Definitely worth pointing out that playing F7 (as IV) could also been seen as the Tritone substitute for B7 (secondard dominant heading to Em7)

The m7b5 to m6 to rootless dom9 chord relationship is immensely interesting and useful in terms of chord substitution and building lines.....

Don’t play jazz but it’s cool seeing some of these chords as I would try to find as many shapes possible when first learning. Before YT was big and helpful. Didn’t even know the names at the time. lol

Great lesson man, thank you so much!

This is great to know, also cool to realise that I might do something from this instinctively and that there are other ideas I can try out. Thanks for this video!

Great lesson. This opened up some ideas and new chords I can use in my Jazz studies!!!

awesome video lots of cool and wise information about jazz concepts,

Nicely done . Good explanation. Just subscribed and will recommend to my guitar students !

Thanks ! Im a Tejano player but learned these chords as substitutes !! 😁

Great lesson

Brent, nice job on this topic. Using Bb rhythm changes, Cherokee, Sweet Georgia Brown, All the Things You Are, for practice tracks. Great quality, thanks.

@Learnjazzstandards

5 жыл бұрын

Thanks Jimmy! Glad to help.

great music

Beautiful

Good lesson.

Love your lessons

@Learnjazzstandards

5 жыл бұрын

Glad to hear that James!

Something I learned from Bruce Forman which is the TRY TONE THEROY - Try a sub and if it sounds good and you like it use it. It keeps your melodies really interesting and unique. So one I like is using a "false" resolution" so going to the minor iv right after a II V That would have taken you home. It's a nice additional sound that works in simple blues or "major" sounding songs to give them a little depth and unexpected flavor. This is one...but there are so many!

@Learnjazzstandards

5 жыл бұрын

Thanks for the addition Bruce! Fan of Bruce Forman here, and even got to study with him a bit.

Thanks for sharing that!

@Learnjazzstandards

4 жыл бұрын

My pleasure Miguel!

Thanks- excellent, clear delivery of concepts and material plus a very nice sounding guitar! A superior tutorial.

@Learnjazzstandards

2 жыл бұрын

Wow, thanks!

A few of my faves: bIII dim for VI in iii-VI-II-V (great with the fifth as a pedal tone), ii-bVI7-V7-bII7-I (tritone subs leading in to V and I chords), bVI7 for ii in a minor ii-V-I, bIImaj7 for I if the root is in the melody.

The chromatic ii V7 is the basis for Satin Doll. 8:00 Very cool.

I adore the IV-iii idea.

this is like the only good jazz lesson channel on youtube! brilliant

Thanks, I know some of them and applied them but didnt know the deeper Meanning

@Learnjazzstandards

5 жыл бұрын

Glad to help Saul!

duuuuuude this is perfect thanks so much!!

@Learnjazzstandards

4 жыл бұрын

My pleasure!

That turnaround in the last 2 bars of Lady Bird is a 1-6-2-5, except the 6, 2, and 5 chords are all taken up a tritone. I'd call this a mega tritone substitution. The turnaround is Cmaj7-Ebmaj7-Abmaj7-Dbmaj7

Wow !

Howdy This is a great lesson for my ear training...just what I need...much appreciated...Jason

@Learnjazzstandards

2 жыл бұрын

Glad to help!

Have you done a video on line led substitutions? I feel like a lot of the old school jazzers didn't understand much of the theory behind what they were doing but were using the top lines of chords to move them harmonically around the instrument - Wes comes to mind. Could you do a video on this if you haven't?

Great lesson, Brent! Which led me to ponder... IV leading to iv (minor): substitute the iv (m) with a flat 7 dominant or #6 dominant. Commonly used in pop or jazz (raising the minor 4th to a dominant major 4th above) Ex. C - C7- F - Fm(7) - C. Using an Bb7 instead of Fm(7). Is there a NAME for this substiution?

There’s always the Neapolitan 6th (flat II in first inversion) as a predom (or pre cadential 6/4) sub. Not to mention the class of augmented 6th chords -which are really the ancestors to your “tritone subs”, as subs for various pre-dom structures. Your viewers might find it enlightening if you went over how some of these harmonic structures “evolved” out of counterpoint into the harmonies we all know and love. Food for thought for an episode

@Learnjazzstandards

5 жыл бұрын

Not a bad idea David. Thanks for the suggestion!

