel Thank you! It's only when the strings are not worn out!
@jumemowery94347 жыл бұрын
Thanks Jens!!! You are always stretching me and helping me grow!
@JensLarsen7 жыл бұрын
Glad to hear it! Keep at it! 🙂
@inaschurwanz59956 жыл бұрын
Jume Mowery iii
@nonamed_94076 жыл бұрын
thank you very much. This information isnt easy to find if you dont know exactly what you're looking for.
@JensLarsen6 жыл бұрын
You're very welcome! I am glad you like it! 🙂
@jonwill7 жыл бұрын
Excellent presentation; thank you for sharing.
@JensLarsen7 жыл бұрын
Thank you very much Jon!
@enriquel98174 жыл бұрын
The best channel to learn jazz and more...thanks master Larsen.
@JensLarsen4 жыл бұрын
Thank you very much, Enrique 🙂
@drbassclinic4 жыл бұрын
Best Jazz Lessons on you tube so far .. but not for beginners. Great teacher !!
@JensLarsen4 жыл бұрын
Thank you! 🙂
@daveholding15757 жыл бұрын
Could you please do a series on this? I am intrigued but all this is still not clear to me in terms of the groupings and how to treat them what to play and what not to play.
@JensLarsen7 жыл бұрын
Maybe I will, though the best way to really learn this is to learn and analyze songs. That way you really learn in the real context that it exists, so if you know a lot of songs then analyze them and if not: start working on learning songs 🙂
@brandex20117 жыл бұрын
Jens - First, thank you for sharing! I always learn something from you. Now, here’s a touchy question: Assuming it’s copyrighted, would you be averse to analyzing and explaining your tune “Top Dog”? I really like the tune, and would like to know how you went about composing it.
@JensLarsen7 жыл бұрын
Thanks! That's not really a touchy question I guess? Top Dog is of course copyrighted :) I could probably analyze it but I can't tell you how I wrote it because I don't remember, it was in 2002 or 2003 when I was still studying. I remember bringing it to a gig with a band and we only played it once because it was too difficult. I am not sure that an analysis of a tune like that makes too much sense? It is in a key, but it is out of the key as much as it is in it?Most of my music is actually like that.
@JonFrumTheFirst6 жыл бұрын
Jens - thanks for another great discussion. The only place I differ with you is in the #4 category. I would call virtually all diminished chords in standards chromatic passing chords. Almost all provide chromatic root movement between chords a major second apart (IM: #1dim: iim7 or iim7:#ii dim: iiim7) or between the root of one chord and a chord with a non-root in the bass (IVM: #4 dim: IM/5 in bass). Some of them have a #IV in the chord, and some don't. I've seen the ones that move up chromatically called Dom7 b9 with the root removed, and the 3rd in the bass, which makes sense (C# dim = A7 b9), but that doesn't account for the examples that don't go up a major 2nd. Maybe I think of it this way because it's so similar to using dim chords to harmonize non-chord tones in arranging. And since we're talking about function categories, I don't see any functional significance to the #IV - it just happens to show up in some cases, as does the b III. Obviously, if it works for you, there must be something to it - just a different way to see the same thing.
@JensLarsen6 жыл бұрын
Sure! You're very welcome! A few thoughts on this: - Does it make sense to say a chord that covers a whole bar (and a whole phrase of the melody) is the same as the chord that is inserted when harmonizing a non chord tone in an 8th note line, and then conclude that it has no function? - Calling something a chromatic passing chord is not giving it a function, it can be any type of chord resolving up or down - The #1 dim chord is a dominant (as you say yourself) the #IV dim chords are the ones that are not dominant.. - the bIII dim is a #IV in inversion - If you want to hear #IV then listen to the 2nd bar of I Remember You or the original chord in the beginning of Stella. Could you please try to say this phrase out loud: " I don't see any functional significance to the #IV - it just happens to show up in some cases, as does the b III." and then replace the #IV with V and the bIII with V of V, then you can hear how it sounds to me 😀
@JonFrumTheFirst6 жыл бұрын
Jens - first, there's no reason to get snippy with your responses. I've made a musical point, which may be right or wrong, but I did so in good faith, to engage with your commenters and yourself. That being said, when I said that I don't see any functional significance in the #4, I'm referring to the #4 interval of the major key. My point is that in a symmetrical chord like the diminished, it can be inverted without changing the function. Thus, a #4 diminished chord is at the same time a 6 dim, and a 1 dim, and a b3 dim. Regarding whether or not a chromatic passing chord has a function or not, you must have a different understanding of the word function than I do. In C-C#dim-Dm7 or Dm7-Ebdim-Em7 or FM7-F#dim-G7 or any of those progressions in descending order, the dim chord serves a function - it adds color to the progression and provides chromatic movement in the bass line. This is the standard use of the dim chord in popular song writing through much of the 20th century. To pick out the F#dim chord in the third progression above and call it a different function than the first - which has no #4 in it - makes no sense to me. It's usage that defines function, not theory books, and this is, in fact, how the dim chord has been used in hundreds of songs. While the particular 4-#4-1 progression is a rare one, and fits perfectly into my function group - the #4 root moves chromatically to the 5 of the tonic chord. Thanks for reading and responding.
