Probably the best video I've seen about these Coltrane changes. You just go straight to the point and show us some pratical examples of how to apply it! Thanks a lot for the video!
The simplified reason why this works: B D F Ab is a diminished 7th chord With a G in the bass it is G7b9 With a Bb in the bass it is a Bb7 b9 With a Db in the bass it is a Db7b9 With an E in the bass it is an E7b9 Any of those dominant 7th chords can be substituted for each other. G7b9 to C - V I obviously Db7b9 to C - chromatic dominant - heard it a million times Bb7b9 to C - b7 to I - heard not quite as frequently E7b9 to C - Giant Steps The flat 9th is extraneous. That’s why with just the dominant seventh it works. Play and listen to it. Learned this from Robert Panerio
A secondary dominant is one that resolves to any degree of a tonality OTHER THAN its First degree. So for example in the major Ionian mode, the possible secondary dominants are V of II, V of III, V of IV, V of V, V of VI, and V of VII. Nice video anyway!
For Giant steps would it not be subjective with the tritonic system? I know its an iffy subject! What IS the "first degree"? I know my approach to improvising over this is not thinking of the V-I cadence of the same key but more so the "1" of the opposing key "resolving" to the next key's 5.. for example the first bar's Bmaj7 to D7... B Ionian can resolve a half step up to a C Lydian ( of G major) ... or G# Aeolian (of B maj) voiceleading a half step to A Dorian (of G maj). Little but big tips that have helped me solo over the changes for the first 8 bars with conviction!
My understanding was that he spent a lot of time with Slonimsky's patterns, one small section of which simply considered dividing the octave into different intervals. Major thirds and minor thirds were an intriguing alternative at the time to the cycle of 4ths in popular music. I use it very sparingly because I think its an acquired taste for many. Thanks!
Great video. Just to avoid confusion, G7 is the dominant of C, its not the secondary dominant. The secondary dominant would be the dominant of the dominant, so in C that is D7, being the dominant of the dominant of C, namely D7 to G7 to C, but that doesnt make your vid any less valuable!
blouies I think you’re misunderstanding. A secondary dominant is a way to modulate to a key you’re not currently in. If you’re in E, the dominant is B7, but if you want to move to C, you’d play the secondary dominant (G7) first so that it resolves to C naturally.
axeofcreation No. A common secondary dominant is the V of V. But a secondary dominant’s role is to tonicize the chord that will follow. From wiki: In the key of C major, V chord (G major) is said to be the dominant of C major. However, each of the chords from ii to vi also has its own dominant. For example, V (G major) has a D major triad as its dominant. These extra dominant chords are not part of the key of C major as such because they include notes that are not part of the C major scale. Instead, they are secondary dominants... a secondary dominant is usually labeled with the formula "V of ..." (dominant chord of); thus "V of ii" stands for the dominant of the ii chord, "V of iii" for the dominant of iii, and so on.
Secondary dominant is second degree or dominant of dominant. For example in the key of C major secondary dominant is D7 and dominant is G7. You can think as 5th degree of dominant such as D in G7)
Very interesting.. Research shows that A secondary dominant is in fact.. A V chord in the scale of C.. This will be a G7 that resolves to a diatonic chord other than-besides.. the I Chord. D7 is the V7 chord of G (the dominant of the dominant). In C major, D7 isn’t a diatonic chord, because the third of the chord, F#, leaves the key of C. Dm is the ii chord, D7 is V7 of V (five of five). Each secondary dominant chord contains a chromatic (non-diatonic) tone. The third of the V7 of V is the raised fourth scale degree in the tonic key. This tone resolves up a half step to the root of the V chord. In addition to this Vid-tutorial With a little research this concept-in particular and other-the technical stuff can be verified, checked and proven to be correct.. ;-) These Video tutorials and its instructor are appreciated! Not my intention to offend anyone.. as seen is my attempt to clear up my own miss lead confusion from the idea that a D7 is a secondary Dominant.. they.. Maybe 🤔 and yes “they are..” Dom7th’s BUT NOT in the key of C.. Chords-Scale tones.. all have their own scales from which they-these “Dominant” and or 2ndary degrees derive/are formulated from in as much as... Modal playing and the “Coltrane Changes..” 👍🏼
Who knows? Some think Coltrane arrived at it independently, some say he say similar things in other songs (Ladybird). I'm afraid you'll need to ask a real Jazz historian.