I subscribed to your channel. Cheers .

@Learnjazzstandards

4 жыл бұрын

Awesome! Glad to have you

Hello Brent. Great stuff as always. What extensions can be used for the tritone substitution?

Best video ever. You saved a life.

@Learnjazzstandards

5 жыл бұрын

Thanks my friend! Glad to be of help

Negative harmony is a fun tool!

I hope one day I can change from that A string maj9 to the A string dom7 chord as quick as you 🤯

@Learnjazzstandards

4 жыл бұрын

I believe you will!

On the B part of autumn leaves instead of playing Am7 / / / D7 / / / G^7 / / / C^7 / / / you can play Am7 / / / D7 / / / Abm7 / Db7 / Gm7 / C7 /

Great video, thanks a lot. You play a 9th with almost any chord. Would be nice to mention that for others. Not everyone knows Cheers

The chromatic minors in Stormy Monday are also subs for the 3 6 2 5 turnaround tha way my ears hear it.

Ibanez Ag series? You like the sound? If you were buying without a budget what would be your choice or would buy this model again??? Thx

One ive been sheddin is i guess you could call it #Vmaj7(#11) for #v-dim. Although im using major key numbers, I think of it as minor key bc the usual diminished half step below the vi is the emphasis. It implies melodic minor of IV, or III7#5 super locrian

i like subbing minor chords for 6 9 ones :)

Was just told about a few subs you can do on the first two bars of "Have You Met Miss Jones" - Fmaj7/Bb7/Am7/D7 in the first two measures leading to the Gm7 in measure 3. Also Fmaj7/E7/Eb7/D7. Also heard about doing the chromatic ii Vs on the same tune (at the first ending of the A section).

@Learnjazzstandards

5 жыл бұрын

Thanks for sharing David! The possibilities are endless.

Hey Brent! very useful insights and lessons. Comments on the Ibanez ag 95? im considering on purchasing one soon, it would be my first hollow body guitar.

@Learnjazzstandards

5 жыл бұрын

Hi Frank, glad to help! I would say that the Art Core guitars are a really good value for your buck. I've personally, changed out the bridge for a wooden one which gives it a warmer tone.

How would you fill up the CM7 last measure

I'll try to make it short,I've devised subs for the V chord based on the G7b9,which is a perfect V in the key of C well if you take the G out of the chord your left with the Ddim7 chord,now add as the base note the notes of the Edim7 you end up with 4 7b9 chord anyone can replace the V chord In C

Besides the tritone sub, can you replace it with a bIImaj7 for a Neapolitan sound?

Thanks for explaining this. How about Am11, Ab7b5, Gmaj7 instead of Am7, D9 or D7, Gmaj7. The Ab7b5 can be thouth of as a D7/Ab. Key of G though, sorry, but you can transpose.

This is a bit off topic, but I like using the III7#9 to go to a iv m9 or a i m7.

@Learnjazzstandards

5 жыл бұрын

Nice!

I like to substitute a F minor7 for a G7 going to Cmaj7 ( Dm7- Fm7- Cmaj7)

@juanpgomez1299

4 жыл бұрын

Why does this sound so good?

@AhmedAli-rg3hp

3 жыл бұрын

@@juanpgomez1299 I’m a newbie but I think it’s because all notes in Fm7 easily resolve to /half step away from Cmaj7. The root in Fm7->3rd in Cmaj7, 3rd in Fm7->5th in Cmaj7, 5th->7th, and 7th->3rd. Definitely gonna try this out!

Thanks for the valuable info I was just searching for chord substitution! I've no experience with jazz. I do want to learn, but I don't know where to start-it's like a boundless ocean. Any suggestions? Thanks in advance.

@McEffinHat

3 жыл бұрын

learn your 2-5-1 progression in all the major keys: minor 7 on ii, dominant 7 on V, major 7 on I

I have used I-bIII7-bVI7-bII7/V-I or I-bVI-bII9-V-I Good show!

@miel3554

5 жыл бұрын

hugh glover, So all your chords are dom?