@JensLarsen6 жыл бұрын
Sorry, I was just trying to be clear, not offend you? A function in harmony is usually that the chord belongs to a group of chords that sound and act similar, so in C major, C, Em and Am are all tonic (in most cases anyway) and G7 and Bdim are dominant. In your progression the F# dim is working as a (secondary) dominant so it is not a #IV chord. In fact you don't have any #IV dim chords in there, they are all dominants and resolving like dominants. Maybe that is the difference you don't see/hear: the #IV resolves differently since it can resolve directly to I or down to a IV chord (as bIIIdim to II) It's like this: F#dim G7 is really just V I. But F#dim Fm6 is #IV IVm and F#dim C is #IVdim I The last two are very different from the first one to my ears? And surely just as common, in fact dim chords in jazz are not that often dominant and much more often subdominant now that I think about it.
@pixelatedparcel6 жыл бұрын
Jens Larsen This was a very interesting thread to me, for two reasons. To begin with, the question and subsequent exchange I found quite useful in understanding how even accomplished and experienced musicians may differ in their understanding and use of some fundamental terms, such as "function". For example, being new to guitar and music theory but having immersed myself in the latter over the past year, whenever I read the word "function" in a discussion like this, my mind immediately goes to "functional harmony". This exchange usefully underlies a conclusion I had already come to, after watching countless theory tutorials: musicians often use the same words to mean different things...Sometimes the difference is trivial and other times it is more fundamental and doesn't always lead to good things (or feelings). Like you, I interpreted the word "function" as relating to "functional harmony" and therefore read your reply as a simple clarification, free of any disrespectful connotation. So reading the reply, and reaction, surprised me until I understood the more generic use of the term "function" implied but later explained by the person asking the question and everything fell into place...you both presumed a "common usage" which wasn't quite there. Learned from the two of you, as I understood both pov's. Your last answer will definitely send me to my desk to make sure my grasp isn't purely that of a student blindly agreeing with his teacher.
@kymcarter5896 жыл бұрын
I always watch your videos on speaker, so my wife is like, who is Jens Larsen?! lol😉👍👍
@kymcarter5896 жыл бұрын
Really, thank you VERY much for all of your hard work!!😄👍👍
@JensLarsen6 жыл бұрын
Haha! Hope I am not driving your wife nuts :)
@roland7855 Жыл бұрын
Thanks!
@JensLarsen Жыл бұрын
Thank you for the support 🙂
@fernandox256917 жыл бұрын
This is really useful! Thanks!
@JensLarsen7 жыл бұрын
Very glad you like it Gabriel!
@Meandmydad123166 жыл бұрын
I genuinely love watching your subscribers grow. You deserve it!! You are one of the best on KZfaq!
@JensLarsen6 жыл бұрын
Thank you Chris! Very nice of you to say so! I am glad that people opt in to see more as well! 🙂
@MrPhornphon5 жыл бұрын
It's a very good study. Thank you very much.
@JensLarsen5 жыл бұрын
You're very welcome! I am glad you like it! 🙂
@martialpanyvino Жыл бұрын
The #iv° could be seen as : -A rootless V/V borrowed from the dominant key resolving to either V, V(c) or I(b). It could then be extended to be a dim7, or a min7(b5) chord if we either want the V/V chord to have a minor or a major 9th. -The diminished two of a minor ii°-V-I, resolving to the the iii of a given major scale, or elsewhere if justified by voice leading. One could also resolve it to the I instead of the iii, since it implies doing a ii°-V-bVI in the key of the iii. It could then be extended as a min7(b5) chord. This is also a less obvious way to harmonize the vii degree of a major scale than considerating it as the leading tone of the V resolving to the tonic. -A rootless b9 dominant chord built either on the 2nd degree (as mentionned above), or on the iv, bvi or vii degrees, if the #iv is extended as a dim7 chord. Each note of a diminished 7th chord can be the leading tone of a dominant chord, which results in the list above. Then, these rootless dominant chords can resolve as expected, or resolve elsewhere by voice leading such as going from iii to #ii dim7 (which is the enharmonic of #iv dim7) to ii. Here the #ii dim7 is a rootless VII dom7(b9), but instead of resolving to the iii as expected, it goes by voice leading to the ii (which would be the bVII in the key of the iii).
@JensLarsen Жыл бұрын
But that is not how it sounds or how it voice-leads so it is not a very good description.
