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Important (beginner) Jazz Advice: 5 Easy Jazz Standards To Start With

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Learning Jazz songs is incredibly important, I am sure you have heard me and many others say that again and again. But it can also be unbelievably difficult in the beginning, I spent a long time isolated from the world, practicing for hours every day to learn the first two Jazz standards. And that was largely because I had chosen songs that were much too difficult for a beginner and I just didn’t know any better.

But it is actually hard to figure out exactly what songs will be the good for you to start with, so I thought it might be useful to compare 5 different songs that are all easy so that you have a better way to figure out what might be useful for you to learn, and even if you already know some songs then these could be great to add to your repertoire.  As you will see, I actually left out some very common songs from this video, but I will explain why that is along the way, and there is another thing that is also surprising about this list.

Let’s start with one of the easiest songs to solo over.

Pent Up House

If you look at the sheet music for this Sonny Rollins classic then the theme and the chords in the theme might look incredibly complicated, but the solo form is actually very simple. You could look at the 16-bar form as an AABA,

but it doesn’t really feel like that to me, probably because it is a short form. It is really just a II V I in G major and the two other closely related II Vs.

So common progressions that you may already have practiced and otherwise you can actually start learning them on this song.

It is a great way to work on some basic Jazz progressions in a song, and I have seen a lot of students get more confident improvising over changes learning this song. What is great about the theme being a bit more complicated is that it also really teaches you some jazz melody and jazz rhythm which is very useful for your phrasing and vocabulary.

To compare the songs then I made this chart to have an overview of them. I am going to keep it simple with the grades so it is either good or bad, but don’t over-interpret that, it is also a bit of an experiment for this video.

 

For this song then the progression is good, it is pretty simple with the number of scales and keys you need. The melody is difficult, even if there is an advantage to that as well. It is not really a common form that will help you learn other songs, and the tempo is often a bit high, but you can of course play it slower.

 

Let’s see how it stacks up against the next song, one thing that I actually think is very important is that you work on songs that help you learn other songs, but I will explain that along the way as well!

Perdido

This song is a great example of an AABA form,

and since it is a big band composition from the Ellington songbook then it is also a good melody for learning some phrasing and rhythm. If you are starting out playing Jazz then that aspect is maybe a bit overlooked since we tend to be very busy keeping track of the notes and the chords, but actually learning melodies like this is very useful for your soloing as well since you will learn to hear melodies with interesting rhythms, and also how to play simpler phrases and melodies with a strong rhythm.

The advantage to AABA forms is that you really only need to learn 16 bars to know the whole song: an 8-bar A-part and an 8-bar B-part.

In that respect, the amount of chords in this song is not higher than “Pent Up House.” The Bridge is a rhythm bridge, essentially just a dominant chain ending on the dominant of the key.  This is also a common bridge and will help you learn rhythm changes which of course is stuff you need for a lot of other songs,

so in that way, this is also a very practical song to work on.

 

Perdido scores really well, maybe only the tempo is often a bit tricky since the theme doesn’t sound that great if it is too slow. That is going to be hard to beat.

How Not To Learn Songs

The way I learned the first few standards were not very smooth, and the first songs that I learned are not on this list. This was when I had just started playing Jazz, and I didn’t really know what songs to learn, but I had a realbook and a few Jazz CDs. One of the songs that I heard that I really liked was Stella By Starlight, which was a horrible choice for a song since it has an unclear form, very complicated harmony, and uses a LOT of scales. Everything you don’t want in the first song you set out to learn. The other song I worked on was There Is No Greater Love which was not as complicated but certainly also not easy.

The result was that I spent weeks and weeks practicing two songs for hours every day using brute force to learn them, I just kept on playing until they stuck, which is not the way to do this.

I am pretty sure this list would have been super useful, but at the same time, let me know if you have a suggestion for a good song that is not in this video!

Satin Doll

I suspect you already know this one since there are quite a few great recordings of this by guitarists like Barney Kessel, Wes Montgomery, and Joe Pass, and it is one of the nicest medium swing tunes to play! It is also another Ellington song, though this time written by Billy Strayhorn.

This song is usually played medium, and the chord progressions are mostly II V’s with a few of them resolving to one chord.

The progression does move around quite a lot with the II V’s covering quite a few keys and not always moving as predictable II V I progressions.

The form is AABA,

and the bridge is (again) a common progression, namely what is often referred to as an Ellington bridge,

which you will find in a LOT of songs like Honeysuckle Rose, Just Squeeze me or So Danco Samba, so clearly learning this song will give you an advantage with a LOT of other songs.

For the score, the chord progression is good, but there are a bit many scales involved. The melody is easy and the form is not only easy but will also help you learn other songs.

Also a pretty good score! The next song is actually a Bebop theme, but I guess you could also call Pent Up House a Bebop theme?

Start with the Major Key

First I should probably talk about why I am leaving out very common songs like Autumn Leaves, Blue Bossa, and So What, since they are obviously very common and very famous songs.

This is pretty important because you want to learn songs that help you learn other songs and gradually build skills, and you also don’t want to get stuck just worrying about scales.

In my experience, when teaching beginning students then internalizing a lot of different scales is pretty difficult, maybe that is also personal experience? So sticking to major scales can be very practical. This also fits with how long I had to spend learning Stella By Starlight and There Is No Greater Love. That doesn’t mean that you can’t use songs in minor keys like these, but it does introduce some complexity, already with the basic minor II V I cadence you end up using 2 or 3 different types of scales which is quite a lot.

Another factor with this is also what songs you are already familiar with, and if the student already knows and has listened to Autumn Leaves or maybe learned the theme, then a song like that can be fine, but if you are figuring this out for yourself then it is worth keeping in mind how complicated the harmony is in the beginning and trying to keep it simple. I guess I could make a follow-up video at some point including minor songs?

