What is your favourite song to work on minor II V I progressions? Content:: 00:00 Intro 00:37 Learn the chords, Play Them and Listen to Them. 01:57 2 - Arpeggios and How to Solo with Them 03:12 Practice them on the Progression 03:43 Nailing The Changes? 04:40 How To Solo with the Arpeggios 05:49 How To Practice This 06:07 Adding The Scales 07:12 CAGED vs 3NPS 07:40 Licks with Scales and Arpeggios 09:35 More m7b5 options! 09:45 Like the video - Check out my Patreon page!
What a fabulous lesson! Sax player her and learning a lot from your well-structured and easy-to-follow videos. This has really changed my way of addressing this tough subject. Du gør det bare meget nemmere, Jens. Tusind tak for det :-)
Great lesson Jens. I really like the trick changing one note in that A half diminished to make the other F# diminished to play off the third of the D7. Very nice! Im going to remember that.
I have been watching your videos for a few weeks now. I'm a trumpet player, and I find your lessons to be very informative, and helpful. Your explanations make so much sense! Thank you! Excuse me, but I have to practice now. ; )
Thanks, Jens. By coincidence I started playing “Bluesette” this week and Toots used some nice minor ii Vs. You’ve given me some new thoughts to enjoy as I develop lines. I find your analytical framework very useful for me on the keyboard.
I take lessons from the amazing guitarist Dave Stryker himself. His approach is mainly to subsitute licks over standards. He is teaching to play a regular 2-5-1 lick up a minor third which he calls "minor sub" over a minor 2-5-1 progression. He substitutes also minor 7 licks over dominant licks which he got from Grant Green and dominant 7 licks on major 7 chord, because he thinks it gives a less obvious sound for melodies.
1:20 Possibly could use these chords on Bb Major song I've been working on if in inversions to tame far too much distant alienation of timbre. It may need a parallel axis shift to the sixth chord. G Maj to Gm:)
Hi, thank you so much for lesson. I have a question for D7 flat 13. Why do flat 13 can we play just D7. I am really confused about why in minor 2 5 1 we alter the 5 to go to 1. Please help❤😊
If you look at the extensions that fit on the chord in minor then those are b9 and b13, so it is not about changing the dominant as much as it is about fitting in the context. Does that help? 🙂
@@JensLarsen Do you have any videos going deeper into this topic? I've noticed this a lot and have always been confused by it. Also, thank you for replying! I'm a huge fan, I watch your videos a lot. They have made me a much better player
@@CorcovadoMusic Not really, because that is just how music works. You only think about it differently because you are coming from theory and not from music. Maybe do this: See if you can find a song where the V chord is minor, it is not very common.
Hi Jens once again thanks for all your wonderful videos. Question: What if instead of a iim7b5 we have a V7/V. how different is a secondary dominant in a major context from a minor context, would you play the tones of the V chord since is technically the resolution of the V/V or from the actual key the Im. Or would I just play phrygian dominant or altered like a minor V-I?
Hello Jens, I am just starting Jazz guitar as a hobby. I am self taught and would like some guidance in how and what i should learn at each steps. I have tried watching your videos but i get intimidated from the advanced stuff. Is it possible to get a course structure for jazz?
I don't really have real beginner lessons on the channel, mostly my audience are already somewhat experienced on the instrument. You can probably better build your skills a bit first playing some easier pieces and then go to Jazz after a few months.
Would you approach something like "Summertime" in the same way with the tonic being a m6? It always feels odd to me when the melody is rooted in natural and harmonic minor
The melody on the tonic of summertime is no more rooted in natural or harmonic minor than most other minor songs? I think if you listen to Jazz you will find that m6 is extremely common for tonic minor, and often also what you actually hear.
@@JensLarsen Thanks for the response. I guess what I should be asking is would there be any situation where you wouldn't resolve a minor 2 5 1 to the m6?
Jens, sorry if this is a stupid question, but I am just starting on this type of theory and I get confused easy. How can A half diminished be from either Bb major or G natural minor, as it does not contain a Bb ? I would have though A half diminished came from C melodic minor. That headache aside, I really like and appreciate your videos. Thanks.
Simple: Bb major is Bb C D Eb F G A Bb the diatonic chords are Bbmaj7 Cm7 Dm7 Ebmaj7 F7 Gm7 *Aø* Bbmaj7 You could do the same for G minor Does that help?
Hello Jens, thanks again, great material. I have a question: How do you know which scales to fit in a chord when the scale does not begins with the root note of that chord. For major scales, I know that the greek modes including the relative minor scale usually fits well, but how about in a context of ii v i minor? Cheers.
