Jazz Chords: I VI II V turnaround in 10 variations - Jazz Guitar Harmony Lesson

[@JensLarsen]

If you want to check out which 3 Scales you need to know for Jazz then take a look here: kzbin.info/www/bejne/hHbZc42KeZKZbNU 🙂👍

[@anthonyadler13]

thanks so much for these excellent videos. After decades of aimless improvising, I've decided to study jazz guitar more seriously. These videos are very helpful --- I appreciate your calm style of presentation.

[@JensLarsen]

You're very welcome Anthony! It's great to hear that you can use the stuff from the videos!

[@mojopin1122]

You are amazing Jens. Thank you for sharing your gifts.

[@JensLarsen]

You are so welcome!

[@alilotfi7974]

hey jens, your explanation in the beggining about the variation is great ! any time i see one of your videos i think to myself that ive never seen a good teacher like you in my whole life ! God bless you man ;)

[@JensLarsen]

Thank you Ali! That's always really great to hear! 🙂

[@j.p.fitting9226]

So sorry I asked you this very question before I saw you had this video up thank you

[@JensLarsen]

No worries 🙂

[@mitchelldrake7113]

I already know the words. But this video made me realize I how can form sentences!! Great job explaining this. This is the first video I’ve seen from you and it will be far from the last

[@JensLarsen]

Glad it was helpful!

[@UlliMueller]

Fantastic! I love I VI II V progressions. Thank you Jens!

[@JensLarsen]

You're welcome Ulli! Glad you like it!

[@Thenikereviewer]

Hello.I saw your video lesson and i like very much.I am from grecce.Thank you.

[@musikskolePLUS]

Tak Jens, fremragende overblik - jeg bruger dine videoer til at inspirere mine elever

[@JensLarsen]

+musikskolePLUS.dk Tusind tak og i lige måde! Det er da rart at høre at du kan bruge videoerne!

[@bills48321]

Great lesson. You connected the dots for me.

[@JensLarsen]

Glad you found it useful! :)

[@enzorb]

Greaaaaat lesson, Jens... so useful to re-harmonize the blues! Thanks so much!

[@JensLarsen]

You're very welcome Enzo! If you want to help me then you can share one of my videos and help me spread the word with your recommendation 😊

[@thefacts5394]

A brilliant lesson, Jens. Thank you.

[@JensLarsen]

Glad you enjoyed it!

[@Pladderkasse]

Another magnificent lesson, thanks.

[@JensLarsen]

Thank you Lars! Glad you like it!

[@dominicrieger257]

you mentioned you might do video on creating lines over these turnarounds, that would certainly be highly appreciated, man. thanks for these lessons by the way, seriously.

[@JensLarsen]

You're very welcome Dominic! That's true! I never got around to that. I think I will soon though :)

[@Jazzaruz.Optron]

this has been really helpful to me. thx.

[@JensLarsen]

Glad to hear it!

[@lgoler]

Good stuff. I like this one behind, one above bass motion, for the turnback in the key of Eb: Ebmaj6 / Db / C7 / E // F-7 / B / Bb7 / E // Eb.

[@davemau5e]

Awesome Jen!! I've been learning these chords and you put them together for me! Super awesome lesson!! The lady bird turn around was new set of chords for me! Such beautiful chords!

[@JensLarsen]

Great that you can use the videos David! The Lady Bird turnaround is a personal favourite with me as well! If you want to help me then you can share one of my videos and help me spread the word with your recommendation 😊

[@jarrinborg8090]

Hey Jens, your lessons are the best. I know it's a basic topic for jazz players, but I found your lesson on improvising over II-V-I particularly helpful! Is there a chance that in the future you could do another lesson on that topic with more ideas etc? Sorry if I'm a bit vague, but I've been playing guitar for 15 years and feel like I actually know nothing since trying to play jazz! Really loving all of your lessons!