@serseriherif9530

5 жыл бұрын

@@miel3554 basically you can see all the chords before the tonic as some kind of dominant function so yeah ofcourse... normally in the circle of fifths/fourths the leading tone is a 7b so either dominant or minor. All of the chromatic harmony you can somehow justify with calling them a tritone sub of a subdominant or whatever in the end it just comes down to taste and building tension to the tonic

I have a question that may or may not have been answered here. In the song Amy winehouse you know I'm no good it starts in Dm7 and goes to Gm7 then to Amaj7 then later on goes to the Am7 what is going on with this ? I'm very confused. Thanks for your lessons and time :)

Help! I'm just starting to learn about diatonic chords but I'm teaching myself and one thing that's caught me out here is the first chord progression before he subs anything. The A7. It has a major 3rd in it. That c#. Shouldn't that chord be minor?

So basically everything is either an upper structure of some sort or an inversion of one?

Hi, thanks for the video! Quick question, towards the end you talk about chromatic ii Vs, but the chords are called Ebm7 and Ab7, why wouldn't they be called D#m7 and G#7?

@asarao7699

4 жыл бұрын

Linen Band those are the same chords :)

@timothyeverson1795

4 жыл бұрын

It still technically needs to make the secondary dominant movement "legal" (in a sense) I think. The basic ii - V - I allows anybody to use it multiple times if you land on a minor chord each time (eg. Am - D7 - Gm - C7 - Fm - B7 - Em, etc) but it does require you to technically use a "V - I" motion. To help this make a little more sense, the V of D is A in this case, so either Ab, A or A# moving to Db, D or D# would make the V - I motion, but making it G# would make it a #IV which isn't the "legal" V - I motion we aim for. In terms of jazz harmony, figuring it as #IV instead of "V" wouldn't necessarily mean it breaks the rule (I don't know how fixed it is) but as an enharmonic equivalent and for the sake of Western theory it would be more difficult to read as a #IV then a bV. I can't say that anything I've said here is entirely correct, though I'd hope it's on the right track to answering your question, I'm simply a 2nd year BMus student wrapping up Jazz Harmony of the first semester, but I hope it gives you some sort of insight.

I'm here to learn, I don't know shit xD

Do you think it's possible to integrate this jazz chord changes in a pop song without making them sound "weird" or unpleasant to the listener?

@Learnjazzstandards

5 жыл бұрын

Hey Alessio, I think it's totally possible. I actually think that Adam Neely does a great job of explaining some possibilities with adding interesting harmony into pop songs: kzread.info/dash/bejne/fIyas9WBhJjJY5M.html&t

@TheSliderAlex

5 жыл бұрын

@@Learnjazzstandards Thanks man!

Hey can you say what guitar you are using and whatever equipment ? Thanks fro the good info,

@Learnjazzstandards

5 жыл бұрын

Hey Richard, I use an Ibanez Artcore AF95. When I record videos I don't use a live set up, I just plug direct in to Pro Tools and add a touch of compression and some reverb. That's it!

Why you pinky goes different on Amin7 vs Dmin7?*This is in regards the first chord substitution*

I think it would be important to explain musical concepts not only in C major to support the skill of thinking and playing in any given key.

@Learnjazzstandards

5 жыл бұрын

Agreed Alexander, I don't always use the key of C. But I do have a lot of beginners in my audience so I try to keep things simple by explaining things in one key at a time.

@Herold_sc2

5 жыл бұрын

@@Learnjazzstandards Thanks for your reply.

I don't know if it's worth mentioning that at 1:30 you don't play 7th chords, you play 9s and #5s....sounds great, but why not play as written?

Chromatic approach ii V’s u know C#-7 F#7 D-7 G7 ala John Lewis and moments notice which Coltrane got that idea from John lewis

For the 3 chords he plays here 5:02 - 5:06, is he actually playing 7th chords like he says he is, or 9th chords? I noticed when he says the chord he is playing, it's actually an embellishment somehow

@messer81

2 жыл бұрын

its a m9, yeah

Maybe dumb question. Why you play in key of C major A7 in stead of Am7? Am I missing something?

How come you add extra notes to the chords? Is it just to make them extra spicy? (Like playing maj9 instead of maj7)

@Learnjazzstandards

5 жыл бұрын

Absolutely Luke, that's the idea!

