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Is It Better To Learn Jazz Without Music Theory?

MY METHOD: JAZZ CHORDS AND COMPING

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I would never have imagined that I would make this video, but lately, I have seen too many stu-
dents wasting a lot of time and energy on music theory, and I think that is worth talking about.
You should learn jazz using what I call a theory-minimum approach. That will stop you from
wasting a lot of time.

3 Music Theory Mistakes To Avoid (learning Jazz Guitar)

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When I started learning Jazz Standards, I was not concerned with theory, mainly because I didn’t The Most Important Arpeggio For Jazz
know theory well, and I had no resources to learn from except if I had a teacher around. The (It Will SKYROCKET Your Playing)
Irst song I learned was Stella By Starlight, which was a truly horrible choice of Irst song…
The Simple Jazz Chord Trick That Pros
To do that, I traveled into the Danish mountains to isolate myself for months and learn to play a Use But Nobody Teaches
solo on that song that would It the chords, not sound like a complete trainwreck, and make a
bit of sense. Of course, Denmark has no mountains, so I was just sitting in my room playing the THIS Makes Your Solos Sound Like Jazz
song with the backing track of the chords I had recorded on a tape because this was a long time (Better Than Any Scale)
ago,.
The Jazz Skill ALL The Pros Use But No-

It wasn’t until recently that I thought about it, but I couldn’t analyze the song. I couldn’t analyze body Talks About

anything for a long time, but I still learned quite a few songs. I am not saying that I sounded
amazing or even good when I played, but I did learn the songs, and it took years before I had
theory to understand what was going on in those chord progressions. SUBSCRIBE TO MY NEWSLETTER

Don’t get me wrong. This video is not me saying that you should not learn theory, but there is a
right and a wrong way to go about this. If you want to get anywhere, stay practical because you DONATE TO SUPPORT MY LESSONS
can waste much time on theory.

Why Learn Music Theory?

Why do we learn theory? Music theory is not a set of rules; I will return to later. Look at it like
this: The goal is to learn to play music, so the goal for any theory you want to get into should be POLICY, CONTACT AND LINKS
to make learning easier. This already tells you that you want to have a good overview of a bunch
of foundational stuP, and the theory is there for you to recognize how things are similar from Privacy Policy
song to song so that you can use that when learning that song; that is how theory makes it easi- Refund and Returns Policy
er. Website terms and conditions
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Most Jazz and pretty much all Jazz Standards are in a key, so you want to have a good overview Links
of: Guitar Lessons in The Hague

What notes are in the basic scales

What the diatonic triads are

What the diatonic 7th chords are

And start with the major scale to have an overview. Knowing this makes it easier to see how
chords It together and recognize when more complicated things are happening in a song, like
All The Things You Are, which I am showing you here, many chords but mostly in the same key,
and being aware of that is useful.

Another thing that will help you is recognizing secondary dominants and II V’s since they are
very common and something you want to easily recognize from one song to the next, regard-
less of the key.

You can gradually learn these things by exploring diatonic arpeggios and chords in the keys in
songs. The important part here is to connect the theory to the songs and not try to have them
as abstract information or, even worse, rules. They are only worth anything if you recognize
them in your music.

Let’s get to some of the mistakes that cause a lot of confusion.

This is a very common problem when learning Jazz. If music theory aims to explain and describe
the music, reducing the way you think of the music too much can become a problem.

Ask yourself this: What is the most important part of a song? If you think about it, I am sure you
already know. It is the melody. The problem is that we usually improvise not directly from the
melody but on the reduced version: the chord progression, so often thinking in chord symbols
is enough to solo, but a lot is missing from just looking at a page in iReal.

When I discuss this, comments on the video often suggest that we should only improvise from
the melody and not from the chords. However, I think these comments are mostly made by
people who either don’t like Jazz or just don’t want to learn to improvise over chords (or both).
This misses the point a bit because the tradition of playing from the chords has been a part of
Jazz for 80 years now.

But that doesn’t mean you can get into trouble by just thinking about chords and chord scale
theory, and Berklee, in the 1970s, demonstrated that quite clearly, chords don’t exist in a vacu-
um. They are in a song. Let me show you and give you an example of a comment saying that
A7(b9) is the same as Cmaj7 in a song

Chord symbols are just letters, and you look at them and forget what the context of that chord
is.

Take Em7 which can be many things.

Em7 is the II chord in D major:

It is the III chord in C major:

And it can be the VI chord in G major:

The comment I mentioned was trying to use Barry Harris reduction where you don’t think a II V
but instead just think about a V, and he wanted to make that work on this III VI II V progression:
Em7 A7 Dm7 G7, but then adapt it to C major.

But if you only look at chord symbols and use rules without listening to what they are,

then things go completely wrong very fast.

In a song the Em7 sounds like this:

and then that would continue Em7 A7 Dm7 G7

Here I am sure you can hear that Em7 sounds similar to this resolution:

Try to hear the Em7

But I am sure you can hear that it doesn’t at all sound like this:

And, in the end, it is about how it sounds, so you have to be careful just looking, and chord sym-
bols and using rules without making sure that you listen to what you end up with. Just thinking
about theory will waste A LOT of time. Let’s look at a few practical ways you can let the music
come before the theory.

It’s OK if You Don’t Understand Everything

This one can be di`cult to accept if you are interested in theory. I use music theory to describe
the music, and it is only really useful when you already know the music that this theory de-
scribes. But this gets di`cult the Irst time you encounter something you might not have any
examples of in songs. A good example could be that you play a Lydian dominant on a backdoor
dominant

Or on a V of V in major:

For a beginner, instead of spending a lot of time exploring why we do this and having a relative-
ly complicated analysis that will take hours of research and include lots of references that you
would also have to learn, it is easier to listen to it, be aware that it is an option, try to use it, and
move on. The concept becomes much clearer as you come across more examples of that
sound, and you don’t need to understand everything you play.