When it comes to modal songs like So What or Cantaloupe Island then they are more difficult to hear, and working on those there are a lot of things you are not developing because the chord progressions don’t flow like the other Jazz standards and you are not learning to deal with chord progressions that you will encounter in other songs. Again, there can be exceptions for a choice like that as well, but if you want to get better at playing bop-inspired solos then the modal stuff is not where you want to begin, even if I do think you need to know some of those as well of course.

Afternoon In Paris

This may be the least famous song on the list, but this song is great for working on your II V I progressionsin different keys.

It was written by John Lewis who is probably most known for being a part of the Modern Jazz Quartet. The motivic melody moves through a few keys and it is much slower than most other bop themes, so it can also be a good way to start with that type of melody.

Again the form is an AABA, probably because these are often a little simpler than a lot of  the ABAC songs think of There Will Never Be Another You or Donna Lee.

The chords are all II V Is, though there are quite a few keys involved in this one and even some chromatic II V movement.

For this song, pretty much all the chord progressions are II V Is, but there are quite a few scales, and the theme is maybe a bit more complicated than the rest.

So this is not the highest score, but keep in mind that this is still a very easy song.

Take The A-train

When I first wrote down the songs on this list, I chose them because I have used them in lessons. I never realized that they were in fact all compositions by Jazz artists, and I was also surprised that so many of them were associated with Ellington, but in a way that makes sense since it is really using Jazz music to teach Jazz.

The last song on the list is the song that I also use in my course: Take The A-train, so yet another Ellington-related song, but one that I have tested on several thousand students in the roadmap and in real lessons, and it is pretty solid first song!

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Take The A-train is again an AABA form,

and here the A-part is a common progression that you will find in a lot of other songs, especially a lot of Bossanova tunes like So Danco Samba and Girl From Ipanema.

The progressions in the song are basic but strong, there are not a lot of scales needed to play it, and it works well at a slower tempo. The only thing that is maybe a bit tricky sometimes is the melody.

Honorable Mentions

Of course, any of these 5 songs will serve well as a first song, or be easy to add to your repertoire if you are looking to find some easy songs. A few songs that I considered for this video but that didn’t make it were:

  • Tune Up
  • Lady Bird
  • So Danco Samba.

I guess it is mostly about having the right balance between a useful melody and an easy chord progression, but I am, of course, curious if you would want to put other songs on this list, let me know about that in the comments!

 

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Amazing Chord Melody Without Any Chords? So Beautiful That Nobody Cares

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It is not often that you come across someone who manages to re-invent a style like this into something both beautiful and unique,  but this take on Days Of Wine And Roses is a such a beautiful version of the song that uses a lot of new techniques, and actually stuff you can use in your own playing that isn’t that common in Jazz guitar.

With most Jazz guitarists when you say Chord Melody then they think of people like Joe Pass or  Barney Kessel

Both of these are of course fantastic, but they are what I would consider a more traditional approach to chord melody, and Jazz is not only a tradition, it is also a style of music that while staying true to it’s roots also (luckily) keeps changing and evolving.

When it comes to playing chord melody then usually we are already having a hard time just laying down the harmony and playing the melody at the same time with any kind of phrasing, because  that is already quite a lot to have going on. But what if you could open it up with a completely different sound an instead of trying to sound like a piano or use traditional drop voicings then you can explore  the independent sound and possibilities of the electric guitar to create something else. I think that is exactly what Bill Frisell does in this version, and he manages to have a very clear connection to both Jazz tradition and to other styles especially Bluegrass but certainly also Blues and even Pop music.

The Blues and Wine And Roses

I don’t think I had this association right away, but if I listen now then to me the intro is really Blues inspired, and borrowing a lot from what you might hear in an acoustic blues song, something like Lightnin’ Hopkins, I am curious what you think? It is all pretty much just a playing a good old campfire C chord with some sparse fills giving you a #9 and a b7 to really make it more dominant and also make it sound like blues. One phrasing technique that I really connect with Bill Frisell is sliding down to a note. He seems to do that more than most people I am aware off, within Jazz at least. I think Guthrie Govan does it really a lot as well, he sort of re-invented what could be done with using slides to me, but I don’t really consider him Jazz. Here Frisell uses a slide to get to the minor 3rd from the major 3rd, It’s the blues thing. Because C is the V of the key, which is F major, then the intro still works as a “normal” intro where I think most Blues intros would set the mood up on the I chord, but Days Of Wine And Roses is of course not exactly a 12-bar blues.

What is also really great about this is that he is starting a Jazz chord melody with something that is mostly a triad sound, so it is not exactly Bebop tradition, he is almost hiding the extensions and I think the way he does that is really inspired! I A huge difference in both the intro and really the whole performance is how the priority for Frisell ito create a beautiful mood around the melody more than a sort of clear functional harmony based intro or a groove. This is also how he gets to incorporate some of the very uncommon chord sounds and voicings that he uses, but we’ll get to those.

The Melody Can Stand Alone!

 

I might get slaughtered in the comments for this, since I am saying that he doesn’t use chords, because he is playing a chord in the first  bar of the melody, and a very basic and simple jazz chord at that. But he doesn’t harmonize the song the way you would usually work through a Jazz song. The “standard” way to create chord melody, that I have also taught in several videos, even using this song, is to put a chord under the melody on the heavy beats of the bar. For Days Of Wine And Roses that might give you an opening like this:

And that is very solid because it gives you a very clear picture of the harmony and the melody, but this approach is also very much focused on harmony and making that an important part of it, where Frisell’s take is much more about giving the melody a chance to shine, something you will see several examples along the way, and he also talks about it in his masterclass video:

This way of giving priority to the melody also sort of explains why he often prefers to just play the melody alone, and once that is there and if there is room then he adds things around it. While this is not the way we usually do things in Jazz, then I do think he has a point, and playing a complete chords under the melody also sort of takes away from the melody. If you listen to him like this then you understand what he does a lot better, at least to me it makes a lot more sense. Lets’ check it out and then also explore what he does with chords instead of playing full chords.

So you have the chords in here which are first an Fmaj7 shell voicing, so yes a very very basic Jazz chord, and this Eb7 which is really just an interval, but which does give you enough information in the context to hear what is going on, and if you listen to the melody that adds the 3rd of the chord G, that completes the picture with the Eb7.

