All The Things You Are - Harmonic Analysis
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- čas přidán 2. 06. 2024
- All The Things You Are is a great standard that we all need to have in our repertoire. In this video I am going to go over a thorough All The Things You Are Harmonic Analysis. Talking about how the song is constructed with Form, modulations, chord movement and scales for improvisation.
I also dedicate a part of the video to discuss pivot chords and how they work in modulation, and some of the subtleties we loose when we start turning the chords into jazz chords.
Being able to analyze harmony is a huge help in learning jazz standards and becoming a better improviser.
0:00 Intro - All The Things You Are
1:44 The AABA Form
4:50 Analyzing First and Second A
6:55 Mediant Modulations
8:41 The Bridge
11:57 The Last A
13:20 IV IVm III bIIIdim
15:22 A few thoughts on #IV chords
17:26 Overview of the Keys of ATTYA
17:59 Modulations and Pivot Chords in Jazz
26:40 Scales for the chords
35:44 What we loose by adding extensions to the chords
37:41 Like the video? Check Out My Patreon Page!
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Hope you like the analysis. It's a longer format of course, but also a very thorough analysis 🙂 Are there songs you would like an analysis of?
Hey Jens. I have yet to watch the vid but cannot wait to delve in. I would LOVE if you did either Joy Spring or Daahoud by Clifford Brown. It's distinctly bebop, but they both have quite tricky harmony. Joy Spring, for example, is in F maj but has that backdoor dominant (Bbm7 - Eb7) . I would like to see how you approach it.
Thank you sharing the analysis of this tune. I really want to know your analysis of Darn That Dream!
Maybe Darn that Dream? Some interesting borrowed chords, and a very cool modulation for the B section
Ok! Darn that Dream is on the list 😁
Hi Jens this lesson is awesome. For me I have to sit down and listen carefully what you're saying. On a rainy weekend is a perfect moment to listen carefully and pay attention to learn the basics element of analysis chord sheets or progression. 👌🏾👍🏾🎶🎸
Jens this is a hugely valuable lesson. The longer format allows for more in depth analysis and you cover the entire tune. I would very much welcome this type of video on other songs. Thanks!! And this gives us the insights and tools to do our own harmonic analysis, which is the ultimate path you are guiding us along - great teaching!!
Thank you very much! I will keep that in mind and hopefully return to this format soon 🙂
Beautiful analyses, I really appreciate the fact that we are all so busy today and you take the time and effort to dedicate some time of your day on making these great videos for us. I keep coming back to this video over and over for the past couple of years.
Always loved this song. Your insightful explanation will be moving my arrangement forward. Thank soooo much!
The funny thing is that Jerome Kern, who composed this song ( and many others) was surprised by its success, because he thought it was « too complex » to appeal to the public…
He didn't see bebop come along and loving it :)
jens wish you would play more .. lovely lesson is missing that context that can so easily be showcased with your amazing skill. thank you
What you do for jazz education is incredible! I studied these things once upon a time and I'm coming back to re-learn and I love your depth of coverage and now you have a seemingly endless archive of lessons that one could spend a lifetime working on... thank you, thank you!
I am grateful that you can use them :)
@@JensLarsenif I remember correctly, I saw a video in which Barry Harris look at the Cm in the end, not like a III of Ab, but a II of Bb. Kind of a suite of II Vs
It makes sense soundwise. That 6^ sounds about right
@@wataday2day no, he talks about how you should NOT treat it like that. The exact opposite 🙂
@@wataday2day A comment like yours has him rolling in his grave 😂
@@JensLarsen now I need to find that video :)
Great lesson, Jens! Love the in-depth analysis including scales, etc.
Thank you Brad! 🙂
Thanks Jens - excellent deep dive on a wonderful song.
Thank you Jens! My guitar teacher recently gave me this song to learn. Your analysis is *very* helpful in helping me understand the song and it's structure. You've also given me some tools for the future. I appreciate your work!
Edit: My teacher has me working on the Hank Garland version. Very cool
This is so good. Thanks a lot for all the insights and analysis
You are very welcome 🙂
Jens, this lesson is perfect. This is essentially how my teacher teaches me jazz standards.
That's great Shawn! Glad you found it useful!
A very beautiful song this time of year... can be approached in many ways... thanks again...
Glad you like it!
What a fantastic workout! Thank you so much for this analysis, it's really helpful. Cheers!
Glad it was helpful!
Really in depth I will listen again with pen and paper. Thank you 😊
Thank you for the help.
Glad it was useful 🙂
Just started learning this song and your video jumped up on my feed. So my phone is listening to my playing, and your analysis is really helpful!
