Very interesting this method incorporates Roman numeral analysis being the foundation for lead sheet notation, fusing the classical and jazz visions of theory so that there’s more understanding between the two genres really great stuff
Thank you very much for your videos, they are very good, I would like to have a map of harmony like the one you have in your studio, do you know where I can get the image to print it? Thank you again
Thank you for providing useful information. I came across your site and channel while researching the notation of analysis symbols using angle brackets and arrows in code. In the country, where I live, the quality of jazz information available is limited, so I am very grateful for authentic information. I just have one question, is that okay? I was able to understand the brackets and arrow marks in the 2-5-1 progression in a minor key. However, diatonic chords in minor keys have a dominant seventh chord at the seventh position. For example, in the diatonic chord progression IVm7-♭Ⅶ7-♭ⅢM7 (key=Am:Dm7-G7-CM7), is it okay to write the symbols as 2-5-1 with brackets and arrows? If I interpret it as a minor key, it doesn't land on 1, but should I interpret it as 2-5-1? I would like to know how to recognize analysis in this situation. Since it is a chord progression within a diatonic chord, it is unlikely to be recognized as a 2-5-1 in another key like a secondary dominant. If we consider this to be temporarily moving in a major key, we can write it as 2-5-1 from a major key point of view, but what happens to the analytical symbol in a situation where we have to interpret it in a minor key? Sorry if my question is off-topic due to my lack of knowledge. I apologize for the long text and poor English that was created using translation software, but I would appreciate it if you could let me know.
No, they are good questions! You should watch this video Best Way To Memorize Songs & Play Them In Any Key #jazzmusic #jazzpiano ua-cam.com/video/ApnB60GeSM4/v-deo.html
@@mDecksMusic thank you for your reply. I watched the video. The notation of analytical symbols is very well thought out, and for someone like me who is not very experienced, it is a great help in understanding and learning the music. I was very interested in this method of expressing the strong framework of a piece of music, rather than just the appearance of chords that superficially change depending on the key, thank you very much. While watching the video, I got the impression that the aforementioned chord progression key=Am:Dm7-G7-Cm7 could be temporarily recognized as 2-5-1 in parallel tone (key=C). If we interpret it as temporary major key 2-5-1, is the Roman numeral ⅱ7/♭Ⅲ－Ⅴ7 /♭Ⅲ－♭ⅢM7 correct? (If key=Am without completely transposing to key=C) The contents of the diatonic chord are the same whether it's Key=Am or Key=C, but is there any problem if the chord is written in Roman numerals similar to the secondary dominant? I'm sorry if my interpretation is wrong in the first place. Sorry for asking multiple questions, but I was curious about the analytic symbols and Roman numerals for minor key songs.
I'm confused, at 3:11 he explains that "the II prepares the target by positioning the listener in the subdominant of that target". Since the target is the IV chord wouldn't the subdominant be the IV of that? What am I missing.
You have primary and secondary functions. Primary functions could be subdominant (like the IV or the II chord), but then you can tonicize primary functions with secondary functions. Like the V7/IV would be a dominant of the IV chord, and the II/IV would be the subdominant of the IV chord. The IV/IV would also be a subdominant of the IV chord.
Maybe you're thinking subdominant in the strict meaning of the word (like below the dominant). But we are talking about subdominant "regions" (in that case the ii or the bVI are also subdominants)
do you have anymore videos or youtubers you recommend who teach berklees 'methods' or the sort of lessons at berklee? I got in last year but couldn't go for various reasons... a big part of me still wants that training so I guess im tryna get as close to it as possible
All our videos are based on what’s taught at Berklee :) Even our app is based on the way they teach Harmony at Berklee. Adam Neely is also from Berklee
How far can this app will go? I mean, basic analysis (recognising V-I, bracketing II-V) seems to work OK, but would it see extended dominants, or chords that resolve over greater distances? Does it account for modulations? Does it recognize, I don’t know, an ascending diminished chord, would it recognise a tritone substitution?
Yes, yes and yes! It does everything and much more. It can reharmonize, and it can analyze a progression for you, find key centers, pivot chords, etc, in different styles from baroque to jazz
I am currently a first year student at Berklee and have purchased Tonal Harmony Pro. Which classes are these techniques taught in? I’m assuming the Harmony classes? There are many different theory, harmony, and composition classes and I would like to take classes where I can learn more about these techniques. Thank you for these great vids!
All of the Jazz Harmony courses. And back when I went there, there was a reharmonization course after Harmony 4. Also arranging for big band was an amazing course.
Hi master, please forgive my ignorance. When the one chord is a minor seven, the two chord should’nt be a half diminished chord? Thank you in advance for your answer.