It is Rubato!

A quick side-note about the sheet music: If you are only reading the tabs then you won’t care about this, but this entire performance is rubato, so I had to interpret it quite heavily when I was writing out the examples, and I wanted to keep the original structure of the song in there, since he is playing that song, but everything is actually out of time, so it may be difficult to follow, and I did have to make some choices to fit everything in there, but to me, it just makes more sense to relate it to the song to see it in that context.

Turning Chords into Arpeggios

On the two bars of D7 that follows he turns chords into a mix of arpeggios and smaller voicings, something you will see more great examples of as well. Here there are two voicings put together in a phrase that makes up the D7 and none of them are complete D7 chords. He is really as much playing them as a fill as he is playing them as chords. While doing that he makes the fill interesting with grace notes, open strings and sustaining minor 2nd intevals, and notice that he uses his thumb to grab a low note.

A Beautiful Gm Voicing

Another example of this is on the Gm7 chord that follows which also is an example of how he uses the volume pedal to add color to the sound, here it is sort of built around this shape

But he always splits it up also when he uses it later in the  song

When Intervals Are Chords

The song moves from Gm7 to Bbm, so subdominant to minor subdominant,  and here he fills up the long notes with shifting 3rd intervals and also adds some slides to add a different dynamic and sound to what is going on.

He sort of uses the same idea in the second half, but the he is playing it with 10th intervals

You already saw in the first bars of the song how he also just plays intervals as chords, and this is a part of the open sound that he uses.

There are also some really unusual dominant sounds and chords that are relying on interval structures, but I will get those in a bit together with an amazing ending chord for the song.

Bill Frisell

To me, Bill Frisell is one of the 3 most important Jazz guitarists of his generation with John Scofield and Pat Metheny being the other two, and I have listened really a lot to all 3 them.

I am aware that this may be a polarizing opinion, and it is certainly an opinion more than anything else, so you can always run amok in the comments with complaints about leaving out Mike Stern or John Abercrombie or maybe someone else that you like more. Frisell is probably the least famous of the 3, but like the others he has really managed to stay true to himself and keep on creating new music and new sounds, and he still does. The last year or two I have seen both his trio and a bluegrass project of his live, both concerts were fantastic,  I can only recommend that you check him out if you get the chance, his playing is truly impressive and actually a lot more technical or flashy than the example I am covering here.

In Polyphony Less Really Is More

You have already seen how Bill Frisell uses a lot of voice-leading and is very creative with that. The next part of theme shows how he will sometimes take out a single voice and leave out  almost everything else to let this voice shine next to the melody. In this case, it is very effective and he is really just using one simple melody to move from Gm7 to C7 and continue from Eø to A7

It is really just a guide tone line, and it is simple but also really used in the right place. Notice how this also means that he relies only on the melody and just leaves out most of the chords for this section.

There is another spot later where he does something similar but here the voices are really moving at the same time and there is a bit more going on also in the harmony, even if he is still just spelling out the harmony with one or two notes at a time. Beautiful minimalism using intervals and arpeggiating chords while having a top melody and a 2nd voice moving down. Playing this with full chords would not have the same effect.

Let’s look at some more of those strange dominant chord sounds.

Frisells Funny Dominants

Before the 2nd half of the theme, Bill changed the C7 into an Gb7, so a tritone substitution, fairly straight forward, but as you saw on the D7 in the beginning then chords are turned into a combination of arpeggios and intervals.

In this case he is using that a Gb7(b5) is the combination of 2 7th intervals: Gb E and C Bb, I know I am being a bit liberal with the enharmonic spelling here.

And then moves on while sustaining some notes to add a simple fill on top, and keeping it all practical and playable.

The D7 chords are, maybe except from the ending, the chords which are most surprising. This next example is first an example of a place where the melody is block harmonized (sort of) and then it disappears into a dissonant incomplete A diminished voicing that works as a D7. In this example, you also hear how the extensions and intervals within the chords are more important than a clear picture of the harmony, which is especially on the first two chords that don’t contain a 3rd and the first one is really just a Dm triad. It is actually funny that being vague is also a statement in music.

The Song and The Sound

Days Of Wine And Roses, is a Jazz standard that Bill Frisell really likes to play, since there are quite a few versions of it on YouTube and he also uses it in his masterclass video as an example for chord melody, I thought this was from there, but I am not sure about that anymore, since this is a different guitar? What is great about it is not only all the different things he is using borrowing from other styles and playing  surprising things.  It is as much how he manages to make that into a complete piece of music that doesn’t sound like things put together with copy-paste licks and gimmicks. In that respect he really reminds me of Hendrix.

This video of Days of Wine and Roses has him playing an SG, which is not the most common jazz guitar, but which I found out was his main guitar for quite a long time after he had stopped using an ES175, and in fact he was at one point playing in a band with Vinnie Colaiuta, this is a bit random but I thought it was very funny that they had been in a band together since they are so different. In the video, It sounds like the bridge pickup through a fender amp to me, but I can’t really tell for sure. Frisell often uses solid-body guitars, mostly telecasters and strats. I have also seen him play a 335 type guitar quite a few times. He also had a period where he played a Klein solid-body. In the video you hear quite a bit of reverb and delay which is probably a lexicon LXP-1 for reverb together with a digital delay. He was one of the people I saw using an LXP-1 that made me decide to get one. I had also seen Scofield, Rosenwinkel and Ben Monder using LXP-1 reverbs.  You can even see his settings for the lexicon here if you want to in this clip:

In the song, you also hear a fair amount of volume pedal, plus that and I am pretty sure he is also using a compressor of some sort.

A Suspension that more people should use

The ending of the song shows a few things that I think deserve to be highlighted, and actually we should all steal the ending chord!

First you get a C(b9) and then a typical very simple F triad melody, played largely with the left hand thumb!

