Make Your Chord Progressions More Interesting

[@JensLarsen]

How do you work on making better chord progressions and changing it up? Check out more on Functional Harmony and Jazz: kzbin.info/www/bejne/bn3bamVsnK5kh68

[@jazzerbme]

Jens! You are a musical genius! Your explanations are insightful, instructional, and so very helpful. You inspire, entertain, motivate, and educate. Thank you for all you contribute to help us be better musicians! Thank you!

[@JensLarsen]

Glad you like the videos and put them to use 🙂 !

[@ravok23]

I am just a rock/blues guitarist that has been playing for 35 years. I have learned so much in the past year that I have tuned in to your lessons. Chords and melody is my favorite thing. This is a great lesson! Thank you from Houston,TX USA.

[@rickjensen2717]

One of yourbest lessons Jens - perfectly explained and immediately useable

[@JensLarsen]

Thank you, Rick!

[@Bobobo-bo-bo-bobobo]

You're one of the best guitar teachers on KZbin. Just giving out your lessons for free in order to help people make better music. I'm primarily a metal guitarist but I love jazz and fusion and your videos have been helping me a lot. Cheers from the US 🍻

[@laureanoahmad7495]

Speechless one of your best videos so far In a II-V-I is easier to view the different harmonic options in a jazz progression than isolated chords from theory. More of these videos please. Thanks

[@md-ps2hx]

Such wonderful tonal colours ... very Ted Greene. I REALLY like the way you explain the way you arrive at these subtle pastel like chords. The sonic 'pictures' you 'note paint' are beautiful.

[@JensLarsen]

Thank you so much 😀

[@awaywithpaul3423]

Jazz has always been an impossible dream for me.. love listening to it but never had a clue how it was played. Now I’m watching your videos and finding that ideas I recognise have names (octave displacement, enclosures etc) and it all seems to make more sense. This lesson was amazing and your teaching style is just perfect. Thank you so much for taking me to a completely different level of playing possibilities

[@luohao5806]

This is the best chord progression lesson I have ever encountered

[@JensLarsen]

Thank you! Glad you found it useful 🙂

[@DaveyH]

Been watching your videos for a very long time and just wanted to say that the quality of your videos has improved drastically over the years. Your lesson have always been great, obviously your editing, lighting and delivery has improved but I personally love the way you structure these videos now. Keep up the great work mr Larsen

[@JensLarsen]

Thank you! Glad you think so! :)

[@ggus8512]

Music theory at its best! Just what I needed! Thank you Jens!

[@JensLarsen]

Glad it was helpful!

[@JBGWAlain]

Excellent video Jens. One of the most useful I’ve seen on simple substitutions. Thank-you!

[@JensLarsen]

Glad it was helpful!

[@RC32Smiths01]

so many things to learn about progressions, it makes compositioning so more fun! Great work!

[@JensLarsen]

Glad you think so!

[@RC32Smiths01]

@@JensLarsen Thank you so much!

[@adriatic.vineyards]

This is so cool. I love that, rather than simply demonstrating the chords, you teach people how to use them.

[@adriatic.vineyards]

9:54

[@JensLarsen]

Glad you like it 🙂

[@ivansuner2120]

Thank you so much for this video! I have been struggling with jazz for a while, but this video turned the messy soup of seemingly random chords into repeating patterns of functional harmony with different interpretations of each chord for different sounds and textures. It didn't quite click until I started playing along and hearing and feeling how each chord 'synonym' related to the original chord when substituted in the original two-five progression.

[@gastonruiz10]

Wow, this is seriously one of the best chord progression lessons I have ever seen. Thank you!

[@JensLarsen]

Glad you like it 🙂

[@hennyreflection]

Just starting this and I love that synonym analogy!

[@aberhan]

Very nice Jens, I love the smooth sound of these chords moving to resolution. In my ear I can hear a lot of musical ideas unfolding.

[@nickbeasley3134]

Your videos are always fantastic lessons filled with useful content. You have generously taught a LOT of guitarists (me among them) how to improve in every facet of their playing.... Thank you very much.

[@normantaylor7829]

Hi Jens. I found this video really enlightening especially the approach to using the chord families for re-harmonisation.

[@JensLarsen]

Glad you like it 🙂

[@rieske2000]

I love this lesson. Chords are my thing.

[@JensLarsen]

Great! Thanks Richard

[@evandevries1175]

You always deliver, Jens! I'm enjoying the humor you're incorporating into your videos too. Polished stuff!