Yes: Have you met Miss Jones! Thank you for your excellent videos!
Nice analysis, Jens. Thanks. I appreciate the level of detail. 🙏🏼
Oh, and Turn Out The Stars, thanks.
Great work Jens and thank you.
Glad you enjoyed it!
Such a rich lesson. Thanks for the chord function explanations. The hardest thing I think about learning jazz is organizing your own development. There's lots of sequences and avenues of progress but some lead u to your destination quicker. I am still struggling to make actual music for more than a couple minutes but the joy is in the challenge. Some people may have the theoretical understanding but lack the capability of executing with their hands. I am the opposite. My hands can play anything I think but I can't seem to get beyond the experimental stage of jazz because I get tired of learning something that's already been created. Let the vexation continue!
You're very welcome! I am glad you like it! 🙂
Blown away by your analysis, i have to see your other videos ASAP
Thank you very much José! I have quite a few videos, let me know if There's something you are looking for 🙂
This is gold. Thank you
Glad it was helpful 🙂
My grandfather wrote this for my grandmother ❤ ty for playing it and discussing it.😊
You're very welcome! I suspect all Jazz musicians are grateful for the song 🙂
Thanks so much, Jens. This is a detailed, thorough yet accessible analysis. I was able to follow the points you covered for the most part. Having said that, it’s also very clear to me that this video will require repeated viewing if I’m to have a hope of fully assimilating its contents. This ought to keep me busy for awhile! 😅🦁🌞
Glad I'm not the only one lol
Good timing for this as Levi has me going over this song this month.
It is a must to know it! Adam is a greay teacher :)
Jens, I've been working on ATTYA and watching this video carefully. I really appreciate the "close reading" you do and your really remarkable scholarship. I want you to know that your insights magnify and enhance the beauty of music for me, and by no means just jazz. In a way it's analogous to how scientific study reveals the beauty of nature (contrary to romantics, who find that the technical details of science discourage their magical feeling about nature, as in Walt Whitman's poem "I heard the learn'd astronomer"). Your teaching is really a gift. Thank you.
Solid analogy Dan 👌
@@brysonmartin7788 Thanks Bryson. I'd forgotten all about this video until your comment popped up in my email. Now I get to listen to it again!
Great timing on this one Jens - been working on this tune this month in Matt Warnock's study group. Fascinating to get a different perspective on the tune. Thanks. One day I'll hopefully be able to really play it! :)
Thanks Michael! It is a great tune! :) I would imagine we don't have too different approaches?
Yeah, pretty similar. You both have a good way of putting across a lot of info without making it too daunting for beginners like me. Particularly liked the info on the pivot chords - I've been spending so much time just trying to play the song, it's nice to step back a little bit and kind of see how it's actually put together.
Thank you for sharing this...
I working on learning this song 🎵
Go for it!
Here is my attempt :-/
Watch "All The Things You Are (TRB-6P Bass Cover)" on CZcams
czcams.com/video/XDEgRpitS3k/video.html
Hi Jens, the new thing i learned to day from you is the #IV analysis of the diminished chord, I know that chord from the Classical Music than they call it ("augmented 5-6 chord(those numbers stand for interval relatitions and not for reverense to a function) Dbmaj7 G7 Cmaj is for me just a classical cadence Napels 6th(with the 3rd in tjhe bass,
Db-C-B to make the going to the guide tone B more dramatic(because of the downwards chromatism that stands for meloncholy so the picardian third of the Cmaj the 'e' compensates this drama....
Great video!
Thank you! Glad you like it 🙂
Thanks it's starting to make a little more sence.
Glad to hear it! Keep at it :)
I think of of G⁷ as belonging to the secondary dominant region of the ♭VII⁷ in A♭. The reason: D♭ can use the #¹¹ -and so it has the 5th of C∆, and G⁷#¹¹ (SubV⁷/♭VII⁷) has D♭ which is a common tone of the previous chord. It can also appear like a susbstitution of a tritone SUBV⁷ - V⁷ - I∆ cadence. This is the way I approach C major with a Lydian sound resulting in a type of subdominant - tonic cadence with a backdoor style that includes substitution and secondary dominant. this is just one i think is not the norm for analyzing these key changes. The reason why I like moving to C major and then pivoting to its parallel minor and resolving to the ♭III is it allows me a different flavor of cm than i have in Ab or Eb. Also, Thank you for your beautiful analysis !