[@JensLarsen]

+Jarrin Borg Hi Jarrin! Thank you. Glad you like the videos! Maybe you should move on to some of the other videos on improvising with arpeggios like the one on an F blues or Blue Bossa. In the en it's about you learning to make your own lines not playing mine 😊 Did you watch any of those?

[@klisher]

excellent lesson. looking at the I VI II V turnaround for a version of georgia on my mind and this has really given me some ideas. found my way here from a comment you posted on marlow dk's bass lesson. i have subscribed.

[@JensLarsen]

Thank you! Interesting that you should come through in that way! I really like his channel and his ideas are very musical! I hope you find some stuff on mine that you can use! You can always ask if something is unclear :)

[@thormusique]

Excellent lesson, Jens! One thing I'd like to mention is that in the case of the last Db7 - Cmaj7 examples, from that Db7 voicing, I like to resolve to a Cmaj9 sometimes, because the voice leading is smoother (for example, the Eb in the Db7 resolving downward to D, etc.). Of course, I wouldn't do that if the melody note ends the phrase on a D. Then again, the effectiveness of those subtleties can be lost in the context of a larger band, where sometimes you're just looking for certain colours on certain chords, depending on the tune, the context, and who's playing what.

[@JensLarsen]

+thormusique Thanks! Yes the Db9 resolving to a Cmaj9 us nice. I like that one as well.

[@maxpiga9578]

Thank you so much great lesson!

[@JensLarsen]

Glad you like it 🙂

[@RobBoydBennett]

Excellent! I loved the tritone alternatives.

[@JensLarsen]

Thank you Rob! I am glad you like it! 😀

[@knitsandturns3778]

Thank you ..great lesson man

[@JensLarsen]

Glad you like it! :)

[@B4N1_COM]

Super, thanks for the lesson.

[@JensLarsen]

You're welcome! Glad you like it!

[@RudraDirtTrails]

I feel like I just struck gold.

[@soundknight]

This is awesome, thanks

[@JensLarsen]

+Brian Cullen Thank you!

[@TDC10000]

Very helpful, thank you!

[@JensLarsen]

Thank you! Glad you like it! If you have any ideas for topics or other questions then feel free 👍🙂

[@filippomarangoni5402]

Great! wonderfull if i Could ask a video on the last turnaround you've explained in this lesson.. Thank you in avance

[@JensLarsen]

Thanks! I'll keep that in mind :) If you are the only one who asks then I'll just make three lines on that :D

[@brenoalvespacheco9595]

Very good, thank you!

[@JensLarsen]

Glad you like it 🙂

[@MrNadav1995]

3:50 question about the 3rd degree minor chord can you have a flat9? so like an Em7b9?

[@JensLarsen]

If you like that sound, then yes

[@joseluisgonzalezcardenas9243]

Me encanta todo lo que presenta el se maestro jens larsen

[@JensLarsen]

Thank you José Glad you like them! Let me know if you have something you are looking for!

[@Katatopianos]

Hi Lars, on a iii VI ii V do you typically use Phrygian or Dorian on the iii.? Especially when your VI chord is a dominant, it can then be seen as a ii chord in Minor. Also, your lessons have been more helpful than any other’s because they are simple and straightforward. Thank you.

[@JensLarsen]

Thanks 😊 I don’t think in modes. An Em7 chord in C major doesn’t sound Phrygian to me. I play more in functions, so I play it as a tonic chord in C. Dorian would also sound out of place in the context most of the time. Sorry if that is a bit confusing.

[@Katatopianos]

Jens Larsen I don’t necessarily think in terms of modes either but a certain mode contains certain notes or intervals that give them their sound. In this instance the b2 and b6. I agree however that a C major sound sounds better given that the progression is in C regardless of the substitutions. I would argue that this would not be the case if you simply had a series of ii V’s descending in whole steps.

[@job9650]

Probably Dorian you typically use Dorian on non tonic m7 chords

[@davidb6117]

I want to see a jam session with you and Brent Vaartstra. When?