Let me compare this to when I was learning Stella By Starlight. I could not analyze anything
there and wasn’t even really thinking about the song’s key, in fact I remember realizing that it
was in a key a few years later. I knew I did not know exactly how the diPerent chords worked
and could only use the melody and my ears to guide what extensions were in there. The way I
dealt with that was to focus on just playing more basic lines with chord tones and notes that I
felt sounded good. I did the same with songs like Ladybird and There’s No Greater Love; initially,
you can play the chords without thinking about minor subdominants and tritone substitutions.

The big advantage is that once you start learning theory, it becomes something you recognize in
songs, and you can immediately place it in the music you play; it is not just an abstract concept.

So don’t be afraid to accept a sound and Igure it out later. The next one is related because we
often spend too much time discussing scales.

Most Of The Time Scales Are Not Important

“What scale Its this chord?” This is a very common question; knowing many scales and modes is
considered important in the beginning. In reality, there is no right or wrong scale for any chord
in your solo, you can choose yourself, but of course, there are choices that will be more natural
to the ear and It with the song you are playing.

If you don’t know how to analyze chords and have to improvise over chord progressions with
many diPerent chords, you often end up just looking at the type of chord and not considering
the progression and the song. To return to Stella By Starlight: I could not link Eø A7 to the key of
Bb, so I just had to take scales that I felt worked.

The only thing I had to go on was the b9 in the melody on A7,

and I could only play it as an II V in Dm, mostly because it linked the two chords and sounded
more right to me than other choices for A7.

And I did explore diPerent scales to Igure this out.

There are good and bad things about this approach of looking at isolated chords and choosing
scales. The biggest advantage is that you have a way to play over the chord, and if your lines are
more rooted in the chord tones than the scale notes, that is perfectly Ine for now and a good
place to start. The problem you can run into is that, for example, all m7 chords are usually
played as if they are Dorian, and all maj7 chords are treated as the I chord in a major key. Often,
that is not what Its the song and the key the best, and you spend a lot of time confusing your
ears and training them to hear something forced into the song. But keep in mind that the diPer-
ent scale choices are often only one or two notes diPerent, so playing the song is more impor-
tant.

I am curious what you think about this. In my experience, emphasizing chord tones and being
open-minded about the rest can be very useful.

The Basic Music Theory You Need As A Jazz Beginner

But there are things that you do want to know when it comes to basic theory. The knowledge
that will help you play solos sounds good when you are composing and also gives you a founda-
tion so that you can play songs and learn how to analyze harmony. That is what I talk about in
this video, which gives you a practical overview and shows you how it is all linked to the music,
which may be the most important part of it. Check it out!

The Basic Music Theory You Need As A Jazz Beginner

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a comment here or on the video. That is the best way for me to improve my lessons and make
them It what you are searching for.

This entry was posted in Blog, Lesson and tagged how to play jazz guitar, jazz guitar lesson, jazz music
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theory on November 21, 2024 by jens.

5 Theory Tricks That Will Save You Years Of Practice

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Music Theory can seem very scary for a Jazz beginner, and you will come across people insisting
it is bad for your creativity, but in reality, it is a great help when it comes to learning Jazz, and it
helps speed up the learning process.

Imagine a guitarist who doesn’t know theory. He’s stuck, and can’t turn the licks he learns into
new vocabulary, he doesn’t have a way to learn and organize the notes on the fretboard
and he can’t use the songs he knows to learn more songs easily, Learning Jazz becomes very dif-
Icult like that.

So there are a LOT of advantages to learning just a bit of basic theory. Let me show you how
much you can unlock with very basic stuP!

Thinking in Keys

You can compare thinking in keys to learning about cars.

If you think of words like Battery, air Ilter, and wheels, then the word itself is not saying a lot,
but if you think of them as parts of a car you have a much better idea about what they are and
what they do. Adding context helps you understand!

Looking at a song and thinking in terms of key is the same, it helps you understand what the
chords are and how they sound because they are never just a letter with some numbers. Dm7
is one thing in Bb major and something else in C major, and it will sound diPerent,

just like the battery in your car is probably diPerent from your mobile phone’s, the context
helps you understand.

The Irst time you want to learn a song like a Jazz Standard then you probably want to end up
sounding like this:

But in reality, you are looking at the lead-sheet and it seems like there are 1000s of incompre-
hensible chords and the whole thing is impossible to understand.

The most essential part of getting over this is to stop thinking of each chord as an isolated thing,
and use that the song is in a key, where you know the diatonic chords in the scale because that
is a huge part of knowing the key and also something you can easily practice for both major and
minor scales.

If you look at the song knowing what key it is in, you can immediately recognize the chords that
are in the key and diatonic to the scale (highlight those chords) which already will help you deal
with most of the song.

But you also realize that chord progressions have direction and move to a resolution, and this
helps you understand what is going on and makes it easier to solo over the song.

As you get more experienced it will also help you deal with the chords that are in the key and
have a function but are not in the scale something that becomes unnecessarily confusing and
complicated if you start looking at them as not connected to the key when your ear tells you
that they are.

This was understanding a whole song, but the next trick is just as useful and also leads to a very
helpful Barry Harris concept.

Chunks of Chords

Imagine that you have to read a page in a book, but instead of reading the words and sentences
then you spell each word on the page. I am sure you can imagine how slow that process is, and
how it is also getting in the way of understanding what is written on that page. The same is true
for chords. You don’t want to get stuck trying to learn songs by memorizing long rows of ab-
stract letters and numbers when it is much faster to read the chord progression as chunks in
the same way you read words.

