The Diminished Walkup Progression ("Ain't Misbehavin'," "It Could Happen to You")

[@arpadternei6991]

"Don't do anything without listening"! What an important key-sentence! Thank you Jeremy!

[@CliffieVanR]

Great lesson - thanks Jeremy!

[@JeremySiskind]

Cool! Thanks, Cliffy!

[@flober1970]

Some Jobim tunes use this progression, including Amor em Paz, este seu olhar

[@ivannagy8911]

Thank you for the great lesson. (Only a side note: You did mention Liza. It is not impossible to use this sequence but I think Liza is different a little bit. It’s second Chord would be in Bb an F7/C)

[@JeremySiskind]

Ah, cool! Thanks for doing the detail work, Ivan! I appreciate it!

[@BMarPiano]

Great lesson! Love this progression.

[@JeremySiskind]

Thanks, Brenda!

[@ChapinJazz]

Hi, Jeremy, thanks for these videos (I’ve viewed two today), your books, and your spirit of sharing. I’m wondering what iPad software you use for sharing notation on your videos. I do some zoom instruction and would like to add this capability. Best to you.

[@JeremySiskind]

My pleasure. I'm just using "Forscore" on my iPad. I upload blank manuscript.

[@Qwazim0d00]

Great video!

[@JeremySiskind]

Thanks, Junior!

[@hugo54758]

Your fifth chord (in order) being Bb/D, I think the function of the preceding chord (C#°7) is better analyzed as a tritone sub of the V which resolves expectedly to the I. What do you think about it?

[@BethanyLowe8773]

Which V / which I are you meaning?

[@francescomanfredi]

I don’t think so because the tritone sub is usually a half step above the target chord

[@JeremySiskind]

Hmmm, maybe! That's an interesting thought. Let me ponder it for a bit. I think without the 3/7 of the dominant chord, I'm reluctant to put it in the tritone sub category, but it's worth thinking about.

[@feimstro]

Hey ! I have your jazz band pianist book. Is that the same book as the jazz fundamentals ? Or even same information? Thanks 🙏🏾 would love to look into that one as well

[@JeremySiskind]

There's some overlap, but Jazz Piano Fundamentals covers a lot more ground than Jazz Band Pianist. Jazz Band Pianist is really only focusing on chords, comping, and voicings, but Jazz Piano Fundamentals covers everything from day one of jazz lessons.

[@francescomanfredi]

Great lesson Jeremy! Nice to see also the songs in the title. Yes also I got Rhythm, Cheek to Cheek remind me of this beautiful walk up. I noticed also you changed the audio set up and it is very elegant but there are often interferences or distortions when you talk, could it be the wireless earphones, maybe wired ones could solve the problem?

[@joshie_allon]

Hey Jeremy, another great lesson. heads up I think you've been having an issue with the audio setup, every now and then there will be a distortion and it sounds like its clipping a little bit

[@JeremySiskind]

Thanks for the headsup, Joshie! I'll keep working on it!

[@mybiggrin]

It's unfortunate that there's an audio issue in this video, bc your lesson is so great otherwise. Thank you for your knowledge!

[@JeremySiskind]

Thanks much! I’m always trying to make my tech requirements better!

[@JazzGitarDersiSamiGundogdu]

Thanks a lot for the great lesson. Since I am working on a ''It Could Happen to you'' I liked it so much. However I have a question: if Bdim resolves Cm should we use B7alt chord for resolving Cm. In other words, can we assume Cm7 Dorian scale which is very close to Mel.Min and B7alt is their 7th degree of it. Or should we use Harmonic Min from 7th degree?. Also, can we think Bb7 Lydian b7 since it's resolved to Cm7? Am I thinking too complex? Because most of the time I am paralyzed when I try to think of these options. Anyhow it is a great lesson, thanks again Best Regards

[@itstrulydaniel]

There are basically two kinds of cadences: V7 -> I (authentic) and IV -> I (plagal). G7, Bdim, Bdim7 and the tritone sub equivalents (Db7, Fdim, Fdim7) are in the authentic camp. F7, B7, and its related chords are in the plagal camp. In other words, no matter how gnarly the changes look, if it's acting as cadence, it's gotta be some variant of G7 -> Cm or F/Fm/F7 -> Cm. So if you swap the Bdim to a B7alt, you are changing the cadence type, which is totally fine but it does change how the resolution works. The Bb7#11 thing is from the backdoor ii-V: Fm7 Bb7. It's a deceptive cadence where instead of resolving to Eb, we go to its relative minor instead (either Cm or C). In terms of cadences, it acts like a plagal cadence to C because of the iv-i move. So, the short answer is that all of those cadences are valid. However, they usually don't all make sense depending on the tune. You gotta use your ears and common sense for that. edit: In context to the walkup in the video, I wouldn't make any of those substitutions since the sound and function of the walkup is so specific (and it's just a brief tonicization of Cm), but hey, you might find other uses for this stuff in another tune.

[@donschneider7953]

You're definitely "world famous" in my household here in Oregon. :^)

[@JeremySiskind]

I'll take it, Don! Oregon's in the world, right?

[@caseydahl1952]

how do you treat the biiio7 chord?

[@JeremySiskind]

Very carefully! 😂 Hmm, I'm not sure exactly how to answer that question. It's like the viio7/iii. Does that help?

[@caseydahl1952]

@@JeremySiskind even if it's resolving down to the ii?