[@JensLarsen]

Thanks! It will at the very least have to be after the pandemic :)

[@davidb6117]

@@JensLarsen your lessons are amazing! Do you accept 1 on 1 lessons? If not can you recommend someone? I live in Illinois

[@JensLarsen]

@@davidb6117 send me an e-mail: [e-mail]

[@davidb6117]

@@JensLarsen sent

[@davidb6117]

Can you do a lesson on satin doll changes?

[@JensLarsen]

Like this one? 🙂 kzbin.info/www/bejne/ZqqXp51tbb9le7M

[@davidwilson6020]

Great lesson! What would you play over Ex. 7? Over Bb7 I'm using half-whole, A7b13 I'm using A altered.

[@JensLarsen]

I would never use diminished as a first choice on a dominant, dim scale and other symmetrical things are for special effect and not for functional harmony. Since it is a tritone sub of E7 then lydian dominant is the place to start.

[@davidwilson6020]

Thank you, Jens! So I guess symmetrical scales (half-whole and whole tone) are best used when you don't care to resolve any tension? Perhaps on a vamp over a dominant chord? This is actually an exercise I've been doing for the past few months in order to get used to the sound of these scales and get them under my fingers. I've since shied away from it because it isn't helping me as far as resolving into the next chord.

[@JensLarsen]

david wilson No, you should use them on dominants that resolve. I'd just suggest that when you are playing something as natural sounding or functional as a turnaround then your first choice of scale should not be something that is atonal and symmetrical. I have a few videos on diminished scales on dom7th chords on the channel already. The difference is that I'd consider that a special effect.

[@davidwilson6020]

Ah, ok. I'll check it out. Thank you for responding.

[@JensLarsen]

You're welcome!

[@alexandernrgardalsing2370]

During the "Lady Bird" turnaround I think there is a notational error in the third chord in the progression i.e. Abmaj7 =) Ty for the great video I rly learned alot here!! =)

[@JensLarsen]

Thanks Alexander. That could very well be. When you are mostly working alone typos are common :)

[@alexandernrgardalsing2370]

@@JensLarsen Yeah I think it's impossible to go without a typo or two =) You've got alot of stuff here I need to check out. It's awesome =) Could really need a video on minor 2-5-1's. Also I've been trying to figure out how to play a chord progression, that looks like this on piano kzbin.info/www/bejne/kKPRgqWuh7qjgpY. Not sure what to call the resolution chord. Not sure it's theoretically correct/precise either. Playing it mostly by ear, inspired by Bill Evan's chord progressions "Blue in Green". I'm having a hard time playing the V7#5#9 chord on guitar, but maybe I can leave out the bass note?

[@alexandernrgardalsing2370]

Woops here is another link, the sound was missing: kzbin.info/www/bejne/Y5i2aZ-tptmkjac

[@JensLarsen]

@@alexandernrgardalsing2370 Ok. My latest video is on minor II V I's :) I can't really look at your Link right now.

[@alexandernrgardalsing2370]

@@JensLarsen Perfect, I'll take a look at that one then =) Np.

[@siglo2155]

super leccion master

[@JensLarsen]

Gracias!

[@kenniehoff8386]

Soloing over 9 and ten would be interesting.

[@JensLarsen]

THanks Ken! I'll keep that in mind!

[@krimisim]

How often do you change strings on your guitar?

[@JensLarsen]

Depends on which guitar, but not very often :)

[@MrSqilz]

can fm(maj7) be a substitute chord for the 1 in a 1625 progression in eb?

[@JensLarsen]

Anything can be a substitute, the question is how that will fit with the rest of the turnaround 🙂

[@MrSqilz]

Jens Larsen I see. It’s in the last four bars of but not for me the last three bars are the 625 but I didn’t really get the fmi(ma7).