Lars, this was a very concise, well thought out, and easy to follow. One thing holds true for learning to improvise. If a person can't hear the melody, or changes flowing through their heads, they will never be able to solo over the changes, or come up with lines. They can learn ALL the scales they want, copy all the lines they can, but if they can't hear where to use them, they never will. When people come up with lines, or for me anyway, and I learned this early on; when I start improvising with scales I know, I always had changes floating through my consciousness. Also, I guess everyone hears the changes different. for instance when it goes to the E flat major, I always hear it going major there and not minor, and in autumn leaves, I hear the e minor as foreign, I hear that change as it should have been, a major also? Even though I play the right changes? Back in the day, with no loop pedals, hearing the melody and changes in your head, or we played to recordings. Back then was a MUST, it was all we had - today not so much. Talking about the pivot chord, I play diminished runs on the pivot chord sometimes.
Also, in regards to copying lines, from other players, I think its a great thing to do, if you can improvise without doing that. But its also a good way to learn, but, I have found, that if you truly love the song, you will get the melody in your ear, and when listening to all the players, these lines start to just happen after a while and come out when improvising?
I found, when starting out, when I did what Lars just did, coupled with thinking, before hand, and playing lines and scales that go with the changes, and I mean even split second changes, like going from say some minor pentatonic - relating to the exact - chord, or using passing, neighbour notes, etc, and ALL possible combination a person can come up with, while thinking of the tune before playing it, like Lars did above, then using the backing tracks is an excellent way to go in todays day and age. And when you go play the tune everything will just start to flow, the more you think while playing you stink. The way for a beginner to go about is to start improvising with pentatonic's, then add in the major, minor, and dominant, and then start to go outside, with the altered scales. And experiment with octaves in solos, and even chord solos. Start with altering the FIVE chord, then experiment. When a player puts in the time they will become very proficient if they work at their own pace. On the B Diminished, why not a quick diminished string skipping run into something else? I use Harmonic minor runs ALL over this tune.
What Lars did at the end of the video is THE WAY TO GO! When this is done subconscious flow will follow. Great video thanks Lars!!!
nice lesson !thanks Jens !i like the analysis about Bo (#iv) with the melody on 7th ...keep it up
Thanks Antonis! :)
Sus vídeos son muy interesantes! Estoy tratando de aprender inglés para poder comprenderlos en su totalidad. Gracias por su contenido!
Thank you! I am glad you like them. I have a bunch of videos with Spanish subs as well :)
Whoa Jens, this is amazing! I think this is your best lesson to date IMO. I've been looking for something like this for a long time! If someone made a book in which they analyze a bunch of standards (the standards that have the most used/common chord progressions) I would buy it instantly! Please make more videos like this, it really is a great example of not giving someone a fish but teaching someone HOW to fish! Thank you so much!
Initially I was confused with your explanation of the Bdim7 chord. I always saw that chord as a "descending chromatic approach chord", where it moves chromatically downward using half steps and since it two common tones with the goal chord its a good example of nice voice leading.
From what I understand you see bIIIdim7 as a #IVdim7 because they both contain the same notes, bIIIdim7 and #IVdim7 are just inversions of each other, correct? Ddim7, Fdim7, Abdim7 and Bdim7 are all the same chord. I never thought of it like that. But does that also mean that you can use the same scale on all those chords? C harmonic minor on Ddim7, Fdim7, Abdim7? While they of course contain the chord tones, the tension notes in relation to the key would be different right? Do you just convert every Dim7 chord to a #IVdim7 chord?
Thanks!
And a great song to analyze would be Night and Day, a discussion on the #IVm7b5 for example. I always see it being discussed heavily in a lot of forums :p.
Thank you very much! Great that you like the video 👍🙂
The scale you choose for a dim chord depends on the context where you find it, so Bdim is played with one scale in Ab major and another in F major. This is actually true for all chords.
I will keep Night and Day in mind, I think I might have analyzed it a reharmonization video a few years ago?
I like this Jens. You know you're stuff and remind me of a Scandinavian guy who got me into Jazz via Autumn Leaves at Keele university folk club. That was a long time ago. It's a sub from me !
Maybe it was. In his DeLorean
I just like your good vibes and the fact you know your stuff. Lots of live Wes being posted, I'm sure you've heard a few. Ab6/9
Hi Jens! Was working on analysis of this myself so thanks for the help! I think the take away for me here is maybe understanding a little better how we have the same resolutions but how they can be different for more interest. As there is that 4 minor to 1 and then the #4 diminished to 1 but using substitutions they sound different! Liking as well the concept of the pivot chord!
