The Biggest Misunderstanding About Music Theory and Modulations

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Modulations are messing up how you understand harmony, and the problem is that you probably don't know what a key is, and it is a LOT more than you think!
Secondary Dominants - What You Need To Know:
• Secondary Dominants - ...
Unlock The Mysterious Sound Of The Minor Subdominant Chords
• Minor Chords In Major ...
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Content:
00:00 Scale ≠ key
00:24 Diatonic Chords
01:08 The Progression
01:30 Modulations - It’s not just changing scales…
03:55 Secondary Dominants and...
05:56 Minor in Major
07:13 #IV - It IS a thing!
07:57 The Thing It Isn’t
09:49 Think Like The Pros
10:15 Like the video? Check out my Patreon page!
My name is Jens Larsen, Danish Jazz Guitarist, and Educator. The videos on this channel will help you explore and enjoy Jazz. Some of it is how to play jazz guitar, but other videos are more on Music Theory like Jazz Chords or advice on how to practice and learn Jazz, on guitar or any other instrument.
The videos are mostly jazz guitar lessons, but also music theory, analysis of songs and videos on jazz guitars.
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2 июл 2024

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Комментарии : 113

@JensLarsen 5 месяцев назад

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 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-w1rW9WuqaLY.html Nobody tells you to work on these exercises, and that is a pity if you want to make music with Jazz chords

@paulpmanhowland7818 5 месяцев назад

I'm partial to the #4dim chord in blues.

@JensLarsen 5 месяцев назад

@@paulpmanhowland7818 yes! Solid choice 👍

@jameslockhart2223 5 месяцев назад

The Hendrix chord sounds great as a sub for the tonic in a minor ii-V-i. I always use it in Autumn Leaves.

@asaskald 5 месяцев назад

Tritone substitution with a b5 is great and it's fun to slip in.

@johannalvarsson9299 5 месяцев назад

I 7b9#9#11b13/4

@Boneless_Chuck 5 месяцев назад

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!

@JensLarsen 5 месяцев назад

Glad you like it! 🙂

@dougmckenzie9475 5 месяцев назад

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.

@JensLarsen 5 месяцев назад

Thank you! I didn't grow up with US television so I am not that familiar with Vince Guaraldi's stuff, but you have bVImaj7 to I in more songs, Triste is a clear example.

@artompkins7958 5 месяцев назад

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.

@JensLarsen 5 месяцев назад

Yes, that is a very elegant wat to make that modulation

@petermuller161 5 месяцев назад

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

@basilisk5040 5 месяцев назад

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

@JensLarsen 5 месяцев назад

Glad you like them!

@jedmarsillo 5 месяцев назад

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.

@JensLarsen 5 месяцев назад

Glad it was helpful!

@victotronics 5 месяцев назад

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

@JensLarsen 5 месяцев назад

Glad you enjoyed it!

@tomm5023 5 месяцев назад

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

@JensLarsen 5 месяцев назад

Thank you very much! 🙏

@mikiegood 5 месяцев назад

Another great lesson. Thank you Jens

@davidpatrick1813 5 месяцев назад

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

@martin_schwarz 5 месяцев назад

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 😂

@ricklaino6385 5 месяцев назад

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

@JensLarsen 5 месяцев назад

Thanks! 😃

@bumrecordingstudios 5 месяцев назад

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

@JensLarsen 5 месяцев назад

That is really great to hear!

@user-fs4gp7un2r 5 месяцев назад

Awesome help Jens.....Thanks so much

@JensLarsen 5 месяцев назад

Glad you like it 🙂

@jamescopeland5358 5 месяцев назад

Great video Jens

@JensLarsen 5 месяцев назад

Glad you enjoyed it

@jameslockhart2223 5 месяцев назад

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.

@JensLarsen 5 месяцев назад

I have to admit that I always found that to be a sort of cop trying to get around describing how it sounds which is a pity since it is such a common chord.