The most basic building blocks you want to start with are the major and minor II V I, and recog-
nizing diPerent types of turnarounds is the next place to go.

You probably want to start by ignoring extensions and just get used to reading chords as the
basic type of chord that they are, so G7(9,13) is just G7, Dm7(11) is just a Dm7 and Cmaj7(9) is
just Cmaj7.

The extensions are not that important in this case, and you will anyway be interpreting the
chord symbols and ignoring them most of the time.

This is about turning the chords from a long row of symbols into a few progressions that

1. Makes it easier to remember and

2. Are building blocks you already know the sound of.

Most standards will end up being just 7-8 progressions once you can think like this and also un-
derstand the form and how it repeats which is quite diPerent from remembering a row of 30+
chord symbols.

And you can use this to make soloing a lot easier as well, which is also what Barry Harris teach-
es.

Not Thinking ALL The Chords

Once you start thinking in groups of chords then you can also open up how you improvise over
them. Simplifying the chords is a great way to not get overwhelmed and to make it easier to im-
provise more melodic solos. Later in the video, I’ll talk about simplifying chords in a diPerent but
equally powerful way, but let’s start with Barry Harris.

The main way that Barry Harris reduces chord progressions is by taking away the II chord in a II
V I.

For a song that means that you would think this which makes it a lot fewer chords and soloing
over it will still make sense.

Another very practical way to re-interpret a common chord progression that you will see with
Barry Harris is to reduce a turnaround to a I and a V chord. The previous concept explains tak-
ing away the II chord and that also makes the dominant in the 2nd half of bar 1 easy to ignore,
since it is anyway on a weak part of the bar.

As an example, check out how this gives you a much easier way to approach rhythm changes
just using V chords and tonic chords instead of 2 chords per bar you get a much simpler pro-
gression that is a lot easier to solo over.

Later in the video, I will show you another way of chunking together chords that is even more
powerful and will help you use chords and vocabulary across a lot of chord progressions. It’s a
bit like a boosted Barry Harris approach.

The Power of Diatonic 3rds

The most e`cient thing you can do is probably to practice something once and then be able to
use it in a LOT of places, and diatonic 3rd relationships help you do exactly that! It really is one
of the most powerful things to work with both for chords and for soloing!

I am sure you have heard me talk about how chords a constructed by stacking 3rds in a scale,
Irst creating diatonic 3rds, then the triads and Inally the diatonic 7th chords.

If we start with a C major scale and a Cmaj7 chord then you have these notes:

But for comping, you can also use the chord that is a diatonic 3rd above C: Em7 which essential-
ly gives you a Cmaj7(9)

Another option is the chord that is a diatonic 3rd below: Am7 which gives you a C6,

so if the song says Cmaj7 then you have 3 times as many voicings to choose from.

Check out how it sounds, and a bonus chromatic trick with this II V I in C:

but also like this:

And, the next one goes to the Em7 but then moves voices to transition to the Am7!

This doesn’t work for every chord in every chord progression, but it is well worth exploring, and
if you are practicing diatonic arpeggios (which you should be doing, since it is the most impor-
tant scale exercise in Jazz)

then it is also useful for solos because just like the voicings you have 3 arpeggios you can use
over a Cmaj7.

Cmaj7:

Em7:

And Am7:

As you can hear it is incredibly powerful, and it is all over famous Bebop solos from people like
Parker, George Benson, and Joe Pass.

You should check out how they work with this if you get the chance.

Functions: Putting Chords On A Shopping List

A lot of these concepts are about how you look at chords and harmony as part of a car, or as
words in a text. As you can tell, diPerent ways of thinking makes soloing or comping easier, and
this last one is in many ways the most powerful one.

You want to understand and hear chords in categories, similar to how you might order a shop-
ping list. If you go shopping then you make a list with the items you need grouped in categories
by what is close to each other, and maybe even the order of where it is in the store: Vegetables,
Bread, Dairy, meat etc.

Categorizing chords like this by how they sound and how they behave in the song can be a mas-
sive time saver! There is a good chance that you already do this a bit with diminished chords
recognizing that in

Cmaj7 C#dim Dm7 you can also consider that the same chord progression as Cmaj7 A7 Dm7,
and therefore you can solo using the same vocabulary.

But this goes a lot further and is something you can use to make it easier to solo over and play
similar chord progressions. You want to start grouping in functions which is grouping them as
chords that sound similar and work in the same way.
Let me show you an example with subdominant and tonic chords:

Here you have Subdominant, Minor subdominant resolving to tonic

And that is also what you have here:

Here Dm7 and Fmaj7 are interchangeable and both work as subdominant,

and even if Bb7 and Dbmaj7 don’t contain exactly the same notes they sound very similar in the
context and are both minor subdominant chords. You can even easily create vocabulary that
works on both progressions:

To me, the biggest advantage is that the chords sound similar and it helps me hear what is go-
ing on and what to play over the progressions, especially going from song to song, and the im-
portant part is probably more about how the notes move through the progression, but is is also
a very good way to group your vocabulary together because you don’t need very diPerent vo-
cabulary for Dm7 and Fmaj7 in C major and while you may need to adjust what you play over
Bb7 and Dbmaj7 a bit then it will be very similar and other options like Bb7, Dø and Fm6 are
completely interchangeable and you can use exactly the same lines.

The main categories you want to think of are tonic, subdominant and dominant. And then there
are common subcategories like minor subdominants and #IV subdominants.