The way to really understand is to hear it in some songs, so maybe check out some songs with those progressions
@@JensLarsen Thanks. Definitely eventually
The Db as bII of iii has some cool implications for soloing. I like Cm pentatonic (over Db and G7alt) resolving to Cmaj material over that second system.
Hey Jens - thanks for the analysis! This is a really beautiful song, but was initially put off trying to improvise over it because the harmony seemed really complex. Your analysis explains it really well and I'm considering giving it a go. Am I biting off more than I can chew?
Great! Go for it, Cliff 🙂
Thanks!
Thank you very much for the support! i am really glad you find the videos useful and want to help the channel to keep going! 🙏
Thank you
You're welcome
in classical voice leading, the Neapolitan 6th is kind of considered an altered iv minor chord (the F would be in the bass). A minor iv-V would normally lead to minor i anyways, so by either understanding you could make the G chord altered.
Yes, certainly. I was just telling how the "unaltered" solution worked, which I don't like that much.
Great video as always Jens!
I only have one doubt: why is the Bdim7 labeled #IVdim instead of bIIIdim? Shouldn’t it be bIIIdim considering the direction, going from III-7 towards II-7 ? Thank you!
It is because it is an inversion of the #IVdim, the diminished 7th is the bIII
You go way too fast for me, but that says more about me than you. I'm going to spend a lot of time on this video - learning this tune and understanding it is going to be my self-quarantine project. Thank you!
Great job, Jens. Loved your analysis on this. Regarding your annotations, rather than using the mouse to do so, I can recommend the Wacom Intuos tablet (smaller one). It makes onscreen work really easy -- I use mine all the time for work. Again, great stuff, sir! :-)
Thank you Kenneth! I will have a look at what that is 🙂
This is a slightly updated version of the one that I currently use:
www.amazon.com/Wacom-Creative-Software-Download-CTL4100/dp/B079HL9YSF/
It's plug-and-play, works flawlessly. There are larger formats, but unless you're doing art, you really don't need it. It's affordable and takes no training -- it just works! Hope that you find it useful
I will have a look, though I don't do many videos like that, but maybe I should :)
Once you have one, you may find that you like it and that it inspires you to do other things! :-D
I think that your take on doing the tune analysis in real time is a great idea. I don't know of anyone else who's doing this!
afternoon in paris by john lewis would be much appreciated, that is my favorite song.
Hi Jens, excellent analyse! I think about the keycenters (first 16 bars) a little different: Ab, C, Eb and G are an Ab-Maj7 arpeggio. Do you think they are by accident or intention? Kind regards
Thank you! It's not strange that the related key centers form a chord, but for the rest it isn't that significant 🙂
Thank you Jens. This is pretty much exactly what I'm looking for. I've been playing a very long time, and have my own thoughts on these standards. But I always like to pick other people's brains. Find them for more information. Or a different perspective. I'm sure you are well aware that that is the only way to grow as a player. Although I do understand your point about getting too specific, and alienating a wider audience, which is naturally what you're going for on CZcams. But if you're trying to play jazz, and you're not familiar with this tune. You're not trying hard enough. Lol😊
It is not about reaching a wider audience, it is about teaching in a way that students understand, and there really is no reason to expect everyone who is curious about functional harmony to also know All The Things You Are by heart, it is hardly a great option for a beginners tune anyway.
@@JensLarsen I see your point. And I wish my professors had not allowed us to swim in deep end, by letting us choose our own tunes for chord melodies. Love your videos. Thanks for everything!
I use a spiral bound notebook. write out Ab Diatonic 7ths.
Abmaj7 Bbmin7 Cmin7 Dbmaj7 Eb7 Fmin7 Gmin7b5.
Then I listen to it played. Some parts..I don't know as well as other parts. I look at the note melody and listen to it. Then I sometimes write an unfamiliar song out in 🔑 of C.
Also a good practice is to put the scale degree over it.
Hi Jens, just found this oldie but goodie while looking for a harmonic analysis of All The Things Are which I'm working on now. I got even more than I bargained for. The part about the IIImaj7 being a common substitute for the iii7 really helped me see the progression so much more clearly. And the discussion of the pivot chord was gold too. Great stuff. You mentioned you're in California currently. Whereabouts?