@martialpanyvino Жыл бұрын
@@JensLarsen Hello Jens ! Thanks for your videos which helps me learn a lot :) Could you tell me about which of the 3 uses of the #iv° you are takling about ? Sorry but i did post the comment before finishing it so i modified it by places :)
@JensLarsen Жыл бұрын
@@martialpanyvino No worries! It is the same for all of them. The problem is that you want to explain them as something that doesn't fit with how they act in the music, and how they sound. Forcing everything to be V I is anyway boring (if you think about it). Don't be afraid of a subdominant chord, those do exist 😁
@martialpanyvino Жыл бұрын
@@JensLarsen I know there are perfect gestures being : V - I (Perfect cadence) bII - I (Tritone Sub) bVII - I (Backdoor cadence) And plagual gestures such as : IV - I (plagual cadence) iv - I (minor plagual cadence) iimin7 - I iimin7(b5) - I And i know any of these gestures could resolve to other chords that the I, either respecting the movements implied by notes like the leading tone or not. So when analysing a chord progression i always try to find these gestures wether the chords are diatonic or borrowed, because then i understand how the harmony functions. However i know harmony doesn't have to function ! In modal harmony, such strong gestures are avoided to prevent establishing a clear sens of tonality. Is it what you are thinking about when telling me everything doesn't have to be a V - I ? Also, even when analysing predominant chords such as vii° - iii - vi - ii, the fifths relation between their roots mirorrs the V - I gesture. There are surely other examples which would miror other gestures but then i don't see what is wrong with using such gestures as a tool to analyse when it is possible ?
@JensLarsen Жыл бұрын
@@martialpanyvino You are trying to listen with your eyes and not taking into consideration how this works in the songs. That is what I am telling you. This is not a description of the music. If it is a subdominant tonic resolution then it is weird to go out of your way to invent stuff to force it to be a V I. Especially when it means inventing sounds that don't really exist in the music like a V of V with a b9 in a major key. That is pretty rare(I can't even think of an example) in the songs. So if you really want to learn theory then learn a lot of songs and explain what is in the songs, don't look at a single chord and try to imagine how it works.
@pjokivuo6 жыл бұрын
Excellent! Many thanks Jens!
@JensLarsen6 жыл бұрын
You're very welcome Pertti! 🙂
@kmvdigitalproductions3490 Жыл бұрын
Hello Mr. Larsen Thank you for sharing your knowledge. God Always Bless you.
@JensLarsen Жыл бұрын
You are very welcome
@kenniehoff83866 жыл бұрын
Thanks Jens, great lesson. Impressed by the way you pulled out of your brain the tunes that exemplified the theory.
@JensLarsen6 жыл бұрын
Thank you Ken! I guess it also has to do with how I learned the theory in the first place 🙂
@anthonysilva5312 Жыл бұрын
Hi! You said 3,6,2,5 But you played A7 not Am7. I recognize that this is a common Jazz alteration, however, let’s consider the Em7 in this context (key of C); If you consider as diatonic, you would play Phrygian If you consider it as part of a ii,V in (temporarily) D, you would play Dorian If you consider it as a ii/ii to V/ii you would play Dorian flat 2 Aarrgh!!! Would love your opinion. Also, would love to see a video detailing a variety of common jazz cadences ( back door ii V, secondary dom, etc) several songs that use them and the chord scale relationships which are commonly used for each cadence. Thank you. Great channel!
@JensLarsen Жыл бұрын
Phrygian is a horrible way to describe the III chord in major. That is just not how it sounds. If you want to hear phrygian then play a sus4(b9) chord, that is a completely different sound. I have a few videos on common progressions: There is a section in my latest video: kzfaq.info/get/bejne/o9mdl8Wp2NDRpn0.html But also a lot in this video: kzfaq.info/get/bejne/hKumdb2FqZPKZqc.html
@anthonysilva5312 Жыл бұрын
@@JensLarsen yes! That first video was amazing (already saw it) Would love to see an extended version including standards/application for each cadence and their chord/scale relationships. Is there a resource you would recommend for this? Thanks!🇨🇦
@JensLarsen Жыл бұрын
@@anthonysilva5312 Actually, if you want to benefit from that, then you really need to learn the songs. If it superficial it is not going to be very useful, and you will learn 1000x as much if you check out the songs and get them into your system. It would also free you from all the chord/scale nonsense that you seem to be stuck in, that is just not where the music is 😁
@anthonysilva5312 Жыл бұрын
@@JensLarsen thx
@saedt7 жыл бұрын
You are a brilliant teacher, thank you so much!
@JensLarsen7 жыл бұрын
You are very welcome! I am glad you like the videos!
@Bonesai315 жыл бұрын
Dude, you are awesome. Much thanks.
@JensLarsen5 жыл бұрын
You're very welcome! I am glad you like it! 🙂
@fiddlemastrjay42744 жыл бұрын
I am absolutely shocked that you are giving this away for free. Thank you, sir.
