The 3 "Super Jazz Standards" That Turn Amateurs Into Pros
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- Опубліковано 31 лип 2024
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So, there are 3 super jazz standards that when you learn these jazz standards and really dig into them, and get really good at playing them, you essentially make every other jazz standard exponentially easier to play, that's because within these jazz standards are super essential lessons and concepts that play out other hundreds of jazz standards.
So, in this video, I'll reveal what those 3 jazz standards are, as well as the secrets within them that will help you improve as a jazz musician exponentially faster.
CHAPTERS:
00:00 Intro
01:00 Super Jazz Standard #1
07:22 The great things about this super jazz standard #1
08:50 Super Jazz Standard #2
15:58 Super Jazz Standard #3
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This is amazing! Focusing on how skills from one standard can transfer to another is so smart, definitely watching more
Fantastic video, and many of the concepts clicked from watching this. Keep up the good work!
Thank you very much for sharing this knowledge, it is an excellent analysis, very enjoyable and very practical.
This is probably the greatest explanation ive ever seen. thank you so much
Thank you very much for all of your work that you choose to share with us here. I admire your playing, and information a great deal. Rain🌱🙏🏻
Great information, thank you!
I loved your lesson here really well.
Thanks for sharing your experience
I am a pro but I love watching how you teach :) Always interesting and usually understandable. I thought you were gonna say "giant steps" for the third one :))) but that might be actually the 4th. Take care !
Very well presented! Easy to understand!
Very understandable. Thank you!
Great Lesson! From an old grunge/punk player transitioning to Jazz, I found your explanations very accessible and engaging. Keep the lessons coming!
Thanks!
Great stuff- love these explanations,undetstandable,concise, more lke this!
You explain things so well!
Thanks!
This is really good teaching. Thank you! I’ve understood some concepts that have always eluded me.
Great break down. I have been playing Autumn Leaves for 30 years. So I guess in another 60 I will have the other two down.
Nice guitar too :)
Just start 12-keying stuff with the TV on. I watch movies I've already seen so I don't get too caught up, but stay entertained enough not to get bored and put the horn down.
I really appreciate your explanations and the color-coded sections!
I totally agree!
I agree too :))
Glad you found that helpful!
Yeah, I wish i could color code in my program, j fact all the mockups you do.
Brent, you are one of the best, if not THE best jazz instructor on UA-cam! Thank you for all that you do! One of the things I look for in my 'jazz journey' is the half-step resolution between keys and/or chords to make things easier. Ex, in the last tune one of the modulations went from E to F, and instead of a deceptive cadence, I look at that as a half-step away so that's why it sounds good. Have a great day!
Thanks Jim, much appreciated for the tip!
Twenty-odd years ago I recorded Autumn Leaves and All the things you are with a combo as a drummer, and thought, "Yeah, it's cool, but... meh. Elevator music for weddings. Get on with it, already." Now I'm getting it! Cool stuff. I know, I know. If I'm bored as a drummer I'm not working hard enough. Hindsight.
Hey good job! I just have some constructive criticism. It can be misleading to beginners when you play a dominant 9 chord and name it a 7 chord, as it is also misleading to talk about how in jazz people play maj7 chords and then proceed to play a 6 chord instead. This kind of thing sort of happened many more times throughout the video and even though it doesn't really matter much, i would be easier for beginners to hear and see voicings with just the notes 1,3,(5),7. 6s and chords with more extensions are also cool, as long as you name them as such. All the best to you, no disrespect at all, keep it up!
I agree, it seems like jazz guitar players change the notation when they feel like it to stop you progressing. An example is 9th chords, you can either have an half diminished chord with root on a string or a 9th chord with if played without root that is on e string. Then there is diminished chords do you play diminished or dmi(7) or half diminished. It just gets so complicated and confusing.
@@As-pf1zu Jazz players don't change notation to "stop you progressing". The real reason is that there is a difference between the academic, Berklee College of Music style of jazz playing (which is most of the educational content nowadays) and how jazz players ACTUALLY played back in the day. Furthermore, it was and is commonplace for jazz players and arrangers to alter and substitute chords of various standards and pieces to suit them.
For example, the major chords, especially the 1 chord, is taught as a maj7. But ACTUALLY LISTEN to the old standards - they usually played a maj6 or even just a major for the one. Maj7s weren't used too much until the 60's or so. The major 6th chord is MORE STABLE than the maj7, because the maj7 interval wants to RESOLVE up to the octave.
Or take the dominant chord, for example. These come in all sorts of flavors, like the 9, b9, #9, 11, #11, b5, 13, etc. The 9th chord, as you correctly point out, is a m7b5 (half-diminished chord) on the third of the chord. So a D9 (D,F#,A,C,E) and the F#m7b5 (F#,A,C,E) are nearly harmonically equivalent.