[@tonepoet]

Ridiculously handy lesson, Jens. Very nice concepts and very usable.

[@JensLarsen]

Glad you like it! :)

[@noahcarver6072]

Thanks!. And also now I have a nice chord melody stuck in my head!

[@WoodyGamesUK]

As a pianist I always return to your videos. I can't help it!

[@JensLarsen]

Glad to hear that you can use them on piano as well! :)

[@Geetarhed]

One of a kind teacher, a great insight with practical examples to fast track knowledge improvements, excellent.

[@doktorfox1]

This was a breakthrough lesson for me. It was just the right tutorial at just the right time. Thank you!

[@muhammadhangtuah9746]

Jens the sentence analogy is genius

[@JensLarsen]

Thank you :)

[@BomShiva2]

Could not be any clearer. Mind boggling possibilities :) Thanks!

[@draknagar]

Wow!! You have given the map of Treasure Island!! Superb lesson

[@SvenBlumer]

Thanks for sharing the knowledge Jens. Love that old Ibanez semi-hollow!

[@JensLarsen]

Thanks Sven! :)

[@Ntimitree]

Believe it or not I have been trying to find this information over a year on the internet. Many thanks!

[@fantonledzepp]

I like how you jab at the “Jazz elitists” 😂🤣 Cool lesson, man. 😎

[@JensLarsen]

Thank you 🙂

[@edwardoorjitham7714]

Another excellent video on substitutions! Thank you!

[@JensLarsen]

Glad you like it 🙂

[@GuitarGreg1970]

Excellent lesson, even without the Clapton riffs ;) Thanks for sharing your knowledge, skills, and heart...

[@JensLarsen]

Glad you enjoyed it!

[@angeljavier9541]

Excelente sonido esas voces .. gracias por compartir

[@matteusmaximofelisberto4385]

Man, your tone is gorgeous... Congrats

[@JensLarsen]

Thank you 🙂

[@Pino122012]

Thank you Jens for sharing your Mastery and insights. Thanks to your videos I am branching out and expanding past what I already utilize and it’s very exciting? :))

[@JensLarsen]

You're very welcome! I am glad you like the videos! 🙂

[@dyadicrationals]

I just started to listen to your series. After focusing on just lead solo as a teenager I am mostly interested in harmony combined with melody less than 52 notes per second. Thank you for introducing me to the theory functional harmony with beautiful sounding examples. I know basics but not the more complex substitution ideas. 👍.

[@victor29rc]

Your content is so great, Jens. Cheers from Brasil!

[@terje6522]

Very nice sounding voice-leading in the examples. Thanks!

[@JensLarsen]

You're very welcome, Terje :)

[@stuartarnold4495]

This is a good lesson Jen's because I have just been playing with my fingers, no plectrum. Chords are the most important, I don't play solos. So again thanks.

[@JensLarsen]

Thank you Stuart!

[@Jamsville]

I don’t know why someone would say that you can’t use the vi chord as a subdominant lol. Considering that the IV is a subdominant, and you can substitute a minor 7 chord from the 3rd of a major chord, you could think of it like F Major 9 I think they also do it in pop music all the time 😂

[@JensLarsen]

Haha! Welcome to the internet! If you are new here then grab a tinfoil hat in the corner 😂

[@chrisgalka]

Thank you so much for sharing all this information for free!!

[@JensLarsen]

Glad it was helpful! You're very welcome :)

[@Atlanticmoonsnail]

Thanks Jens (@ 5:52), I use the #4 half diminished and diminished because they sound good to me. I just didn't know the context of their use.

[@JensLarsen]

Yes, I think most of us do it like that, at least I was well aware that I liked the sound really a lot years before I had the theory to understand it :)

[@Natalie_Blazyn]

Hey Jens, I really loved this lesson and the funky backing track the you used. Sort of heading into the neo-soul area. The progressions were great. Thank you for sharing! 😊🎶

[@theapollopythianexperience6992]

i really enjoy and become a jazz player because of also you...good stuff

[@QuestionMark711]

Beautifully explained I must say!!!

[@extramile734]

great lesson Jens

[@JensLarsen]

Thank you! :)

[@anandgodane8022]

Thank you so much sir ❤️🙏

[@dkwvt13]

Great Lesson, fascinating subject and you make it look so easy, LOL... Thank You for the links, this will take some extra time and effort. ;-)

[@tico3858]

Beautiful lesson!

[@JensLarsen]

Glad you think so!