@JensLarsen4 жыл бұрын
No worries Jay! Make some music and make the world a better place :)
@T.H.W.O.T.H7 жыл бұрын
I found this week's video very interesting. I didn't really start thinking about harmonic progression within songs in relation to a key centre or 'home' until I'd been playing standards for some years. Mostly I just looked at a chord and thought, "Oh a VI7. So I'm in II major. Noodle noodle noodle. Oh, a II7. So I'm in V major. Noodle noodle noodle.." This approach treated each chord as a kind of isolated unit, and while it was useful, and functional, it was also somewhat limiting. Partly this came from traditional SATB exercises, and partly -- I'm sorry to say -- from the Abersold catalogue, which seemed to be telling me there was a 'correct' scale for every chord and you only had to learn them and run up and down them to play jazz. Noodle noodle noodle. I would also say that things really expanded harmonically for me when I started doing more transcriptions and noticing how other musicians were navigating the structure of a tune; where they were 'in' or 'out' in relation to a chord or a block of II-Vs and where they were 'in' or 'out' in relation to the key centre. Dexter Gordon was a master at this - always finding exactly the right wrong notes! Anyway, I really like Jens' Monday morning explanations. This is really clear and straight forward. Jazzers, take note! :-D
@JensLarsen7 жыл бұрын
I think it is true that a lot of us learn our CHord-Scale relationships and then start trying to understand music and progressions later. Glad you like the Monday videos :)
@danielspirig17405 жыл бұрын
funny how the background noise stops at 15:09. nice video! thnx for sharing
@JensLarsen5 жыл бұрын
Thanks! That's the fan in my lights that go on and off. I have since found a noise-reduction plugin that fixes that issue (well almost..)
@RenaudGuitar7 жыл бұрын
excellent video!
@JensLarsen7 жыл бұрын
+renaud charbonneau ryffranck Thank you very much Renaud!
@user-mm4jv8sp2n3 жыл бұрын
I sincerely thank u for your great efforts and time on those so many tutorial lessons! But I wanna ask u one question here regarding the IVm chord type, I just don't understand how to formulate it since I saw FMaj7 can go to Fm7 or Bb7 or AbMaj7, but why? Could u pls explain it more specifically? Thx so much first!
@JensLarsen3 жыл бұрын
It is about the leading notes, A going to Ab to G. Instead of looking for theoretical way of understanding you will probably get more out of recognizing it in the songs you know and play 🙂
@urbachd7 жыл бұрын
Nice new thumbnail! Another great lesson, Jens. And you are right, there is quite a lot of material. I like the new video effects too.
@JensLarsen7 жыл бұрын
+Dan Urbach Thank you Dan! Yes, I was trying to expand a bit on my video editing chops 😁
@guitarhans6 жыл бұрын
Very helpful, refreshing my theoretic knowledge after a few years and learning some new.
@JensLarsen6 жыл бұрын
Thank you Hans! 🙂 Gald you found it useful!
@AllanOlsen19703 жыл бұрын
I seen some/alot of your videos Jens, and wow! your awesome! Thanks a million! :D
@JensLarsen3 жыл бұрын
You're very welcome, Allan! :)
@JersonAnthony7 жыл бұрын
That was a very nice lesson Jens!! Get to learn a great deal from your videos :) Thanks for doing what you do..
@JensLarsen7 жыл бұрын
+Jerson Anthony Thank you Jerson! I am glad you found the video's useful!
@texrot1 Жыл бұрын
BOOOOOOOOOOOO
@aberhan4 жыл бұрын
This lesson is especially helpful, speaking personally since I am a chord guy. I find that if I can find my way through a tune with the chords I can generally find the melody within the chords.
@oldguitarplayerg5 жыл бұрын
Thank you, very much
@JensLarsen5 жыл бұрын
You're very welcome! :)
@MrCurtisNolan6 жыл бұрын
this was a great video, been watching for awhile but just got back into learning a little more on jazz taking it piece by piece but gives a better understanding of some of the standards I've been working on ! (actually wrote everything down aha!) Thanks Jens!!
@JensLarsen6 жыл бұрын
Thank you Curtis! I am glad you find it useful and can put it to use! That makes it worthwhile to make this stuff in the first place!
@x1PMac1x7 жыл бұрын
I am terrible at theory, but I love your videos because I know when I get to this point I will have a great video to go back over these ideas. I can already tell that you speak very well about this topic which you know a lot about. Thank you for the great explanations.
@JensLarsen7 жыл бұрын
Thank you so much! I am really glad that you find the explanations useful! 🙂
@Faolain_7 жыл бұрын
I agree.
@woscowoscoscos44585 жыл бұрын
Excelent excelent..!!i learn so much ..thank you for translation to spanish.!!saludos
@JensLarsen5 жыл бұрын
You're very welcome! I am glad you like it! 🙂
@Earthwormvid6 жыл бұрын
I enjoy your teaching style. Is that a Yamaha SA2000? Beautiful tone. I see the SG2000 on the wall.
@JensLarsen6 жыл бұрын
Thanks Tim! It's an Ibanez AS2630., but the one on the wall is indeed a Yamaha, though it is an SG1000 🙂
@downhill2405 жыл бұрын
Great lesson!
@JensLarsen5 жыл бұрын
Thank you! :)
@aberhan4 жыл бұрын
One of the things I have learned from your videos is there is a lot to learn. However I am trying to break it down to the simplest elements and learn one concept at a time.
@pietyau6 жыл бұрын
Hi Jens, Can you make a lesson to talk more about #VI progression?
@JensLarsen6 жыл бұрын
+Yau Cheuk Fai I think I already have a few if you search the channel ☺️
@regiramanathan62457 жыл бұрын
This was a really lovely lesson! I got a bit lost on the #IV discussion, but I'll be watching that a couple times again to see if I can get it.