[@JensLarsen]

@@MrSqilz ok. That is not how I know it at least :)

[@HomeMadeLicks07]

Which Epiphone is that on the wall?

[@JensLarsen]

It is a Sheraton from 2000

[@gonzagaribotti9852]

C♯ dim or F♯m works like relative minor of A7? i learning harmony.thank for the vids jens

[@JensLarsen]

C#dim is A7 leading to Dm7. Is that what you mean?

[@SuchaitGuitars]

isn't that a Dm9 and G13 in the sheet at 1:27?

[@JensLarsen]

In jazz, the one playing the chords is free to interpret the chord symbol and add the extensions and alterations that fits how he or she is playing. For that reason, I usually try to stick with the chord type and not specify the extensions like 9 or b9.

[@regev1970]

Dear Jens you are so good you should start getting pay for your lessons (just kidding). THANK YOU

[@JensLarsen]

Thank you! Though I find it odd that you think it's a joke that I should earn money on the lessons?

[@regev1970]

I think you should get paid for your lessons although I think it is not your purpose by uploading your lessons on youtube. I honestly don't think that this is a joke and I apologize if you were offended by my remark.

[@JensLarsen]

Don't worry about it. I just thought you put it so strangely that I had to ask :9

[@cesarveralatorre5198]

Thanks a lot! It is a great lesson. There is something i dont understand: you write G7, but you are actually playing G7add13 cause you play also E in that chord. That happens all the time in jazz and in the video, i am confused...

[@JensLarsen]

In jazz, the one playing the chords is free to interpret the chord symbol and add the extensions and alterations that fits how he or she is playing. For that reason, I usually try to stick with the chord type and not specify the extensions like 9 or b9.

[@RudraDirtTrails]

Now i know why you exclusively said not to play that Em7add9. Thanks

[@icedragon769]

Is there a notational error at 4:17? The top note of the G chord should be a D#, not an Eb, because you're augmenting the fifth, not adding a minor 6th.

[@JensLarsen]

No that's no mistake. It's a b13, not a #5. Actually, almost no scales have a #5 but quite a lot have a b13.

[@wadson990]

Hey brother, can u translate this gold for Portuguese?

[@JensLarsen]

No, sorry that is usually too expensive 🙂

[@wadson990]

@@JensLarsen :/

[@wyc7tjmf794]

Can I ask an inappropriate question? Please ignore me if not. How old are you, at least approximately? It's just that I get that strange feeling which you experience when talking to a person who looks like he's in his twenties and forties simultaneously, lol. Oh, wait. You was saying you were already studying jazz in 80's, right? Um, anyway, nevermind. Nice lesson btw! I was practicing the last progression you've mentioned, but somehow didn't know that tune, ladybird, so thanks for mentioning it. How about a similar lesson, but in a minor setting? iim7b5 - Valt, but also V7-VI7-V7 or maybe i-vii7-vi7-v7 and variations.

[@JensLarsen]

No worries, I am 43 years old, so I am happy to look like I am in my twenties and in my forties at the same time :D For the record I didn't start playing jazz until '96. In the 80's I didn't even have an electric guitar... So variations on a minor turnaround? Maybe that might be a good idea. There are not as many options though.

[@wyc7tjmf794]

+Jens Larsen Haha, right! Oh, and I guess I've mixed up something about eighties and nineties. Anyway: yes, I'm asking about minor turnarounds precisely because there seems to be not as many options - maybe I'm missing something? Would be nice if you could show a couple of takes on it in the context of tunes like All Blues, Mr. PC or - on the other side of the spectrum - Minor Swing. So yeah, take care, I'll be waiting for the next video - whatever it will be about!

[@JensLarsen]

No worries! :D All blues is not a minor blues is it? I'll think a bit about it, but there are indeed fewer options because you can't really use the bIII as a sub. What did you think about my Barry Harris answer?

