Those are great as well!

I agree, it seems like jazz guitar players change the notation when they feel like it to stop you progressing. An example is 9th chords, you can either have an half diminished chord with root on a string or a 9th chord with if played without root that is on e string. Then there is diminished chords do you play diminished or dmi(7) or half diminished. It just gets so complicated and confusing.

@@As-pf1zu Jazz players don't change notation to "stop you progressing". The real reason is that there is a difference between the academic, Berklee College of Music style of jazz playing (which is most of the educational content nowadays) and how jazz players ACTUALLY played back in the day. Furthermore, it was and is commonplace for jazz players and arrangers to alter and substitute chords of various standards and pieces to suit them. For example, the major chords, especially the 1 chord, is taught as a maj7. But ACTUALLY LISTEN to the old standards - they usually played a maj6 or even just a major for the one. Maj7s weren't used too much until the 60's or so. The major 6th chord is MORE STABLE than the maj7, because the maj7 interval wants to RESOLVE up to the octave. Or take the dominant chord, for example. These come in all sorts of flavors, like the 9, b9, #9, 11, #11, b5, 13, etc. The 9th chord, as you correctly point out, is a m7b5 (half-diminished chord) on the third of the chord. So a D9 (D,F#,A,C,E) and the F#m7b5 (F#,A,C,E) are nearly harmonically equivalent. This is useful for jazz soloing or comping, as one can simply play F#m7b5 over a D dominant chord, as the bass player is usually handling the D root note. This is also heard in a blues context, where these "rootless" dominant voicings are commonplace, which is ultimately where jazz gets many of its harmonic ideas from. You can also hear the Dominant 9th chord in the music of the Romantic Period, such as in the works of Chopin, Strauss, Rimsky-Korsakov, etc., as it resolves to a major chord well.

from hearing Joe Pass talk about the color tones, it seems that different individuals give personal preference to their regular substitutions, and seems it would become a study on sets of substitutions, so embrace the substitution sets as personal to each teacher perhaps

I agree, I was looking at it thinking, how is that a maj 7 chord, is his guitar tuned funky, nope it's a 6 chord

@@edthewave so what you are saying is although you like listening to jazz don’t bother with the guitar for jazz as you are no good and rubbish. Stick to cowboy chords or punk power chords. Just goes to show how snobby jazz player are.

Just start 12-keying stuff with the TV on. I watch movies I've already seen so I don't get too caught up, but stay entertained enough not to get bored and put the horn down.

I totally agree!

I agree too :))

Glad you found that helpful!

Yeah, I wish i could color code in my program, j fact all the mockups you do.

Glad you found it helpful!

Thanks!

Thanks!

Glad you found it helpful!

Glad it was helpful!

If Kenny says it, we’re all listening!

it's true. that's when i started to like him.

Miles Davis once told me that when he learned On Green Dolphin Street in all 12 keys, he was still an a-hole.

@@augustusbetucius2931 …who could play that song in 12 keys 🤪

It's pattern recognition bro. If you know the pattern you can play in any key. It's easy. The only things that are hard is 1.) memorizing the melody (fuck that) 2.) Soloing in the different keys so that your chops don't sound shit. For keyboardists, it's getting the muscle memory so your fingers go to the right keys so that your shit sounds melodic and not free jazz. i recommend a little ear training so that your fingers go to the note that you hear in your head with fluidity. A little ear training goes a long way.

Glad you found it helpful!

i expect it would take me years to get where you are man. I understand the theory but that knowledge hasnt reached my fingers even 50 years later.

The knowledge you possess at present is the fundamental that deploys the best of Modern harmonic theory. Jazz Rock is an electric sound ornamentation. For example, Gambale altered the guitar tuning and picking style to achieve a "new" sound. However, he plays nothing different fundamentally, that goes beyond what you already know, in music theory. The threshold knowledge you crossed to arrive at what you know remains the same, theoretically, as what the "advanced" cats are doing. One step further for you is to note that Dizzy Gillespie closed the gap between harmonic theory at the 9th and the 13th, by incorporating what Shoenberg laid out as theory in the early 20th Century, though used classically before, undefined. Go to the sounds of those colorful extensions; continue with the 2, 5, 1 patterns, but make changes that allow for chromatic motion, using those extensions and the opporunities in altered interiors of the chords. The ear is compelled by chromatic movement.