The "minor 2-5-1" seems to be so elusive to people and often these explanations are really missing some crucial detail. A common oversight, in my opinion, is that the ii chord often is explained as the ii7b5. That certainly is one way to do it, but compositionally speaking, ii7b5 is somewhat awkward compared to two alternatives: bIImaj7 and simple ii7 (with a non-diatonic ninth too - it's easier to work with more sonorous ii chord generally speaking). If you want to arrange a song with minor 2-5-1 progression primarily, you need to figure out the other alternatives for this. I personally like a lot the imM7 sound and even your i6/9 is great, but both of these also are not great options to use forever if you're looking for a cadence that resolves. Most "workable" option generally is to go for ii9 | subV7 (prefer #9 over b9 here myself) | i9 - of course you don't have to sub the V, but you'll wind up finding this for instance in neosoul. The bIImaj7 option over the ii9 of course will pretty much necessitate non-subbed V7. The benefit of bIImaj7 however is the fact that you can create a nice turnaround with bVImaj7 in similar spirit to the major 2-5-1-6. I don't mean to throw any shade - I have utmost respect for you and all the effort you see to educate other people! I just think that when it comes to minor 2-5-1, there's a tradeoff in that the diatonically "simplest" approaches are (ironically so) compositionally more complicated approaches. I can't say myself what is the best approach to teach the flexible minor 2-5-1, so I'm just giving some food for thought on an alternative perspective
These are one of the reasons why the minor 2-5-1 can be so "elusive." The title suggests that this is a "simple" approach. Do you think someone new to this will understand the chord subtitution concepts in your explanation? Jens is trying to make it simple, yet some people overcomplicate it.
What is your favourite song to work on minor II V I progressions?
Content::
00:00 Intro
00:37 Learn the chords, Play Them and Listen to Them.
01:57 2 - Arpeggios and How to Solo with Them
03:12 Practice them on the Progression
03:43 Nailing The Changes?
04:40 How To Solo with the Arpeggios
05:49 How To Practice This
06:07 Adding The Scales
07:12 CAGED vs 3NPS
07:40 Licks with Scales and Arpeggios
09:35 More m7b5 options!
09:45 Like the video - Check out my Patreon page!
What is this thing called love
Le Sud by L'Indécis is perfect for this
Night in Tunisia
Softly, as in the morning sunrise
“It works, sounds good and...that’s all we need.” This is my new definition of jazz.
😂 😂 👍
Been playing jazz guitar since 1992 and I still learn something new from your lessons everytime thanks Jens
What a fabulous lesson! Sax player her and learning a lot from your well-structured and easy-to-follow videos. This has really changed my way of addressing this tough subject. Du gør det bare meget nemmere, Jens. Tusind tak for det :-)
You are a perfect teacher. God keep you
Thank you very much 🙂
NAILING THE CHANGES!!!!!
(love it)
Go for it :D
Great lesson Jens. I really like the trick changing one note in that A half diminished to make the other F# diminished to play off the third of the D7. Very nice! Im going to remember that.
Glad it was helpful!
Thank you very much Jens great lesson.
Glad you liked it!
These lessons on tackling different scenarios is very helpful and pivotal to learning and playing more Jazz oriented styles! Awesome work as always!
Thanks RC!
@@JensLarsen My pleasure!
I have been watching your videos for a few weeks now. I'm a trumpet player, and I find your lessons to be very informative, and helpful. Your explanations make so much sense! Thank you! Excuse me, but I have to practice now. ; )
Wow minor 2-5-1 is challenging. thanks..I've learned so much from you
You got this!
Thanks Jens - this is a great lesson. Is the scale diagram at 2:10 ( Am7b5) wrong? Should it be an E flat on the top string?
Como siempre una gran lección. Muchas gracias maestro.
Glad you like it 🙂
Thanks, Jens. By coincidence I started playing “Bluesette” this week and Toots used some nice minor ii Vs. You’ve given me some new thoughts to enjoy as I develop lines. I find your analytical framework very useful for me on the keyboard.
Thank you, Warren! Glad you find it useful 🙂
Good Teacher
Thank you 🙂
pefect combinatios of chords for better improvisations
Great lesson. TY Jens.
Glad you like it, Larry!
Nice one, Jens, thanks!
Glad you liked it!
