love this compact overview, and the clear way you explain the harmonic movements in each tune. this will help me a lot. also i would highly appreciate improvisation and arrangement tips on these!!! thanks a lot for sharing with us!
Yeah, I am not quite sure how to thank yet, once I have a EP or album finished you, and the whole youtube academy are invited to the party 😘cause the party would not have been possible without all you beautiful spirits. Imma practice my chops...now! Stay_Funky_Fellas & Just_Groove_iT!❤❤❤
I've clicked Like because it's a good presentation. I do have an issue though. It is widely perceived that we should learn all songs (regardless of difficulty) then move on to the next one and learn it thoroughly too. I advise students to remind themselves why they are studying a song, because there are at least three separate reasons, and each deserves a different study approach. Please guys, don't confuse a very tricky study piece with an achievable potential item of repertoire. And don't skip those silly things which all jazzers absolutely must memorize before they accept the first gig - things liike Happy Birthday, When The Saints, and a 12-bar in several keys. I have seen many newbies (and even experienced dance band musicians who thought they could fake jazz) fall flat on their faces when the band suddenly struck up one of those tunes, with no time to hunt through iRealPro or whatever.
Lol - same here. Maybe just think of it as two separate one hour videos. I'm going to break this up into 20 min chunks myself because that's all I can digest of this stuff at a time. I still like not having to bookmark multiple parts :).
Hello, I have the Real Book 6th edition, and the folloning songs from the list are not in there. #3 I've Got Rhythm, #4Bye Bye Blackbird, #5) Oh Lady Be Good, #6) Indiana, #7) Alone Together, #11) The Days Of Wine And Roses, #16) Just Friends, #17) What Is This Thing Called Love?, #18) On Green Dolphin Street. I also have The Great American Song Book jazz edition, and the following songs are not in it. #1) Autumn Leaves, #2) Take The A Train, #4) Bye Bye Blackbird, #6) Indiana, #8) Misty, #9) My Romance, #10) All Of Me, #12) There Will Never Be Another You, #13) My Funny Valentine, #14) How High The Moon, #15) Like Someone In Love, #19) Body And Soul, #21) The Song Is You, #22) Someday My Prince Will Come, #23) All The Things You Are, #24) Stella By Starlight, #25) Have You Met Miss Jones.
how come i learn more with this guy than most youtube jazz channel? he speaks slow, and explains things like a great teacher, passionate, and well balanced , thx from Montreal 🍻
Amazing analysis and deeply educative material. I really loved the begging of Prelude in C sharp minor op3 no2 from Rachmaninoff, as an intro for All the things U are.
Bill, this compilation is A-MAAAY-ZING!!! I really appreciate that you also included original non-jazz pop recordings. I'm a firm believer of learning your source material first. On another note, your Barry Harris videos are TOPS! THANK YOU!
Great breakdown of some "meat and potatoes" of the straight-ahead lexicon. One thing I've been trying to pay more attention to in shedding tunes in the GASB is by composer, say, this week I'll do Harold Arlen, next week it'll be Jimmy Van Heusen, then Cole Porter, etc... It's a way to dig deeper into the composer's personal style. Digging your vids!
Dear Bill Graham, as commented on already below, you didn't exactly manage to not make this video 2 hours long, however I'm glad you did!...& make 2 hours of magnificent content & great teaching. The audio level is very low, I had to turn it up 70% & visa-versa when the adverts came on, if you can get that sorted - there's a problem your videos might be too good & even explode! I'm heading over to your site to buy a digital copy of your book. Top show Daddio!
Thanks a lot for this video Bill, it's certainly helpful for newbies like me. And I was happy to find I know 3 of your recomendations... 22 more to go! Greetings from Chile!
Thanks. Minor 6th chords always have a minor 3rd and a major 6th. If it had Eb instead of E, the chord would be Ebmaj7 in first inversion instead of Gm6.
@@billgrahammusic Thanks for the reply, I've always had that confused. Usually when people refer to the chord as a minor 6th, I've thought that it was describing the interval between the root/bottom note and the top pitch, and a minor sixth above G is Eb. So why isn't it Gm Add6 instead?