This is useful for jazz soloing or comping, as one can simply play F#m7b5 over a D dominant chord, as the bass player is usually handling the D root note. This is also heard in a blues context, where these "rootless" dominant voicings are commonplace, which is ultimately where jazz gets many of its harmonic ideas from.
You can also hear the Dominant 9th chord in the music of the Romantic Period, such as in the works of Chopin, Strauss, Rimsky-Korsakov, etc., as it resolves to a major chord well.
from hearing Joe Pass talk about the color tones, it seems that different individuals give personal preference to their regular substitutions, and seems it would become a study on sets of substitutions, so embrace the substitution sets as personal to each teacher perhaps
I agree, I was looking at it thinking, how is that a maj 7 chord, is his guitar tuned funky, nope it's a 6 chord
@@edthewave so what you are saying is although you like listening to jazz don’t bother with the guitar for jazz as you are no good and rubbish. Stick to cowboy chords or punk power chords. Just goes to show how snobby jazz player are.
what fabulous song choices
Wow, clears my head a little about music theory! I memorize classical pieces,but you don't improvise them. I really want to learn some jazz guitar and get a grip on theory ..
1 and 2 are non negotiable. So What and Blue Bossa are also very good beginner standards for latin and modal jazz
Those are great as well!
Great lesson 🙏🏼💕
Glad you found it helpful!
Awesome video!! This is what I needed to learn and understand. Thank you
Glad it was helpful!
I really appreciate these videos. I feel like they’re expanding my mind on things I never understood in nearly 30 years of playing!
Thanks! It's great to know it has helped you a lot.
Great explanation!
Glad you found it helpful!
A detailed lesson.Thank you very much!
You are welcome!
There's some pretty sweet chord voicing in this video. Nice.
Great video. I'm very familiar with #1 and #2 but have not studied "Alone Together" and will do so after watching this, thanks.
Glad to hear that!
Thanks!
Nice video, #1 and 2# are my favorites to play in 12 tones as warm up everyday.
Great warmup!
very well done. great lesson awesome for beginners in Jazz like me. @Learn Jazz Standards
Glad you found it helpful!
Superb lesson!
Thanks! 😃
Thirty years ago,l had mastered "Stella by The Starlight", All the things you are, On Green Dolphin Street,even Giant Steps and Goodbye Pork Pie Hat..l would play pretty decently back then...but not certainly at the level of " major leaguers"(Benson,Montgomery, Pass,Hall,Metheny)...l thought l had the world on a string..and that everything ahead would be gigs,money..and days of wine and roses..but one day l wake up and get to listen to modern,advanced jazz-rock fusion(Gambale,Henderson,Holdsworth) and to this day(l am 62 now) ..l've stuck with this style and still grappling to get better at it and figure out the vast amount of knowledge and techniques that demand to get anywhere near these great cats.
i expect it would take me years to get where you are man. I understand the theory but that knowledge hasnt reached my fingers even 50 years later.
Your hybrid 2-5-1 is sometimes called a Cole Porter 2-5-1. That’s my favorite term for it.
Nice explanation of cadences!
Great video. What kind of guitar is that? Looks beautiful and sounds fantastic.
Thanks! It's a custom-made Victor Baker. You will find more details about it in this video:
ua-cam.com/video/ym2XbAVD9Ec/v-deo.html
Great video and really helpful
Thanks!
excellent tutorial👍👍
Glad you found it helpful!
Em gives me the E-B-G-B’s. I’m more or less a rock/ blues guy, and I love learning jazz chords to add to my tool box. Stone Temple Pilots Dean and Robert DeLeo are accomplished Jazz musicians and have written many pieces that made me a better player, forcing me to use the dreaded pinkie finger, in order to unlock musical greatness in playing many other songs with ease. Thanks for the lesson!
Thanks for providing my daily chuckle early (fortunately between sips--no spew!)
Really well done! Simple, plain and useful also for a 2 hours for week guitar player like me!
Glad you found it helpful!
Nice video, as always! The first 7 measures of Autumn Leaves are also a cycle of fourths on Gmin7, comprising the 7 diatonic chords of its key. I think interpreting in that way helps to understand it and memorize it.
I also use the term Hybrid 251s when teaching students! Great minds!
Excellent pedagogy! I was a little surprised by #3, but I agree. #4 must be “How High The Moon” and #5 . . . Ornithology” for obvious reasons. -Steve, jazz educator (emeritus). YOU ARE DOING GREAT WORK. Keep it up.
