Name you favorite chord that is in the key but not in the scale! 🙂 3 Basic Jazz Chord Exercises That Will Change Your Playing in 2024 kzfaq.info/get/bejne/rZeiipyI2tfFfI0.html Nobody tells you to work on these exercises, and that is a pity if you want to make music with Jazz chords

Thanks for explaining theory in terms of how listeners actually PERCEIVE tonality (instead of in terms of some abstraction that looks good on paper). Bravo!

When you played Abmaj7(9) - Cmaj7(9) it dropped me right into Vince Guaraldi's Great Pumpkin Waltz. I think that progression is the last two chords of the A sections (but truly in a different key). Great video, so much information very clearly laid out. I am going to send this to everyone in my combo.

Your lessons have always been great but the effort towards production really shows! You’re a real pro.

In All The Things You Are, that modulation from the temporary key center of E in the bridge back to Fminor pivoting on the Caug with the G#/Ab in the melody is one of my most favorite movements in all of the great american songbook. Thanks for your keen analysis of a brilliant tune.

Nice! I learned all this from The Beatles about 45 years ago. I looked at my fretboard and saw where the notes of some chords went and at the same time learned how these changes sounded. Progressions like Something. Then I tried to move other notes... I didn't know any music theory back then. My playing ended up sounding like modernish gospel baroque. 😉 As an example I found it boring to play 4 times G Bm C G and changed it to G-Am7 B7-G7 C-C#dim G/D-D#dim Em7-Em7b5 Fj7-F#dim C/G-Am7b5 G I had found this just by shifting notes and nobody was able to solo over it 😂

love these theory lessons Jens, you should keep em' coming for us!

The holistic approach! As a total theory nerd I love this. Great video.

Wow Jens what a deep and excellent explanation. I see what it means to be in the key much better now. Thank you for sharing your knowledge in a simple and understandable way. Your clear and precise playing along with the visuals on screen really help me understand the concepts you teach here.

Perfect ... what I am trying to do is force my upstairs (mind) to exercise knowing the note names and intervals of each ... just for the exercise ... I am thinking if I do this daily IN the C "key" ONLY (for now) with a new daily routine ... do it for 5/10 minutes and verbalize the notes as I watch... then use transference (Ted Greene) ... then I might understand where I am and what I might want to understand what I do. I already play all sorts of types of things, ... NOT understanding. ... and try by ear but then hit that sour note not in the "key" that ruins what I think I am trying to musically play ... this is a very fine, one of your best shares .. thank you again. pat

Absolutely adore your videos. 10 minutes worth years of internalising. What a rabbit hole jazz is….still working on ‘simple’ secondary dominants but seems just the beginning of the wonderful world of harmony

Recently listened to your Traeben album "Push". Most excellent. Really loved "We'll Let You Know". Could you perhaps do a video on your guitar work for this song or perhaps highlight some of your playing on this album at some point? And/or a video on your guitar tone on that album? Its got that almost clean, almost dirty sound that I've really been digging lately. Overall a great album that I will definitely be adding to the rotation.

Another way to think of the #IV dim that people might find helpful is as a common tone diminished in 2nd inversion. Then it is obvious that it moves to IM7 as an embellishment, not a functional chord. I just learned this from a Music Matters video, and I think it's a useful concept.

In the context presented in your video, the #4Dim chord works like a Dom7b9 chord. In the example, F#dim, whose notes are F#, A, C, E flat, represent respectively the degrees 5, 7, flat 9 and 3 (E flat also being D sharp) of a B7(b9) chord. B7(b9), is the V7 of, and resolves to, E min7. And the notes of the E min7 chord represent the C Maj9 chord without the tonic. Both chords overlap. Thanks for this video and all the others. They inspires me to continue to work on the guitar even when I do not feel like it.

Another great lesson. Thank you Jens

Just such a dense beautiful lesson.