Great video! Wouldn’t a simpler approach to the B dim chord be to play a B dim scale (whole-half)? It sounds great to me and outlines the harmony perfectly
Thanks! No, the diminished scale has a few notes that sound really strange on the chord in that context. That is not that strange because the diminished scale is not tonal and this is very much a tonal piece of music :)
Thank you for this detailed harmonic analysis. There can be several interpretations of the chord progressions and key center modulations. The real harmonic reasons rest with Jerome Kern (1885-1945). On another front, I offer a mnemonic trick to remember the main key centers while playing. Think of the Abmaj7 chord notes: i.e. Ab C Eb and G. This predicts the main key centers well, except for that last EMaj7 (Bar 23). It may have been chosen as a surprise element and "close cousin" to C7b13 with nice voice leading. As to the Bdim chord (Bar 32), I think of it more simply as a passing chromatic chord. On the video, you played Bb13/b9 with the b9 (= B) as the bass root (i.e. Guitar chord 7X678X)....right? It sounds great with the matched upper voice (G). Thanks to all viewers from Jerry Jazz, London, Canada
Calling it a chromatic passing chord doesn't really give you any information about it in terms of how it sounds and how you improvise over it. To me that is a missed opportunity, especially since the #IVdim family is so common in Jazz harmony
@@JensLarsen Agreed Jens. You justified Cm-harmonic as a possible scale and that certainly works well if you are heading to Cm. I then interpret Bdim7 as a G7b9 chord. However, in this case, the next chord is Bbm and Cm-harmonic sounds odd to my ear. You also mentioned a parallel harmony "trick". Cm--Bm-Bbm and that sounds better to me - often used by the Beatles !
@@MyJ2B well, you just need to get used to the idea of a subdominant dim chord 🙂 try listening to the song is you or st Thomas there are two. Very common variations of #IVdim
Hi Jens, massive fan of your videos. I have a question - at 5:35 you say there the melody is strong because of 3rds and 7ths, but I recall from other videos that you say 7ths aren’t strong target notes, could you clarify if there is situation where the 7th is strong sounding?
Thanks! The 7th will be strong on some chords, I think I usually point out that the 7th is a fairly weak note on a II chord in a II V I. At the same time the 7th is often really strong on dominant chords, all of this is pretty context sensitive and I usually talk about this in the context of solos where if you use for example the 7th of a m7 chord as a target note then it is pretty complicated to make a strong 8th note line.
Does that help?
Very very nice, u put your heart on your job! Pls analyze Desafinado by Tom Jobim
You're very welcome! Tom 🙂
If you are on Facebook you should Join us in the Facebook Jazz Guitar Group Community: bit.ly/InsidersFBGroup
Hey there Jens, great video! I have a comment about the C+7. Could it not be considered V7 of bII? In the key of E, F is the root of bII. Doesn't really matter but that is just what it looks like to me. I'm using your video as a guide as I finally tackle this song. I know now why a lot of people at Berklee (myself included) don't like it; it's difficult.
Can you tell me why you choose a G phrygian dominant scale over the G7 in ther second line instead of altered scale?
It is about context, seeing the chord in the progression and in the key. In the key of Ab major we expect the dominant for the III to resolve to a minor chord therefore the most obvious scale would be the harmonic minor found on III: C harmonic minor. Altered scales are pretty far out and more of a reharmonization than a first choice in a song.
Hi Jens- fantastic video. I'm new to jazz analysis, and I'm finding the idea of chromatic chords being seen as 'in key' as pretty strange! Regarding the G7-CM modulation, if we were treating the G7 as part of AflatM (V/iii), would we not play A flat M instead of G Phrygian dominant/ C harmonic minor? Seeing as neither the scale (C harmonic minor) nor the chord (G7) comes from A flat, I'm curious as to how it can be seen that we are playing 'as if in A flat' at this point? I'm new- so please forgive me!
Ed
Look up my video on secondary dominants 🙂
@@JensLarsen thanks Jens! Another brilliant video . Is it also an option to play harmonic minor over the dominant chord and then go back to playing the A flat major scale for the minor chord itself (eg playing C harmonic minor over G7 and then playing C phrygian / Aflat M for the C minor chord ?
With regards to the harmonic analysis- I'm curious to see what roman numerals you would use for the second part of the A section (C-7 through to E flat M). Surely we only 'arrive' in E flat at the point of the E flat M chord? The ear might hear the F minor chord as iv in C m? Or do you think the ear would pick up that we are moving towards E flat M? I'd be interested to know where you think the modulation actually occurs.
thanks!
@@edbowles5497 After the G7 you have a Cmaj7 so Ab major is not really an option.
The modulation usually spins around a pivot chord that will be in both keys. That does not have to be the tonic chord, and mostly it actually is not. In this case, this is the Cm chord at the beginning of the 2nd A. If you listen to the melody that is also pretty clear since it is a repeat of the first 4 bars but just transposed.
In general, it seems a little like you are only looking at the chord and not really trying to listen to the song.
