Watch Part 2: But do you understand more complex Jazz Chords? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1Wc274z1q4o.html I would love to hear from you. Does this clear up a lot of confusion on knowing what chord symbols are and figuring out what notes make up chords in jazz?
This has solved the problem of a lifetime for me, even as someone classically trained in the guitar, and classical piano (some), the matter of the chords was hugely confusing to me. I.e., seeing the pentagram with the triad plus the seventh was so confusing. You have made this so simple, thanks a million.
@@RicardoMartinez-oh9sq Absolutely! Sometimes I forget that what seems simple to us jazz musicians isn’t explained very often in most other music styles. Glad I could help.
@@JazzRockswithAdam I don't think they deliberately hide it, they unconsciously presume knowledge even when they're trying to pitch it at beginners - it's like math teachers skipping steps because it's "obvious" and consequently leaving fundamental gaps in their explanations that you only find later.
I just found your channel, and this video this morning… this is very interesting, I’m always looking to learn more, and this is valuable information…. Thanks for sharing it.
Very helpful, I've been taking a deeper dive into musical knowledge of late and expanding my awareness of the fretboard. I found the white board breakdown really helped clarify chord construction even better. Especially diminished and major and minor third intervals. Thanks
I've taken "sus", as opposed to "sus2" or "sus4" to mean the arranger has given license for the musician to use either the 2 or the 4, or even both. It seems to work, but is it incorrect? If it's wrong and you want to specify both 2 and 4, how would you write that?
Typically, sus refers to sus4. The sus2 chord is a relatively new chord. It wasn’t classified as a chord unto itself until late ‘70s, early ‘80s. So if you see sus written the composer wants sus4. If they want a sus2 they would write that in. Hope that helps.
Hey look, I'm not trying to be difficult but as you can see, I'm really trying to pay attention... Because you are really making me think hey, and that's a good thing❤
This is just the start. Playing the chords and arpeggios on your instrument is the next step. The best way is to apply it to songs (comping and improvising) as soon as you possibly can. If you stick with it, it starts to sink in.
Great video. Consider using your own photo on the intro card, otherwise it's using someone else's street cred to draw people to the video, and you've got your own!
I think you’re confusing a chord progression perhaps by using Roman numerals. It’s not the 6th chord in the key. Unless you mean that the notes of the I6 chord, say C6 is equivalent to the vim7 chord in the key, that is true. C6 and Am7 chords contain the exact same notes. But each chord would function differently. 6ths are completely valid to add to both major and minor chords as an option.
I would love to know how Errol Garner approached his playing. He didn't read a lick. He wrote a Master piece with "Misty". I wonder if rules are suppressing at some point.
Here’s the thing, he’s using the same rules as everyone else. He just doesn’t know the names of the rules. He didn’t invent something completely new. Although his approach to the instrument was unique. In the Jazz tradition you learned from mentors and the whole idea was to develop your own sound. Nowadays everyone tries to sound more or less the same.
Wow thank you. Though there are many masters that play by ear, understanding what’s going on makes life so much easier for me personally. This is magnificent and you broke it down. Now I get it. Now application. No more confusion. Thanks and 🙏
That’s great that it helped you. That’s what I’m here for. Check out this video to take it to the next level of application if you haven’t yet: This will change the way you improvise (jazz) Forever ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-HrlKiwjvvTc.html
Wait.....This whole time I've been playing dim wrong? Diminished is the Locrian scale, but there's no flat 3rd! What diminished chord or scale are you talking about? Seriously, I don't want to be out of the loop, Thank you.
Hey there! You’re almost right. Locrian can match a diminished triad. But Locrian matches the m7(b5) chord as a 4 part chord. Some refer to it as half diminished. You’ll see this symbol often ø. The °7 chord is fully diminished. You can find a or °7 in a few different scales but the one we think of most is the diminished scale: R-2-b3-4-b5-b6-bb7-7. It’s an 8 note scale. Does that help?
@@Troblack Not really just jazz specific. Theory wise, in general, that’s how we think of the origin of a diminished chord is from the diminished scale.
Thanks for this lesson. Im not anywhere close to playing jazz with any reasonable skill, this helped tremendously in just understanding the relationship between chord names and how they're built.