Great video Jens

Awesome help Jens.....Thanks so much

Cudos for the topic of choice! One that is not nearly enough discussed and understood as it is important. About the diminished 7th on the #4: if it were in major, one could spell it d# f# a c. That way it is really obvious that it is just a paralell chromatic third movement of the root and third of the second degree to the third and fifth of the first, respectively. It, of course, could go elsewhere. I wouldn't say it is double dominant with no root, but i wouldn't dismiss that way of thinking about it either - it implies a clichee that is really ubiquitous in classical harmony: after that #4 comes a tonic in second inversion, and that is usually defined as 6/4 from the dominant root (quartsextacord, or else, second inversion triad of the tonic) that wants to resolve in 5/3 (quintacord, or root position triad of the dominant). These are generalbass markings that view the chord built from the bass tone up in intervals. However, that second inversion tonic chord is regarded still as a part of the dominant function, and by extent the 4th and 6th as non-chord suspension tones that want to be resolved to 3th and 5th of the dominant chord. My understanding is that through the times this harmonic moment (dominant 6/4) has emancipated itself to the point that it is no longer needed for it to "need" to resolve to the dominant, but could sit by itself as a valid function. In minor it would be a bit different, because the third is already flat, so no need for a #2. And now something (not) completely different: my harmony professor thought us that a diminished 7th chord could be a subdominant chord too. When it is on the major 7th degree (as per usual) it is comprised of two notes of the dominant function (7 and 2), and two of the (minor) subdominant (4 and b6). So, depending of which tone is in the bass could make it sound like a D or S function. So... There's that 😁

I like the saying, "The grass is greener on the other side." I modify sayings like this.. "... but you still have to cut it".. Another simple one is, "haste makes waste... and more haste makes more waste".. unpausing now.

Great lesson as usual Jens......!!!

Such a great video 🙏

A lot of great information in this video. Some of it went by a little fast for me, but that's ok. This will be good to refer back to later when analyzing tunes.

Hey Jens I love the tone your getting out of your fractal fm3! Are there any .syx download links for your fractal presets?

Thanck Jens ! Pedagogic, Simple, Beautifull.

Wow! This video sure helped explain a lot of things I see in songs. Kind thanks!

In 3:50 Can someone explain. The highlighted chords are said to be secondary dominants. My questions: 1) In A7, are you allowed to take any chord in a Key, be it Minor or Major, and turn it into a Dominant 7, and is this the case here? I'm assuming the key is C major and instead of using Am7 which is the 6th degree of C Major, he used an A7. 2) What about Abmaj7? How is it a secondary dominant to Cmaj7 when it doesn't even resolve to a perfect fourth. To my understanding, a secondary dominant is supposed to resolve up a perfect fourth or resolve down a perfect fifth.

Thank you,Jens.⭐🌹🌞🌹⭐

Some of those demonstrative voicings were painful to watch! Great lesson Jens!

Bravo! Great video, Jens. 💥

Thanks!

This is a fantastic lesson, packed with red meat! Bravo!

alright alright, I'll try to remember that diminished thing, half dim for major fully dim for minor halfstep down

Whew. I was afraid there was going to be no Barry Harris reference but you snuck him in with fifteen seconds to spare. :)

Ita very hard to remember all chords , ive been trying so many times. But I don't give up

I might just be rephrasing but I've always thought of the #IV diminished as the tonic diminished in 2nd inversion as that too resolves to the I. Maybe that's needlessly complicating things though and ultimately, use ya ears people!

Also, FlatVII7 is Backdoor resolution

#4dim7 = auxiliary diminished or am I getting this wrong?

I think #IV diminished resolving to I is really more of a Idim7 resolving to I

Thanks Jens. I enjoyed this video I don't care who knows. I'll even tell the whole World. I'M A THEORY NERD !!! AND PROUD OF IT !! Yep, the ways things are named in Functional Harmony / Tonality depends on their function. I don't have enough experience with #IVdim chords to argue about them - but I did enjoy the scream on the video.

It's a V of V.

#iv in c ,has i think the d sharp on top not eflat ,probably you agree that enharmonically is more meaningful Anyway thank you the video is super clear and it js a great to take a look to the basics like in this video,also for me to eventually teach them it is inspiring

There's a great Wikipedia article on Secondary Dominants for whoever is interested. Worth checking!!!

Mi sta esplodendo il cervello 🤯

Hello 🙏🍀🎼🎵🎶🎸✌️👌

Is this how math sounds?

👏👏👏😘😅

Too far out there for me

amplitude modulation and frequency modulation,,, or AM and FM ,,, that's another topic,,,, I was referring to the chord progression that does not exist,, and all the flack you' got from that.... No Jens Larsen,, it does exist,,, you either invented it or discovered it,,,, either way that proves it,,,, IT DOES EXIST!!,,,,

Thanks!