Man, I hate when studied musicians are like "yeah, you don't need theory." Such bullcrap. I am studying theory now after years of playing by ear and it makes a huge difference. It makes you a better musician.
In my opinion, and its only that, jamming and real experience playing in various bands will lead one to many of the same places that theory does. I spent time with a restaurant trio and learned more playing standards than in school. However, once I had my ear in shape, working through the theory was a great deal easier and I was able to progress rapidly. I think that both practical experience and theory are very helpful.
Jimmy again you are awesome not just as player. Thanks for sharing and passing on the tradition of Jazz music. I believe the theory helps us communicate to the best of our abilities to explain what we are trying to say musically. Blessings
Jimmy, I love the way you cut through the bullshit straight to what's what. I have been playing for over 35 years instinctively. I am only just catching up with the Grammar/theory. I watched your "No Nonsense Jazz Guitar" video and picked up quite a lot which helped me advance into Jazz. Thank you dude!
wow....this has got to be the clearest explanation of substations I've seen....ok granted i've kind of read up on it before....its only now that it seems clear to me...maybe because he actually laid it out the way he did....always loved Jimmy's teaching:)
Thanks to UA-cam for this recommendation ..... This is great Diego .... I subscribed on the strength of this clip. Well explained ....... Hi from London UK!
You can also illustrate the relationship of the tritone substitution (A7 -> Eb7) by flattening the 5th of A7 to get A7b5 which is the same chord as Eb7b5. You can think of the similarity of the chords by observing that they contain each other's guide tones. The 3rd and b7 of A7 is C# and G. And the 3rd and b7 of Eb7 are G and C#(Db). Then the other two notes in the chord can be thought of as optional 5th and root.
My Jazz Guitar teacher would tell me every so often, after seeing me get tied up in knots over harmony and theory issues, to remember what is really important...making the sound.
you should have a class on how to approach a chord. example - ways to approach a Am7 or G7 or how to, etc. example - most chords can be approached by a dim 7 chord 1/2 step above or below.
how tritones are formed? i lack in guitar theory and plays fast any scales like robotic.. can any1 can send me pdf link or videos for basic theory like how chords are formed, how diminished and augmented are played, about triads or tritones, etc.. thank you..
Is Jimmy Bruno big into learning to read? I completely understand harmony and rhythm, and have played in jazz bands with rudimentary chord charts, but never learned how to read notation. I'm wondering if I should bother.
Jimmy was taught to read by a violin player at an early age and worked in high-stress reading situations in LA and Las Vegas. Jimmy was also kind of a protege of Tommy Tedesco in LA, one of the greatest studio guitarists of all time, know to be able to read anything.
If the guitarist replaces the CMaj7 with Em7, as shown in the video, does the bass player (playing the single root note), also change from C to E? The guitarist should inform the bass player of the substitution?
If the bass player switched roots it would change the harmony because the lowest note determines the chord. What would happen if they played e-7 over Cmaj7 is you would be making an extension of Cmaj7 chord. E-7 has E G B D. Cmaj7 is C E G B they share 3/4 notes so adding that D adding the 9 on top of the Cmaj7 chord. Making it a Cmaj9 chord essentially.
Playing Em is just leaving off the root of C chord C major 7th notes = C E G B. Em notes = E G B. If the bass player plays C then bass + your Em is still a C chord. For that matter a G chord = G B D is the 5 7 9 of a C chord. G chord with C or E in the bass is C major 9.
He doesn't explain why those substitutions work though. Like for example could someone explain why he substitutes an A7 for the Am7 at the start? These 2 chords don't have nearly the same function right? If he just used it bcuz the tritone creates more tension, why not use the G7 (the dominant chord in the key of C)? I mean like, I understand that you choose chords based on what they sound like so maybe he just thought A7 sounds better than G7 here, but I was just wondering if there is some kind of theory that I'm missing behind it? :)
it works because it just changes one note from C in Am7 to C# in A7, and that C# is the leading tone to the chord that follows it (Dm7). It just pushes the ear toward the next chord (Dm7) a little more, while keeping the root movement and the rest of the chord the same. It's also like just temporarily moving into the key of D minor and doing a V7-i (A7-Dm). You wouldn't use G7 there because that's going to lead your ear toward C. G7 would imply a V-I going to C, not to Dm, and the whole point of changing Am7 to A7 is to get the leading tone (C#) for the next chord (Dm7) and create the sound of a V-i to Dm (A7 to Dm7).