Hi, can I ask a question? Why in ii7/II do you use dorian mode b2 (dorian = major 6th) and not aeolian mode (with b6)? Dorian b2 it always sounds bad to me Thank You
Sure, you can use aeolian or simply dorian if it sounds better to your ears. These are chordscales based on the theory (a point of departure if you will) If your ears tell you aeolian sounds better then use aeolian.
It is great video and very well explained all the theory content, I just have a question, I saw a video of yours showing an intro to Misty using sus chords, but I can find it again, could you help me and tell me which one it is, there are so many videos that I lost it and really like the way it showed the use of the armony in that one intro, thx
Do you really have to use brackets and arrows to teach ii V I's to the students at Berklee? My guitar teacher Tim Haydn begged me to go to Berklee back in the late 70's, and funny enough I ended up there tuning pianos in the practice rooms early 2000 after attending a Jazz violin camp. The feeling I got was that Berklee could "put on the polish" but if you didn't bring it with you when you came, the instructors weren't interested. I was in Boston from 2000 to 2008, and the lack of a music scene, not seeing students playing in the clubs, just a few out on Newbury Street. I'm sure a lot of wonderful music takes place inside, but for an average working class guy, living in the city, who loves Jazz, I honestly never saw or felt the Berklee presence.
A very different experience for me. I finished in 2001 and left Boston soon after. but while I was there Berklee was incredible.we played every day in the practice rooms and I also took lessons with Charlie Banacos, Hal Crook, Dennis Leclaire, worked for Bill Pierce and many others. Things change so I don’t know if Berklee or Boston changed too much.
@@mDecksMusic That's what I'm saying! So much music in the practice rooms, but let me pull your coat if I may. Professionals play in front of a Live audience and that is the only way to learn How to be a Professional. I've spent 40 years in the wood shed simply because there is, or was, no venue. Berklee and all these institutions that are charging so much for an education, and I've spent over $145,000; all you can do at the end is teach some one else what to practice in the "Practice room." I attended free concerts at New England Conservatory, but really, Students need to be playing in front of real people, working class people, at least 33% of the time. It's the only way They will be educated and the only way the Public will be educated. Have all due respect for Berklee, even delivered Gary's Vibraphone to a gig for him. I was so overcome just being in his presence I couldn't tell him I was a Jazz violinist, that I had a tape of the album he cut with Hank Garland at 17. Just kind 'a stood there in awe. I think there is one major flaw in Music Education in that it doesn't really prepare a student for a Playing Career. Practicing and Teaching Maybe, but God help the world were we Doctors or Brain Surgeons.
I totally agree with you, we learned 80% of our skills on the gig. I played in many bands while at Berklee but you are right, gigging once or twice a week (and it was never more than that for sure) was not enough. Keep in mind Boston, just like New York, is packed with great musicians. But once you move out of the area the problem is the exact opposite, good musicians are very hard to find and just being a decent player opens lots of doors to start playing gigs. I guess for me the school years were just that, I used those years to collect all the info Berklee had to offer and then moved on. It actually took me quite a few years after to process and understand everything I learned at school. But as you said, I needed the gigs to try and assimilate all the concepts. They say each topic takes 3 to 6 month to start appearing in your playing naturally, but yes, it is 3 or 6 months of practicing and playing gigs, not just practicing in the practice room!
@@mDecksMusic You know, I wish that Berklee would teach a class in How to Open and Manage a Jazz Club. They could get people from the Vanguard or Small's to come in. If I could have taken a class like that I would always have had a place to play, and with Streaming, and Jam Sessions, it could be like Minton's. I don't believe Jazz is dead or a Conservatory music. I think it's just waiting for the right venue, and while You tube is feeding into that, Jazz has to be experienced Live. It has to be Felt. Peace Brother!
if you put something like that infront of me I'd know what it is straight away and what's asked of me, I would think very carefully about whether I should practise today, and then id take a deep breath and start
Download it now here:
mdecks.com/jazzharmony.phtml
This is an absolute perfectly made video! Greatly appreciate this
Found your channel recently and I must say, your lessons have been really valuable to my jazz learning journey!
Very interesting this method incorporates Roman numeral analysis being the foundation for lead sheet notation, fusing the classical and jazz visions of theory so that there’s more understanding between the two genres really great stuff
Very good!
Thank you very much!
That was cool! Thanks a lot
Nicely done
Thank you very much for your videos, they are very good, I would like to have a map of harmony like the one you have in your studio, do you know where I can get the image to print it? Thank you again
Wow! Interesting!
Great!!!
Thank you for providing useful information.
I came across your site and channel while researching the notation of analysis symbols using angle brackets and arrows in code.
In the country, where I live, the quality of jazz information available is limited, so I am very grateful for authentic information.
I just have one question, is that okay?
I was able to understand the brackets and arrow marks in the 2-5-1 progression in a minor key. However, diatonic chords in minor keys have a dominant seventh chord at the seventh position.
