Jazz Harmony Magic: 3 Types Of Subdominants
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- Опубліковано 7 лют 2025
- Want to add more color and depth to your chord progressions? Here are 3 categories of common subdominant chords in Jazz, a criminally overlooked topic but also a way to make things a LOT more interesting!
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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.
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What do you think? 🙂
❤Love your playing AND your content;w.d.i.t.?-F#dim as secondary V(Fv7flat9),changing tonic to CminMaj7&modality to Melodic minor😊,same thing,sounds great,include both (Adim-AflatMaj7-Gv7alt-CminMaj7)😊b.t.w.,I play an AS model Ibanez,too(2016 Prestige),❤love it ! Thanx,Jens,learn so much from your posts;not just the motifs,but the math,which interests greatly&fuels my keyboard adventures!
For me the minor 4 sub dominant will always be my favorite. Bitter sweet and beautiful
The sharp 4 is a nice twist. The melodic/voice-leading context for each example is very cool.
😁
These are beautiful. Can’t wait to incorporate this them into some weird lofi indie punk song!
Beautiful guitar
Thanks!
No 2. Love your lessons
🙏
Thank you Jens❤
The Abmaj7 is so smooth
Love the sharp four back to a minor four, i.e. f#dim back to fminor 7. All your options were beautiful
Yes, that is beautiful!
Why #IV is a subdominant?
I understand de first (SD of C)
And de second group (SD of Eb)
But why #IV is a subDominant? Where it comes from?
Well the dominant of Eb is a minor subdominant in C major, so it is not entirely that simple.
If you listen to it:
Does it resolve to C (as it does in Rhythm Changes, St Thomas, Blues and tons of other progressions) That means that it is not tonic
Is it a dominant? No F#dim does not sound like a G7 at all.
You should not limit yourself to scales for functions, that won't really work.
The second one, but the third is tasty as well.
@JensLarsen It's a toss up for me between the Abmaj7 and the F#Dim they all sound great though, really pretty.
Fair enough!
What about C#maj7 C#7 Cmaj7
C#7 (or Db7) would be a dominant function for C
I thought a key only had one subdominant, the fourth…where do you get Abmaj7 and F#dim from as subdominants for C major?
No, the II and even in some cases the VI chord can be subdominant chords as well, and you do indeed have the other groups that I mention here as well. Maybe search my channel for the videos on minor subdominants and modal interchange?
@ thanks Jens!!
@@JensLarsen I think of the Abmaj7 as the upper notes (rootless) of a IVm9 (Fm9). Right?
Sorry for my bad English
To be a SD a chord might have the 4th on their notes like F and Dm have F, but if the chord have de 4th and the 7th it becomes a dominant like G7 and Bdim (example of C)
The same logic applies to de Fm and Ab because those are the two SD of Eb (or Cm) that’s why Jens called them “minor subdominants” as a borrow from Cm to C
I played every day for hours. After 10 years of that I got as far as TwAnG-PLUK-click-TwAnG. I could do that in any key.
Ab
#IVdim is family?
#IV is the family, dim is one variation
@@JensLarsen What a smooth criminal! Would love to see examples of other #IV variations. Thank you so much for your amazing videos.