@@jdoc1357b9g bro great explanation.....that cleared up what was going in in my head...i had a feeling thats where he was going with the substitutions but this is really clear and makes sense!
Only guitarists and basists ignore theory because is such a mess to learn because all notes are all over the place, pianists can just count alphabets in order and so on. Just play what you like and enjoy the time, same time dip your toes in theory little bit so you dont get confused. Theory helps you understand what you did and why it works or sound good + it help you to come back to that chord progression what you "jammed" without getting lost because lack of understanding.
Considering the guitar ITSELF was made on behalf of the theory...Not the other way around (12 tones and then the cycle starts over)...the 12 tone system was invented to STANDARDIZE and simplify sounds so that people all around the world could play together instead of getting together with instruments that have all forms of tuning and random intervals...and people who understand the theoretical language can get together and share VAST amounts of information in two or three sentences with large groups of people instead of having to walk around to everybody individually and show each person what sounds they are playing and wasting vast amounts of time...You know...just maybe the theory might be vaguely important to have as a tool in the tool box.
Liam Zuiderhoek for me it is easier to think in terms of parent scales, Eb7 is the 4th chord of Bbm (melodic minor) for me it way simpler just to think of melodic minor 1/2 step up while understanding it is s b5 substitution
Not sure why he went with Em7 at 2:25. He said you could put a II or a III chord as a substitute, but those are not even tritone (ie flat 5) substitutions and seems so random. Although, a Cmaj7 (C-E-G-B) is basically an Em with C in the base...so maybe I answered my own question...
Em7 is the iii chord in C major, but when you're substituting an A7 for Am in the key of C it's common to put the Em7 in front of it like a temporary ii chord in front of the temporary V7 (A7). But you're also right that the Em is like the upper structure of Cmaj7. It's OK to understand and explain concepts more than one way.
The Eb7 is the tritone substitution for the A7, which is the V chord of D. The tritone in the A7 is composed of the the C# (3rd) and G(b7) notes. The Eb7 has those same 2 notes as the 3rd and 7th (G (3rd in Eb7), C# or Db (the flatted 7th in the Eb7).
as addition to what was said... Em7 is relative to Cmaj7. It is common classical relation based on triads and extended to jazz chords in jazz. In classical it's the triads that have two tones in common, in jazz it's 7th chords that have 3 tones in common. Simple way to play relatiives is to think a 3rd above and a 3rd below of teh main chord (repectively to scale of course).
tim hitt just look up the chords in each line he's talking about and find different ways of playing them. Play through each line is slowly as you need to, look at the notes in each chord and you will see why each chord is named what it is then play through each progression slowly as you need to. It all starts with understanding each chord. A lot of times the language applied makes it sound very daunting but it really isn't.
A music dictionary is a handy thing to have , nomenclature is a large part of learning music theory. Having common words for concepts and sounds is essential for musicians to be able to communicate effectively. Once you know the vocabulary you will understand what trained musicians are talking about.
This is describing the music, it is a long way from reading notation which is merely responding to written directions, this is not really theory it is practical
Music theory the way it's used today is largely about naming and categorizing the elements used - keys, chords, intervals, progressions, etc. He is most definitely using music theory to explain these chord progressions.
Hasan Sahbas, i always find it interesting when musicians say they never studied music theory, yet they know what scales and in what key they are playing in....you cant play without knowing theory sooooo.....
The "Music" comes first. I learned more
in this 7:31min. than in 10 years of struggling through music books. Thanks!!!
Man, I hate when studied musicians are like "yeah, you don't need theory." Such bullcrap. I am studying theory now after years of playing by ear and it makes a huge difference. It makes you a better musician.