For example, in the diatonic chord progression IVm7-♭Ⅶ7-♭ⅢM7 (key=Am:Dm7-G7-CM7), is it okay to write the symbols as 2-5-1 with brackets and arrows? If I interpret it as a minor key, it doesn't land on 1, but should I interpret it as 2-5-1? I would like to know how to recognize analysis in this situation. Since it is a chord progression within a diatonic chord, it is unlikely to be recognized as a 2-5-1 in another key like a secondary dominant.
If we consider this to be temporarily moving in a major key, we can write it as 2-5-1 from a major key point of view, but what happens to the analytical symbol in a situation where we have to interpret it in a minor key?
Sorry if my question is off-topic due to my lack of knowledge.
I apologize for the long text and poor English that was created using translation software, but I would appreciate it if you could let me know.
No, they are good questions! You should watch this video Best Way To Memorize Songs & Play Them In Any Key #jazzmusic #jazzpiano
ua-cam.com/video/ApnB60GeSM4/v-deo.html
@@mDecksMusic
thank you for your reply.
I watched the video. The notation of analytical symbols is very well thought out, and for someone like me who is not very experienced, it is a great help in understanding and learning the music.
I was very interested in this method of expressing the strong framework of a piece of music, rather than just the appearance of chords that superficially change depending on the key, thank you very much.
While watching the video, I got the impression that the aforementioned chord progression key=Am:Dm7-G7-Cm7 could be temporarily recognized as 2-5-1 in parallel tone (key=C).
If we interpret it as temporary major key 2-5-1, is the Roman numeral ⅱ7/♭Ⅲ－Ⅴ7 /♭Ⅲ－♭ⅢM7 correct? (If key=Am without completely transposing to key=C)
The contents of the diatonic chord are the same whether it's Key=Am or Key=C, but is there any problem if the chord is written in Roman numerals similar to the secondary dominant? I'm sorry if my interpretation is wrong in the first place.
Sorry for asking multiple questions, but I was curious about the analytic symbols and Roman numerals for minor key songs.
Yes, as long as the C is Cmaj7, you wouldn’t find a Cm7 in Am
I'm confused, at 3:11 he explains that "the II prepares the target by positioning the listener in the subdominant of that target". Since the target is the IV chord wouldn't the subdominant be the IV of that? What am I missing.
You have primary and secondary functions. Primary functions could be subdominant (like the IV or the II chord), but then you can tonicize primary functions with secondary functions. Like the V7/IV would be a dominant of the IV chord, and the II/IV would be the subdominant of the IV chord. The IV/IV would also be a subdominant of the IV chord.
Maybe you're thinking subdominant in the strict meaning of the word (like below the dominant). But we are talking about subdominant "regions" (in that case the ii or the bVI are also subdominants)
@@mDecksMusic Thanks for the quick reply. Very helpful.
do you have anymore videos or youtubers you recommend who teach berklees 'methods' or the sort of lessons at berklee? I got in last year but couldn't go for various reasons... a big part of me still wants that training so I guess im tryna get as close to it as possible
All our videos are based on what’s taught at Berklee :) Even our app is based on the way they teach Harmony at Berklee.
Adam Neely is also from Berklee
@@mDecksMusic Love adam neely, and I think you just earned a new subscriber if u teaching berklee stuff ;)
How far can this app will go? I mean, basic analysis (recognising V-I, bracketing II-V) seems to work OK, but would it see extended dominants, or chords that resolve over greater distances? Does it account for modulations? Does it recognize, I don’t know, an ascending diminished chord, would it recognise a tritone substitution?
Yes, yes and yes! It does everything and much more. It can reharmonize, and it can analyze a progression for you, find key centers, pivot chords, etc, in different styles from baroque to jazz
Heart and soul ...camon .
I am currently a first year student at Berklee and have purchased Tonal Harmony Pro. Which classes are these techniques taught in? I’m assuming the Harmony classes? There are many different theory, harmony, and composition classes and I would like to take classes where I can learn more about these techniques. Thank you for these great vids!
All of the Jazz Harmony courses. And back when I went there, there was a reharmonization course after Harmony 4. Also arranging for big band was an amazing course.
Hi master, please forgive my ignorance. When the one chord is a minor seven, the two chord should’nt be a half diminished chord? Thank you in advance for your answer.
It should. But as always, the rules in music are there to be broken.
@@mDecksMusic Thank you sir for your quick answer.
Hi, can I ask a question? Why in ii7/II do you use dorian mode b2 (dorian = major 6th) and not aeolian mode (with b6)?
Dorian b2 it always sounds bad to me
Thank You
Sure, you can use aeolian or simply dorian if it sounds better to your ears. These are chordscales based on the theory (a point of departure if you will) If your ears tell you aeolian sounds better then use aeolian.
