Excellent lesson! I very much appreciate that you "show" the different levels with you playing the guitar. This is far superior than just verbalizing the whole lesson. This is going to help me --- " a lot!" Thank you very, very much!!

thankyou! i have a jazzy chords for my music now! very well appreciated!

Nice video. As a keyboard player I’ve been influenced by Donald Facebook (Steely Dan) and Michael McDonald (Doobie Brothers). They tend to represent an extended chord as F/G (F “over” G). The notes in F give the dominant 7, 9, and 11 to the G chord. Sometimes I think it’s a bit easier to think in those terms to “see” the voicing on piano.

Love this video! I'm just getting back into guitar and I landed here. Years and years ago, I took theory. Your video is helpful, but you brush on past a lot of theory, which would be very helpful.

Wow this helped a ton. Thanks!

Fantastic!

Great lesson! You've comprised a huge subject into a 14:13 video with explanations. And one can see the whole matter as clear as fall water. Thank you very very very very much!!!

Super explaining bro 👍👍

This is awesome! pls make more video like this, or make the PART TWO of this topic!

Excellent and well explained thank you.

Including a Major 7th (or b9) interval to every chord increases the tension. E.g., adding the 9th to a m7 chord makes a M7 interval between the 9 and the b3; adding the 6th/13th to a V7 chord makes a M7 interval between the 6 and the b7; adding the 11th to a m7b5 chord makes a M7 interval between the 11 and the b5; replacing the bb7 with a Maj7 on a dim7 chord makes a M7 interval between the Root and the M7.

Building voicings in 4ths results in cool voicings. E.g., C7 becomes C, F, Bb, E, A, D (or parts thereof), effectively adding (some or all of) the 11th, 13th & 9th.

Great video very well explained thanks

Nice video! I might show this to my friend, she plays pop piano but is trying to start jazz.

I’ve been exposed to this material many times before but never so accessibly...super pedagogy! Other approaches would be quartal harmony, major 7ths substituting for minor 7th, altered 5ths (or none), and a bunch of stuff depending on the presence of bass player (bass, omit root; no bass, build altered chord on tenth at the bottom), pedal tone and/or superimposition...

Great lesson

My mind just got blown into an existential crisis. Thanks so much for this.

Really well organized lesson.

Thanks. I play piano and like to add sus chords (sub a G sus for the Dm in a 251.) on piano all I have to do is play a G bass note under the Dm chord. Playing the CMajor chord as a drop 2 with bass G also is sweet.

Great! Now it would be nice to listen to 5-8 levels!

Hey, do you remember which video you analysed "Solar"? Was it something about ii-V-I?

Better than reading any book I ever read.

Hi great video! I was wondering whether or not one should change the diatonic minor vi to major VI7 when playing with other instruments. Will it clash with let's say the bass player or soloing saxophonist if I do that alteration without them following my cue? What are your thoughts on this. Thanks!

Great lesson but there's a problem: The notation on the screen hides the fingering you're using, and without an accompanying PDF, it's tough to figure out what you're actually playing.

What were the notes on that altered scale. 8:34

I spice things up with stacked 4ths.

My Top 10 Jazzy Chord Progressions: 1.) Gmaj7 | E7b9 | A-7b5 | D7#9 2.) Gmaj7| Bb7b9 | Ebmaj7 | D7#9 3.) Gmaj7 | E7alt | Amaj7 | D7alt 4.) Gmaj7 | E7/G# | A-11 | D7b9 5.) Gmaj7 | Ab7 | Dbmaj7 | D7b9 6.) Gmaj7 | G#-7 | C#-7 | D7b9 7.) Gmaj7 | G-7 | G#7 | A-7 8.) Gmaj7 | G-7 | G#-7 | A-7 9.) Gmaj7(#11) | G7susb9 | A-9/G | F#/G 10.) Gmaj7(#11) G7susb9 | Ebmaj7#11 Eb7susb9 |Bmaj7#11 B7susb9 | G#7 E9/G# Those are my top 10. Sorry if some is too complex. I added some extra alterations on most of them and chords in examples in 9 & 10. *Someone to mention, 7susb9 chords are phrygian chords. Phrygian chords you'll also see for example in the key of C ( Dbmaj7#11/C or Bb-/C. ) Something that's been used in jazz for decades now. Still around today. I recommended jazz pianists Andy Laverne and Marc Copland along with jazz guitarist John Abercrombie. They only thing those jazz pianists have in common is that they both played with him. If want to hear them play together (seperately, though) check out Andy & John's album "Now It Can Be Played." Marc & John's album "Another Place." Thank You, Brett. Please lmk what you think!

Question from a non-musician who loves jazz and wants to become a better listener: which chord inversions are involved in these progressions?

Extra spice: backdoor dominants (aka substituting the 5 chord with a flat 7 chord. So in Cmajor you play Bb7 instead G7) and when going to the 4 chord, use a replace the 5 chord vit a minor (7) 5 chord. So in C major : Em7 instead of E7, as chord leading to the 4 chord.

When you want to find the tritone of a given note, just think of the intro to the Simpsons. „The“ and „Simp...“ make a tritone.

Not showing where you place fingers makes this video frustratibg for even intermediate students!