[@wyc7tjmf794]

+Jens Larsen Yes, All blues is not a minor per se, but it has that bVI - V turnaround, so it's kinda the same thing... also, there's flat three (of the tonic chord) in the melody over this turnaround, so I think there's not that much difference at all. About Barry Harris - yeah, I've hit a like on that video! :D Unfortunately, I don't have an opportunity to attend his workshops, and I would agree that explanations (at least those I have seen) are somewhat, I don't know, incomplete? But just yesterday I found a video of a guy who's taking some of these concepts to the extreme - search "trichromatic vibraphone" here on youtube if you're interested - and it makes sense, a lot of sense actually. The video is pretty long, but the basic idea is that he plays an instrument which highlights the three existing diminished chords (think black\white keys on piano - only black\white ed and symmetrical, so fingerings are the same in every key), and he thinks about scales and harmonies as derivations of these three basic note classes. So it's not "Ab diminished is G7b9", but the other way around - "G7 is an alteration\derivation of e.g. "red" diminished chord\class". This way, he has a system which is completely symmetrical at its core and thus facilitates modulations and harmonic movement. So he's treating going from tonic to subdominant chord as a shift from "red" to "black" (or black to white or whatever, I haven't remembered the exact color layout) diminished notes and playing maj in beetween them. Or something like that. What really amazes me is the symmetry and the fact that he seems to have a complete system - not just a bunch of nice sounding tricks, but a whole approach which is an alternative to our traditional solfege\harmony. It seems to me very interesting and even rewarding (since the resulting system seems to describe the same stuff with fewer concepts), although maybe a bit impractical. In any case, I'll definitely try to work out all derivations from diminished (or other symmetrical) chords to other chords\scales - guess I'll be busy all weekend :D Sorry for the tons of text (a youtube comment isn't the best place for anything longer than a couple of lines, is it?), I just thought it might be interesting for you since you've mentioned it.

[@JensLarsen]

No worries! I am not a huge fan of all the "let's structure music so it's symmetrical and easy to describe theories" I much more prefer theory that describes what I actually hear. I certainly don't hear annything symmetrical in music that isn't intended to sound like that and therefore all attempts at using this will ultimately fail. In my opinion anyway. Think about it this way most people have trouble singing a dim triad but not a major triad, and there are more major triads in music than dim triads so why focus on them when describing music.

[@SkyZombieStyle]

Isn't D7 /5355/ actually a Dm9 aswell as /5455/ (D9) ?

[@JensLarsen]

In jazz the one playing the chords is free to interpret the chord symbol and add the extensions and alterations that fits how he or she is playing. For that reason I usually try to stick with the chord type and not specify the extensions like 9 or b9 🙂

[@soundknight]

Jens Larsen? not Lars Jensen? ;)

[@JensLarsen]

+Brian Cullen indeed! 😁

[@izahyap09]

I wanna learn jazz 😞

[@JensLarsen]

So go for it! What is stopping you?

[@izahyap09]

Jens Larsen oh my gaah.. Hi sir Jens! Your fan here 💕 I'm on it sir...watching you play makes me even more serious to learn it..as in I fell in love with it. Is there any songs you would recommend me to listen to? As for a beginner like me?? I mean I would like to hear it from you sir 😁 Thank you for your videos. You are awesome! 😊 And oh by the way, there's no stopping me to learn it unless you stop influencing us 😁 God bless you sir!

[@JensLarsen]

Maybe try to listen to some of these: open.spotify.com/user/1195300282/playlist/28ln81aLYslx7kB2Sg7JUy?si=YZbon0x9ToO05_kDACp2Bw And try to learn some of the easier songs like Blue Bossa or Cantaloupe Island (not sure what is possible for you of course...)

[@izahyap09]

Jens Larsen big time! Thanks sir 😊

[@prolixsicklicks]

Very helpful, Jens. Thanks and your channel is awesome!

[@JensLarsen]

Thank you! Great that you like the videos! Be sure to let me know if you have ideas for lessons!