"...on the next video, I will show you..."
How do I find the next video? I don't see a link to it.
Thanks for letting me know. ua-cam.com/video/avTsiKN8OyY/v-deo.html
What is secondary II-V-I?
May u pls explain it to me, I'm so confused. Thank you!
And what is that / used for?
Easy! A 2-5-1 in C is Dm-G7-Cmaj7. What is the 2-5 of Dm? Em7b5-A7b9. That's a secondary 2-5, and we write it as ii/ii - V7/ii (the ? means "of")
It is great video and very well explained all the theory content, I just have a question, I saw a video of yours showing an intro to Misty using sus chords, but I can find it again, could you help me and tell me which one it is, there are so many videos that I lost it and really like the way it showed the use of the armony in that one intro, thx
I don't remember an intro of Misty using sus4 chords. Do you mean quartals or upper structures? I will look to see if I can find it as well.
Why is the first ending not simply iii VI7 ii V7 ?
Seems simpler no?
Yes, you can play that if you want, although there’s no VI7 chord in music (a VI7 is always the V7/ii)
@@mDecksMusic I often see VI7 used to denote a dominant 7th built off the 6th diatonic note of the parent key.
Is this wrong?
Yes. It is always the V7/ii
✌ 🎹
Do you really have to use brackets and arrows to teach ii V I's to the students at Berklee? My guitar teacher Tim Haydn begged me to go to Berklee back in the late 70's, and funny enough I ended up there tuning pianos in the practice rooms early 2000 after attending a Jazz violin camp. The feeling I got was that Berklee could "put on the polish" but if you didn't bring it with you when you came, the instructors weren't interested. I was in Boston from 2000 to 2008, and the lack of a music scene, not seeing students playing in the clubs, just a few out on Newbury Street. I'm sure a lot of wonderful music takes place inside, but for an average working class guy, living in the city, who loves Jazz, I honestly never saw or felt the Berklee presence.
A very different experience for me. I finished in 2001 and left Boston soon after. but while I was there Berklee was incredible.we played every day in the practice rooms and I also took lessons with Charlie Banacos, Hal Crook, Dennis Leclaire, worked for Bill Pierce and many others. Things change so I don’t know if Berklee or Boston changed too much.
@@mDecksMusic That's what I'm saying! So much music in the practice rooms, but let me pull your coat if I may. Professionals play in front of a Live audience and that is the only way to learn How to be a Professional. I've spent 40 years in the wood shed simply because there is, or was, no venue. Berklee and all these institutions that are charging so much for an education, and I've spent over $145,000; all you can do at the end is teach some one else what to practice in the "Practice room." I attended free concerts at New England Conservatory, but really, Students need to be playing in front of real people, working class people, at least 33% of the time. It's the only way They will be educated and the only way the Public will be educated. Have all due respect for Berklee, even delivered Gary's Vibraphone to a gig for him. I was so overcome just being in his presence I couldn't tell him I was a Jazz violinist, that I had a tape of the album he cut with Hank Garland at 17. Just kind 'a stood there in awe. I think there is one major flaw in Music Education in that it doesn't really prepare a student for a Playing Career. Practicing and Teaching Maybe, but God help the world were we Doctors or Brain Surgeons.
I totally agree with you, we learned 80% of our skills on the gig. I played in many bands while at Berklee but you are right, gigging once or twice a week (and it was never more than that for sure) was not enough. Keep in mind Boston, just like New York, is packed with great musicians. But once you move out of the area the problem is the exact opposite, good musicians are very hard to find and just being a decent player opens lots of doors to start playing gigs. I guess for me the school years were just that, I used those years to collect all the info Berklee had to offer and then moved on. It actually took me quite a few years after to process and understand everything I learned at school. But as you said, I needed the gigs to try and assimilate all the concepts. They say each topic takes 3 to 6 month to start appearing in your playing naturally, but yes, it is 3 or 6 months of practicing and playing gigs, not just practicing in the practice room!
@@mDecksMusic You know, I wish that Berklee would teach a class in How to Open and Manage a Jazz Club. They could get people from the Vanguard or Small's to come in. If I could have taken a class like that I would always have had a place to play, and with Streaming, and Jam Sessions, it could be like Minton's. I don't believe Jazz is dead or a Conservatory music. I think it's just waiting for the right venue, and while You tube is feeding into that, Jazz has to be experienced Live. It has to be Felt. Peace Brother!
can I asked what did you major in at berklee? I assume something jazz related but composition or performance or something else?
I was a film scoring major
@@mDecksMusic ooo interesting! Thank-you for responding
if you put something like that infront of me I'd know what it is straight away and what's asked of me, I would think very carefully about whether I should practise today, and then id take a deep breath and start