@johannalvarsson9299 5 месяцев назад

I mean, you can`t just look at a single chord isolated. Historically this is a double-dominant-chord, a staple in the bach-style. But if you follow up differently, it can be labelled differently. I am suprised that there are so many people saying it does not exist, because then they clearly lack fundamental knowledge of harmony.

@danardalin 5 месяцев назад

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.

@JensLarsen 5 месяцев назад

Thank you! I doubt if that most people are really interested in, but I am really happy you like it! The entire album is my Sheraton into a Rat pedal into a fender twin.

@davidpatrick1813 5 месяцев назад

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.

@petespencer-smith5059 5 месяцев назад

Such a great video 🙏

@JensLarsen 5 месяцев назад

Glad you enjoyed it!

@alainpicard2206 5 месяцев назад

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.

@abcdefg12359815 2 месяца назад

Just such a dense beautiful lesson.

@JensLarsen 2 месяца назад

Glad you think so!

@steellemonstudios 5 месяцев назад

Bravo! Great video, Jens. 💥

@JensLarsen 5 месяцев назад

Glad you enjoyed it!

@themccowboy8432 5 месяцев назад

Thanck Jens ! Pedagogic, Simple, Beautifull.

@JensLarsen 5 месяцев назад

Glad you like it!

@paulpmanhowland7818 5 месяцев назад

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.

@JensLarsen 5 месяцев назад

Glad it was helpful!

@BrendaBoykin-qz5dj 5 месяцев назад

Thank you,Jens.⭐🌹🌞🌹⭐

@JensLarsen 5 месяцев назад

Glad you like it

@olivertevcev125 5 месяцев назад

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 😁

@asaskald 5 месяцев назад

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

@JensLarsen 5 месяцев назад

Glad you enjoyed it!

@josephkantor2548 5 месяцев назад

Thanks!

@JensLarsen 5 месяцев назад

Thank you for your support Joseph!

@matthiasscheffler548 5 месяцев назад

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

@JensLarsen 5 месяцев назад

Glad you enjoyed it!

@thijs199 5 месяцев назад

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

@JustinTrudeau1971 5 месяцев назад

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

@JensLarsen 5 месяцев назад

He actually shows up by himself lately 🙂

@JustinTrudeau1971 5 месяцев назад

Now that’s dedication! 🎸

@JensLarsen 5 месяцев назад

@@JustinTrudeau1971 Or he is haunting the channel 👻

@JustinTrudeau1971 5 месяцев назад

He could haunt my guitar!

@matt2362 5 месяцев назад

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

@JensLarsen 5 месяцев назад

Thank you! It is on Axe-Change 🙂

@kevindonnelly761 5 месяцев назад

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.

@JensLarsen 5 месяцев назад

Haha! Thanks Kevin 🙂

@johannalvarsson9299 5 месяцев назад

Go study some Bach, you will get familiar with that chord pretty fast.

@kevindonnelly761 5 месяцев назад

@@johannalvarsson9299 I've studied heaps of Bach Chorale Harmony - but a long time ago. I must have heard the #IVdim many times without realising it. Thanks for the tip - I'll do some research now. 👍😁

@johannalvarsson9299 5 месяцев назад

@@kevindonnelly761 It is an "operatic", dramatic style element, so I guess chorales are the ONE place where they will be harder to find. Just out of my head look for example at WTC1 c-major prelude measure 28. It usually follows a Dominant as a form of deceptive cadence... I know that term is usually reserved specifically for V-VI, but it uses the same voice-leading concept where you get the 1 and 3 of the tonic-chord, but the other voices go somewhere else. It is normally used for strong punctuation, while V-VI is usually woven into the normal flow of the music in this style. (The passage quoted above is a counter-example for that).