I take lessons from the amazing guitarist Dave Stryker himself. His approach is mainly to subsitute licks over standards. He is teaching to play a regular 2-5-1 lick up a minor third which he calls "minor sub" over a minor 2-5-1 progression. He substitutes also minor 7 licks over dominant licks which he got from Grant Green and dominant 7 licks on major 7 chord, because he thinks it gives a less obvious sound for melodies.
super nice lesson
Thank you, Francesco 🙂
Thanks Jens! - another perfectly timed lesson for me.
Glad you find it useful! :)
Love these _thanks_
Love the chord progression on this...i found, i could use the G dorian mode, as well,and solo over it, using some chromaticism and other devises.
Hi Jens - great lesson.. many thanks. But have you got the Am7b5 arpeggio diagram wrong? Looks like an E on the top string? Thanks.
That does sound like something I might get wrong 🙂
Thank you very much for the great lesson! I will try to apply your advices on a song I'm studying these days: Blue Bossa, with 3 minor II V I
same thing here :)
Where can I learn more about why you used the F# diminished?
It is just the arpeggio from the 3rd of the chord in harmonic minor, but you find this useful: czcams.com/video/kJ5tLJNu5RA/video.html
@JensLarsen - Very cool video! What's the song you're jamming in the beginning of the video? That's a really nice vibe...
I am not 100% sure, but it sounds like it might be I'll Remember April
I just got off the phone with the
advocaat-generaal.
The Minister of Justice will look the
other way at that CAGED system mishap!
I think advocaat is a type of sweet liquor, be careful with advice given by drunk people on the phone :)
Great lesson! in the A semi dim arpeggio at 2:10 should not the note in the high E string be a Eb as in the TAB ?
It is if you look at the key signature 🙂
1:20 Possibly could use these chords on Bb Major song I've been working on if in inversions to tame far too much distant alienation of timbre. It may need a parallel axis shift to the sixth chord. G Maj to Gm:)
Hi, thank you so much for lesson. I have a question for D7 flat 13. Why do flat 13 can we play just D7. I am really confused about why in minor 2 5 1 we alter the 5 to go to 1.
Please help❤😊
If you look at the extensions that fit on the chord in minor then those are b9 and b13, so it is not about changing the dominant as much as it is about fitting in the context.
Does that help? 🙂
Why would the V be dominant? I thought it would be the iii of the relative major making it a minor 7?
Maybe check out some songs in minor, that is not how it works in tonal music. The main thing is to remember that Scale ≠ key
@@JensLarsen Do you have any videos going deeper into this topic? I've noticed this a lot and have always been confused by it. Also, thank you for replying! I'm a huge fan, I watch your videos a lot. They have made me a much better player
@@CorcovadoMusic Not really, because that is just how music works. You only think about it differently because you are coming from theory and not from music.
Maybe do this: See if you can find a song where the V chord is minor, it is not very common.
@@JensLarsen That is fascinating. You're right, I've never seen it done that way and assumed it was just modal interchange.
@@CorcovadoMusic the key is much more relevant and interesting than the scale 😁
Why are there more notes in an arpeggio than just the notes from the chord?
I am not sure what you mean exactly, are you referring to there being more octaves?
Thanks for the reply. I think you answered my question. They are octaves of the same notes.
Hi Jens once again thanks for all your wonderful videos. Question: What if instead of a iim7b5 we have a V7/V. how different is a secondary dominant in a major context from a minor context, would you play the tones of the V chord since is technically the resolution of the V/V or from the actual key the Im. Or would I just play phrygian dominant or altered like a minor V-I?
Thanks! The V of V would be treated as a dominant with a b9 and a b13. That would sound more natural and in key.
@@JensLarsen awesome Jens! thank you
I always mix Harmonic and Melodic Scale in my playing
Is there a name for quick ii V i's where the ii and V happen in one bar? Is it the same for major or minor?
They are still just II Vs both in major and minor 🙂
@@JensLarsen What I mean is there a term to specify the difference between
| ii - V - | I - - -
and | ii - - - | V - - - | I - - - | I - - - ?
@@sonhouseisking No, because there is no real difference since that also depends on the tempo of the song.
@@JensLarsen thank you so much!
@@sonhouseiskingmaybe short form and long form. Or two-bar vs. four-bar.
Are diatonic notes or arpeggious allowed in this progression?
These are all diatonic, not sure what you mean with allowed?
I mean can I use diatonics arpeggious on this minor progression?
@@Freuivan diatonic arpeggios can be quite a few things in minor. Which minor scale, natural, harmonic or melodic
I think you made a mistake in the A minor diminished arpeggio tab. Shouldn't the last note be one half step down?