@@JensLarsen Hi Jens- thanks for your response. And yes- I'm aware in this case that we land on Cmaj7, I should have been more clear that I was just asking a general question about what to play over secondary dominants leading to minor chords from the home key. If we landed on Cm7 instead, would it be okay to play Aflat M at that point? This is how I've been approaching it thus far, because if i was to continue playing C harmonic minor then I would have a B natural clashing with the B flat from the harmony?
@@edbowles5497 As a general rule, you want to use scales that actually contain the chord you solo over, so C harmonic minor is not an option for Cm7. In the context of this song, Ab major would be the logical choice.
Jens: I love your analysis on this but it would be great if you did more soloing so we could hear how the analysis results in an effective solo.
I would actually consider that off topic. Being able to analyze the chords doesn't really say that much about how you improvise over them, that includes a lot of other skills as well 🙂
@@JensLarsen yes true, but connecting to the sound is helpful. Sometime, for me, Jazz gets too intellectual. Connecting to the heart is always my goal.
@@fxaarchable Surely you are not trying to watch a video analyzing a song that you don't know how sounds?
First play the song, the melody and the chords so that you know how it sounds (just listening superficially is probably not really going to be enough)
Me playing a solo on it will not make it more clear unless I also analyze the entire solo which would make a 4 hour video. That is clearly off-topic and not what the video is about.
I could be wrong, but I think you didn't think this through, right now you are the one making it more intellectual if you don't know what the song sounds like.
@@JensLarsen fair enough. You are correct.
Hello Mr. Larsen!!
I wanted to clarify something,
when you play the DbMaj7 G7 to Cmaj7
Can I think of the DbMaj7 being a sort of Tritone Substitution?
thank you so much :)
no, that doesn't make any sense at all.
@@JensLarsen Ok thanks for clarifying :)
Hi ! How do you know if a 'natural' 11th or a sharp 11th should be use ? Thanks !
You know that from the context of the chord. I am not sure what you are asking precisely so that is the best answer I can give you 🙂
Generally, the 11 is used in minor chords, and the sharp 11 is used in major chords. You could use the Sharp 11 when playing a IV, or also in a tritone substitute.
Anyone have thoughts on : Riemannian musical analysis ? It started me thinking that the Db going to G7 to Cmaj7 is notes :Db, F G# . the F stays in place; the G# is going down only a semitone to F and the Db is positioning itself to the Maj 7 of C so the F just moves down to E to complete the chord. It seems more like smooth voice leading than any convoluted "of " type analysis? I might be out of my depth here but just sayin!
Also what if the Db is like a flat supertonic to CMaj 7( which it could just have resolved down a half step anyway to Cmaj 7 ?) and it goes up by flat 5 like a reverse flat 5 substitution so it can be the V7 of Cmaj7?
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The video I watched before this was actually of Barry Harris explaining how to play on this to his students. He specifically referenced the Cmin7 chord in the 2nd part of the A section. He said playing a D natural over this chord was wrong. He said Db is what is needed. This would make the Cmin7 the IIIm chord, still in the key of Ab, not Eb.
No, he specifically talks about the Cm7 in the last A....
@@JensLarsen you are right. I was playing it now and learned. I am but pond scum...
Plas Plas Plas Amazing HowEVeR!!
Ok! Thank you? 🙂
:)
Awesome! Please do some Thelonious: Ask me now, Reflections, Round Midnight, Ruby my dear, anything, it's so confusing! Great video :)
Thanks! I will keep those in mind! 🙂
Sorry just getting to this…saw a version that goes Dbmaj to D-7 to G7 (2/5 in C), which is elegant transition and an early assumption of modulation to C, No ambiguity at all. Your thoughts?
I don't like the B in the melody on the Dm7
Now I understand how my cat feels trying to figure out how the door handle works. I wonder - do you think the composer started with chord cadences and discovered the melody within the chords, or twiddled the melody then figured out the chords to harmonise it? I think the Broadway composers were so clever to condense their vast knowledge into short songs the public could digest. No wonder these songs have lasted. So much nutrition packed into a lunchbox. BTW how do you rate your Ibanez 335 vs your Gibson? I think Ibanez make the silkiest necks. I had a GB10 but stupidly sold it.
I am pretty sure Kern did both at the same time, I suspect that is very often the case.
Page 18 of The Real Book, thought it looked familiar...
Haha! You work with what you have 🙂
Two notes on this - I feel the tune is AABA, since the length and melodic pattern are eight bars. Also, using lowercase Roman numerals for minor chords helps with confusion.
Which confusion would that be?
@@JensLarsen confusion for new students who might not know that not every "ii" chord is equal, stuff like that.