I am showing this with chords in these groups, but keep in mind that chords have diPerent
functions depending on what is happening around them, I’ll show you an example in a bit, so be
careful with just thinking from an overview like this.

Functions go a bit further than Barry’s shortcut, and tie into understanding chords in the con-
text they are in. In a II V I like Dm7 G7 Cmaj7 then the II chord often makes sense as a part of
the dominant that is resolving to I, but if it is II bVII I, so Dm7 Bb7 Cmaj7 then it is a subdomi-
nant moving to the tonic using a minor subdominant as a sort of transition. Chords are a part of
something they are not just deIned by what notes are in there.

So start Iguring out when a chord is a subdominant and Igure out what minor subdominants
are in the key like Abmaj7, Fm6, Bb7 and Dbmaj7 are in C major and also how they sound. You
probably also want to explore some #IV subdominant chords, there are a lot of dim chords in
there. t is a way to think about the chords that connect a lot better with the music and your
ears, it really Its how it sounds a lot better.

How To Level Up Your Comping

Of course when you are working on chords then you also need to be able to get them to sound
good when you comp, and there are some great exercises that will help you do that which you
can check out in this video so that you can level up your chord playing and comping. Check it
out! Learn Jazz Make Music

3 Basic Jazz Chord Exercises That Will Change Your Playing in 2024

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Get the PDF and GuitarPro on Patreon:

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a comment here or on the video. That is the best way for me to improve my lessons and make
them It what you are searching for.

This entry was posted in Blog, Lesson and tagged how to play jazz guitar, jazz guitar lesson, jazz music
theory guitar, jazz scales guitar, jazz theory, jazz theory guitar, Jens Larsen, learn music theory, music
theory, music theory 101, music theory chords, music theory guitar, music theory jazz, music theory
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theory on April 4, 2024 by jens.

3 Music Theory Exercises That Actually Help You Play Better

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The worst thing that you can have when it comes to music theory is that you have your music
theory knowledge over here and then you have the music that you play over here, and the two
are not really connected.

Music theory is there to describe what you hear, and what you play:

It is NOT:

1. A set of rules for what notes are allowed in your solo

2. A formula for melodies or chord progressions
3. Something you think about when you are playing

But as you will see in this video, then it is incredibly powerful to have some very basic theory
that you know really well and that Its with the music and the songs that you play. With that ap-
proach, then learning music theory is easier and it is much more useful, even though you don’t
think about it when you solo.

The Most Important Theory Knowledge

Maybe the biggest question about this is not the knowledge itself, but how you want to think
about it or visualize it. You’ll see what I mean along the way.

When you are improvising then you are playing over chords that are in a scale, so you want to
have a solid overview of that information and see how the notes of the chord connect with the
scale.

For that to be easy, then you want to be used to thinking about scales and diatonic chords
knowing what goes where and contains which notes.

As an exercise, It can actually make a lot of sense to also work on this away from the instrument
and treat it a bit more as a puzzle, but, of course, you eventually also want to have it down on
the instrument if it is going to be useful for you.

It really pays oP to just try to go over how to construct chords in a scale and be aware of what
types of chords are wherein the scale that you use.

Here I am writing it out as letters, but it works equally well using music notation, which is how I
probably learned in theory classes.

While I know how to play these things and how they sound, then I am not sure I really think this
on the guitar as tabs or diagrams, but that may be diPerent for you, and I am a bit curious
about that so let me know in the comments.

In Music, there are no wrong notes, but some are closer to home than others, and often it is
more useful to understand things by knowing how they work in the context.

Pineapple is great, but should it be on a pizza?

For soloing, you can think of it as layers of notes almost like a pyramid:

, and here it also makes sense to see it as highlights on a diagram of the neck:

And working on this is about getting that overview that will open up how you understand things
you transcribe or even what you are playing.

Spending time writing out the scale, constructing the chords, and learning the diatonic harmony
is very useful. Start with major scales but move on to harmonic and melodic minor as well, since
you will need these scales when you are playing Jazz. But if you want to connect more informa-
tion than just knowing the chords and the scale, let’s take a look at that.

Triads That Go Together And More

When you solo over a chord then you have the arpeggio of the chord and you have the scale
that sort of sits around that arpeggio, but there are actually more ways you should be looking at
notes that work over the chord and explore other melodies that you can use than just the scale
and the arpeggio.

If you start with a very simple observation then you have the four notes of the chord, if we take
Cmaj7: C E G B, but you can also view that chord as two triads: C E G and E G B. So for a Cmaj7
chord then the C major triad works and so does the Em triad.

If you take that a bit further then you can look at a Cmaj7(9)

Again this is probably easier to work with writing it out in some form, and you want to keep
track of what the notes are against the root of the chord which in the end is actually a descrip-
tion of how it sounds when you use it.

The goal of exploring this is to get used to taking a group of notes and be able to see what they
are against a chord, so that you have more options for your solos, and you want to also explore
how to use this in solos.

When you improvise and make melodies then you don’t think in single notes, you group them
together and hear melodies that are described in diPerent ways, similar to how you hear the
theme of “in the mood” as a 1st inversion triad.

So as you develop your vocabulary then you add more options in terms of triads, arpeggios,
and other groups of notes that It over a chord.

And the better you get at this the deeper you can dig into it and add quartal arpeggios and su-
perimposed pentatonics to your lines and get them to work in your solos.

Connect It To The Music

Until now the way that you work on using music theory was based on you practicing exercises
like diatonic triads and arpeggios and then Iguring out how to use those, but you also want to
explore the music you are trying to learn from, both solos and the songs themselves.

Let’s start with the songs:

A simple exercise is to look at what notes are in the melody relative to the chord. This is useful
for developing your chord melody skills because it makes it easier to put chords under the
melody.