[@liontone]

I remember, years and years ago, doing “”In My Life” by the Beatles, and figuring out that the IVminor was actually melodic minor,. Same with all those b7 Dominants (Lydian Don) in other songs. Magical times. Haha.

[@iacopoantonelli1979]

Thank you. Very high quality content.

[@JensLarsen]

Glad you think so!

[@iacopoantonelli1979]

@@JensLarsen I'd have a question: at 11:13 you say the "Dbmaj7(#11)" is another minor subdominant, but I thought it was the triton substitution (and Ab would be a minor subdom)? As Db is not present in C minor scale. Thank you.

[@JensLarsen]

@@iacopoantonelli1979 Dbmaj7 is the Neapolitan subdominant. It is an Fm triad with an added b6. It is not the tritone of G7 because it does not have a B

[@iacopoantonelli1979]

@@JensLarsen thank you for the answer. I confused it with Db7, which is indeed the triton of G7.

[@aslazaimi5824]

Great job man

[@JensLarsen]

Thank you! :)

[@kymcarter589]

Amazing video! Thanks!😁

[@JensLarsen]

Glad you like it 🙂

[@YatJac]

Outstanding! Thank you.

[@ericeakes7733]

I subscribed bc i can learn and laugh. Well played on both counts.🍻

[@JensLarsen]

Thank you very much Eric!

[@johnorr4866]

Wonderful video.

[@JensLarsen]

Thank you 🙂

[@brad724p]

Great one, Jens!

[@JensLarsen]

Thank you, Brad 🙂

[@rabibratadey6819]

Great job Sir

[@JensLarsen]

Glad you like it! :)

[@rabibratadey6819]

@@JensLarsen style of your teaching is just awesome

[@chrissguitarshow206]

Love your delay

[@JensLarsen]

Thanks Chris 🙂

[@TimBeauBennett]

I'm never this early! I do need to work on my coming though, so let's see if I can turn it into something useful :D

[@JensLarsen]

Go for it! :)

[@proximact695]

Suuuper!! Nice lesson😀

[@JensLarsen]

Thank you! 😃

[@CarlosCassartelliPreysler]

I LOVE THE GUITAR BRO... ITS AMAZING TUTORIAL.. I LIKE YOUR STYLE... Y PLAY ALSO TRUMPET AND KEYBOARDS AND LITTLE BASS GUITAR

[@JensLarsen]

Thank you! Go for it :)

[@arturwilk1465]

This is so cool !!!

[@JensLarsen]

Glad you like it!

[@aberhan]

I was wondering lately, why the connection between A flat, and C major. Never realizing it’s connection to C minor. Then borrowing it for a major setting. Thanks Jens.

[@mwicks1968]

Great video once again Jens - I think the "Functional" way of looking at things is sadly overlooked - makes sense to me, though, as I was taught to think this way in the choral music (cadences) I learnt (many years ago!).

[@robinbalean958]

A few videos back I asked you what a subdominant is. After this video I think I'm starting to get it.

[@JensLarsen]

Great! :)

[@gorbzzz]

@JensLarsen I would love to see some videos on re-harmonizing modern chord progressions (especially in minor keys) not strictly following 2-5-1. For example McCoy Tyner's Contemplation. Such type of a chord progression can be found in jazz, pop, metal, etc. It could be quite interesting.

[@JensLarsen]

Maybe, there is a chance it gets a bit too specific for it to make a good lesson though.

[@gb4524]

No complaints here😉.. thnx

[@JensLarsen]

No problem 👍

[@stumpshot70]

Did I miss the way to get these substitutions for the sub dominant?

[@JensLarsen]

Yes, I think you did, but it is in there :)

[@We-all-watched-the-video]

Hi Jens, great video for helping me to spice things up! I've always wondered how do you feel about players like Shawn Lane, Allan Holdsworth, or even Buckethead? As I've seen some Allan videos on here before.

[@JensLarsen]

I really like Holdsworth, the others are of course great players but not really my thing. Probably because it is more arranged and composed and not really about improvisation and interaction, but I don't know. I didn't think about it, it was just not something I felt like listening to a lot...

[@We-all-watched-the-video]

Jens Larsen that’s cool, yeah Allan was monstrous in a good way

[@audreygiamlayhoon]

Thank you❤

[@inhtrunghieu2599]

Can i ask a question? 11:54 why a B7 is a substitute for F# in C major?

[@JensLarsen]

It isn't always, that depends on the context

[@antsonc]

Great! More!