@JensLarsen7 жыл бұрын
Thank you very much Regi! Glad to hear that. You're right the #IV stuff is often not really recognized so it can be a bit hard to figure out.
@oneeyemonster32627 жыл бұрын
If you play the Harmonic MAJOR...it'll help. Lets say you're over A minor as a guiding tonic. A Lydian b3....( A melodic minor with #4) If you play II. V I ...from A lydian b3 B7...Emaj7...A min.. You can also play the A as FULL diminished or E as Augmented. The #4 turns the B into a dominant ( mix b2) D# locrian bb7....F# dorian b5 or you can play II, V, I in A melodic minor B min....E7...A min... You can still play the G#, C. E as augment Modulate to A harmonic or into A natural minor You can also modulate from the E Harmonic Major to C# harmonic minor Then it'll just be D# Locrian maj6 Play C dim or C augment into C# minor or C# melodic minor. Play the D# as Minor or ( dorian b2).lmao into E MAJ maj7 or Augments... Then play the C# as harmonic minor b2 or melodic minor b2 Play the D as Maj. Maj7. Dominant or dim.lmao D min...G7 into C minor.....melodic minor Dmin....G7 into C MAJOR...lol If you play C min....F7 G7 You can play the F7 as lydian dominant or (mix #2, #4) I hope that makes sense...why I chose F hungerian MAJOR You can alter that chord from Maj or min via the A harmonic minor Now. it'll simply turn it into a DOMINANT as well.... You can still play FULL diminished from it too.... 1, #2, #4, 6 is still all minor intervals. while in C MAJOR... If you barr at the 10th fret...D . G. C... keys are just pitch E, A, D.....V, I. IV or I. IV V at the nut or 12th fret. The II is perfect 5th from the V... it gets inverted. Anyway...warping the Lydian Lydian #2 Lydian b3 Lydian b7 Lydian #2, b7 ( hungarian MAJOR) Dorian #4 Dorain b2, #4 Ion...#5 ion...#4. #5 Ion #2, #4, #5 Ion b3 #5 The last mode of Hangerian major is....Ion #3. #4, #5..lmao The II mode is locrain b4, bb6, bb7 The III mode is Hamonic minor b5 The double harmonic minor is - harmonic minor #4 If you align these 5 parallel scales from the minor count or A as the tonic. The #IV is LOCRIAN bb7.....from the A lydian b3 or VII of E harmonic MAJOR The bV = ion #3. #4, #5........from the A harmonic minor b5 or F hungarian MAJOR The b VI is lydian #2 Then it pushes up to Maj VI = aeo b5 or dorian b5 Then the bvii mixolydian Then LEADING tone modes ( 4 ea) Locrian b4, bb7 locrian b4 phrygain b4 locrian b4, bb6. bb7
@JensLarsen7 жыл бұрын
+OneEyE Monster That's a very long post, I am not sure those are very helpful? Did you realize that in this context #IV is something else?
@oneeyemonster32627 жыл бұрын
#4 is just a tritone...what context are you referring to? KEYS are just PITCH from C to F#....i can play F# aeo b5 or F# dorian b5 The #IV chord of A lydian b3 is D# locrian bb7 or F# locrian bb7 into G Harmonic Major. from C lydian b3 what other # 4 chord are you speaking of???? WHERE are YOU COUNTING FROM as a reference to make it a #4 #4 from WHAT.... the TONIC ????? When you use ROMANS...it's from the TONIC WHAT #4 chord are there from the TONIC???? The #4 from the double harmonic minor???? Whole Tone , aux FULL DIMINISHED (WH/HW) or Messiani modes ???
@JensLarsen7 жыл бұрын
I am referring to the context of the video. The #IV is not an interval there, it is a group of chords. All your scale references are completely off topic.
@bradmalinowski4 жыл бұрын
You really gave me insight on my jazz guitar assignment from my instructor so I subscribed! You explained something at timeline 14:16 in your video. I have this assignment where i'm learning composition basics. I have to write a "melody" over patterns that my instructor uses often such as starting backwards with your end chord or root "C" for example and going to G-D-A-E-B-F# (BACKWARDS) to achieve the pattern. Played forward it is of course F#-B-E-A-D-G-C. We also talked about the use of tritones or b5. Can you or anyone here offer any insight as to what this is about? I kind of get it and I hear it. I'm trying to learn chord melodies and comping. Thank You very much.
@cesarolavo6 жыл бұрын
Hi, Jens. Nice video (as always)! I just did not understand the reason you called IVm progression and not just Im progression, since most chords proposed (Bb7, Abmaj7, D°, etc) belongs in Cm but not in Fm. Thanks.
@JensLarsen6 жыл бұрын
That is because they are subdominant chords, not tonic chords 🙂
@larrylorenzen24494 жыл бұрын
In 'I Remember You' I hear Fmaj7 as an Am substitute since it has all of the same notes. So Bm7b5 to E7 is ii7 V7 in Am. That's why it sounds natural.
@JensLarsen4 жыл бұрын
Instead of listening with your eyes, then try to hear it in the key. Luckily there is more to harmony than just reducing stuff to a V I. We actually have subdominant chords as well 🙂
@shourovsarker72625 жыл бұрын
thnx for the lesson...
