One of the very best educational videos on this topic out there for beginners. Bloody brilliant. You explained. You contextualised. You showed where the boundaries are and demonstrated each principal perfectly. Thank you so much. I'm at my piano now replaying this video to follow along.
@JoelIsaacMillsКүн бұрын
The jazz locks doesn't seem to send to my email address, is there so. Thing wrong with your website?
@davidhernandez-uw1gjКүн бұрын
Great tutorial
@11kwright2 күн бұрын
Quite an amasing teacher, how he's able to simply the concepts across for the very beginner to be able to understand. Many other jazz pianist on KZbin are brilliant players but simply just don't make the grade for teaching and yet they want you to join their course and waste your time. This man can play and can also teach. I'm blown away how I can take this away and implement it. I've learnt so much already and just can't thank him enough.
@7o7432 күн бұрын
Can i know this song name, it really get me in the mood
@orinnytv72262 күн бұрын
This is concisely nice❤
@hippie.needles3 күн бұрын
Loved this video so much❤ feeling very inspired! I tried to download the sheet music to the 29 licks but it seems like it’s not working. Let me know if the sheet is still available :) thank you for these resources!
@romankai61574 күн бұрын
17:04 FEIN! FEIN!
@yannickvez9835 күн бұрын
If i choose the C mayor scale as my key. When thinking of the minor scale wouldnt it be less confusing for the brain to think of C minor rather than A minor?
@modalmixture5 күн бұрын
This is so common in so many genres that I’ve never really thought of it as a modern pop innovation, it’s just a major key with a temporary tonicization of the relative minor (or vice versa). In a classical piece or a jazz standard this might happen with a bit more preparation, like a ii-V, where some non-diatonic chord gives you a clear cue that you’re modulating. In these pop examples it’s not even prepared, so it all feels very diatonic and continuous. But from a songwriting perspective I do like thinking about each key as having two worlds in one. It’s an interesting thought that the other modes don’t really offer this kind of contrast, which makes them feel kind of same-y.
@marcusvaldes5 күн бұрын
Why Cm and not C?
@TridentTrist5 күн бұрын
2:40 that scared me (Gd player)
@DeyRadiance6 күн бұрын
Quick question you said if you play F# it wouldn’t work over a major 7 but you played it for the Lydian, a bit confused there..
@DeyRadiance6 күн бұрын
Stellar video. Thank you and subscribed!
@rosamundplace45846 күн бұрын
Many thanks for this - I had worked out some of this but have been mystified for years about the 'top-up' chords - beautifully explained, very clear, thank you
@davidhernandez-uw1gj6 күн бұрын
Excited piano Jazz tutorial ❤
@txdrummerboy986 күн бұрын
Except this isn’t NEW? It’s common and been done in pop music for many decades … you even chose a 40 year old song as an example.
@sned_music6 күн бұрын
Was about to come and say the same thing... To me this is all just part of exploring the harmonic landscape? Jazz musician here. Relative major and minor are essentially the same thing, two perspectives of the same landscape. With each chord/mode/function being a unique vista to spend some time visiting. Well put together video! But I'm not sure what is new here?
@jazztutorial4 күн бұрын
It's not super new, but if you take the entire evolution of music (renaissance, baroque, classical, romantic, 20th century and all its styles, to now) which spans hundreds of years - then this is the latest and newest style of harmony that's become popular and mainstream. And yes, it has been in use for the last 50 or so years. Pretty much since the Beatles till now, this has been in action. But music schools still teach major and minor the way classical music used major and minor (classical music was completely different - a major piece stayed sounding major, a minor piece stayed sounding minor - and you didn't get this frequent 'swaying' throughout). The classical music approach to major and minor scales is generally not used these days - it's only found in nursery rhymes, christmas songs, and generally older classical sounding music. But as for modern popular / mainstream music - this is how it uses major and minor, and it has been doing so for the last 50 years. I can't forsee many changes in popular music's harmony going forward. The changes and evolution in music now are mostly in areas like instrumentation and technology.
@lawrencetaylor41016 күн бұрын
Why are you introducing terms such as switching and swaying instead of teaching musicians basic music theory; modulation?
@jazztutorial4 күн бұрын
This is not a modulation. C major and A minor are the same key. They're called 'relative major and minor scales'. Each of the 12 keys represents both a major and minor scale. E.g. F major = D minor. G major = E minor. Bb major = G minor. And so on. The 'relative minor scale' is always a minor 3rd below the major scale. A change of key ('modulation') means to change a note in the scale - like changing F to F#. That's a change of key, and is correctly called a 'modulation'. But music that sounds like it's in C major, going to sounding like A minor (A natural minor) - is not a modulation or change in key. Now going from C major scale to A harmonic minor would be different, because A harmonic minor changes a note (it has G#). You could call that a modulation. What I'm talking about here is not modulation. It's two different sounds, created within the same 7 notes and 7 chords of the key. Listen to the song 'I Want To Know What Love Is' by Foreigner - this is an excellent example of this sound. Does this make sense?
@Mtaalas6 күн бұрын
Because people forgot how to modulate and how to borrow chords... They just stuck with "hey, i don't need to know all that complicated stuff when I can just use the fifth to pivot between two moods" And we're done. It's simplest form of "modulation" when you modulate to relative minor or major.