Hi Shirley. If you write Cb7, that’s an entirely different chord. What that means is the root of the chord is Cb. Just like B vs Bb. (B7 vs Bb7) That’s why just the 7 is used for b7 and ma7 is used for the natural 7. Thanks for watching.
Hey thanks for checking it out. I’m not sure what you mean by “numbers every place you use the a scale.” Unless you mean “this note in the scale is also the 3rd of the chord.” But I do think in terms of what note I’m on and what that note is in the chord (ex. 9th) so that I have a purpose for that particular sound. Does that help?
@@JazzRockswithAdam Yes, for instance Root 1, 3, 5 could be used on any scale with different representation., I've playing guitar for 4 month now, and now starting to learn cords. This video really helps to understand what's going on with the creation of cords. Thanks
@@mabblers Remember, the harmony (a chord) always dictates what the note(s) you play are because you’re hearing it against the chord. And R is the same as 1, just in case. So no matter what note you start a scale on, D will always be the 9th on a C chord.
Adam, great work. You make it sound so easy. Before running into your video, all this sounded like greek to me. I am writing from Lima Peru. Congrats fellow.
Alonso, I’m so glad that everything clicked for you. Hope to see you around in the future . If you haven’t already checked it out yet, this video is a continuation or part 2: Do you understand complex Jazz Chords? (I’ll show you) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1Wc274z1q4o.html
Thanks Reg! Hope you got something from the lesson. If you’re interested in taking it to the next level, check out this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1Wc274z1q4o.html
Absolutely! Here’s a video that continues from this one: But do you understand complex Jazz Chords? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1Wc274z1q4o.html
At 4:45 Enlightening! I wondered about Dim and Sus. There they are, defined! Looks like there’s alot of overlap of notes in scales. Makes me wonder if I can use that to “flow” between scales.
@@JazzRockswithAdamthanks for replying so quickly! Do you, by chance, have a video on THAT? lol. I’m a newbie out of my depth. ;-). I want to do interesting solos in hard rock, and Jazz and your videos break me out of “routine” scales, hopefully. ;-).
@@theedman22 If you mean on improvising, I have a ton of videos. Here’s one to wet your whistle: This will change the way you improvise (jazz) Forever ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-HrlKiwjvvTc.html And another important aspect, rhythm: This is why you won't get good at jazz ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-8x3gNE3GD50.html
Chord formulas are how we are able to understand the difference of any chord compared to another chord and so we can quickly know what notes are in a chord when transposing to a different key. We simply number the notes in a scale and we create harmony by taking every other note. So thusly some kind of R-3-5-7. Take a C major Scale. The R is C, the 3rd note is E, the 5th is G, the 7th is B. Now you have a Cma7 chord when you play those 4 notes together. Do the same for any other key. A Dma7 when following the same formula (R 3 5 7) would be D-F#-A-C. If you are interested in moving more towards a way that a pro would think, is to think note names an not fret numbers. Does that help? Thanks for your comment.
The fret and string numbers only apply to musicians playing stringed instruments. The number system is used in more than just jazz. If you're playing in a band with singers, you'll often have to play a song in a different key. If your charts are written using number notation for the chords, you don't have to transpose in your head. You just need to know what key you're in and follow the chart. For example, if you're chart is in C, the root chord is C major. What if that key is a little high for the singer and they need the music to be in Bb? If the chord chart is using the numbering system, the root chord will be listed as Roman Numeral I. The G7 chord in C would be notated as V7. By the way, in your answer you gave an example of Dmaj7, you have C as the 7th. It should be C#
@@JazzRockswithAdam I agree. I was just trying to get across the point that knowing the chord and scale tone numbers will translate to reading a chord chart that uses only numbers. Sometimes we don't have an actual chart. We may just be told something like "we're doing this song in F#. the chord progression is I, V, I, VI, II, V, I." If you're familiar with the scale tone numbers, this is fairly simple to figure out.
That’s amazing! I’m glad I could help. Check this one out too. It’s sort of the next step: Do you understand complex Jazz Chords? (I’ll show you) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1Wc274z1q4o.html
Awesome!! Thanks for letting me know. Your are more than welcome to poke around and see what else you might find helpful. Stay tuned for some related videos to come soon. I hate to say this, but if you haven’t subscribed yet, if you do, you’ll be notified when I release them. If you have already subscribed, thanks!