@JensLarsen5 жыл бұрын
You're very welcome! I am glad you like it! 🙂
@spivvo4 жыл бұрын
So basically most songs in jazz are in a key but sneakily flirt with other keys but keep coming home to the main key of the songs? And the trick is to be really good at the flirty stuff without getting caught? “Did you just sneak off into G major there”... “no no no... still in c over here”. What a brilliant lesson.
@JensLarsen4 жыл бұрын
Not really, another scale is not another key :) But I am glad you like it!
@asukalangleysoryu66954 жыл бұрын
@@JensLarsen Kinda depends on the song and on the context. Is the part in Stella by Starlight where we hear the Vmaj7 chord "flirting" with the dominant, modulating to the dominant or staying in the tonic key but just using the lydian scale? Hard to say. Same thing with the first two chords of that song - #IVm7b5 VII7 - are we in the key of degree III for the first two bars or is it just an unresolved II-V to degree III? But I agree that things like Em7 A7 Dm7 G7 Cmaj7 aren't really modulating to d minor. I wouldn't say that saying it's "flirting with the key of d dorian" is too far off, though. Secondary dominants are kind of by definition "flirting" with their target chord's key.
@JensLarsen4 жыл бұрын
@@asukalangleysoryu6695 Modulating to the V or pretending to is one of the most common things in a song. As for the beginning: It is actually a dim chord not a II V and I think you can hear that it is not going to Dm. Even if it did then that would not necessarily be a modulation. In fact, Stella is a great example of a song that uses a ton of different scales but only maybe goes to Fmaj7 for a bit and for the rest everything is in Bb major.
@asukalangleysoryu66954 жыл бұрын
@@JensLarsen I know that in your other video you talked about how the original harmony at the start of Stella was more of a Idim(maj7) kind of thing. Still, at the end of the song we hear that #IVm7b5 VII7 again and this time it does resolve to III. Same thing in the bridge, although in the bridge we're already flirting with the key of V so those chords aren't as striking. Point is, if we hear those same chords as an actual II-V later in the song, why not call it a II-V in the first two bars as well? It might be a reharm of a diminished chord, but it's still a reharm with a II-V - our ears are used to the sound of II-Vs so it sounds satisfying to us even though it doesn't lead where we expected it to.
@JensLarsen4 жыл бұрын
@@asukalangleysoryu6695 At the end of the song the II V does not resolve to the III (and it is also a reharmonized dim chord btw), it becomes a part of a longer movement that resolves back to I. What you are doing is just insisting that the only valid harmonic movement is V I and that is just not a good description of harmony, not how we hear it and not how we should improvise over it. I don't know what you mean with the bridge? That is a very clear Subdominant-subdominant minor to I. There is no V in there at all (unless you want to modulate to Cm again, which I am sure you can hear is not the case?)
@briantyhy48804 жыл бұрын
thanks for posting. Your thought process on what to learn is really helping me build a better foundation on music and giving me a direction to improve as a guitarist. Thanks. From the Yukon Brian.
@consultayoguica6 жыл бұрын
Buenisima clase Saludos!!!
@JensLarsen6 жыл бұрын
Thank you Andres Urrea I am glad you found it useful! 👍
@johnjacquard21825 жыл бұрын
Lately I been doing this thing, of starting with 4 string 4 inversions of each chord ( covering fretboard per chord closed voicings) But expanding this to be cadence's and progressions in 4 inversions across the fretboard Ends up being anything can be played on any part of the guitar hero ( I suppose it's expansion of the scale of chords )
@LostSoulAscension Жыл бұрын
Fascinating concepts covered in this video! I will continue to hash through iiVI's for now and I think soon enough get to the Secondary Dominant idea.
@ylegoff6 жыл бұрын
Well organized and enjoyable. Question/recommendation: Add a staff, in addition to the notes in letters. It helps to see the big picture, imo.
@JensLarsen6 жыл бұрын
+Yves Le Goff Thank you Yves! I will keep that in mind, though my editing skills are somewhat limited ☺️
@TheVaiso5 жыл бұрын
Your videos are so helpful, really appreciate all of this knowledge!
@JensLarsen5 жыл бұрын
Thank you! That's really great to hear 🙂
@sixstringswl6 жыл бұрын
exactly what I needed, great lesson here!!!
@JensLarsen6 жыл бұрын
Thank you Wayne! Glad to hear that!
@DinamicJonMMusikGermany7 жыл бұрын
Very good types of chords progressions brother.....excellent presentation!!!!
@JensLarsen7 жыл бұрын
Thank you! Glad you like it1
@jorgejewsbury6 жыл бұрын
Gracias por traducir!!!
@JensLarsen6 жыл бұрын
You're very welcome! I have Spanish translations of these videos: kzfaq.info/get/bejne/o7KdqKRksLSloWw.html&list=PLWYuNvZPqqcEuDRNUmMFc5hqrxk6tP3fO&index=1 Share them and help me spread the word!