And then he comes out on (yet another) strange dominant sound, in this case  a phrygian chord: Fsus2/E. He switches to playing with his right hand thumb to get the a different sound and the chord then resolves by letting it ring and playing the low F with the thumb on the left hand.

Check out another great chord melody player:

This Jazz Blues Solo is Perfect And Nobody Is Talking About It

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Why Chord Substitutions Are Holding You Back!

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To me, this is one of those things that can really open up how you work with chords and help you create some beautiful-sounding progressions without having to rely on systems and rules.

It also touches on one of the things I don’t like about a modal approach to harmony, but I will try not to rant too much about that in this video. Instead, I am going to show you a way to think about the chords that will free you from just using substitutions and will help you create some beautiful harmony that really flows through the piece.

This is closely related to the type of thinking behind the Coleman Hawkins quote: “I don’t play chords, I play movements” which is often associated with Barry Harris even though that is also not the approach that I will focus on in this video.

Like most others then I was introduced to chord substitutions pretty early in my study. This was when I was still living in Copenhagen and spent most of my time playing Jazz standards in the street when I wasn’t in school trying to get better at guitar.

I was just beginning to figure out how to harmonize melodies and turn them into chord melody arrangements but still only relying on the basic harmony (B-roll – Looking in the real book, pointing, and then trying to play a difficult chord looking baffled)

For this, I am going to start with a few basic substitutions and then we are going to expand that into something much more powerful and creative.

Chord Substitutions 101 – Tritone Subs

The first chord substitution you learn is usually the tritone substitution, which I sometimes get the impression is taught because theory teachers don’t know what to talk about in the lessons.

A tritone substitution is exchanging a dominant for the dominant a tritone away because the two chords share the same core notes: 3rd and 7th.

So in a II V I in C major EXAMPLE  the G7 is replaced with Db7. To give you this nice progression:

And you can see how the same tritone is in the two dominant chords which is why it is possible to switch them.

The best way to understand stuff like this is usually to hear it used in a song.

The basic version:

 

and with a tritone sub:

 

And this demonstrates two things: Tritone substitution(or any other chord substitution) doesn’t really make any sense if you don’t understand how it works with the chords around it. You are making the substitution to get the progression to sound different,  and you need to hear it in the context to really get what is going on, otherwise, you are in this case, just playing an E7 (b-roll: E7!) and  E7 sounds differently in a Blues in E compared to A Jazz ballad in Eb

The other thing you want to notice is that Tritone substitution usually works better when the dominant resolves, so a tritone substitute of a backdoor dominant is probably not going to sound fantastic.

Chord Substitution 102 – Major and Minor + Tritone 2.0

There are probably 3 more chord substitutions that are very common and that you want to know when you are at the stage of just swapping out chords and not really trying to think in harmony as a movement, which we will get to later.

#1 Tritone Dom instead of a II V in minor.

The first one is if you have a minor II V I like for example What Is This Thing Called Love

and you then replace the m7b5 chord with a tritone substitute resolving to the V, so in this case, Db7 moving down to C7:

The next two are about messing with how the ear expects to hear either major or minor in a II V I and then you do the opposite.

#2 a m7 instead of a IIø

If the ear expects to hear a dark-sounding m7(b5) chord EXample and instead you play a much brighter sounding chord that is a m7 with a 9th and or an 11th then that is a really nice surprise. Example

A good example could be Beautiful love. The first few bars usually sound like this:

And you can get a much brighter sound by using an Em7(11) like this:

This is pretty common and also something you can use in a solo, and there are actually even a few spots where Parker does this.

#3 a m7(b5) instead of a m7 chord

The other way around is also really nice! If you have a II V I in a song

and then make it darker by playing:

Beyond Chord Substitution

Jazz Harmony space B-roll (chord symbols flying in space?)

I guess it is sort of ironic that I started out the video by teaching chord substitutions when I actually don’t want you to think like that, so let’s go beyond that, first a bit further and then into Uncharted Jazz Harmony Space  (B-roll)

When you can only think in terms of chord substitutions then you can switch one chord out for another chord, but it actually becomes a lot better if you start to learn to work with entire progressions and come up with other ways of harmonizing that section of the melody.

This was something I first started to get into when I was studying at the conservatory and had lessons with Peter Nieuwerf and Eric Gieben who showed me some exciting ways to work much more freely with harmony, and as you will see, some of these don’t make any sense if you think of them as of chord substitutions.

Let me show you an example, that sort of goes against one of the things that makes reharmonization most effective. I am going to assume that you know what Blue Moon sounds like so that you can hear how these chords are different, and then I am going to explain what is going on.

You can hear how this still works, and still has a flow but also how far away you can go on a very simple turnaround. And actually, you can approach it in a much more open way but I’ll get to that in a bit.

The first thing I changed was turning the Am7 chord into a C#dim.

That is just a secondary dim chord and not something special.  In Bar 3, there is a lot more happening, because here the long G in the melody was original on Cmaj7 Am7, but now it is harmonized with Abmaj7 and Dbmaj7 leading into the Dm7 G7,

and Abmaj7 and Dbmaj7 are not exactly substitutions of Cmaj7 Am7, you could at most call them suspensions but since they don’t resolve back to C then that is also not really a description of what is going on.

The best way to see it is probably just to see it as something that

A/ sounds good with the melody

B/ fits in the key and the chord progression

Here they work because they are both minor subdominant chords in C major and of course sound great under the G in the melody.

In Bar 5 The Cmaj7 Am7 is turned into Bb7(#11) A7.

Again Bb7 is not really a substitution for Cmaj7 or related to Cmaj7. Instead, it is an example of choosing harmony that focuses on a different aspect of the turnaround: The chord that was there: Cmaj7 is just a tonic chord and it is a resolution when you land there, but the song keeps on moving, and the Bb7 only makes sense here because it keeps on moving to A7 and in that way is both a bit surprising but makes sense as the music continues. So you can look at the turnaround and think:

A- It is a tonic chord and then it moves on

or

B- It is a progression that needs to resolve in 2 bars.