[@kennytseguitar8574]

WE need to learn this systematic

[@JensLarsen]

Go for it :)

[@TheLuigigi]

Grandissimo

[@JensLarsen]

Thank you! :)

[@worldofsoundcraft4363]

4:51... I am really interested in your other course about boring chords 😂 Just kidding, thank you very much for you great videos that really inspire me to learn jazz guitar and music theory... Even if i have miles to go... Cheers

[@JensLarsen]

Go for it 🙂 I have a study guide for jazz Chords on my website, if you are interested

[@leascaart]

Your lessons are incredible. Sadly, I'm not there yet. But I am working my way up.

[@JensLarsen]

Go for it 🙂

[@sauce25]

Awesome video as always Jens. If you had to guess, why do you think borrowing chords from the minor key and putting them ahead of the V - I major progression sounds so good?

[@JensLarsen]

Because the progression makes sense but resolves surprisingly

[@jacobgehrig9768]

This is awesome, I can't wait to try some of this out. Do you have any recommendations for jazz pickups on a hollow body? I got an Ibanez AF75 and I had to replace all the pots on it, so I figured I'd replace the pickups while I'm in there. It's certainly not a great guitar so it's probably not worth putting super expensive pickups in it, but if you have any options that won't break the bank that'd be really helpful

[@JensLarsen]

Thanks Jacob! You could look for (2nd hand?) SD Seth Lovers. They are not super expensive if I remember correctly. That is what I have in the neck on my Ibanez.

[@kirilltregubov7341]

grazie

[@JensLarsen]

Glad you like it 🙂

[@nyxpickle]

Awesome video Jens, I think I'm finally starting to keep up with you in these theory videos! One question, why did you call the Abmaj7 a "minor subdominant"? I'm a bit lost on that point.

[@JensLarsen]

Is it a dominant in the key of C or is it a tonic chord? 🙂 It would have to be one of those two.

[@startreker8591]

I just sang my fave French song (originally btw) that I usually do with the standard progression 😢…still exploring y reinterpreting it TY❤ Jens( I usually sing but guitar is fun y keyboards by ear anyways 😢)

[@sammiller9855]

Do you have a lesson on functional harmony in minor keys, how it overlaps with this lesson? Thanks for the amazing lessons.

[@JensLarsen]

Glad you like them 🙂 Maybe something like this? kzbin.info/www/bejne/ene9iIB_lNhjeJY

[@sammiller9855]

@@JensLarsen Thanks. Lots of info to absorb.

[@JensLarsen]

@@sammiller9855 go for it 🙂

[@ianmoore5502]

learn jazz...make music. It's a style, and it's a tool, but it's not the end all be all foryou. That's something I cherish about your music. No supremacy or elitism..just education and inspiration.

[@RenanteNate]

How about changing the tonic like a deceptive cadence? Instead of resolving to CM7, you can use AM7 or the VI(M7).

[@JensLarsen]

That can work, it will depend on the context.

[@Andrea_Manconi]

Why not to have a VI as a subdominant? In the end it's the IV with no tonic, right?

[@JensLarsen]

The internet is a funny place :)

[@PhrygianPhrog]

I'm wondering if the "#4 subdominant" could be interpreted as "V of V". Recently, practicing Bach sonatas and transcribing Warne Marsh solos (and messing around with certain substitutions) I kept converging on the same idea. There's a set of chords that can be reduced to the same "sound world": i.e. V of V. Essentially there's the movement of a tritone (F# & C), going to another tritone (F & B), finally to the tonic (E & B/C/A). Basically D7 to G7 to C. You can then go on to add a root and other colours, resulting in different spellings: B7 G7 C; F#half-dim Fm7 C, Ebdim G7 C or whatever.

[@JensLarsen]

To me, if it does not resolve to a V or at least a suspension of the V then it does not function as a secondary dominant

[@PhrygianPhrog]

@@JensLarsen Ah yes, it's not tonicising the V, it's acting as a predominant. I guess what I mean is there's something fundamental about that F#/C tritone to me - those are the key notes in a particular sound that seems to me to work before a dominant chord. I keep hearing it in solos. Some of the older guys (swing) made it quite explicit. They'd precede a V7 with a II7, focusing on those tritones, even if there was no such predominant chord in the changes. I don't know where they got it from but I guess the swing guys liked their dominant cycles.