That depends on whether it is diminished or half diminished.
great as usual, thank you Jens !!!!!!!!!!
Hello Jens, I am just starting Jazz guitar as a hobby. I am self taught and would like some guidance in how and what i should learn at each steps. I have tried watching your videos but i get intimidated from the advanced stuff. Is it possible to get a course structure for jazz?
I don't really have real beginner lessons on the channel, mostly my audience are already somewhat experienced on the instrument. You can probably better build your skills a bit first playing some easier pieces and then go to Jazz after a few months.
@@JensLarsen I can play all the jazz chords and play the major and minor scales. But Jazz seems like ET somehow.
Learn some easy songs and start there 🙂
@@JensLarsen Thanks. A big fan of Gregory Porter and you of course. Thank you for making these videos. I have followed you all the way from reddit
Hello! As usual im learning alot from this video! Thank you!
Is there a PDF for this lesson?
Thank you! There is a link in the video description to the article with the PDF on my website 🙂
@@JensLarsen Great! thank you!
Would you approach something like "Summertime" in the same way with the tonic being a m6? It always feels odd to me when the melody is rooted in natural and harmonic minor
The melody on the tonic of summertime is no more rooted in natural or harmonic minor than most other minor songs? I think if you listen to Jazz you will find that m6 is extremely common for tonic minor, and often also what you actually hear.
@@JensLarsen Thanks for the response. I guess what I should be asking is would there be any situation where you wouldn't resolve a minor 2 5 1 to the m6?
Jens, sorry if this is a stupid question, but I am just starting on this type of theory and I get confused easy.
How can A half diminished be from either Bb major or G natural minor, as it does not contain a Bb ?
I would have though A half diminished came from C melodic minor.
That headache aside, I really like and appreciate your videos.
Thanks.
Simple: Bb major is Bb C D Eb F G A Bb
the diatonic chords are Bbmaj7 Cm7 Dm7 Ebmaj7 F7 Gm7 *Aø* Bbmaj7
You could do the same for G minor
Does that help?
@@JensLarsen Indeed it does. Thank you Jens.
Hello Jens, thanks again, great material. I have a question: How do you know which scales to fit in a chord when the scale does not begins with the root note of that chord. For major scales, I know that the greek modes including the relative minor scale usually fits well, but how about in a context of ii v i minor? Cheers.
jens, why is the dominant always a 7b9 instead of a 7? Why is the upper extension always included in the V but not the ii or the i
It isn't but adding b9 makes it clear that in this context it is from the harmonic minor scale rather than the melodic minor scale.
Jens Larsen 👍🏽 thanks
Magistral Jens congratulaciones... donde puedo conseguir esos ritmos de batería para improvisar Il V I ? Gracias saludos
2:09 the last note of the scheme is wrong fiy ! Love your vids btw !
The "minor 2-5-1" seems to be so elusive to people and often these explanations are really missing some crucial detail. A common oversight, in my opinion, is that the ii chord often is explained as the ii7b5. That certainly is one way to do it, but compositionally speaking, ii7b5 is somewhat awkward compared to two alternatives: bIImaj7 and simple ii7 (with a non-diatonic ninth too - it's easier to work with more sonorous ii chord generally speaking).
If you want to arrange a song with minor 2-5-1 progression primarily, you need to figure out the other alternatives for this. I personally like a lot the imM7 sound and even your i6/9 is great, but both of these also are not great options to use forever if you're looking for a cadence that resolves.
Most "workable" option generally is to go for ii9 | subV7 (prefer #9 over b9 here myself) | i9 - of course you don't have to sub the V, but you'll wind up finding this for instance in neosoul. The bIImaj7 option over the ii9 of course will pretty much necessitate non-subbed V7. The benefit of bIImaj7 however is the fact that you can create a nice turnaround with bVImaj7 in similar spirit to the major 2-5-1-6.
I don't mean to throw any shade - I have utmost respect for you and all the effort you see to educate other people! I just think that when it comes to minor 2-5-1, there's a tradeoff in that the diatonically "simplest" approaches are (ironically so) compositionally more complicated approaches. I can't say myself what is the best approach to teach the flexible minor 2-5-1, so I'm just giving some food for thought on an alternative perspective
These are one of the reasons why the minor 2-5-1 can be so "elusive." The title suggests that this is a "simple" approach. Do you think someone new to this will understand the chord subtitution concepts in your explanation? Jens is trying to make it simple, yet some people overcomplicate it.
1 thumbs down? lol.
Some people just don't appreciate minor cadences 😂