Great and informative video. Very useful. However, to quote you a 8' 18''..."you modulate to the key of Eb Major and you use its secondary dominant Bb7..." Its not secondary if you've gone to that key. Its a primary dominant. A secondary dominant in a key is a V/V. Confusing terminology to many people.
What would be UBER cool would be to have this lessons sister lesson; i.e., the scales that accompany these Voicings. Whoa, that would be over-the-top exciting :-) Thx.
Who knew this was this "simple". What I mean that a lot of jazz standards have much more complex harmony so I'm kind of relieved. Still I can't improvise something decent out of this. Well I am twelve..
Giants Steps is melodically a bad tune, people get excited because Coltrane wrote, it's the same hype as Miles. Listen to Chic Corea for some really great tunes.
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Probably the best video I've seen about these Coltrane changes. You just go straight to the point and show us some pratical examples of how to apply it! Thanks a lot for the video!
The simplified reason why this works:
B D F Ab is a diminished 7th chord
With a G in the bass it is G7b9
With a Bb in the bass it is a Bb7 b9
With a Db in the bass it is a Db7b9
With an E in the bass it is an E7b9
Any of those dominant 7th chords can be substituted for each other.
G7b9 to C - V I obviously
Db7b9 to C - chromatic dominant - heard it a million times
Bb7b9 to C - b7 to I - heard not quite as frequently
E7b9 to C - Giant Steps
The flat 9th is extraneous. That’s why with just the dominant seventh it works.
Play and listen to it.
Learned this from Robert Panerio
Great analysis! One of the clearest explanations of Giant Steps I've seen. Thanks!
Glad it was helpful!
I was just searching this and boom you upload a video. Nice cause you explain it better than anyone else.
Thanks!
Excellent video! I appreciate how you approach explaining these concepts from the groud up. Also your setup is great! Thank you :)
Yes the setup sure is sweet on the eyes and ears
That is why my ears fell in love with jazz
When I saw what Coltrane did here, I giggled. It's so clever. It's like a nested resolution with the modulations returning back to B.
Hermano he aprendido so much contigo, gracias por subir tus videos. God Bless you
A secondary dominant is one that resolves to any degree of a tonality OTHER THAN its First degree.
So for example in the major Ionian mode, the possible secondary dominants are V of II, V of III, V of IV, V of V, V of VI, and V of VII.
Nice video anyway!
For Giant steps would it not be subjective with the tritonic system? I know its an iffy subject! What IS the "first degree"? I know my approach to improvising over this is not thinking of the V-I cadence of the same key but more so the "1" of the opposing key "resolving" to the next key's 5.. for example the first bar's Bmaj7 to D7... B Ionian can resolve a half step up to a C Lydian ( of G major) ... or G# Aeolian (of B maj) voiceleading a half step to A Dorian (of G maj). Little but big tips that have helped me solo over the changes for the first 8 bars with conviction!
thank god for youtube and brilliant instructors
Thank you once again for explaining stuff like that in a way we can understand and not get bored :)
My understanding was that he spent a lot of time with Slonimsky's patterns, one small section of which simply considered dividing the octave into different intervals. Major thirds and minor thirds were an intriguing alternative at the time to the cycle of 4ths in popular music. I use it very sparingly because I think its an acquired taste for many. Thanks!
Excellent video my man
Great video. Just to avoid confusion, G7 is the dominant of C, its not the secondary dominant. The secondary dominant would be the dominant of the dominant, so in C that is D7, being the dominant of the dominant of C, namely D7 to G7 to C, but that doesnt make your vid any less valuable!
Yeah, I was curious about that. They're all just Dominants. Great video.
Very interesting.. “Just to avoid confusion..” Fact is..