@Isosceles1

2 жыл бұрын

@@Learnjazzstandards It would be less confusing for a lot of us if you play the chords you are calling out and showing on the screen. Otherwise, please tell us what you are doing.

I would say sometimes I play Before a Dom or In place Of a Dom . So If you have D-7 G7 C major 7 ( I might not even play the Dominant chord. I might play Bbdomb5 F minor 6 or F minor Major Um G sharp Major flat 5 D flat major flat 5 ............... Um D minor b5 ................... I toss all these In a Minor 4 group. I have substituted G7 with all those chords. Kind of Sub Dominants ........ Not always with a band but just playing solo I think they can work well IN the right context. You I bet already have a video On these . But just In case.

@holdthis4279

4 жыл бұрын

Using the dom of the dom is called secondary dominants

You look really similar to my boy RTZ

I dont understand the chromatic ii v, why use #ii ebm7 and why use the #V Abmaj7 and not Bbmaj7 from Eb?

@Learnjazzstandards

5 жыл бұрын

Hey Kenneth, not entirely sure if I understand your question and how Abmaj or Bbmaj or Eb play in this. Otherwise would love to help!

@kennethkenway411

5 жыл бұрын

@@Learnjazzstandards sorry its okay i understand now thank you

@Learnjazzstandards

5 жыл бұрын

No worries!

Why don't you tell your viewers that you are playing ninths instead of sevenths? Your voicings are great. It sounds very nice. For me, a I VI II V I progression has the six and the three as minor, but you are playing a AMaj7/9. Perhaps you explained it later but I did not watch the hole thing...

iv min - bVIIdom - Imaj ?

@Learnjazzstandards

5 жыл бұрын

The back door dominant is a good one! Essentially, that's a backdoor dominant with a ii in front of it.

My favourite chord substitution is "If you play 1,4, 5 I'll smash yer face in!" XD

COLTRANE CHANGES

@Learnjazzstandards

5 жыл бұрын

That's true, David! That's like the ultimate chord substitution. More like a re harmonization.

Heard this the other day. Substitute a minor 11 for a minor 7 b5.

@Learnjazzstandards

5 жыл бұрын

Hi Mike! That could certainly work. You just wouldn't be emphasizing that half-diminished sound anymore. But that would be a musical choice you could make!

He forgot to mentioned that reason III- I substitution works is because the Emin7 moves in the cycle to A7, ii7- Dmin7- V7 G7- C I C7/9

@Kerphelio01

3 жыл бұрын

Hmm, my way of looking at it is that it works because Em7 is the same notes as Cmaj79 if you start with the maj 3rd (E) and omit the root. In fact, you can substitute any diatonic chord with the diatonic chord a 3rd above: I with III, II with IV, III with V etc.

im not a guitarplayer,im a JAZZZZZZ guitar player dont u forgetttt

1:35 - ummm that's a CMaj9 (which I am sure you know) - at least it sure looks like it and the D is prominent - so, why call it a CMaj7?? Great video btw - but it would seem you should keep your chords consistent with the rest of the content (?)

@shawndimery

3 жыл бұрын

so dense, the 9 is just a colour note, it’s still cmaj7. In jazz you don’t need to have the exact colours mentioned in the chord symbol, it’s open to interpretation

@scottt9382

2 жыл бұрын

@@shawndimery what an idiot comment - how are viewers' ears going to 'follow along' with the visual unless the extensions are mentioned

The graphics on the screen and what you are saying is "Cmaj7, A7, Dm7, G7" but you're playing C9, A7b13, Dm7, G7b13. For those of us new to jazz guitar it's confusing why the chords don't sound the same as what you're telling us to play.

Hi Brent Not wanting to be a smart arse, but I think the capsule on that mic is side on. So that's why your sound is a bit thin. Hope this helps. L

Good discussion but the delivery is too fast

IV to iv to I

It's disingenuous to be playing alterations and extensions in your examples and still calling them by their 7th chord names. If you are going to play Dm9 Db9 Cmaj9, then please call it only and exactly that - otherwise people trying to learn will be disappointed that they're not hearing those colors when they play Dm7 Db7 Cmaj7. A7 and A7(#5 b9) are not the same!

tu vas trop vite dans le chagement des accords.... pfffffffffffff