And if you start analyzing Jazz standards you will see that they often have the same notes in the
melody over speciIc chords, for example, #IV diminished chords or reharmonizations of them
will have the 7th of the scale in the melody.

As you can see in “I Remember You”, “Someday My Prince Will Come”, “All The Things You Are”.
Which also makes it easier to hear and recognize changes by ear.

Solos and Vocabulary

Of course, analyzing solos that you have transcribed is also incredibly useful, that is where you
start to take apart vocabulary and improve your own lines. The place where you start to unlock
how the melodies work and turn that into a texible part of your playing.

This is an incredibly powerful tool. Let’s take this simple Pat Martino Lick use that to easily cre-
ate 3 more licks on other chords.

The Pat Martino line from Lazy bird sounds like this:

Essentially this is a melody using a Cmaj7 arpeggio and a chromatic run.

Now that you know what is being played then you can see that it also Its over a Cmaj7 chord
for example the beginning of Yardbird Suite:

But you can go a lot further, because If this works on Cmaj7 and is using a Cmaj7 arpeggio, then
you can also try and move the arpeggio up to the 3rd of the chord and use the same construc-
tion:

CDEFGABCD→CDEFGABCD

You just need to apply a little Barry Harris magic to the chromatic part of the lick, and then you
get this:

Another way to get more out of the lick is to move it to another chord. The original is using the
arpeggio from the 3rd of Am7, so you can do the same with a G7 where the arpeggio from the
3rd is a Bø and that gives you this:

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theory, music theory 101, music theory chords, music theory guitar, music theory jazz, music theory
lessons, music theory scales, understanding music theory on May 18, 2022 by jens.

The 5 Types of Dominant Chord You Want To Know

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There is ONE mistake that you don’t want to make when it comes to improvising over chords
because that will hold you back when it comes to understanding and hearing chord progres-
sions that you want to play. And this is especially true for dominant chords.

It sort of goes back to the Joke or anecdote about Mozart driving his father crazy by playing
something like

When I play this then you can hear probably hear what the root is, because the last chord wants
to resolve to the root. You can also hear that the last chord wants to resolve, and I did not re-
solve it. That is also the joke, Mozart would play this and not resolve it to infuriate his father.

Music Is More Than A Row Of Letters

But, what this tells you is that in a lot of music, chords are not isolated things. A piece of music
rarely sounds like unrelated harmony next to each other, you immediately start to connect the
chords and hear some chords as tension and others as a resolution.

I am going to make a statement that sounds sort of ridiculous in a bit!

If you want to solo over a chord progression then you want to understand not only what chord
is there, but also how it relates to the song and the surrounding chords because that will make
it a lot easier to improvise over it and it will help you hear the harmony that you are soloing
over.

If you just zoom in on each chord then that is like reading a sentence but only spelling each
word. If you spell this sentence you may miss an important part of what is being said:

Your Lunch Will Kill You

Another thing that is true both for music and for language is that you can say the same thing
with other words:

That Sandwich Is Poison

Hearing Chord Progressions

With experience, you start to hear the progression, similar to how you can probably imagine
how a 12-bar blues sounds and play that in your head like an audio track.

So what you REALLY want to avoid is that you just look at the chord symbol and ignore every-
thing else. To compare this to language. If you are reading the words of a sentence but only fo-
cus on how each word is spelled then you ignore what is actually being said in the sentence,
and if you think about it, then the important thing about the sentence is probably the meaning
and it could be said using other words as well. This is also true for, at least, most music: A Chord
is a part of a context and you want to understand what that context is.
And here is where I get to make this crazy statement:

“Not all dominant chords are dominant”

But throughout this video, you will see how this is maybe not that crazy.

#1 Most of the time Dominant chords are Dominants

The strongest connection or resolution in harmony is a dominant resolving to a tonic, so V – I.

By resolving then I mean that the chord on the 5th note of the scale resolves to the root chord.

This is also what I used in the intro, but there I didn’t let it resolve.

You have two main variations, the V chord is either in a major or in a minor key, where a major
dominant will have a 13th, and a 9th and resolves to a maj7

The minor version is usually the dominant coming from the harmonic minor scale with a b9 and
b13 (PLAY). But there are a lot of other options as well.

Let’s go over another very common dominant before getting to the dominant chord that is actu-
ally subdominant.

#2 And These are Dominants As Well

The next type of dominant chords are the ones that you come across that resolve but just not
to the tonic chord, the secondary dominants and if you analyze harmony then you write a V in
brackets.

I [V] II V

Cmaj7 A7 Dm7 G7

Some of the common ones would be the ones that take us to II, like this A7: Cmaj7 A7 Dm7 G7

The V of V: D7 Dm7 G7

Or if you have a song that moves to the IV: Cmaj7 C7 Fmaj7.

These follow the same guidelines as the regular dominants so the extensions depend on
whether the target chord is major or minor, so a if the target chord is major it will have a 9th
and a 13th and if it is resolving to a minor chord then it will have a b9 and a b13.

Let’s have a look at some less obvious options.

#3 This Dominant is Subdominant

In this example, you hear a C7 resolving to Fmaj7 which is just a secondary dominant, but the
Bb7 resolving to Cmaj7 is not like that. But it does sound like it resolves.

In this case, the Bb7 is a subdominant chord. In fact, it is just an Fm6 with another bass note.

You can hear how this progression moves in the same way:

So the Bb7, which is often referred to as the backdoor dominant resolves like an Fm6 to Cmaj7
so it is a subdominant chord.

In terms of improvising then mostly you would play it as a Lydian dominant, which here means
using F melodic minor, again a connection with IVm in the key.