In my opinion, and its only that, jamming and real experience playing in various bands will lead one to many of the same places that theory does. I spent time with a restaurant trio and learned more playing standards than in school. However, once I had my ear in shape, working through the theory was a great deal easier and I was able to progress rapidly. I think that both practical experience and theory are very helpful.
you dont need theory, chalie parker didnt need it, django reinhadrt didnt need it, etc etc. use ears
Yup unless you are born with that special thing no one can put their finger on what it is.
Me too Jimmy. 45 years of ignoring scales and winging it, suddenly a few months of scales and the whole neck has opened up.
Tell that to Wes or Tal -Both didn't read and were playing by EAR
Jimmy is an amazing teacher! This is the first time I've heard this explanation presented in a way that hit home.
The Chinese menu thing killed me
Now I see another universe . Jimmy is the best jazz guitar teacher that I ever seen!! THANKS!!!
I appreciate the simplicity. This video brought me a little closer to what I'm trying to achieve for sure.
"I'll play it first, and then tell you what it is later." - M. Davis
Thanks a million. Jimmy. Love it
Jimmy again you are awesome not just as player. Thanks for sharing and passing on the tradition of Jazz music. I believe the theory helps us communicate to the best of our abilities to explain what we are trying to say musically.
Blessings
You are a great teacher, love it, also a great player,
Jimmy, I love the way you cut through the bullshit straight to what's what. I have been playing for over 35 years instinctively. I am only just catching up with the Grammar/theory. I watched your "No Nonsense Jazz Guitar" video and picked up quite a lot which helped me advance into Jazz. Thank you dude!
Great session Mr. Bruno; I'm an old rocker tired of rock and looking to take a few steps up. Thanks!
Diego sei forte!!!! Grazie per questa bella lezione! Thanks you very much for this lesson
wow....this has got to be the clearest explanation of substations I've seen....ok granted i've kind of read up on it before....its only now that it seems clear to me...maybe because he actually laid it out the way he did....always loved Jimmy's teaching:)
I love you Jimmy! You blow my mind.
he blows mine too thats the problem lol
This is GOLD!
I think what he's saying is don't get so hung up on the theory that it cripples you.
Thanks Jimmy very educational stay well
Jimmy is the real deal. And doesn't get to nerdy with it.
ZACK COFFMAN where does he get to?
complex thing said in a simple way , great.
Great video! I finally understand it meow.
Thank you mister Bruno
this is awesome!
Thank ypu. Very much very nice tune
thanks Jimmy !!
awesome, thanks for sharing
Thanks to UA-cam for this recommendation ..... This is great Diego .... I subscribed on the strength of this clip. Well explained ....... Hi from London UK!
Jimmy is Awesome
Chinese menu, cool. Basically half tones around II-V. Thanks for posting this Jimmy Bruno vid.
You can also illustrate the relationship of the tritone substitution (A7 -> Eb7) by flattening the 5th of A7 to get A7b5 which is the same chord as Eb7b5.
You can think of the similarity of the chords by observing that they contain each other's guide tones. The 3rd and b7 of A7 is C# and G. And the 3rd and b7 of Eb7 are G and C#(Db). Then the other two notes in the chord can be thought of as optional 5th and root.
Easier: compare C7b10 to Gb13
Music is sound but its also a language. The theory lets you know how the language works. This is called the why and how of teaching.
Doctor McFarland Studios yes so true preach brotha! lol
Music is an art, and a science.
Thanks!!
Hi Diego. Where are the next two lessons that Jimmy references in this lesson? Thanks.
Jim
Great !
thanks for posting, learned a lot. do you know where we can get the other classroom series lessons?
best lessons with the joe pass as well
What is the music in the intro? Sick.
I see the copyright notice at the end. Is Jimmy getting a cut of this youtube broadcast?
My Jazz Guitar teacher would tell me every so often, after seeing me get tied up in knots over harmony and theory issues, to remember what is really important...making the sound.
you should have a class on how to approach a chord. example - ways to approach a Am7 or G7 or how to, etc. example - most chords can be approached by a dim 7 chord 1/2 step above or below.
how tritones are formed? i lack in guitar theory and plays fast any scales like robotic.. can any1 can send me pdf link or videos for basic theory like how chords are formed, how diminished and augmented are played, about triads or tritones, etc.. thank you..