And here I am using Bb7 because that works with the melody and really helps push towards the resolution in bar 7. In this last turnaround, I also changed the Dm7 to a D7, but that is just because I think that sounds a little better than the m7 chord with the melody.

So the big difference here is that I am much more free to use whatever chords I can get to work with the melody and the chord progression, not just looking at a chord and then thinking what chord fits instead of this.

This can give you A LOT of freedom, but before I get into that then let’s look at a way to set up a reharmonization so that it really stands out.

The Easiest Way To Make It Work

Timing is incredibly important for reharmonization and chord substitution. When you are playing a song and changing the harmony then what you are really working with is a way to go against the listener’s expectation. That is also what you hear in the Blue Moon example where I first play a turnaround in C to establish the song and then I start to change the chords.

If you start with changing the chords then there is less of an expectation and nothing for the listener to be surprised by:

And of course, that is possible but it is not nearly as strong. If you start listening for how people use reharmonziations then this is more common than you think, try to listen to Gilad Hekselman’s recording I Should Care where the 2nd half of the ABAC form starts with an F#ø Fm6 Em7 A7 because that is a new way to color the melody when it repeats in the 2nd half of the form.  This is by the way a very common reharmonization used on a ton of songs, but let’s get into some more uncommon progressions and different sounds.

Everything Is Allowed!

Until now, I was just showing you some things that were changing a chord here and there and creating some beautiful sounds, but you can also just leave out most of the chords and completely re-imagine the chord progression, using “atonal” ideas and Giant Steps.

To have a place to start check out the first few bars of You Don’t Know What Love Is:

Let’s say that you played that as the first A and now you can change things up in the 2nd A:

Here I am starting with a different chord that is essentially the same Fm6 with a Bb in the Bas and then I sculpt the rest of the chord progression around an ascending bass line ending with Gbmaj7 instead of Db7, but this would really work well moving on to Gø that would follow it.

This next example is borrowing some ideas from Coltrane’s Giant Steps circle:

Giant Steps don’t really exist in minor, and actually, you don’t want to be tied down by some sort of system when doing this, so I am being very liberal with how I incorporate the chords, and I still want to play the song.

The idea I use is to start on Fm6 and then through E7alt go to Amaj7 which is pretty far away from Fm, and to move on to Db major and finally take another route to end on Bmaj7(#11) instead of Db7.

You can probably tell how this is really more about using the Coltrane cycle as a source of inspiration and not at all a system, but like this, the melody is still intact and you get something different.

A great place to put this to use is to work on chord melody:

How Chord Melody Will Help You Master Important Skills

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The Diminished Chords – Why They Are Great!

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There are 3 types of diminished chords that I use all the time. They are great for a lot of things and sound beautiful in chord progressions.

Two of them are in all the Jazz standards and really just a part of tonal harmony but the last one, which I learned from Barry Harris, even if it is not a part of his diminished scale system, is maybe not even really a diminished chord. Maybe it isn’t even a chord, but I play it all the time and it is a great trick even if it doesn’t have a theoretical explanation.

Easy Diminished Chord

The first one you want to know is the easy diminished chord, the one that is easy to hear and easy to explain: The Dominant diminished chord.

A funny side-note is that I always get comments from people insisting that ALL diminished chords are dominant, which, as you will see, I don’t agree with but you should think about it in any way that works for you.

The dominant diminished chord is really from the minor key, but we can use it in major as well.

If you look at the diatonic chords in C harmonic minor: CmMaj7 Dø Ebmaj7(#5) Fm7 G7 Abmaj7 Bdim CmMaj7

And you can also see that it is in fact the arpeggio from the 3rd of a G7(b9): G B D F Ab

 

so the connection to G7 is pretty clear and it resolves like this:

And you can resolve it to major as well:

A few Dominant Diminished Trick

There are two chord progressions with this chord that you see fairly often and both sound great, one of them is used as a sort of plot twist in the harmony, which is very nice.

What might surprise you is that most of the time the dominant diminished chord is used for secondary dominants like this where it is really a great transition to the II Chord

So here it is working as an A7, the dominant of Dm7, and creates a nice chromatic bass line moving up to Dm7.

Bassline melody is really what diminished chords are all about!

A great way to use the dominant diminished is to pretend that it is just a boring old II V and then it suddenly goes somewhere else:

I need to talk about the extension on the dim chord here, but first, just check out how this is a II V in C that then suddenly takes a detour and resolves to Am7 via the dim chord. That is a great plot twist.

 

On the dim chord, I am using a b6 as an extension and this is an important note to know for dim chords.

In both examples, the diminished chord is a secondary dominant and they simply just take the  scale that you would use for the dominant, so if you resolve to Am then you would use A harmonic minor over the dim chord because it works as an E7:

 

And from that scale, the E is a great sounding extension and also the root of the dominant it is associated with: E7

The reason why I say that is important is mainly that the b6 is very common as a melody note on a diminished chord as you can see here

But let’s move on to the subdominant diminished which are actually the most common ones.

Subdominant Dim – It Is a Thing!

The dominant diminished is easy to understand because it is a diatonic chord in harmonic minor and closely related to the V chord, but then you have these chords that move in a different way:

This one moves down!

And this one doesn’t resolve like a dominant

Let’s start with the F6 to F#dim example. I’ll first go over the chords and then get into scale choices

Here you can see how the F#dim appears from altering two notes in the F6. You can also see that it still contains a C and not a B which is why it isn’t dominant in the key C, they don’t sound anything like a G7.

The oversimplified way of arriving at that it is a subdominant chord is just to ask 2 things:

1 Does it move to Cmaj7 as if it is resolving? Yes – so it isn’t tonic

2 Does it sound and resolve like a G7, which it doesn’t so it isn’t dominant

If it isn’t tonic and also not dominant then it is subdominant. This is a bit crude, but it it does fit.

Since it is subdominant then it makes sense to notate it as derived from the IV chord, so I usually write them as #IVdim chords. There are actually other #IV subdominant chords, but that is for another video.