Also wanted to say I think your improv is underappreciated. It's well done and looks/feels/sounds very natural. Nice stuff.
@@WhiteBoyFunk I don't think I know of an example of a II chord that isn't minor? Then it isn't a II but something else like a [V]
I didn't manage to find the answer anywhere, so I have to ask:
In the bridge section, over the D7 and B7 chords, I see people playing a half step interval between E and natural E, and B and natural B, respectively. I can't understand why, for G major scale has no sharp or flats on the B and E notes.
I only managed to find a video of a pianist, saying the natural symbol refers to the D7 and B7 chords themselves, but thus far, I thought the natural sign referred to the key of the current section.
By the way, apart of the second line, I haven't seen that the natural sign notes differed anyhow from the regular ones, up until the bridge.
Any help or a reference video on the subject would be highly appreciated!
The key signature is Ab, so it is Eb to E and Bb to B. They are leading notes.
@@JensLarsen Oh, I see - the natural sign applies to the original key, not the G major of the bridge.
Thank you very much, Jens! Your lessons are the best!
Thank you for the insight! One question if I may.. passing from Emaj7 to C+7, what about the Eb (the seventh of Emaj7), isn't the third of C+7 actually E ? Eb would make it Cmin7alt (if this exists...)
What are you referring to exactly? Maybe give me a time in the video?
@@JensLarsen Thank you for the reply! I am referring to the last bar of B section, minute 10:30 and on..
@@massimozanetti8871 I am not talking about Eb at all? I am saying to change B to Bb.
Is that what you mean?
@@JensLarsen you said if we change 1 note to Emaj7, the B to Bb, we get C+7, but actually in Emaj7 we also have the Eb (seventh) and in C+7 the E (third). So also Eb to E is another note that changes
@@massimozanetti8871 E Ab Bb Eb = C7(#9b13)
Question is it possible to see the d flat maj 7 as the triatone of c major
No, tritone subs are for dominant chords. You could see it as a neapolitan subdominant 🙂
@@JensLarsen thanks
Jens, would U do an analysis of Naima?
That piece is tricky because it is in between modal and tonal so an analysis like this doesn't really make sense.
It would be more an opinion than an analysis
Great video Jens . My question is, how do you manage to keep getting better looking as you get older ? 😃
Haha! Thanks! That is possibly a question of photoshop skills 😁
I noticed you wrote the diminished sign as a circle at the bottom. Unfortunately the diminished and 1/2 dim. are not available on most text editors. That got me thinking.
Why not use an asterisk. Put it in the very beginning of the comment. IDK..I have been able to find the dim.
sign, but not a 1/2 dim7
I have a question and I hope it's strongly related to the main topic of this lesson. Almost each song/composition is based on more than 1 chord, even if song is in 1 key e.g. A-dur. Do guitarists can improvise whole the song using A-dur scale or should change it immediately according to changing chords not to sound in false way, I mean false notes? I would greatly appreciate the reply for this very important issue - may be you've made earlier video on this subject?
It is a bit style dependent, but in Jazz you mostly follow the chords in your solo and not just one scale.
I understand, thank you !
Glad to help 🙂
Jazz is a nice bouquet of roses, but in my garden, I want to have all kinds of flowers and not only roses.
Great, go for it 🙂
6, 2, 5, 1, 4, 7, 3
Who wrote the song ?
Thank you
All The Things You Are? That is composed by Jerome Kern, who famously hated Jazz 😁
@@JensLarsen lol thank you ,sounds like an interesting story
I think the Real book wrote poorly the harmony in many standards like the diminishes. Because a dim can only go up on the harmony because they are the the VII of one chord, the real book simplifies this in the cases that the bass line goes descending... In this case i think the Bdim is really a Ddim/Cb like the VII of Eb (because it goes to a major the scale one should use the VII of Eb mayor harmonic) and the Bb-7 is just minor relative (i don´t know how to write that in english so i translated it literraly) to Eb7.
The real book did indeed get some chords wrong, but not those dim chords.
You need to learn what a subdominant diminished chord is 🙂
I know what a subdominant diminished chord is. My point is that there is no such thing as flat III dim because the dim only goes up as a VII of some chord (in this case the VII of Eb). To simplify the tipical movement of the bass line the real book wrote the flat III. Is the way that musicians like Rich Perry teach it, so i wanted to share this.