How did it go from A7 to Eb7?
EDIT: OH I GET IT. Tritone. OK.
What's the tune he his talking about at 4:47 please ? I thought he said "Chiki chic" but I can't find it anywhere...
Cheek to Cheek :) Check out the ella and louis version !
like it
Is Jimmy Bruno big into learning to read? I completely understand harmony and rhythm, and have played in jazz bands with rudimentary chord charts, but never learned how to read notation. I'm wondering if I should bother.
Jimmy was taught to read by a violin player at an early age and worked in high-stress reading situations in LA and Las Vegas. Jimmy was also kind of a protege of Tommy Tedesco in LA, one of the greatest studio guitarists of all time, know to be able to read anything.
where can I find the next part of this
same question!!!!
You gotta be a freaking gorp if you don't like the Chinese menu.😊
What is this lesson from?
If the guitarist replaces the CMaj7 with Em7, as shown in the video, does the bass player (playing the single root note), also change from C to E? The guitarist should inform the bass player of the substitution?
If the bass player switched roots it would change the harmony because the lowest note determines the chord. What would happen if they played e-7 over Cmaj7 is you would be making an extension of Cmaj7 chord. E-7 has E G B D. Cmaj7 is C E G B they share 3/4 notes so adding that D adding the 9 on top of the Cmaj7 chord. Making it a Cmaj9 chord essentially.
Many players use this concept in solos as well. ie. Doing Dmaj7 arpeggio over a Gmaj chord. Its would be implying a #11 with C# in the gmajor.
This lesson applies to any instrument and also to composition and arranging.
On guitar you can leave the root out when playing with a bass player.
Playing Em is just leaving off the root of C chord
C major 7th notes = C E G B.
Em notes = E G B.
If the bass player plays C then bass + your Em is still a C chord.
For that matter a G chord = G B D is the 5 7 9 of a C chord.
G chord with C or E in the bass is C major 9.
This guy changes his appearance so often ...
Still not convinced there isn't multiple men posing as Jimmy Bruno.
Please can you tell me the name of song on the begin of video??
+Nello Angelucci Song is called 'Pat's House' from Jimmy Bruno's album "Like That" with special guest Joey DeFrancesco
Thank you Jimmy great tune all the best
Nello Angelucci I
theory is like a light in front of your feet.....
Tri tone substitution
He doesn't explain why those substitutions work though. Like for example could someone explain why he substitutes an A7 for the Am7 at the start? These 2 chords don't have nearly the same function right?
If he just used it bcuz the tritone creates more tension, why not use the G7 (the dominant chord in the key of C)?
I mean like, I understand that you choose chords based on what they sound like so maybe he just thought A7 sounds better than G7 here, but I was just wondering if there is some kind of theory that I'm missing behind it? :)
it works because it just changes one note from C in Am7 to C# in A7, and that C# is the leading tone to the chord that follows it (Dm7). It just pushes the ear toward the next chord (Dm7) a little more, while keeping the root movement and the rest of the chord the same.
It's also like just temporarily moving into the key of D minor and doing a V7-i (A7-Dm).
You wouldn't use G7 there because that's going to lead your ear toward C. G7 would imply a V-I going to C, not to Dm, and the whole point of changing Am7 to A7 is to get the leading tone (C#) for the next chord (Dm7) and create the sound of a V-i to Dm (A7 to Dm7).
@@jdoc1357b9g bro great explanation.....that cleared up what was going in in my head...i had a feeling thats where he was going with the substitutions but this is really clear and makes sense!
I learn better with sound, I can imagine the chords but its not the same
6:10 "And all that kinda bullshit"
That is the most lazy "7" i have ever seen:D
Great video, helped me understand some things.
Only guitarists and basists ignore theory because is such a mess to learn because all notes are all over the place, pianists can just count alphabets in order and so on. Just play what you like and enjoy the time, same time dip your toes in theory little bit so you dont get confused. Theory helps you understand what you did and why it works or sound good + it help you to come back to that chord progression what you "jammed" without getting lost because lack of understanding.