@bohnulus5 жыл бұрын
Hi jens, I subscribe to your analysis of hearing function and applying chord or target notes based on that!!! Love your ear/ mind approach. Would love to know your thoughts on Diads. Understanding them better? Any thoughts you would have?
@JensLarsen5 жыл бұрын
Diads? They are even more context sensitive than chords and can only be analyzed in a context.
@tyshred92513 жыл бұрын
Your videos have helped me so much man. Thanks for your content.
@ChordYoga6 жыл бұрын
I like the contextual approach, that's very helpful to think like that. But the neapolitan subdominant (minor chord with b6 in the bass) killed me :)
@JensLarsen6 жыл бұрын
Thanks Jan! Glad you liked it!
@bezziano576 жыл бұрын
Hi Jens. I love your videos. I’m trying to improve my Jazz Theory a little more So a question on the #IV bit. When you say that the progression FMAJ7/ Bm7b5/ E7b9/ FMAJ7 is a minor II-V on the #IV I’m a little puzzled. When you say minor II-V are you meaning from F minor? (Harmonic/Melodic/Natural??) I can see by raising the IV to B from Bb we can create a Bm7b5 from F Melodic Minor but where does the E7b9 come from? In all F minor scenarios, the G is natural meaning the third of E7 is wrong? Please forgive me if I’m completely barking up the wrong tree 🤯
@JensLarsen6 жыл бұрын
Hi Matt, I mean Minor II V as in IIø V7(b9). It has nothing to do with F melodic minor. It is a reharmonized G# or Ab dim chord, and the scale you would use over that would be A harmonic minor which is also the scale that is associated with the II V.
@bezziano576 жыл бұрын
Thanks Jens. But where or what is the #IV? I understand that Bm7b5 then E7b9 is II -V in A Harmonic minor but where does that come from. What’s it getting at? This is Key of F right. Again, apologies for my confusion..
@JensLarsen6 жыл бұрын
Isn't the #IV in this video? #IV is a B something chord in F.
@bezziano576 жыл бұрын
Hi Jens. Sorry I don’t understand your last reply.
@bezziano576 жыл бұрын
So are you saying that the Bm7b5 is the #4 chord in F? Because if you move a fourth up in F, it’s Bb? I’m just struggling to understand why we borrow min II-V from A Harmonic minor.. Thanks for your patience 🙂
@binface95 жыл бұрын
Inspired by this video I have been considering the chord progressions of the few standards I can play more closely. Would the diminished chord in the turnaround of Donna Lee be considered as a #IV? Furthermore, as the root features in the diminished chord of the #IV, is it helpful or not to consider these chords as simply the diminished chord of the root?
@malcolmianpeters21683 жыл бұрын
Thank you! I am a bassist really helpful?
@JensLarsen3 жыл бұрын
No problem!
@harrisfrankou23685 жыл бұрын
How would you approach Yesterday...which goes from F major to Em ..to the A7 to Dm to Bb finally...he ( Mc Cartney ) seems to use little 11 V 1's like in You Never Give Me your Money. Can you reference some pop that uses jazz as a bridge to higher level jazz that you know?
@JensLarsen5 жыл бұрын
Yesterday just has a cadence to VI, hardly far out? McCartney listened a lot to show tunes which are also the foundation of jazz standards. I don't know what you mean with higher level jazz and pop music?
@harrisfrankou23685 жыл бұрын
@@JensLarsen I mean I don't know it Jazz....but I see the walk up and was curious about the bit.approaching and improv over them_ From Em to A7 to Dm...to finally Bb the IV I've learnt the song for covers but not to improv over. I see what you say now with Showtunes and Jazz similarities.
@christophegragnic86816 жыл бұрын
Hi Jens, is there a reason why you write «Eb dim» and not «Eb o»? Same with «Cmaj7» and «CΔ»?
@JensLarsen6 жыл бұрын
Those symbols are often not included in the font in my video editor. So they are not that easy to get to
@omarsanmartin85115 жыл бұрын
Good
@JensLarsen5 жыл бұрын
Thank you 🙂
@philiprowland93907 жыл бұрын
Brilliant lesson, Jens. It seems to me the #IV is similar to a secondary dominant, i.e. more like a secondary tritone... and still often essentially just a passing chord to some subdominant, or maybe to the tonic. It seems different from the VIm, which can flow to the V7 in a way that's really nice - i.e. different. The #IV somehow just sounds like a chromatic passing chord, like a dim or something. Great food for thought! :-)
@JensLarsen7 жыл бұрын
Thanks Philip. I guess the #IV is essentially a passing chord in the same way the IVm or a V is or not? The only reason you don't take the #IV to a V chord is that then it is an auxiliary dominant and not a subdominant. Maybe check out some songs that it is in and get used to hearing it. that will probably make you more able to hear it for what it is and not a passing chord?
@-Atmos15 жыл бұрын
good one....
@JensLarsen5 жыл бұрын
Thank you!
@ebrahimalfardan88236 жыл бұрын
Maybe I am wrong but I have always thought of iv-I as a V#5#9 without the 3rd and used the melodic minor from 4th degree on it. In fact, I started super imposing this over major V-I and it sounded smoother than Valt-I and more interesting than Vphry-I, at least to my ears -- that is, as long as the V has no nat9.