But it also resolves down to a subdominant chord.

Groups of Subdominant Chords

Sometimes I just write #IVdim instead of subdominant diminished, it is a looong word and I am from Denmark which is a small country, we don’t have room for that stuff. In fact, I will often just write IV when I mean subdominant, so a backdoor dominant which is also a minor subdominant is referred to as a IVm chord. I usually make it clear in the videos, but it sometimes slips. I find it useful to have these groups of subdominant chords that are #IV, IV and IVm, but it is probably short hand and not too precise

Descending Subdominant Dim

Before the last type of dim chord then there is also the other variation of the subdominant diminished.

This is really just an inversion of the #IVdim,

it is Ebdim and the subdominant diminished but it is resolving to the Dm7,

so it is a subdominant resolving to a subdominant. In a way similar to how you have IV IVm I.

 

And this works great to have a chord that can transition to a II chord which is of course also how you see it used the most.

Scale Dilemmas

With the Dominant diminished then you have a scale that is found in and that is part of how we understand it which makes it a lot easier.

The subdominant diminished is a lot more vague, but if you look at it from a different perspective then you can construct a scale that fits the context of key and then realize that you already know that scale.

If you look at the F#dim and the C major scale then there are two ways to create a scale that works:

 

They both work and there is one note difference so it is really up to you. I tend to recommend the harmonic minor scale mostly because you need that anyway and you probably know it already.

No Diminished Scale

So why am I not using the diminished scale, since it is called a diminished chord? It is the same name!

In the end, you can use any scale you want it is more about how you do it than which scale it is. The chord progressions that I talk about in this video are all tonal, so they are in a key and that tells you something about how they sound, and which notes want to go where. And you don’t hear each chord as an isolated thing, you hear the whole progression or the whole song.

The diminished scale is atonal because it is symmetrical, it can resolve to lots of places and nothing sounds like the root. That is why it doesn’t really fit and is more of a special effect in the music.

The Mysterious Diminished Chord

As I already hinted at then the final diminished chord is maybe not really a chord, but that doesn’t mean that you can learn something important from it.

When I was in the piano class with Barry Harris that first year I went to the Hague then he told the piano players to play this exercise that I then transferred to guitar. And it is all over my comping and chord solos:

The exercise is moving the maj7th and the 9th down to the maj6th and the root in half steps,

and as you can probably see, then every time the middle chord is in fact a Bb diminished chord. (highlight dim chord – Paly example and stop on the dim chord!)

But maybe this is a place where looking at what is happening vertically and giving it a name as a chord, is actually not the best way to understand it. Instead, it makes a lot more sense to think of it as voices moving, because the diminished chord only appears as a side effect of some chromatic voice-leading. Probably also why it is not something you will find notated as a chord in a song, at least I can’t think of one that has that. Sometimes focusing too much on vertical harmony rather than how the notes flow is not good for making music and hearing what is going on.

That of course doesn’t mean that this isn’t a great sound, and the exercise sounds great in minor as well, which doesn’t give you a dim chord.

 

 

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How Chord Melody Will Help You Master Important Skills

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I think that the most beautiful way to work with Jazz harmony is to work on chord melody, the type of playing you hear from Barney Kessel and Joe Pass where the melody is used as a foundation that you can add amazing chords to,  but you do need to work on it the right way to really get all the benefits, You don’t want to just play something from paper trying to make your way from chord diagram to chord diagram. You want to explore all the amazing colors and embellishments that you can add to the music.

I sort of stumbled my way into chord melody, and weirdly enough the first song I ever made a chord melody arrangement of was actually a song that I don’t really like, and when I made it I had never heard of Barney Kessel and Joe Pass who later became my main inspirations for this.

My First Chord Melody Arrangement

I was finishing a stay at a folk high school, which is really a Danish thing, a type of boarding school for adult education.  I had spent 8 months practicing and trying to learn Jazz after getting my bachelors degree in Mathematics at the university. I wasn’t very far in learning, but having the time to practice and play with others for that long was of course incredibly useful, and it was a part of what I used to prepare for getting into a school to get a degree in Jazz performance, which I did in The Hague a few years later

It was in June and I was sitting outside in the sun practicing, something that I am sure that you can tell that I don’t do often. A few months earlier, I had bought a real book which at the time was an incredible source of information since this was before the internet and online resources, it was all books and cds, and I hardly had any when it came to Jazz, in fact, the only thing I had was the real book and 5 or 6 jazz cds, which were mostly Scofield and a little Charlie Parker.

During my stay, when we played, a friend of mine always wanted to play Misty, because he had a Dexter Gordon version of that song that he really liked. I was bored with the arpeggios and scales, so I started flipping through the real book looking at the songs when I saw Misty in there, so I decided to play that. My favorite maj7 voicing at the time was the basic root position maj7 (Cut in – Incredibly Hip and Advanced, I know….)  and when I played through the chords then I realized that the melody was the top-note of that chord in the first bar. And this really made some things click for me.

At the time, I had heard people play chord melodies, especially Scofield and Wes Montgomery, but I hadn’t thought about doing that myself, then I realized that it could be fun to try and do that with this song which I had already played the chords of many times though I didn’t know it by heart.

Getting Started

I was of course lucky, that there were two things I already had going for me:

I could read music well enough to figure out how to play the melody,

and I was aware that I needed to transpose the melody up an octave which also makes it easier to put a chord under it.

Harmonizing The Song – First Rule

Misty doesn’t really follow one of two the things that I usually tell students to do when making their own chord melody arrangement, which is: Play the melody on the two top strings.

The reason for saying this is of course that if you can play the melody there then it is a lot easier to find chords to put under it.

For the first phrase you have a pick-up and a long note:

It works great with the Ebmaj7 chord, and later in the video, I will show you some nice suspensions you can add here on that long note, because there are a lot of beautiful options. As you can see then already the next phrase has a Bb which is of course not possible to play on the B string and there are quite a few notes in the melody that are lower than B. Luckily there is a fix for that.