Great warmup!

Thanks!

Thanks Jim, much appreciated for the tip!

Glad to hear that!

You are welcome!

Thanks! 😃

Glad you found it helpful!

Thank you!

Glad you found it helpful!

Thank you!

Thanks! It's great to know it has helped you a lot.

Thanks for providing my daily chuckle early (fortunately between sips--no spew!)

Thanks!

It’s an amazing tune!

Thanks! It's a custom-made Victor Baker. You will find more details about it in this video: kzfaq.info/get/bejne/r9Nii8Vyu6qddZc.html

My pleasure!

Thankyou!

Glad you found it helpful! That’s a custom Victor Baker guitar

It’s a custom Victor Baker - plays great!

Thanks!

Thank you! It's part of the resource packs for our Inner Circle monthly jazz standard studies.

Definitely Stella by Starlight! 👏👊🏽

Hi, thank you for your interest in the PDFs. Sorry, the color-coded analyses are exclusive for the Inner Circle members. However, we have some materials on our website learnjazzstandards.com that are available for free, though they are not color-coded.

The cycles of 4ths or 5ths refers to the root motion. G - C - F - Bb - Eb, etc. Or G - D - A - E - B, etc. Other intervals are possible, i.e. cycle of minor 3rds. G - Bb - Db - Fb (E) - G. You can play each as a single chord type (i.e. dominant) or move through a diatonic progression (vi-ii-V-I). You can treat each root in the cycle as a major 1 chord and substitute each of them for their associated ii-V's. Many possibilities that you just have to explore for yourself on your instrument, and notice how it appears over and over in the music.

Yes, that's the simplest and clearest way to understand most of the harmony here. Next step is to look at deviations from perfect 5ths (down = 4ths up) jumps and ponder the reasons for them: "fudging" the "maths" to fit the musical context. These patterns have been used in all kinds of music from Bach through Beatles to disco's greatest hits and beyond. David Bennett has a nice video on songs that use the circle of fifths progression and explains it very clearly.

Thank you! It's a custom-made Victor Baker. You can find more information in this video: kzfaq.info/get/bejne/r9Nii8Vyu6qddZc.html

I just worked it out! Sorry - learning slowly! I see it now, because the other chords in the pattern are in the 1 key…

@@danielhaddon5499 That's right. The key is the V chord, or really the V7 chord. It's a dominant 7th chord. It defines the key center. V7 naturally pulls to the I chord. The V-I relation was at the center of classical music for several hundred years, and of jazz for decades. (In a minor key, the 5 chord is changed to make a V7 chord.)

@@richarddoan9172 thank you!! This is super helpful! It’s all slowly making sense!!!

Thank you!

Put a little effort into it. You can find tons of backing tracks for all these songs.

The V chord in a minor key is generally based on the Harmonic minor scale which has a raised 7th (F#). This creates a dominant chord on the V whose two leading tones (F# and C) draw the ear back to Dm. Without these two notes you lose the gravity of the V pulling back to I.

Just to add to the explanation above, a major V to minor i is just the sound minor songs in Western music had -- classical or jazz -- for several hundred years. It was the style. (For example, it's in every minor composition by Bach, Mozart, and Beethoven.) That''s changed in the last hundred years or so. Nowadays, a song in G minor that used Dm would sound normal. Musical idioms and tastes change. But that musical idiom still exists. A modern example is Bad Guy by Billie Eilish, or Nothing Else Matters by Metallica.

The melody notes that resolve from the D7 to the Gm are D E F# Bb, so if you want to be precise it’s G ascending melodic minor.