What you have written is: R, flat 3, 5, 7... Written like that it's called a pure minor... The chord you are writing is spelled: R, flat 3, 5, aug7... Which is the harmonic minor... Don't you realize you do not have augmented 7th written there
In jazz it's common to think of these intervals in relations to the major scale, so 7 means major 7th from root, and flat 7 means minor 7th from root. So in such case, aug 7 would be enharmonically equivalent to an octave
Back in college my major was Psychology: He teaches like the best of the class instructors I had, one of them was so popular that his classrooms were always full and the students happy.
Thanks for subscribing, liking, and leaving a comment. If you want to take the chord tones you just learned and now use them the correct way to improvise, this video is the perfect next step: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-HrlKiwjvvTc.htmlsi=_nDoxuP8E7dj8KDv
That c minor Maj 7 is incorrect.... You should be raising the 7th from a whole step to a half step as in the major chord....it should read c, e flat, 5, aug 7
@@JazzRockswithAdam that's wrong also. C minor with a major 7th implies that the 7th is a half step from the root... Just look at what you wrote it is not there... You did not write the c minor chord with a raised 7th that would make it a half step away and in, the 7th major position
@@JazzRockswithAdam you did write the flat 7th... When you wrote The Cmin-7.... But in the C minor +7th you did not raise the 7th. you have lowered it let, it stay in place but you did not aug it. You wrote that in a comment to me but you do not have that spelled out in the lesson
@@JazzRockswithAdam to say seven implies that it is a lowered... You cannot raise the 7th in a major. You can only raise it in a minor... But in a minor scale you can raise it and lower it
Hey, thanks for watching and for the comment. I hope you got a lot from the “lecture.” 😁 Come back anytime. I have a lot of videos geared towards getting better at playing jazz.
It is certainly helpful to know functional harmony, and most people will benefit from it. However, the first priority is to be able to play by ear as much as possible, and there have been people, such as Stan Getz, Chet Baker, Django Reinhardt and Errol Garner, who could improvise brilliantly but couldn't read a chord chart to save their lives.
I bet they could read a chord chart, but note reading no. I’m sure each of those people you mentioned had their own theory worked out to understand and remember things even if it wasn’t conventional theory. I do agree playing by ear as much as possible. It is music after all. Not a video game. Thanks for your comment!
@@JazzRockswithAdam , nope. None of those people could read chord charts at all and knew nothing about chord scales. Getz probably could read notation, since he worked in big bands early in his career. The rest could not read any music
@@JazzRockswithAdam , correct, and I thought I differentiated in my comment. Django and Errol Garner could not read anything at all. Getz could probably read some notation, but not chord charts. Baker maybe could read a little music notation but not enough to use professionally. None of these guys knew anything about harmony or music theory beyond basic minor and major tonalities, though they could improvise over complex harmonies intuitively by ear. They could just hear things and play them. Baker in particular could hear something just once and play it perfectly.
Thanks Myra! ❤️ Please, feel free to check out other videos on my channel you may enjoy. If you’re interested in a kind of part 2 of this video, check out this one: Do you understand complex Jazz Chords? (I’ll show you) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1Wc274z1q4o.html
Chord structure derives from elementary music theory...before I learned theory....I couldn't play jazz...all them cats know their stuff...and music theory is that stuff
@@JazzRockswithAdam now that I know music theory.....I can solo over your solo...I play rhythm trumpet....like PeeWee Middlebrooks from the Ohio players.......
@@JazzRockswithAdam music theory leads you to polyphonic and then it is what imagination and innate instinct dictate one thing...IF YOAZZ CAN JAM OR NOT... 😂 LOL
In modern way of thinking you can flatten the 6th. Cm(b6) Old way of thinking is that it sounds too close to an inverted ma7 chord as well as the b6 having a bite to it that still is not that appealing to some. Cm(b6) = C Eb G Ab Cm7 = C Eb G Bb Cm(ma7) = C Eb G B
To be clear, I can count the half steps between relative scale degrees but, formula-wise, what’s happening there? Or, am I overthinking it?; meaning, it’s just the difference in “chord sound” given the 6th and 7th scale degree, respectively?