Awesome knowledge and teaching skills.
Thank you!
Good explanation. Very informative. Wish the tone knob were turned up about 50% higher.
thank you - it is so good to wake up some brain cells that have been asleep since I left Berklee 50 years ago.
excellent video!!!!!!
Thank you!
Muy Bueno!!!
Oooooh you just explained something. At first I wondered why the 2 in minor had a diminished fifth. But then I realized, in G minor, the 2, which is A, indeed has a minor fifth, E flat. Aha! Thank you!
Kenny Barron told me that when he learned Cherokee in 12 keys he was cool
If Kenny says it, we’re all listening!
it's true. that's when i started to like him.
Miles Davis once told me that when he learned On Green Dolphin Street in all 12 keys, he was still an a-hole.
@@augustusbetucius2931 …who could play that song in 12 keys 🤪
It's pattern recognition bro. If you know the pattern you can play in any key. It's easy.
The only things that are hard is 1.) memorizing the melody (fuck that) 2.) Soloing in the different keys so that your chops don't sound shit. For keyboardists, it's getting the muscle memory so your fingers go to the right keys so that your shit sounds melodic and not free jazz.
i recommend a little ear training so that your fingers go to the note that you hear in your head with fluidity. A little ear training goes a long way.
GOOD STUFF.
Thanks!
modal interchange , a great term to coin , understand and use, seems to be that so much more composition is waiting to happen by using the modal interchange, of substituting chords between the major and minor 251
With respect to "All the Things You Are", I can see the movement of fourths on the guitar. My real challenge is the melody, since it moves between 5 keys; it presents a lot of challenges to know/find where to play it on the fretboard. A presentation of this topic would be helpful.
very nice analysis BUT: What about that C7sus before you head back into the last A section? That transformation of the EMaj7th into what I've always played as an Abaugmented 7th chord is a whole lesson in itself. That said- very clear and concise. Love your style.
Danke!
Thankyou!
The E-7b5 A7 Dmaj7 can even be a simply II V I of D major armonic scale 😊
“All The Things You Are” to me the greatest jazz pop song ever written.
It’s an amazing tune!
II V I and ii V i are related. You can apply the same licks you do over II V I just a minor third lower.
I love the sound of that guitar.
Thanks!
Excellent vid. I think it would be helpful to play the tune in total at the beginning and the end of the explanation. Otherwise it seems just like analysis and not also application (best practices).
Good info covered here - thank you !
My pleasure!
Good lesson.....fyi: I visualize chords easier with "dots on the mini neck" technique, whatever its called, as opposed to just the chord names.
I dont know Alpne Together but Autumn Leaves and All the Things You Are are literally the first two standards I ever learned. I thought you were gonna do Giant Steps or something.
Your guitar is amazing. I really have to ask, what brand and model is it?? And how does it play??
It’s a custom Victor Baker - plays great!
Reading these comments makes me think of the "How many guitarists does it take to screw in a lightbulb?" joke :D
Great lesson! thank you! Tell me about your guitar!! Who makes it?
Glad you found it helpful! That’s a custom Victor Baker guitar
Im surprised none of these have a backdoor 251 which is really a type of modal interchange or borrowed chorrds to the common man. Its more like borrowed iv VII7 if that makes sense. It sound fantastic.
I think Stella By Starlight should have been your third super standard, and was quite surprised you did not include it. Called just as often as the first two at jam sessions, it also has a few special nuances the others don't cover so well in turning "pro".
Great tutorial! Thanks. Do you have these color charts available anywhere? Thanks.
Thank you! It's part of the resource packs for our Inner Circle monthly jazz standard studies.
A question regarding learn jazz standards: do you have chord melody content for solo guitar?
Intermediate here.
I'd like your spin on Corcovado.
Nice lesson. I would suggest that you disclose the composers’ names on your scores.
Like so many tutorials on YT . The jumpy editing makes it harder to follow for the learner. The info is top shelf quality.
Just my 2 cents
Don’t let my user name fool you 😎
Now I know why my brain didn't like jazz music thanks .. I'll give it a go
On Autumn Leaves, I do prefer the French version, which has a lot of music (two pages) before that last page (chorus), which is the American version.
Can you tell us a little about your guitar? Looks and sounds great.
Thank you! It's a custom-made Victor Baker. You can find more information in this video: ua-cam.com/video/ym2XbAVD9Ec/v-deo.html
The amount of dudes flexing their theory knowledge or Berklee degree or “I’m a pro but…” is hilarious 😂 I appreciated the video and it’s making me go back to milk more out of these standards that I didn’t understand when I first approached them. Thanks!