#4 The Disguised Dominant

When you have a dominant chord that resolves by moving down a half step then this is referred
to as a tritone substitution. In fact, this is the dominant of the key in disguise, I’ll show you that
in a bit.

When you analyze this dominant you write add sub in front of the dominant

II subV I which means that it is the tritone substitute of the dominant.

In the progression above you would expect a G7: Dm7 G7 Cmaj7, and the reason why a tritone
substitute works is that if you look at G7 next to a Db7 then you can see that they share the
core part of the chord: 3rd and 7th. And a Db7 can be seen as a G7 with a lot of alterations with
a Db in the bass.

You can come across tritone substitutions for secondary dominants as well. Below is an exam-
ple of how is a substitute for the A7 in a C major turnaround.

#5 You Never See This But Is Good To Know

The last dominant chord is also in fact subdominant since it is derived from a subdominant di-
minished chord.

The most famous example of this chord is probably in Out Of Nowhere, where you have this
progression:

You also Ind this in the original Star Trek Theme.

In this case, the Eb7 is in fact an inversion of another chord, namely a #IV double diminished.

Constructing the Double Diminished Chord

In the key of G major, the #IV is C#

The #IV diminished would be C# E G Bb

So the #IV double diminished is C# Eb G Bb which is then played with the Eb in the bass.

The Other Name

There is another way of describing it where you focus on it being minor subdominant and then
end up calling it a German augmented 6th chord.

I call it #IV because I think that describes the sound better and links it to other chords in the key
in a useful way.

Besides Out Of Nowhere you see this chord in Angel Eyes and My Foolish Heart, but it is not ter-
ribly common.

Soloing over the chord

In Jazz, you mostly play it as a Lydian dominant chord, but often it is also turned into a II V which
is also very common in Out Of Nowhere giving you Gmaj7 Gmaj7 Bbm7 Eb7.

How Well Do You Know Your Diminished Chords

It may be useful for you to dive into the diPerent types of diminished chords if you want to un-
derstand Jazz harmony better. Often people try to reduce diminished chords to dominants, but
often that doesn’t really work that well and help you describe how it sounds. This video will
show you how to understand them.

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This entry was posted in Blog, Lesson and tagged backdoor dominant chord, dominant chord exten-
sions, dominant chords, dominant chords explained, dominant chords guitar, dominant chords piano,
functional harmony chords, functional harmony guitar, functional harmony jazz, guitar music theory,
how to identify secondary dominant chords, how to learn jazz guitar, jazz theory, jazz theory guitar,
Jens Larsen, music theory jazz, secondary dominant, secondary dominant chords guitar, seventh
chords, tritone substitution on November 24, 2021 by jens.

The Most Important Music Theory And How It Helps You Play
Better

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If you know some Simple and Basic Music Theory but you know it well, then you can use that to
understand most harmony and Ind a lot of great sounds for your solos. I think you will be sur-
prised just how far you can go and how much you can do with a few really basic things, but you
do need to work on the right things.

What is Music Theory

First I want to look at what Music Theory is and how you can use it, because I think, that is often
misunderstood, which makes it more di`cult than it has to be, and you might not realize that
you already know a lot. Music theory is just like playing music: If you really know the fundamen-
tal things, the rest becomes a lot easier.

Remember that you can use the chapters in the video to go back to something or skip ahead if
you already know it.

One of the most important things to realize is that you use Music Theory to describe and under-
stand music. It really is about putting describing what you hear. Sometimes people want to
make it a set of rules that tell you what you are allowed to play, but that is not really how it
works.

Rules might seem useful as a way of learning, but as you will see, being able to describe and un-
derstand what is going on is a lot more useful, and in the end, there are no rules anyway.

Let me quickly show you how describing music is incredibly useful an example from a Blues
classic.

How Music Theory Is Useful

let’s take this example of an Eric Clapton phrase from the song Hideaway.

Example First Phrase

Level 1 – Clueless

If you don’t know anything about music theory, then he is playing magic notes that sound amaz-
ing.

Level 2 – Scale and Chord Progression

If you know a little bit more then you know that the song is a Blues in E, and he is playing the E
major pentatonic scale.

Level 3 – Understanding the phrase

if you want to learn to play it then it is useful to realize that he is starting on the 5th and then
the next part is him running up the scale ending with bending the 2nd up to the 3rd.

Conclusion

So level by level you go from “Magic notes that sound amazing” to “a scale run with a bend in
the pentatonic scale”, and it is obviously easier to learn how to play it if you know that it is this
scale with a bend on this note instead of memorizing a lot of magic notes.

And all you do is recognizing and describing what is going on. That is how Music Theory is use-
ful.

#1 The Major Scale and The Notes In It

The Irst and most basic thing you want to know is something that most of you probably already
know. The major scale, how it is constructed, and the notes in it. Really knowing this means that
it is a lot easier to Igure out most other things you’ll come across so this is incredibly important.

If you construct a major scale then you start with a root note and move up in intervals of whole
and half-steps.

The formula is 1 1 1/2 1 1 1 1/2

For a C major scale:

CDEFGABC

You want to know the notes in there, if you have to use a formula to Igure out the notes then
you don’t really know this. That is too slow for you to use it when you are playing.

You also want to know this in all keys, especially the ones you play in., in fact, those are the
ones you want to start with.

Besides knowing the note names then it is very important that you know the degrees of the
scale, you will see why in the next section of the video.

1234567

How Well Do You Need To Know Scales?

