Thanks

So great to have this knowledge 👏

That and syncopation. You'll also need to know all possible substitutions for any given chord and how to apply them. If you're classically trained, you should already have a solid grasp of modulation. Aside from all that, like blues, it's about rhythm and feel, that last being the ineffable quality that makes music spark. If someone ain't got the feel, it's never going to sound like jazz. A great example is the segment in this video where David plays through all 12 key changes using only ii-V-I changes with a seemingly effortless walking boogie bass groove with his left hand which lends all the feel of what he's playing to his right hand. The bottom end is 'laying it down' as we say. Get yourself some good fake books of jazz standards (there is a ton of stuff online, but flipping through a book of songs is more than convenient and you'll discover and try things you otherwise might not.) and listen to a ton of recordings, both old and contemporary. Sincere best wishes, fellow music traveler. It's a journey that lasts a lifetime. I wish I had spent much more time and energy on it.

@@alistersutherland3688 Great advice! Learning jazz truly is a lifelong endeavor.

Ha! There ya have it! Of course the rhythmic feel has to be there too. The turn around is always necessary of course… If you play and “dissect” Coltrane’s Giant Steps you have most of the heavy work done. I’m a classically trained musician and when I was a early teenager trying to learn jazz and improvisation I had a hard time finding someone to teach it. We are very fortunate now having so many places on the internet that have good information about such things and aren’t left with the old “go figure it out yourself” that I experienced back in the early 70s. Of course the do it yourself method has its benefits but having someone actually teach it to you is always a lot less frustrating…

@@jeffjones1359 Thank you for the kind words, Jeff.

@@alistersutherland3688 With all due respect...where is syncopation not a necessary tool in music?

That’s amazing to hear, thank you 😊

Same. It’s opened up a whole new level of understanding music for me. Great channel all round.

Wow. I never knew that, but I hear it in the Beatles song.

On the mothhhha ficking flyyyy biiiirch

No one who says something that silly and contrarian will be swayed by logic and examples

@@FPSBuzz fair enough lol

I'd suspect people who say so are either tone deaf or have no hope of appreciating quality songwriting

I don't think the beatles are overrated but I'm pretty sure the beatles are in every of these videos just because David really like the beatles

@@Userrrrrrrrrrrrrrrrrrrrrrrrr.r definitely lol

Thanks!

Same!

That’s exactly what I heard

Back when Maroon 5 made actual music… Songs about Jane was a great album

@@josrodsedre5142 agree 100%

same

Cool idea, what’s the link between the Smokey songs, and maybe some more examples?

Not trying to be a smart-ass here, but I think you could go out on a limb and say that almost every song by Cole Porter has at least one 251 cadence in it somewhere

@@MrGiuanin I think he’s just saying the innovator of the 2-5-1 was Cole porter

@@kieranl5249 yep, he is😬😬😬

aand how high the moon...fly me to the moon...etc..etc...so many standars jazz use that...

Thank you!

jazz

@@DavidBennettPiano jazz

Thanks!!!

so true the improv is amazing, i never knew 2-5-1 was that practical

Great! 😀😀😀

Good idea!

the significant difference between the two is their function. The only technical difference between a dominant and a major chord is that the dominant contains a b7. Cmaj7: C E G B, C7: C E G Bb. but in practice they serve different roles. in a lot of modern music the dominant chord is usually the 5 of a major key and it’s primary purpose is to resolve down to the 1 chord of that parent key, usually creating some form of tension in the process. The reason this works is because in the 5 chord of any key, it contains notes that sound like and do resolve perfectly downwards or upwards towards the notes in the 1 chord G7 - Cmaj 7 for example G B D F C E G B The G remains the perfect 5th of our 1 chord but the B wants to go up to the C and the F down to the E, with the D either resolving upwards or downwards. Dominant chords can have any number of numerous extensions or alterations but they typically serve the purpose of creating further voice leading, or notes that resolve better towards your target chord. The dominant chord can have a lot of other roles than just being the 5 of a key tho, and this video demonstrates some of that, but its purpose is usually to resolve to another chord whereas Maj7 chords are usually things you resolve to, because of the intervals present in Maj7 chords they sound more complete and final.

you could also say that the reason the Dominant 7 chord sounds tense is because of the tritone present between the 3rd and b7th of the chord G B D F B - F a tritone but explaining why a tritone sounds tense is more like a subjective thing and something to do with the harmonic series and cultural interpretations way too complicated for my pea brain

@@cmyk8782 You kinda said a lot without saying much. Everybody knows that dominant seventh chords are, well, dominant. It's the major seventh that’s less discussed.

@@cmyk8782 I appreciate your comments. As a long time hobbyist now trying to sharpen up and become a professional, I'm learning that there are many things that seem "obvious" to most real musicians that are totally foreign to me. I knew the technical difference, but this is the first I'm seeing about the practical difference. Thanks for taking the time to put it out there.

Glad you like them! Thanks 😊😊😊

Thank you! 😊😊😊😊

Thanks! 🙂🙂

Thank you! That means a lot!

Thanks Peter!

Thank you!

😎

Thanks!!!

Thanks!

Thank you 😊

Glad it was helpful!

Thank you!

Cheers! 😊😊

You would definitely have plenty of well-known examples if you do one about I V vi IV or I vi IV V

Great example of a ii IV I

@@landondavismusic Thanks!

Cheers Doug!

Thank you!

Thanks Giel!

Glad you think so! Thanks!

Thanks Harry!

😀😀😀

😊😊😊😊

Nice!! 😊😊

Write the bass line as a melody, then make the chords work with that.

@@JiveDadson That is a very good idea! I did that once before when i created a bass line before the melody or lyrics.

Thank you too!

Thank you 😊

😊😊

Thanks Edd!