The way chords are named is a little bit funny. Any number (6, 9, 11, 13) in a chord symbol which doesn’t have an alteration spelled out (like b9, #11, b13 etc) is referring to a scale degree from the major scale. The exception to this is 7, which is by default a b7th, unless specifically indicated as Maj7 or dim7. This is a sort of outdated shorthand from a time when the most common 7th chord was V7. Hope that clears things up for you a little bit. Thanks!
Wonderful, and the playlist in your notes....wow. I will be referencing this for years. I feel very lucky to have discovered your channel, Bill. This is exactly what I need right now.
Cheers bud. Just run it through a normalisation plug in. Hey have you checked out “Isaac Ruz” on UA-cam? Longtime student of Barry Harris with some great content and only a thousand subscribers. Well worth a look.
Rhythm changes is essential but I consider it one of the more challenging jazz standards. For students, I sometimes have them learn “Good Bait” first since it gives them the rhythm changes A section in two keys, the tempo is easier, and the melody gives them a little taste of altered dominant.
Bonjour et merci pour vos super videos . I think the bridge of autumn leaves is : D7 % Gm % Cm7 F7 Bb % Am7(b5) D7 Gm %Am7(b5) D7 Gm% like original version or Miles version , for sure you could add what you want.
“5 of 5 of 5 of 5” is great. you think exactly the way i do, but more quickly and easily and with way more depth of knowledge. i’ve learned a lot from the first 15 minutes alone!
The chords there (G7 C7 F7 Bb7) are a substitution/variation of I vi ii V, which in this key is Ebmaj7 Cm7 Fm7 Bb7. The I chord in the I vi ii V is very often replaced by the iii chord, since it shares the same function as the I. That would give us Gm7 Cm7 Fm7 Bb7. Now if you work back from the Bb7, we get F7 instead of Fm7. That's the V of Bb, which is the V in our original key of Eb, making F7 V/V (V of V). Moving backwards from there, the Cm7 is also changed to a C7, which is V of Fm (the ii) chord, making it V/ii. Finally, moving backwards to the G7, (which is replacing Gm7, which is already replacing Ebmaj7,) that chord is the V of Cm, which was our original vi chord, giving us V/vi. So the G7 comes from the key of vi (Cm), but then instead of resolving to Cm, it goes to C7, which is borrowed from the key of ii, but instead of resolving to Fm, it goes to F7, which is borrowed from the key of the V, and then it ends up on the actual V which finally goes back to I. Tl;dr There's a little dominant chain leading to the tonic.
11:55 I really appreciate the way you teach and your playing is no less great! I love many jazz tunes but have no formal lessons so I cannot quite put it together in practice. I try to understand the relationships between notes with theory to play more informed by ear. when you break down the song structure (AA B A) and progressions with intervals and their functions like dominant and secondary dominant, it is very helpful! You mention here the chord in reference it is the V of II, but you also refer to it as VI (of I). It’s that way of connecting information in a more practical efficient way which makes this more approachable.
First time I heard of Charlie Parker was in reading Life of Pi. Shows how isolated I was. Always learning, and eager to get some grip on all this jazz. Subscribed.
Unfortunately same here - I had to crank up the volume on my PC. I thought at first it was just my hearing. The ads were blasting me away when they hit ...
I have a question to autumn leaves as explained here. in the last A section it is mentioned the recommended simplified version of the 4th bar is the G minor with E in the bass - or an E-b57b9. How does this make sense in an harmonic way. How would this be approaching the the following Amb57 D7b9? Also could not see the melody forcing the E under the G-Minor in the real book versions i have on hand. Still it sounds good, but why? In the bass the E would be the 5th of the following Amb57 so is this ment to be a dominant chord, if so, which dominant chord is the one to choose to approach an minor b57 chord?
Originally it just sat on a G minor chord for 2 bars. You could think of the Em7b5 as just staying on Gm6, moving to a different inversion of the same chord. You could also think of Gm6 Em7b5 Am7b5 D7 as being a minor key version of a I vi ii V.
@@billgrahammusicthis is just what i was wondering about, so it can be the VI chord in the minor key, that makes sense. this is something i need to look into more. thank you very much!
Awesome video. Breaking it down with chord numbers really helps solidify a better understanding of the song. Thanks Bill.
love this compact overview, and the clear way you explain the harmonic movements in each tune. this will help me a lot. also i would highly appreciate improvisation and arrangement tips on these!!! thanks a lot for sharing with us!