Jim, do you teach at Old Town School off folk music in Chicago?
Considering the guitar ITSELF was made on behalf of the theory...Not the other way around (12 tones and then the cycle starts over)...the 12 tone system was invented to STANDARDIZE and simplify sounds so that people all around the world could play together instead of getting together with instruments that have all forms of tuning and random intervals...and people who understand the theoretical language can get together and share VAST amounts of information in two or three sentences with large groups of people instead of having to walk around to everybody individually and show each person what sounds they are playing and wasting vast amounts of time...You know...just maybe the theory might be vaguely important to have as a tool in the tool box.
How can you theoretically replace A7 with Eb7? It has no tones in common. The only thing it has in common is the quality.
Liam Zuiderhoek They share the same tritone. It's called a tritone substitution. A7 has G & C# as b7 and 3, while Eb7 has Db and G as the b7 & 3.
Oh, stupid that I didn't see that! Thanks for clarifying!!!
Liam Zuiderhoek for me it is easier to think in terms of parent scales, Eb7 is the 4th chord of Bbm (melodic minor) for me it way simpler just to think of melodic minor 1/2 step up while understanding it is s b5 substitution
Bc he had mentioned that is using the tri-tone sub.here's example C tri-tone is bG and A tri-tone is bE.
Bc he had already mentioned it here is using the tri-tone to substition.A tri-tone is bE so that's where the chord come from
Not sure why he went with Em7 at 2:25. He said you could put a II or a III chord as a substitute, but those are not even tritone (ie flat 5) substitutions and seems so random. Although, a Cmaj7 (C-E-G-B) is basically an Em with C in the base...so maybe I answered my own question...
Em7 is the iii chord in C major, but when you're substituting an A7 for Am in the key of C it's common to put the Em7 in front of it like a temporary ii chord in front of the temporary V7 (A7). But you're also right that the Em is like the upper structure of Cmaj7. It's OK to understand and explain concepts more than one way.
The Eb7 is the tritone substitution for the A7, which is the V chord of D. The tritone in the A7 is composed of the the C# (3rd) and G(b7) notes. The Eb7 has those same 2 notes as the 3rd and 7th (G (3rd in Eb7), C# or Db (the flatted 7th in the Eb7).
as addition to what was said... Em7 is relative to Cmaj7. It is common classical relation based on triads and extended to jazz chords in jazz. In classical it's the triads that have two tones in common, in jazz it's 7th chords that have 3 tones in common. Simple way to play relatiives is to think a 3rd above and a 3rd below of teh main chord (repectively to scale of course).
E-7 & A-7 are 'diatonic subs' for Cmaj7
wish I understood this, but I don't, very frustrating!
tim hitt just look up the chords in each line he's talking about and find different ways of playing them. Play through each line is slowly as you need to, look at the notes in each chord and you will see why each chord is named what it is then play through each progression slowly as you need to. It all starts with understanding each chord. A lot of times the language applied makes it sound very daunting but it really isn't.
A music dictionary is a handy thing to have , nomenclature is a large part of learning music theory.
Having common words for concepts and sounds is essential for musicians to be able to communicate effectively.
Once you know the vocabulary you will understand what trained musicians are talking about.
Ummm he says that he and we don't need music theory, yet he sits here and teaches music theory....
This is describing the music, it is a long way from reading notation which is merely responding to written directions, this is not really theory it is practical
Music theory the way it's used today is largely about naming and categorizing the elements used - keys, chords, intervals, progressions, etc. He is most definitely using music theory to explain these chord progressions.
you must learn everything about theory and completely forget it when you play. that's the way to go.
Hasan Sahbas, i always find it interesting when musicians say they never studied music theory, yet they know what scales and in what key they are playing in....you cant play without knowing theory sooooo.....
i feel disgusted, life will never be the same anymore
This dude contradicts himself and comes off super bitter but hes a treasure trove of musical information
You had me until you said JAZZ
Great !