[@JensLarsen]

The V of V is indeed very common, but that doesn't mean that #IV is a V of V. 🙂

[@PhrygianPhrog]

@@JensLarsen Yes I suppose it's worth getting used to the #IV as a "chord class" in its own right. Night and Day bar 9 has one, and I'm pretty sure it's not a secondary dominant. Also, chords with the the #IV as root can have other secondary dominant functions, e.g. the F#7 in "A Beautiful Friendship" is the tritone sub for C7 (V of IV).

[@manthosdamigos]

THANK YOU! I 've been looking for something like this for years!! I have a question though - how does that work in a context of a trio, meaning the combination of comping like this with a walking bassline? I feel like if someone starts doing crazy substitutions on top of a straightforward II-V-I bassline it's going to be a mess. I know context matters, and you can't put rules into everything, but I'm just wandering (p.s. I'm a composer and a guitarist but for the past 1-2 years I've been playing bass in jazz trios and quarters, just fyi).

[@zozovaca]

Well, on dom7 will not be the mess, probably, but for the rest - not sure. :)

[@cmingus26]

Good question, to me it’s also not clear how reharmonisation works in a band context.

[@lorettataylor4288]

I agree, this seems to aim at solo guitar, or composition, so context is important. The bass player in an ensemble is the glue that holds us all together...we need to be on the same chords, especially if you are accompanying vocalists that supply charts just before performance. Although I have found that small added chromatic chord movements, often work in the moment, without clashing with piano or bass.

[@jazzman1954]

When you play these alternative chords in a band situation leave out the low roots. So they don’t clash with the bass player. The upper notes will sound fine and are actually all found in the original ii/v/i any way. However if there is a pianist it gets complicated because they could choose voicings that really clash with your clever subs. Could be the subject of another lesson. I’ve personally experienced pianists who won’t play with guitar for this reason. Some pianists are willing to live with us (ha!) and the risks of clashes. I don’t like it when the guitar and the keys swap comping. It always sounds lame in my opinion. To be honest I am beginning to think that the guitar is a redundant instrument in jazz.

[@ViolaoDeLuizMarcos]

Your classes are great. Thank you very much. I just wanted to add that I think that the DbMaj7 and FmMaj7 chords are not borrowed from C minor

[@JensLarsen]

With borrowed it is not a strict scale thing, it is a way to explain a chord in a piece of music 🙂

[@johnorr4866]

When you say minor sub dominant, it appears the chord is Ab maj 7. a major chord.Or do you mean the a fourth above the original subdominant? Where is the minor aspect of your description at about 12:00?

[@JensLarsen]

I mean a subdominant chord borrowed from the minor key

[@johnorr4866]

But if the solving tonic is C major 7, then how is the minor key, unless by minor key you are referring to the II chord. However the Ab major 7 is a sub for dominant chord. Right?. Thanks!

[@JensLarsen]

@@johnorr4866 It is not a substitution, it is just a different way to go to back to the I, but in terms of function it is not dominant. Maybe check out this: kzbin.info/www/bejne/bn3bamVsnK5kh68 and this: kzbin.info/www/bejne/iIW1oGOlotqViLM

[@arydorrego2946]

Muchísimas gracias me servío más allá que no entiendo inglés Gracias

[@heiro9611]

You could just call the #IV subdominants Lydian subdominants since you’re raising the fourth degree (technically making it Lydian) and then resolving to tonic or dominant

[@JensLarsen]

No, modal names don't really make sense in functional harmony since they are static and functional harmony is about movement

[@themusiccovenant]

Amazing

[@JensLarsen]

Thank you :)

[@robertserban8843]

Great

[@JensLarsen]

Thank you! :)

[@BlackGypsyMusic]

@jenslarsen Do a video on octave displacement, my g. That would be awesome 🤘🏾

[@JensLarsen]

I don't have a video where I only talk about Octave Displacement, I prefer to see it as a part of the tool set you need to sound like Jazz. These videos all have sections on Octave displacement and how to make some great bop lines with it: kzbin.info/www/bejne/qpWVl2dpqtSbg8U

[@guy_incognito]

Since you brought it up: Forget Eric Clapton -- what about Robert Fripp!? Great tutorial, BTW!:-)

[@JensLarsen]

Thanks! I am not really into the through-composed with no interaction things that I have heard from King Crimson, so I never really listened to it. I have had students who really dug it, but it's not for me.

[@roncastro7195]

Sweet...... when you solo ...over 2 5 1 do use use these subs even when no one else is...for color?

[@JensLarsen]

Thanks! I do sometimes, but I would not suggest doing that completely at random :)