Thanks! I’m glad this is helpful.
Bill, this video is incredible
Thanks Brian!
Holy smokes! This is going to be two good hours!
Thanks!
Yeah, I am not quite sure how to thank yet, once I have a EP or album finished you, and the whole youtube academy are invited to the party 😘cause the party would not have been possible without all you beautiful spirits. Imma practice my chops...now! Stay_Funky_Fellas & Just_Groove_iT!❤❤❤
You are an actual legend for this. Subbed.
This is exactly what I was looking for, thanks Bill.
Awesome, happy to be able to help!
Truly remarkable. I’m a guitarist, but this help a ton! Many thanks 🙏!😊
I've clicked Like because it's a good presentation.
I do have an issue though. It is widely perceived that we should learn all songs (regardless of difficulty) then move on to the next one and learn it thoroughly too. I advise students to remind themselves why they are studying a song, because there are at least three separate reasons, and each deserves a different study approach.
Please guys, don't confuse a very tricky study piece with an achievable potential item of repertoire. And don't skip those silly things which all jazzers absolutely must memorize before they accept the first gig - things liike Happy Birthday, When The Saints, and a 12-bar in several keys. I have seen many newbies (and even experienced dance band musicians who thought they could fake jazz) fall flat on their faces when the band suddenly struck up one of those tunes, with no time to hunt through iRealPro or whatever.
Fantastic video man
Excellent !
"since I don't want this video to be two hours long"... *looks at video length*
im in love with u man
can somebody explaine to me from where come from this G7 chord in misty ?
Oof, 23/25. How many of yall knew all the 25 tunes before watching the vid?
Prodbyharrison brought me here
40s in: i dont want this video to be 2hrs long. Me checking videolength Oo
Haha, I did my best to keep it brief, but there was a lot to go over.
@@billgrahammusic I am going to enjoy every second and click on every add break! Thanks
Haha thought the same thing
Lol - same here. Maybe just think of it as two separate one hour videos. I'm going to break this up into 20 min chunks myself because that's all I can digest of this stuff at a time. I still like not having to bookmark multiple parts :).
"Since I don't want this video to be two hours long" a couple of minutes into a video that's two hours long..
Haha, I definitely underestimated how long it was going to be pretty severely.
Protect this man at all costs
Hello, I have the Real Book 6th edition, and the folloning songs from the list are not in there. #3 I've Got Rhythm, #4Bye Bye Blackbird, #5) Oh Lady Be Good,
#6) Indiana, #7) Alone Together, #11) The Days Of Wine And Roses, #16) Just Friends, #17) What Is This Thing Called Love?, #18) On Green Dolphin Street.
I also have The Great American Song Book jazz edition, and the following songs are not in it. #1) Autumn Leaves, #2) Take The A Train, #4) Bye Bye Blackbird, #6) Indiana, #8) Misty, #9) My Romance, #10) All Of Me, #12) There Will Never Be Another You, #13) My Funny Valentine, #14) How High The Moon, #15) Like Someone In Love, #19) Body And Soul, #21) The Song Is You, #22) Someday My Prince Will Come, #23) All The Things You Are, #24) Stella By Starlight, #25) Have You Met Miss Jones.
how come i learn more with this guy than most youtube jazz channel? he speaks slow, and explains things like a great teacher, passionate, and well balanced , thx from Montreal 🍻
Amazing analysis and deeply educative material. I really loved the begging of Prelude in C sharp minor op3 no2 from Rachmaninoff, as an intro for All the things U are.
Bill, this compilation is A-MAAAY-ZING!!! I really appreciate that you also included original non-jazz pop recordings. I'm a firm believer of learning your source material first. On another note, your Barry Harris videos are TOPS! THANK YOU!
Thanks Donya!
Great breakdown of some "meat and potatoes" of the straight-ahead lexicon. One thing I've been trying to pay more attention to in shedding tunes in the GASB is by composer, say, this week I'll do Harold Arlen, next week it'll be Jimmy Van Heusen, then Cole Porter, etc... It's a way to dig deeper into the composer's personal style. Digging your vids!
I’ve been anticipating this video for a few weeks now
Thanks! Sorry it took so long to get out.