Having a solid overview of the scale notes will make it a lot easier to analyze chords or solo
phrases which also helps you Igure out what is happening in a solo you transcribed and how
you can start using the same things in your playing. If you have to calculate what notes are in
the scale that quickly becomes almost impossible. If you know them really well then it is like a
language you speak. Something you can use and get from information from.

In the long run, you want to know all the scales by heart so that you don’t have to think about
what notes are in there, simply because this can be the foundation that you build everything
else on, as you will see in the rest of this video.

#2 How To Construct Chords

When you improvise in Jazz then usually you are using chord symbols as a guideline to shape
the improvisation. So you need to be able to translate the chord progression to something you
can use in a solo, and knowing what notes are in the chords is a really good place to start.

There are two ways you can approach this, you can take a root and then construct the chord
from that, just using intervals, but often I Ind it is better to start immediately by learning the
chords you Ind in a scale since those are the chords you will also come across in chord progres-
sions, and they are connected in a lot of useful ways that you can also use in solos.

From Scale To Harmony

Constructing chords in a scale is pretty simple. A chord is a stack of 3rds and you have two main
types of 3rds: major which is 4 half steps (Play) or minor which is 3 half steps(play)

If you construct a triad from C in the C major scale then you start with the scale

the scale: C D E F G A B C

and from C you move up a 3rd to E, and from E up a 3rd to G. – C to E is a major 3rd so it is a
major chord. E to G is a minor 3rd. C E G is a C major triad where C is the root, E is the major 3rd
and G is the 5th.

If you create a triad from the next note in the scale D then you get D F A which is a minor 3rd
followed by a major 3rd from F to A. This is a Dm triad with D F A is root, minor 3rd and 5th.

All the triads are major or minor except the one on the 7th note in the scale, in this case that is
B D F, here you have a minor 3rd from B to D and another minor 3rd form D to F. The interval
from B to F is called a diminsihed 5th and diPerent from the one from C to G which is called a
perfect 5th, and this type of triad is called a diminished triad: Bdim

In this way you can construct the diatonic triads of a major scale:

C Dm Em F G Am Bdim

Remember that this order of Major, minor, minor, major, major, minor dim, is the same in all
major keys,

so if you have Eb major:

Scale: Eb F G Ab Bb C D Eb

then the triads will be

Eb Fm Gm Ab Bb Cm Ddim Eb

This is something you want to automatically know that for the keys you play in, if not just all
keys, but keep in mind that this is really just a diPerent way of seeing something that you al-
ready know because you know the scale.

Triads are a great resource for solos or for comping, so this is more than just theory, a line us-
ing Em and G major triads over a Cmaj7 sounds like this:

and later I will show you how to Ind those triads for a chord, but Irst, you need some 7th
chords which is, sort of, the basic chord type in Jazz.

Diatonic 7th Chords

You already know the triads and all you need to do to get the 7th chords is to add a 7th.

For the major scale you only have two types: maj7 and b7: For C major: C E G, if you add the 7th:
C D E F G A B , you get C E G B. The interval from C to B is a maj7th, written as Cmaj7.

Notice that the 7th is just one step down in the scale, a maj7th is a half-step down, and a b7 is a
whole step down.

An example of the b7 is found on the next chord, Dm: here you get D F A and add the C to get a
Dm7 chord.

The 7th chords in C major will give you:

C Dm Em F G Am Bdim

Cmaj7 Dm7 Em7 Fmaj7 G7 Am7 Bø

So you get a maj7 on C, a b7 on D, and also on E giving us Em7, on F the 7th is E giving us Fmaj7.
The 7th on G7 is an F giving us a major chord with a b7 called a dominant chord. A to G is a b7
giving us an Am7. The B dim also has a b7 from B to A so that is a Bm7(b5) also sometimes re-
ferred to as B half-diminished.

Now you have the chords in a scale and you can Ind them in any key, but again this is stuP you
really just want to know. Try practicing the diatonic chords in all keys and also move simple pro-
gressions around like a II V I or a I VI II V

When you improvise in Jazz then you usually take the chord and Ind material that Its on that
chord. Let’s look at a great way to Ind a lot of material in the form of triads and 7th chords for
any chord.

#3 Finding More Arpeggios (Crazy simple)

This concept is really simple and is something you can mess around with by just writing out a
scale in a diPerent way!

The basic idea is that if you are improvising over a chord then you can use the scale and the
arpeggio of the chord, but you need to have more options than just the scale and the arpeggio,
and if you check out solos from great Jazz players then you notice them using a lot of other
things as well.

These arpeggios and triads they use are not coming out of thin air, it isn’t magic (It is NEVER
magic when it comes to note choice), and you can easily use the music theory I covered in this
video to Ind a lot of options.

Let’s Irst look at the scale in a diPerent way:

Usually, you write the scale out in steps, so C major is C D E F G A B C but now you want to Ind
triads and arpeggios, and they are built in 3rds so it is practical to write the scale as stacked
3rds like this:

CEGBDFACEGBD

I wrote out a few octaves because that is easier.

Let’s say you have to improvise over a G7. You just need to Ind triads and chords that have a lot
of common notes with G7. Because G7 is what the rest of the band is playing, and if you play
those notes that sound good.
So now, instead of G7 and the scale you have

G7,Bø and Em7 + Em, G, Bdim and Dm triads

Each of these arpeggios are triads are really just a very texible melody that you can work with
and you can combine them as well to get an incredible amount of possibilities in your solo.

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a comment on the video or send me an e-mail. That is the best way for me to improve my
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This entry was posted in Blog, Lesson and tagged how to play jazz guitar, jazz guitar lesson, jazz music
theory guitar, jazz scales guitar, jazz theory, jazz theory guitar, Jens Larsen, learn music theory, music
theory, music theory 101, music theory chords, music theory guitar, music theory jazz, music theory
lessons, music theory scales, understanding music theory on October 4, 2021 by jens.