Harmonizing The Song – Second Rule

The other advice that I give is to only add chords on beats 1 and 3 in the beginning, just to make it easier to play and also to make the harmony clear when the chords change. This makes Misty a lot easier since the melody moves around really a lot but only adding a chord in the important spots makes it a lot simpler.

That is clear already in the next phrase:

or

or better

There are two things you want to notice here:

As I said, just playing a chord on the heavy beats sounds great, and Shell-voicings are very useful because most of the time you can easily add a shell-voicing under a melody note or even just use the shell-voicing as I do here on Bbm7 and Abmaj7.

And that is lucky because the next part has an even more busy melody with the arpeggio as a pickup.

You also want to notice that I am using an Eb7 shell-voicing, but adding an extra note on the B string to make it a complete Eb7(9,13).

You don’t have to do that, but in this case, it is an easy way to add an extension to the chord and you’ll see me do that again in the next example.

Know the Song & Understand The Harmony

What is happening in the song is pretty simple. You get a tonic chord, then a II V to IV and then it goes to IVm as a way to get back to the tonic.

This is very common in Jazz standards so recognizing that, is very useful and will make a lot of songs easier to turn into chord melody arrangements. Knowing what is happening in the chord progression also gives you a lot more options for what will work in terms of changing the chords, so that you can add passing chords, and much more. I’ll show you later in the video.

The first Abm7 is played as a bar chord, and again you could just play the shell-voicing and the melody, but adding the 5th is practical and also sounds great.

If you want to think about this in visual terms then I am seeing the melody and the shell-voicing, and I know that adding the 5th is also an option so I do that.

In general, this is about knowing how chords are constructed, and when you work on harmonizing a melody like this then you are really developing your flexibility and knowledge with Jazz chords.

Just reading an arrangement and trying to play that is nowhere nearly as useful because there you are not really getting better at working with the chords and the melody and choosing how it should sound. You are just trying to read a piece of music and a harmonization that somebody else made which is like reading a transcription vs improvising your own solo. It is really something else.

But before you start interpreting the harmony, it is useful to have a basic arrangement similar to what I made on that summer day.

Don’t Limit Yourself To Chord Systems

The next part of the melody is emphasizing the 3rd of 4 chords in a row:

To return to my original take on this song: I hadn’t learned any systems for jazz chords, I just looked at the note I played on the guitar and tried to find a voicing that would fit. I already knew (Ebmaj7 and Cm7)

so that is what I used, and together with Shell voicings for the Fm7 and Bb7 then you have:

You can see how it is still very useful to only play the Fm7 on beat 1 and then be free to skip down and play the C, without having to add a complete chord there. It would not be impossible, but this is a lot easier.

A Better Turnaround

From here the Real book suggested a Gm7 chord, and I don’t remember what I played exactly but instead you can also use a Db7 in the turnaround which sounds a lot better. (voice over ex 6)

or

With a bit more color on the other chords that is going to give you:

 

You probably already noticed that the melody has quite a few long notes and also some places where notes are repeated, and that opens up for some interesting chords, which is of course way beyond my original harmonization. So let’s make it a bit more exciting.

A Cure For Boring Chords

The first chord with the maj7 in the melody can easily be a bit boring because it stands still, but it is a great place to add some surprising sounds:

The original sounds like this:

but a common version is to turn that into a diminished suspension with a #IV dim chord, so A diminished. In this case that actually becomes a D major triad over an Eb bass note because of the melody

You could also use a #5 as a tension that resolves later in the bar to keep things moving.

Or even this Lydian augmented chord with both a #11 and a #5

Another option is the Barry Harris 6th dim suspension and that would be this Ddim over Eb:

But coming from a Bb7, I don’t find that super strong.

You can look for tricks like this using both theory, and scales and even also just experiment with moving notes in the voicing. If you start just changing the chord then it can later be worthwhile to figure out what is actually going on so that you can use it in other songs as well.

More Than One Melody

Another thing that you can start to explore is to decorate the chords with other melodies inside the chords. A very common and beautiful option is to use this line cliche:

Where the II V I almost becomes a stairway to heaven quote.

If you split up the 3rd and 7th of the Abmaj7 and insert a 9th in there then you have this more colorful voicing:

and that means that you can add this nice move on that chord where the 9th and 7th move to the root and maj76th:

And you only find stuff like this if you are really making your own harmonizations and mess around with the chords when there is room for it.

Joe Was Good At Guitar, Be Like Joe

It can be useful to keep in mind is that these arrangements should not be set in stone and never changed. Give yourself the freedom to mess with them when you play because that is also what will help you discover a lot of things and not just play something like reading a classical composition.

And this also brings me back to Barney Kessel and Joe Pass, because they both are pretty open and harmonize things on the fly when they play, and that sometimes means making it simpler to keep it flexible but it also really opens up for making the song more your own.

The Easiest Passing Chords

Another way to add movement is to add extra chords to the progression so that there is more happening. On a II V then walking up the scale in diatonic chords can work very well, and in bar 4 that gives you something like this:

Which is just filling in the chords between Abm7 and Db7.

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3 Stupid Mistakes You Should Avoid When Learning A Jazz Standard

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I had started really spending time practicing scales and arpeggios and even gotten them to where I could use that in my solos and could go beyond just playing pentatonic licks, but the first time I tried to learn a Jazz Standard, I failed completely, and was pretty much, doing Everything wrong.

A the time I had no idea what a Jazz Standard was, and if I had known that they were mostly songs written for musicals in the 30s and 40s then I would probably have run away screaming

My introduction to this was also a bit odd, and this is really the story about me being clueless and fumbling around in the dark while making every possible mistake., and hopefully helping you avoid that.

At the time I was still studying mathematics at the university, and I was hanging out with a bass player friend of mine that I knew from high school. I hadn’t seen him for a few years and we were jamming and improvising. Because we were improvising he told me about Jazz and played me some fusion albums.