A subdominant diminished doesn't always resolve up 🙂 it can resolve down to a subdominant chord like it does here. It can do the same with a #IVdim IVm progression
that is what im trying to explain, enharmonicly you are correct, but that is not the harmonic function, despite they can have a subdominant chord after (just like some V chord have them in some songs) diminished chords are the VII of a chord like secondary dominants and in this case is the VII of Eb, despite is has a relative subdominant right after (i reepeat this occurs also with dominant chords) but with another bass line for the movement to be chromatic (Ddim/Cb)
i´m no native speaker so i´m trying to explain myself the best i can. Hope you understan what i mean, i´m pretty sure that this info is accurate so please analyse it.. my teacher was a student of rich perry and explained to us this matter. It may seem trivial but it´s not. That is why (only speaking harmonicly) the scale to use in that dim would be Eb mayor harmonic.
A good example of a tune with plenty of modulations - changes of key, minor, major keys etc. It would help if you played the tune first, before you pull it apart
I would imagine most people interested in an analysis already know the song? 🙂
@@JensLarsen Not true, but my comment stands. A run thru' first and even after the analysis is necessary to remind us. Just commenting dry, doesn't work, not for me it doesn't (as a music producer)
@@simontaylor2319 Ok fair enough. I never do that, and to the best of my knowledge, it is not that common in these types of videos on Jazz Standards, I don't know about other styles of music. In general, it is my experience that YT audience likes you to get to the point. My guess is that a video like that would probably lose 30-40% of the audience before getting to the actual analysis, but I haven't tested it of course.
When you refer to parallel Dorian in C m, B m and Bb do you mean, play these three Dorian modes with C as the root
No, I mean C Dorian, B Dorian and B Dorian 🙂
Jens Larsen C Dorian B Dorian Bb Dorian .. yes thank you , I tried it out on this tune, and am happy with the results. I play piano , but love your videos and your sincere uncomplicated words and thoughts .. thanks so much!! I will continue to watch. All of Me is next I think
@@richardhecht2881 Thanks! Go for it 🙂
@@JensLarsen also, i use Gb7 instead of Db-7 in the last A section. i like it
Where is that beautiful Gb7 in bar 30? I think it's a bad chart Jens.
Whether it is Gb7 or Dbm6 or something else doesn't really matter, it is all minor subdominant
@@JensLarsen Eb under Db-7? Have you made a vid on why the iv- chord moves to I?
@@TheDave292 Eb over Dbm6 I guess? Hardly really out there 😁
I have videos on modal interchange: czcams.com/video/RTRo0omubRQ/video.html
Essentially it is about this voice-leading 6 b6 5 on IV IVm I.
When I hear the verses of the cat Stevens song " wild world" I'm reminded of the chord movements of this song .
well well well ..oh man .......chords first fer me
The D-flat min 7 is wrong :) Sounds better as G-flat 7 flat 5
Yes it does not matter if I play what I here and so many harmonies too little time
Was the person that wrote this a drug addict, I’m serious. How do you come up with this unless you’re thinking way out of the box your almost back in but then out again ? I’m not a drug addict, anymore at least just in case we’re wondering lol. I love this song.
I don't think Jerome Kern was on drugs
Yes I get it but it's nothing new now what about a cool life
He should play it through first.
If you don't know how it sounds then learn that before you try to analyze the harmony 🙂
this lesson was very heavy & dense -- probably too many deviations :-)
Really? I thought I'd try to just explain things a bit more thoroughly for once 🙂
Jens Larsen ahaha yes - maybe it s me that can keep attention not longer than 15 min :-) like TV advertising that are only around 1 min 😅
No worries! I would be curious what you consider a deviation? Feedback from somebody like you might be really useful 🙂
Jens Larsen I mean that while you were analyzing all the things you are you were also in parallel quoting other songs with similar construction - so at least for me in a 38 min video it move my attention away 😃 probably I m not there yet with the instant understanding of #IV / second dominant and so on - so I do need to stay focus one step after the other one 😊
Sure! Fair enough :) It is good to know what you guys think
Y a rien dans cette analyse ! Aucun exemple d'impro. Peut largement mieux faire ....
It is not an analysis of a solo, it is an analysis of the harmony (should be fairly clear from the title?) Consider that If you can't put that into something useful then that might say more about you than the analysis.
I must say your lessons are very hard to understand. Doesn't flow, disconnected, and not clear explanation.
Luckily nobody is forcing you to watch them 😄
@@JensLarsen thank God for that
You can do that, but it is probably more a question of free will on your part 🙂
Wow what a shitty response you got from Jens..... You gave constructive criticism, weren't toxic at all.
Well, I don't have a problem with people not liking my videos. I thought it was pretty ok to just suggest not watching them? There is little else that I can do 😄 How is that in any way offensive?