@kevindonnelly761 5 месяцев назад

@@johannalvarsson9299 Great ! Thanks for that. 😁 I've got a copy of the WTC Book 1. Just having a look now at 1st Prelude in C Maj. Yep, you're right. Bar 27 is G7, Bar 28 is F#dim7 (#IVdim7 of C) and Bar 29 is C 6-4 (2nd Inversion). Bar 28 is 0.8 the length of the piece - a great spot for such a lovely tension and resolution too ! Groovy ✌

@SamJeffersonMusic 5 месяцев назад

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!

@JensLarsen 5 месяцев назад

But if it is tonic diminished then what is the function? Clearly it resolves to the tonic so it isn't tonic function.

@freanklee4782 5 месяцев назад

yep,I feel like people just remember the sound and used it whenever appropriate ,at least I do lol.@@JensLarsen

@JensLarsen 5 месяцев назад

@@freanklee4782 Sure, my point is just that "tonic diminished" is almost a paradox as a name and not helping anybody hear or understand anything 😁

@SamJeffersonMusic 5 месяцев назад

@@JensLarsen The tonic diminished resolves on itself though. I think this is helpful to know as it's often used as a device for suspending the resolution back to I. However, I think this whole discussion goes further. The #IV diminished can definitely either resolve to I but also can resolve up to V or even down to IV, in the same way the bIII diminished often resolves down to II but can also resolve to I in first inversion.

@SamJeffersonMusic 5 месяцев назад

@@JensLarsen One of my favourite examples of tonic diminished is Strayhorn's 'Ballad For Very Tired And Very Sad Lotus Eaters'. Also great examples of diminished chords resolving downwards in the B section too.

@Siama77 5 месяцев назад

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

@JensLarsen 5 месяцев назад

Learn to think in groups of chords that is 100x easier and also something you can hear

@freetorhyme1234 3 месяца назад

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.

@JensLarsen 3 месяца назад

I am not saying that it is, just that it is not diatonic to the C major scale, maybe check it again. Do you want a link to a video on secondary dominants? One thing that you should not do is to think that the chords are substutions or alterations of a diatonic chord, that is not the case and is just confusing you. Abmaj7 is a minor subdominant, I explain that at 6:00

@freetorhyme1234 3 месяца назад

@@JensLarsen Thank you. I misunderstood but I get it now. 🙏🏽

@alainpicard2206 5 месяцев назад

Also, FlatVII7 is Backdoor resolution

@giampierogirolamo7134 5 месяцев назад

#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

@JensLarsen 5 месяцев назад

What is the diminished seventh of F#? 🙂

@giampierogirolamo7134 5 месяцев назад

It is a six chord , enharmonically looks like a diminished seventh chord, but because i always look where we are going and we are coming from ,in this case the leading tone is an ascending movement of d sharp to e natural

@JensLarsen 5 месяцев назад

@@giampierogirolamo7134 it is a Diminished chord, it is not a 6th chord. There is a reason why I write it like that, it's ok if you want to be pedantic but not if you are also wrong.

@JensLarsen 5 месяцев назад

@@giampierogirolamo7134 No, in fact #IV diminished will sometimes appear to have the b6 in the melody and there won't be a b6 and a 6 at the same time. Keep in mind that you also resolve a G7(b13) up to an E on Cmaj7 all the time. I get your thinking but it doesn't really fit the music.

@giampierogirolamo7134 5 месяцев назад

I am sorry you can say about your theory that is right one and that mine is wrong,you are free to say that in public my friend, that is not an issue, the sad part is that whoever knows just a bit of basics of counterpoint will notice that your countepoint is not nice or not great or not correct because of the alto part ,it is called Eflat in other cases not in this one, it is not about pedantry it is love for every single line that builds the 7:48 harmonies Thank you for replying good eve

@xy-st9dz 5 месяцев назад

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

@JensLarsen 5 месяцев назад

I always felt that auxiliary and common tone diminished were just terms used because people couldn't really analyze it and were just looking at a chord symbol? But maybe I never saw the right definitions..