@ReflejosdeManu6 күн бұрын
Interesting comparison at the end between the major and minor with more exotic scales Just curious how do you define a switch to the relative minor? I mean if I am in Cmaj and I use the ii, iii and vi grades, those are minor, but always that I resolve back to my Cmaj, I guess I can say I have been in C major all the time no? I would love to know what exactly defines the change
@johnschmid8656 күн бұрын
The bass note
@jazztutorial6 күн бұрын
Every time you play the I chord of C major, it sets your ear to ‘C major mode’. Every time the music plays the I chord of the minor scale (A minor) it sets your ear to ‘A minor mode’. It’s just those two chords that create the swaying effect between major and relative minor. No other chord creates this switch in sound. Does that make sense? A great example of this is ‘I Want to Know What Love Is’ by Foreigner.
@freimutspitzkopf22586 күн бұрын
Why not do this with D dorian?
@jazztutorial6 күн бұрын
Every other scale (including the Dorian scale and all of the modes) only really has one sound to it. The Dorian has its own sound, but it stays sounding Dorian the whole time. The difference with the key (major / relative minor) is you can switch back and forth between these two complementary moods: major and minor. No other scale I can think of has these two complimentary moods. And I believe this is why the 7 notes of the key has been adopted as the most popular scale to write music in (95+% of popular music is written in the key, I.e. the major / relative minor scale - and not all the hundreds of other scales that exist).
@kchuk19656 күн бұрын
@@jazztutorialI think what he is saying is that it would equivalent to switch between say F Lydian and D Dorian. Or G Mixolydian and E Phrygian. I wonder if that will work?
@freimutspitzkopf22586 күн бұрын
@@kchuk1965 Yeah, thats what i meant! Why not just play a bit in the key of C maj and then switch to treating d minor (D dorian) as a tonic and such..
@jazztutorial7 күн бұрын
Can you name a song that features this 'swaying major / relative minor' effect?
@MusicaMap6 күн бұрын
idontwannabeyouanymore by Billie Eilish, I couldn't say for sure if it's in G major or E minor
@allawatigh55628 күн бұрын
great lesson
@reynoldphotoworks35149 күн бұрын
seems the the sheet link is not active anymore :(
@kawabiker26559 күн бұрын
great video. thank you for this ! very clear explanations 🙂
@HARPAULSANDHU9 күн бұрын
Great
@Jaylentheunknown210 күн бұрын
Every good boy does good
@rohitchacko10 күн бұрын
cool stuff but how's that a g7(b9) ? just curious
@rohitchacko10 күн бұрын
woudnt that be just a G7 inversion
@HABLA_GUIRRRI10 күн бұрын
he just answered ten questions i barely formed before.. great vid
@mlungisindlovu579410 күн бұрын
I’ve been looking for this lesson my whole life. Thank you🙏🏿
@shaneggg10 күн бұрын
Download link not working 😢
@HomelessTeehee11 күн бұрын
looking at this years later and im just now finding this, lovely video and it helped me alot for my homework!
@monishjain415512 күн бұрын
love from India sirrr.
@Zamokwakhe9013 күн бұрын
Thanks for this video.
@TridentTrist15 күн бұрын
4:52 small segment if Claire de Lune I recognized 5:01 Arpeggio from Legend of Zelda Giorno Valley or smth Chords in jazz is just musical adhd
@Godsent-z8d16 күн бұрын
Every Green bus drives fast
@davidwhatkey16 күн бұрын
Good explanation!
@jordanzlotolow825418 күн бұрын
G7#9 is da bomb
@jordanzlotolow825418 күн бұрын
offer lessons?
@Blair-l6h18 күн бұрын
every good bat deserves fruit
@Godly_Improvement23 күн бұрын
Thanks, I've been a musician since I was in the third grade, and never learned.
@joshl364323 күн бұрын
8:01 I see what you did there
@patrickrowe674523 күн бұрын
Thanks a lot
@MikeJCullen224 күн бұрын
In the early 20th century Did jazz musicians accidentally start playing melodic minor scales over dominant 7 chords that start on the flat 2 scale thus creating the altered scale? When was the altered scale first published?
@laserlithuanian25 күн бұрын
cool video
@kro148325 күн бұрын
One thing that Julian did not mention about accidentals (sharps, flats, and naturals) but I think should be learned because I was thrown off by it when I first encountered it in music. Sometimes in music you will see a note with a sharp, flat, or natural sign but it will have parenthesis around it. Example: (♮) These are called "Courtesy Accidentals" and they're not often used in music but you'll see them here and there. Courtesy Accidentals are usually placed when there has been a lot of switching between accidentals and they are placed there to just give you a little reminder of "Hey the bar is done, play it in the normal key" another time you'll see it, is if you have a new key. Sometimes the song will change key and your brain will sometimes need time to adjust to it, especially if you are sight reading. Once again it is just reminding you that the note has changed and it is no longer always sharp, flat, or natural. Another thing he didn't talk about in accidentals but I think is crucial to know, especially if you want to play jazz. There are things called "Double Flats" and "Double Sharps" and "Double Naturals" (Double Naturals aren't really used anymore because they found that a normal natural works just fine) Example: Double Flat- ♭♭ Double Sharp- x (looks like an x or if you tilted the iron cross to look like an x) These will that you will flatten or sharpen the note, and then flatten and sharpen it again, so if I had an Ax I would play a B instead of an A# and if I had and A♭♭ I would play a G instead of an A♭. A long time ago they used to write in a two natural signs to cancel out the doubling of a note but now it is just written as one natural sign.