All the things..Stella.. Bb blues..Rhythm changes(oleo)
Definitely Stella by Starlight! 👏👊🏽
Awesome lesson. Question. If Autumn Leaves is in both Major and Minor keys, how do I relate to transposition? Before your lesson, I thought it was all in minor, so I worked out my harmonic progressions according to the minor scale...
Do you have PDFs available for download of your color coded analysis of the keys of these tunes? Thanks for the great lesson!
Hi, thank you for your interest in the PDFs. Sorry, the color-coded analyses are exclusive for the Inner Circle members. However, we have some materials on our website learnjazzstandards.com that are available for free, though they are not color-coded.
This is brilliant and very helpful! I’m new to jazz, but why is it in “All The Things You Are” we don’t see them in a different key as 3-6-2-5-1s rather than 6-2-5-1-4s?
I just worked it out! Sorry - learning slowly! I see it now, because the other chords in the pattern are in the 1 key…
@@danielhaddon5499 That's right. The key is the V chord, or really the V7 chord. It's a dominant 7th chord. It defines the key center. V7 naturally pulls to the I chord. The V-I relation was at the center of classical music for several hundred years, and of jazz for decades. (In a minor key, the 5 chord is changed to make a V7 chord.)
@@richarddoan9172 thank you!! This is super helpful! It’s all slowly making sense!!!
I guess I missed learning these chord shapes.
PS: It's hard to hear your guitar very clearly on a cell phone.
Thanks👍🎶
You said "seventh chords are the default" as in the target major chord, Bb maj. 7, in bar three of Autumn Leaves. But, in bebop and earlier styles that is not the case. A more stable chord is the major six or major six/nine chord.
You forgot to mention on Alone Togrther that Fmaj is the relative major of Dminor.
That's kinda the whole point of the song.
Hi! So good! Backtracks available?🙏
Put a little effort into it. You can find tons of backing tracks for all these songs.
Look below in comments for the song titles. Description doesn’t name the songs, which is kind of sneaky.
That's a really nice guitar
Thank you!
I'm curious on why you call it the "Cycle of 4ths" because it goes UP a fourth to the next chord (when describing the first few lines of All the things you are at around 12:00) when then when you get to the Cmaj7 you emphasize the V7-I relationship. Isn't a Cycle fourths (up) just a a bunch of V7-Is going doing? F is V to Bb7, yes it's not dominiate, but its there... and when you get to Eb7 to Abmaj7 it's there too... but you included that in the cycle of fourths. I'm curious on the switch in concept...
The cycles of 4ths or 5ths refers to the root motion. G - C - F - Bb - Eb, etc. Or G - D - A - E - B, etc. Other intervals are possible, i.e. cycle of minor 3rds. G - Bb - Db - Fb (E) - G.
You can play each as a single chord type (i.e. dominant) or move through a diatonic progression (vi-ii-V-I). You can treat each root in the cycle as a major 1 chord and substitute each of them for their associated ii-V's.
Many possibilities that you just have to explore for yourself on your instrument, and notice how it appears over and over in the music.
I know 1 & 2. #2 is a challenge. It took a month to get it under control.😢
uhhhhhhh...wow, just wow
I didn’t realise that Shia LaBeouf played jazz guitar?
Excellent breakdown of the music theory - I have put this in my “saved” videos list!
Hi! What microphone do you use? Looks like it's a some shotgun mic.
cool
Hi - It was hard to pick up what you are saying early on in the video with music in the background and English is my first language.
Anybody know what software he's using to make those color coded charts?
It might be nice to keep the chords as simple as they are on the sheet when you're talking about basic concepts. I'm fairly sure you keep playing a D7#9 in the minor iiVi, which, especially when talking about major and minor, can be quite confusing to the beginner's ear.
“It’s the falling 5th, which is possibly why they started calling it the cycle of 5ths which has stuck around for a long time, that term, even though it’s really 4ths. BTW, most pragmatic beings look at it and, if they’re unbiased, they go well C’s going to F. That’s a 4th. Why are they calling it a 5th? They say well, C is the 5th of F, but why are they calling it according to where we just were? Why don’t we talk about where we need to go next? That’s how we drive.” ~ Ted Greene
Yo blood, ya gotta include “Body and Soul” - just to name one of the twenty legit standards I could have cited.
One and two are about right, but don’t get me wrong … I play “Alone Together” pretty much
all the time because it’s so moving and deep.
Also, note that EVERY Jazz musician I know LIVES to play “Green Dolphin Street” (they leave out the “On”) and Solar - which Miles famously stole
Not All of Me? This sounds like us going through the fake book. "Whadda you wanna play? Eh, let's start from the left."
All of me is a great song.
No body and soul???