I thought you might say that, so I listened more closely; you may have actually answered it. In one, there’s a minor 3rd between the 5th & 7th scale degree and, in the other, a major 2nd(?) between the 5th & 6th. Structurally-relevant because of the sounds being produced, only, yes?
@@JazzRockswithAdam i have been playing somewhere over the rainbow in C. I am curious how to play it differently, different chords, different interpretations? Any tips?
@@jt2465 So you’re talking about reharmonization. Find different chords that the melody still works over. Or a new chord for each note (or nearly each note) that means something different against the chord. For example, a C note over Cma7 means something totally different over a Dbma7, or D7, or Eb6, or E7(#5#9) for just a few examples.
That's incorrect. It's not a 7th. You have four voices and for perfect Harmony you have to use all four voices. Bass, tenor, alto, and soprano,... To infer that it's a seventh chord is incorrect...
I’m not sure exactly which chord you’re referring to, but if a chord contains a 7th it is either the ma7 or the b7. Both are in fact 7 chords. For example: Cma7 = C-E-G-B, C7 = C-E-G-Bb. Or, Cm7 = C-Eb-G-Bb. All are types of 7 chords. A triad does not contain a 7th.
Where would I go (besides enrolling in music school!) to better understand the theoretical difference between the fully diminished 7th chord and a half diminished triad with an added 6? Anyone here want to give it a go explaining it briefly?
Hi John, the difference is a half-step. A m7(b5) chord is R-b3-b5-b7. A °7 chord is R-b3-b5-bb7. So a Cm7(b5) would be C-Eb-Gb-Bb. C°7 is C-Eb-Gb-Bbb (same pitch as A). Does that help. Of course they sound different too.
@@johnharreld4875 Oh, I reread your comment. Actually, the half diminished chord IS a m7(b5) chord. At least in Jazz. Sometimes you’ll see it written with o for the symbol. The triad isn’t half diminished, it’s the 4 part chord that is sometimes referred to as half diminished. A triad is just diminished. R-b3-b5
@@JazzRockswithAdam Thanks for hanging in there with me on this! Hopefully this is more clear: I'm curious what is the theoretical difference between R-b3-b5-bb7 and R-b3-b5-6. Same notes, but when you would call it a diminished triad +6, and when you call it a fully diminished 7 chord. 🤔 I'm sure it's a deeply nuanced distinction, but must be discussed somewhere.
@@johnharreld4875 we don’t call it a 6 when it’s diminished. We call it a bb7. If you look at a diminished scale, it’s R 2 b3 4 b5 b6 bb7 7 The 6th inherently is a b6 (b13). The bb7 is equivalent to a 6 enharmonically, but the term diminished means to make as small as possible. So you’re taking the common R 3 5 7 numbers and squishing everything together as close as you can in 3rds (R b3 b5 bb7), which is how we think of as traditional harmony. Does that make sense?
Sus 2 is an inversion of Sus 4. And once you begin extending chords, as typically jazz does, Sus 2 and Sus 4 become 9th and 11th chords of some type. Therefore, wouldn’t it be simpler to omit these, and possibly even the Aug triads as well, at the start? Augmented chords tend to be either +7 or more rarely +∆, which have two very different uses.
It’s true that a sus2 chord is also an inversion of a sus4, but it is a valid chord on it’s own. The 9 and 11 are only considered as such when there is no 7th. You can write Cm7(add 11) meaning no 9th. Or Cadd9 when it’s just a triad plus the 9th. But both sus2 and sus4 do not contain a 3rd like the Cadd9 for example. I fail to see why I would want to omit valid chords.
I always thought Jazz is tuning and testing instruments on stage. So it should be easy without knowing your chord. After all every Jazz chord has 12 different names. Pick few letters from A/a to G/g and add one or two numbers up to 13. Who knows what you played? All music software are ready to give some other name to whatever chord you played. Regards
@@JazzRockswithAdam I watch this yesterday (8 years old now) a track on 20 minuttes....only one guitar (Frederik guitars part) covered by not many can do. You write, Meshuggah - 1 (guitar cover by Sam Mooradian) and there you have it. I'll see you video again because i just Play anything i can by ear or what i got in my metal head, but 1(R), 3 and 5 i know by Yngwie Malmsteen 👍 Enjoy and let me know your 20 minuttes 😁