This is one of ‘the great ones’. Strange how my guitar playing always takes a leap after watching a horn or keyboard video.
fantastik! so clear and accessible. Thanks!
Good funny!
Really enjoyed watching Mingus sextet 1964.."Go Eric" .Such freedom and open demonstration of enjoyment.
Thanks for all your vids and your great book.
I don't know "Closing Thoughts". How does it go? :D
Dear Bill Graham, as commented on already below, you didn't exactly manage to not make this video 2 hours long, however I'm glad you did!...& make 2 hours of magnificent content & great teaching. The audio level is very low, I had to turn it up 70% & visa-versa when the adverts came on, if you can get that sorted - there's a problem your videos might be too good & even explode! I'm heading over to your site to buy a digital copy of your book. Top show Daddio!
Thanks Harry! I’m sorry about the audio, I will remember to normalize the audio before exporting from now on.
This video genuinely deserves 100x the views it has
Thanks so much, I appreciate it!
O áudio está horrível amigo.
hi Bill I am interested in your top 25 and like your way of teaching
Thanks a lot for this video Bill, it's certainly helpful for newbies like me. And I was happy to find I know 3 of your recomendations... 22 more to go! Greetings from Chile!
Thanks Francisco! Happy to help!
Amazing video. Very well presented. Thanks for sharing this resource.
Thanks Omar!
I love your wall.
Also in the Gm6 chord in Autumn Leaves why do you use E instead of Eb? Is it considered a GmAdd6?
Thanks. Minor 6th chords always have a minor 3rd and a major 6th. If it had Eb instead of E, the chord would be Ebmaj7 in first inversion instead of Gm6.
@@billgrahammusic
Thanks for the reply,
I've always had that confused.
Usually when people refer to the chord as a minor 6th, I've thought that it was describing the interval between the root/bottom note and the top pitch, and a minor sixth above G is Eb.
So why isn't it Gm Add6 instead?
The way chords are named is a little bit funny. Any number (6, 9, 11, 13) in a chord symbol which doesn’t have an alteration spelled out (like b9, #11, b13 etc) is referring to a scale degree from the major scale.
The exception to this is 7, which is by default a b7th, unless specifically indicated as Maj7 or dim7. This is a sort of outdated shorthand from a time when the most common 7th chord was V7. Hope that clears things up for you a little bit. Thanks!
@@billgrahammusic
I appreciate the clarification.
Great video as well.
Thanks so much for making this. I'm a more classical player getting into learning some jazz tunes and this video has been helping me so much.
Thanks Ben, I’m so glad this is helpful!
how do i get the written music?
oh yeah baby, thanks Bill
Wonderful, and the playlist in your notes....wow. I will be referencing this for years. I feel very lucky to have discovered your channel, Bill. This is exactly what I need right now.
This is a great video, thanks for making it. Really looking forward to the videos on individual tunes.
Thanks Chris! If all goes according to plan (ie no random crises come up) I’ll be shooting the Autumn Leaves video on Friday.
I can't believe how amazing this is. The most helpful video I've digested in a long while.
Hey Bill any chance you could bump the audio up?
It starts out quiet and then gets ridiculous.
Sorry about that. I’ll try to remember to record the audio hotter in the future. Thanks.
Cheers bud. Just run it through a normalisation plug in.
Hey have you checked out “Isaac Ruz” on UA-cam? Longtime student of Barry Harris with some great content and only a thousand subscribers. Well worth a look.
Rhythm changes is essential but I consider it one of the more challenging jazz standards. For students, I sometimes have them learn “Good Bait” first since it gives them the rhythm changes A section in two keys, the tempo is easier, and the melody gives them a little taste of altered dominant.
Bonjour et merci pour vos super videos .
I think the bridge of autumn leaves is : D7 % Gm % Cm7 F7 Bb % Am7(b5) D7 Gm %Am7(b5) D7 Gm%
like original version or Miles version , for sure you could add what you want.
I made through all 25! Thanks Bill!!
This man is clearly brilliant
Fantastic!! I look forward to going through some of these tunes with your analysis!
Thanks Steffen!