A secondary dominant is a V chord that resolves to a diatonic chord other than I.
blouies I think you’re misunderstanding. A secondary dominant is a way to modulate to a key you’re not currently in. If you’re in E, the dominant is B7, but if you want to move to C, you’d play the secondary dominant (G7) first so that it resolves to C naturally.
@@kingofsol a secondary dominant is a V of V. The secondary dominant of E wouldn't be G7, it would be F#7 (V of B7).
axeofcreation No. A common secondary dominant is the V of V. But a secondary dominant’s role is to tonicize the chord that will follow.
From wiki: In the key of C major, V chord (G major) is said to be the dominant of C major. However, each of the chords from ii to vi also has its own dominant. For example, V (G major) has a D major triad as its dominant. These extra dominant chords are not part of the key of C major as such because they include notes that are not part of the C major scale. Instead, they are secondary dominants...
a secondary dominant is usually labeled with the formula "V of ..." (dominant chord of); thus "V of ii" stands for the dominant of the ii chord, "V of iii" for the dominant of iii, and so on.
Great explanation! Very educative
Secondary dominant is second degree or dominant of dominant. For example in the key of C major secondary dominant is D7 and dominant is G7. You can think as 5th degree of dominant such as D in G7)
Very interesting..
Research shows that A secondary dominant is in fact.. A V chord in the scale of C.. This will be a G7 that resolves to a diatonic chord other than-besides.. the I Chord.
D7 is the V7 chord of G (the dominant of the dominant). In C major, D7 isn’t a diatonic chord, because the third of the chord, F#, leaves the key of C.
Dm is the ii chord, D7 is V7 of V (five of five).
Each secondary dominant chord contains a chromatic (non-diatonic) tone.
The third of the V7 of V is the raised fourth scale degree in the tonic key. This tone resolves up a half step to the root of the V chord.
In addition to this Vid-tutorial With a little research this concept-in particular and other-the technical stuff can be verified, checked and proven to be correct.. ;-)
These Video tutorials and its instructor are appreciated!
Not my intention to offend anyone.. as seen is my attempt to clear up my own miss lead confusion from the idea that a D7 is a secondary Dominant.. they.. Maybe 🤔 and yes “they are..” Dom7th’s BUT NOT in the key of C.. Chords-Scale tones.. all have their own scales from which they-these “Dominant” and or 2ndary degrees derive/are formulated from in as much as... Modal playing and the “Coltrane Changes..” 👍🏼
What do I have to do to understand and play keyboard like you?
Delightful
Who then did invent Coltrane changes? Please let us know.
Who knows? Some think Coltrane arrived at it independently, some say he say similar things in other songs (Ladybird). I'm afraid you'll need to ask a real Jazz historian.
@@MangoldProject If you're not sure, or not able to rely on any fact or source, why do you state such a phrase right in the beginning?
@@arneherrmann9666 Good question. Quite strange how these UA-camrs insist on stating this LIE.
Great and informative video. Very useful. However, to quote you a 8' 18''..."you modulate to the key of Eb Major and you use its secondary dominant Bb7..." Its not secondary if you've gone to that key. Its a primary dominant. A secondary dominant in a key is a V/V. Confusing terminology to many people.
What would be UBER cool would be to have this lessons sister lesson; i.e., the scales that accompany these Voicings. Whoa, that would be over-the-top exciting :-) Thx.
That would be nice.Thank you for the class.They are very eye openers.
Uber
perfect
🙏
i love the chord progress but not really wanna play solo in there
💚🌸😀🍀
Woa
I Know -Kung Fu- Coltrane
Who knew this was this "simple". What I mean that a lot of jazz standards have much more complex harmony so I'm kind of relieved. Still I can't improvise something decent out of this. Well I am twelve..
Giants Steps is melodically a bad tune, people get excited because Coltrane wrote, it's the same hype as Miles. Listen to Chic Corea for some really great tunes.
I can't stop humming it - for me that's a good sign!
It’s catchy and added harmonic ideas to the jazz world
Chick Corea's into some weird shit like scientology