@JensLarsen6 жыл бұрын
To be honest I think you are selling music and harmony short by trying to force everything into a V I progression. It's not a very accurate description of what is happening or how it sounds.
@ebrahimalfardan88236 жыл бұрын
Jens Larsen Definitely, I sometimes change whatever oddball chord preceeding the tonic with a V :) but ironically, I think this time the results were the other way round, I am looking at every V-I as some sort of iv-I! It all depends on how you see it.
@stephenleathley38955 жыл бұрын
Jens, you asked for suggestions for songs to analyse. My suggestion would be Carlos Antono Jobim's "Meditation". It sounds simple enough, but it's actually fiendishly difficult to produce effective solos that transition smoothly and follow the harmony . I think it would be worth doing.
@JensLarsen5 жыл бұрын
Great! Thanks 🙂 Meditation is indeed not that difficult. A reharmonized #IV, A few secondary cadences, and a IV IVm. I will put it on the list
@phillennon2777 жыл бұрын
So in a song like Lady Bird where it goes Cmaj Fm Bb7 back to the tonic are you saying you don't think of the Fm Bb7 as a modulation to Ab but that your still thinking of playing in Cmaj?
@JensLarsen7 жыл бұрын
+Phil Lenowsky I take it you mean Eb? Playing another scale is not the same as modulating. It isn't a modulation in Cmaj7 A7b9 Dm7 G7 either.
@mjazzguitar6 жыл бұрын
Sometimes called the “Backdoor ii-V” or “Backdoor Turnaround.”
@FunkyStrider4 жыл бұрын
Would you consider a song with the A part in Em and the B part in G major to be a modulation? (My instinct is that even though the key signature the the same, the tonal center has moved)
@JensLarsen4 жыл бұрын
That depends on how you hear it. Sometime it really sounds like a modulation and sometimes it just sounds like the song is moving around in the diatonic chords. There are often more than one way to analyze something like that.
@hectoraguilar7704 жыл бұрын
Hi Jens! Thank you for sharing those great combinations. Check this out...There are other interesting combinations like these ones: Am7, Bm7(b5), CM7; Em7, Dm7, CM7; FM7, F#m7(b5), CM7; Dm7, Gaug7/F, CM7; Dm7, AbM7, CM7; Bm7(b5), AbM7, CM7, and some more!
@JensLarsen4 жыл бұрын
Yes, luckily there are lots of options :)
@JoelLaviolette4 жыл бұрын
This is a really deep video. Do you have any videos that spend more time on the minor IV progression and how we can play over it and think about it?
@JensLarsen4 жыл бұрын
Thanks Joel! Most of the thinking is covered in this video, but I do have a video on modal interchange that also discusses this topic in more detail
@JoelLaviolette4 жыл бұрын
Jens Larsen thanks! I also just watched the one you did like 5 years ago. It’s cool-I had never seen before how the backdoor and that iv are so similar.
@MrSqilz4 жыл бұрын
excellent lesson. do you think to become a professional jazz musician you need to go to a formal music school because i don't have the funding to go to one at the moment but i still want to become a great jazz musician. Also did you go, and how would you compare it to being self taught?
@JensLarsen4 жыл бұрын
Thank you! I don't think it music school is the only way to become a professional Jazz musician, but I am pretty sure that it is the easiest way. For me, and for many others, when you do a study like that it means that you are taking a few years out to focus on only music and you are in an environment of people also only doing that. That is a very unique position to be in, and I would say I learned more from the experience of playing and performing with other students in gigs, lessons and exams than I learned from the guitar lessons. It is not only about the guitar lessons or the information, it is about guidance and the chance to really dig into developing your own playing.
@MrSqilz4 жыл бұрын
Jens Larsen oh I see. Could a lot of that also be substituted by going to plenty of jazz gigs though and music lessons in one’s own time?
@JensLarsen4 жыл бұрын
@@MrSqilz In theory yes, but to be honest I really doubt it. Music school is a pretty intense experience (if you do it right)
@MrSqilz4 жыл бұрын
Jens Larsen what do you think I should do then given limited funds (I also live in London, England), is it worth saving up to go?
@JensLarsen4 жыл бұрын
@@MrSqilz That's very hard to say. Actually you should ask advice from people who has an education near where you are so that you know what is required and how to make it possible. Sorry I can't be more specific , but this is a complex thing to give advice on.
@antsonc5 жыл бұрын
That's an interisting video. I often wonder "Why this chord progression actually works? It even has not ii V!" Think for example "Some day my prince will come": You have Bb, D, Eb: why the D to Eb works? I explained myself that way: D(7) to Eb(7+) is like a D triad going to a Gm triad, not considering the bass, so You have a sort of V to I. I also like to find ways to simplify chord progression: think about the ending part of Stella by starlight: Em7,5b, A7, Dm7,5b, G7, Cm7,5b, F7, Bb: I like to think the first two chords as Bb7+,11#, Eb7,11# so to have different grades of one tonality: I, IV, III, VI, II, V of Bb :)