“5 of 5 of 5 of 5” is great. you think exactly the way i do, but more quickly and easily and with way more depth of knowledge. i’ve learned a lot from the first 15 minutes alone!
thanks
Kenny Drew’s recording of alone together from the album Your Soft Eyes. Ed Thigpen on drums and Mads Vinding on Bass
Brilliant. Thank you for your work
Thanks!
Thanks Bill. I often wondered about the random Bminor7 in Alone Together. Same thing as the start of Stella I suppose.
About time, Bill. Honestly, keeping us waiting this long. Shame on you lol. Look forward to watching.
😂
Сначала лайк! Смотреть потом.
can somebody explaine to me from where come from this G7 chord in misty ?
The chords there (G7 C7 F7 Bb7) are a substitution/variation of I vi ii V, which in this key is Ebmaj7 Cm7 Fm7 Bb7. The I chord in the I vi ii V is very often replaced by the iii chord, since it shares the same function as the I. That would give us Gm7 Cm7 Fm7 Bb7. Now if you work back from the Bb7, we get F7 instead of Fm7. That's the V of Bb, which is the V in our original key of Eb, making F7 V/V (V of V). Moving backwards from there, the Cm7 is also changed to a C7, which is V of Fm (the ii) chord, making it V/ii. Finally, moving backwards to the G7, (which is replacing Gm7, which is already replacing Ebmaj7,) that chord is the V of Cm, which was our original vi chord, giving us V/vi. So the G7 comes from the key of vi (Cm), but then instead of resolving to Cm, it goes to C7, which is borrowed from the key of ii, but instead of resolving to Fm, it goes to F7, which is borrowed from the key of the V, and then it ends up on the actual V which finally goes back to I.
Tl;dr There's a little dominant chain leading to the tonic.
@@billgrahammusic thx for your work, i will buy your book !
11:55 I really appreciate the way you teach and your playing is no less great! I love many jazz tunes but have no formal lessons so I cannot quite put it together in practice. I try to understand the relationships between notes with theory to play more informed by ear. when you break down the song structure (AA B A) and progressions with intervals and their functions like dominant and secondary dominant, it is very helpful! You mention here the chord in reference it is the V of II, but you also refer to it as VI (of I). It’s that way of connecting information in a more practical efficient way which makes this more approachable.
First time I heard of Charlie Parker was in reading Life of Pi. Shows how isolated I was. Always learning, and eager to get some grip on all this jazz. Subscribed.
Really Great good Job Bill an other 25 standards would be welcome . Regards
welcome back
Thanks!
Hey Bill, you have some out of sync titles before Take the A Train. Appreciate your efforts as always.
Love this. Appreciate the work man.
Amazing video! Thanks for making it
Thanks!
Muy bueno amigo tienes algún material en español?
no giant step？
It's not a standard
Noice
Awesome video, man, thank you 🙏
Thanks for another great video!
Thanks Jake!
Low volume bro.
Monster teacher btw
Finally getting to this video! I’m so excited to learn all the standards!
wow this content is so helpful. thank you so much
Cool Introduction.
Thanks!
This channel is a gold mine
Thanks so much, Seymon!
A great resource for those wanting to dive into jazz
Thanks!
Sound is low plus those ads.... 😏
dude, I can't hear you.. at all. I have everything turned up and I'd like to learn
Unfortunately same here - I had to crank up the volume on my PC. I thought at first it was just my hearing. The ads were blasting me away when they hit ...
I have a question to autumn leaves as explained here. in the last A section it is mentioned the recommended simplified version of the 4th bar is the G minor with E in the bass - or an E-b57b9. How does this make sense in an harmonic way. How would this be approaching the the following Amb57 D7b9? Also could not see the melody forcing the E under the G-Minor in the real book versions i have on hand. Still it sounds good, but why? In the bass the E would be the 5th of the following Amb57 so is this ment to be a dominant chord, if so, which dominant chord is the one to choose to approach an minor b57 chord?
Originally it just sat on a G minor chord for 2 bars. You could think of the Em7b5 as just staying on Gm6, moving to a different inversion of the same chord. You could also think of Gm6 Em7b5 Am7b5 D7 as being a minor key version of a I vi ii V.
@@billgrahammusicthis is just what i was wondering about, so it can be the VI chord in the minor key, that makes sense. this is something i need to look into more. thank you very much!
Really good material! Thank youu
Thanks Daniel!
You are awesome
Thank you!