Music Theory – The 3 things you want to Know

A thing that is never mentioned when it comes to Music Theory is that there is a basic knowl-
edge you want to obtain and then the rest gets easier. There are things that you need to know
and work on that will make the rest very simple when combining Music Theory, Jazz Guitar and
Practice.

In this video I am going to talk about three things you can learn or train for your music theory
that will help you build a foundation to have an easier time understanding chord progressions,
extensions and voice-leading. I am also going to relate this to what you need if you are impro-
vising over chords, since that is what I am using the theory for.

Instead of looking at voice-leading upper-structure triad pairs in Utopian b7 minor then you can
easily build the basic knowledge to make all the other stuP easy to understand.

Table of Contents

0:05 Intro

0:45 #1 – Learn Your Scales

1:09 Why we use scales in improvisation

2:11 Learning the Scales – What to learn

2:58 How To Practice

3:31 #2 – Diatonic Chords and Harmony

4:04 Building Chords in a Major Scale

4:52 Diatonic chords makes it easier to Learn Songs

5:33 What You Want to Learn

6:10 Practice Tips

6:22 How To Play Changes (in 30 seconds)

7:10 #3 Relating Notes To The Root

7:42 Adding Extensions to an Ebmaj7

8:36 Why You Want to know the Extensions in the Scale

9:06 Extensions for another Chord – How it Sounds

9:56 Putting the 3 Things together in one overview

10:30 Like the Video? Check out my Patreon Page

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on Page here: https://www.patreon.com/jenslarsen

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a comment on the video or send me an e-mail. That is the best way for me to improve my
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This entry was posted in Blog, News and tagged guitar, jazz guitar, jazz guitar theory, jazz harmony, jazz
theory, jazz theory guitar, Jens Larsen, music theory, music theory 101, music theory basics, music the-
ory chord progression, music theory chords, music theory chords and scales, music theory guitar, mu-
sic theory harmony, music theory jazz, music theory jazz chords, music theory jazz guitar, music theory
lessons on August 20, 2018 by jens.

3 Music Theory Mistakes You Want To Avoid (Jazz Rant)

Besides my rant on how people get things wrong with Music Theory this video is also on some
of the things that you are missing if you don’t use music theory right or forget to check out im-
portant parts. When you study Jazz or Jazz Guitar then music theory is a part of what you need
and what you want to learn, but you want to go about it the right way.

Most of the things I talk about in here are mistakes or problems that you run into if your ap-
proach to music theory is very superIcial. Hopefully I also manage to give some pointers to a
better approach to learn and use music theory so that it is actually useful for you.

Do you make these mistakes? Do you know other things that mistakes that are common?

This entry was posted in Blog, News and tagged guitar, jazz guitar, jazz guitar theory, jazz harmony, jazz
theory, jazz theory guitar, Jens Larsen, music theory, music theory 101, music theory chord progres-
sion, music theory chords, music theory chords and scales, music theory guitar, music theory jazz, mu-
sic theory jazz chords, music theory jazz guitar on May 14, 2018 by jens.

Jazz Scales! The 3 You Need to practice and How You apply
them to Jazz Chords

Jazz Scales can seem like a million options that you all need to learn in all positions and all
chords, but there is a way to approach this that is a little easier than trying to learn all jazz
scales in all modes. After all the Dorian mode is not as important as the Major or Minor key.

Learn from the Songs You Play

In this video I am going to take a practical look at the chord progressions you will encounter and
what scales over what chords you are going to need. I am also going to discuss how you apply
the scales to the chords and practice in a more general way towards being able to use a scale
over any of it’s diatonic chords.

PDF overview of the progressions and analysis

If you want to download an overview of the material I cover then scroll down and sign up to my
newsletter to get a PDF of that.

More videos on Similar Harmony

The 10 Types Of Di`cult Chords In A Jazz Standard

Secret to play over Diminished Chords

List of content:

0:00 Intro — a myriad of Jazz Scales

0:20 Practice e`ciently

0:50 Finding the scales by looking at the progressions

0:59 The Major II V I Cadence: Dm7 G7 Cmaj7

1:15 The II V I and the other diatonic chords

1:44 The Major scale it’s all you need from So What to Giant Steps.

1:57 The Minor II V I Cadence: Bø E7(b9) Am6

2:09 Adding Harmonic minor and Melodic minor

2:34 Secondary dominants and cadences

2:51 Secondary cadence to IV in C major

3:07 Secondary cadence to III in C major

3:27 IV minor variations

4:26 Diminished Chords the two types

4:40 Dominant diminished chord

5:04 Subdominant diminished chord

5:44 What is covered so far

6:06 The tritone substitute: Dm7 Db7 Cmaj7

6:23 The Backdoor dominant: Fmaj7 Bb7 Cmaj7

6:48 Double diminished or German Augmented 6th: Fmaj7 Ab7 Cmaj7

7:23 Cadences with other dominant choices: Altered and Harmonic minor

8:11 The three scales and where we need them — cutting away what we don’t need.

8:55 Getting this into your practice routine!

9:12 Scale practice suggestions and knowing the scales

9:40 Example of what works and what doesn’t work when improvising over an Fmaj7 in C major

10:59 The Bonus from practicing like this!

11:20 Learning the rest of the scales

11:58 Do you work with this system or do you have a better one?

12:36 Like the video? Check out my Patreon Page!

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Get the PDF!

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If you have any questions, comments or suggestions for topics then please let me know. Leave
a comment on the video or send me an e-mail. That is the best way for me to improve my
lessons and make them It what you are searching for.

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