I was not really impressed with the fusion stuff, it sounded like instrumental pop music with chorus on the whole album to me. The music I was listening to at the time was more blues-based and really not produced like the 80s fusion was. At the same time, I was still really curious to learn and to try to play Jazz because I wanted to become better at improvising. That part fascinated me because improvising was what I had the most fun doing when I was playing in rock bands, which I did next to studying at the university, and I was quite lucky that I played in bands where I had a lot of space to improvise like that (especially given how bad I probably was at it). I had been checking out some Satriani and Steve Vai, but when I realized that they were not improvising their solos then I lost all interest in their music and went looking for other stuff. It took a long time until I started to appreciate their playing, it is strange how pretty random things can influence our taste, I somehow also ignored that a lot of the rock bands that I listened to did not really improvise either.

Luckily Johan, the bass player, had an Aebersold album that I could borrow so that I could try to learn to play. If you don’t know what an Aebersold album is, then it is a book with sheet music for some songs and backing tracks for all those songs which is great to practice with if you know how to read and interpret a lead sheet.

 

At that time I had never listened to Jazz and the only Jazz song I had played was Mood Indigo where I had managed to teach myself a G7(b13) chord,

but I had absolutely no idea what to do with all the chords in that book, the most Jazzy song I had improvised on was probably T-bone Walker’s Stormy Monday which is still just a 12 bar-blues.

 

I started listening to the Aebersold cassette and the first song was Green Dolphin Street. Of course, I only had the backing track so I listened to the groove in the bass intro (which was a bit confusing) and especially the chords which sounded amazing with a lot of colors and it was moving around in ways I wasn’t used to which I found really interesting. I immediately set out to try and learn to improvise over that song.

Listening To The Song

If you want to learn a song then one of the first things you want to do is to listen to the song, that seems obvious. When I am working on a song then I usually check out several versions and also try to figure out what the “famous” versions of that song is.

But I was in the situation that I had ONLY the backing track album, and this was in 1994 without any Spotify, YouTube or iTunes then I had no idea how people played the song. Remember that I had no experience with listening to or playing Jazz, and the only source of music I had available was the library where it was hard to find specific songs if you did not know what album it was on or who had recorded it, which is really a pity because the Coltrane/Miles versions of this song would probably have been really cool to check out and would have made the whole thing a lot easier.

Learning the Melody

From the Aebersold book, I could spell my way through the melody, even though Eb was not exactly a key I felt familiar with. I might have had an advantage because I had been playing with my guitar tuned down a half step, just like Hendrix and Stevie Ray Vaughn and I had had to sometimes play in fairly odd keys because of that when I was playing with other people, but reading the melody of the song was certainly a challenge and something that I could at most spell my way through. This meant that I did not spend a lot of time on it, since that was anyway not what I wanted to do, I wanted to improvise, I wanted to solo on it.

What I did not know was that, If you want to learn to improvise over a Jazz standard then one of the first things you want to learn is the melody. The two main reasons for this are:

#1 The Melody is what you use to hear the harmony

So you hear the melody note and from that note, you hear the rest of the chord that is around it,

that is much easier than hearing 4 beats of Cm7, just try…

#2 The Melody is what gives you the form

Instead of counting bars while you play you hear the melody as a guide through the form so you don’t get lost.

Not having the melody internalized made that VERY difficult, mainly I then had to count to keep track and the chord progression, which was anyway completely new to me. I had never heard of a II V I or a III VI II V anyway. I actually think that I could have gotten a lot further if I had learned the melody first and if someone had told me to do that, but nobody did, so I tried to count and keep track while I was improvising, which was a very poor strategy.

Modal Improvisation And Scales Sucks for Changes

What really drew me to Green Dolphin Street was probably that it had the A part with shifting maj7th chords that sounded both complex, surprising, and still pretty smooth or natural, and that was also what felt was the easiest to solo on, or rather possible to solo on.

That part of the song feels more “modal” and is not really a typical jazz progression. The 2nd 8 bars with the two II V I progressions with an altered dominant were impossible. I didn’t know what a II V I was, so I certainly had no vocabulary for that, and altered dominants were also pretty far out of my reach even if I knew what scale it was.

The way I had been taught to improvise at this point was to look at the chord progression and then figure out what scale to use and play something with that scale.

The skill of really spelling out changes was not something I was really aware of, and combining that skill with a chord progression so that your solo would flow through the changes was also not something I had heard of. Everything was per chord, and not about playing specific chord progressions. The other approach I knew was to have one scale that fitted the entire song and just use that, but I could not find a scale that had an Ebmaj7, a Gbmaj7, a Fmaj7, and an Emaj7 chord in there….

I could barely figure out what to play on the chords and had no idea how to tie together those melodies then 200 bpm is pretty fast! Those parts of the song were mostly just crash and burn, and often I would get completely lost trying to count and just play something.

This is really why you want to learn some vocabulary and also work on soloing over specific progressions like II V I and turnarounds, which will then give you much better tools to handle blocks of chords within songs, it isn’t just one scale per chord, and knowing the building blocks of turnarounds and cadences helps you hear what is going on. That way you are moving towards improvising more freely over the progression.

The Weird Paradox Of Difficult and Easy

The way I learned to improvise using chord scale relationships, is not that uncommon, and it is also sort of a logical next step if you deal with shorter progressions where you don’t have too many chords. Often that means that the first songs you are given by a teacher are modal, so different chords next to each other with no really harmonic connection. Songs like Cantaloupe Island or So What are typical examples.

This way of learning improvisation is useful because the songs are easier to play over, you don’t have to think about a million chords, scales, and arpeggios, but they do have a problem if you want to later play songs like Standards and Bebop Themes.

Jazz as a language was not developed by playing over a static chord for a long period of time. It was developed by improvising over Jazz standards which have faster-moving progressions, and a part of the language is how the solo incorporates those chords into the lines. You need to learn to think ahead and also to play a melody that spans several chords.

That is difficult if you are trained to think about everything one chord at a time and not have an overview of several chords in one phrase. In that way, the modal pieces don’t really help you get better at playing faster moving progressions since the chords don’t move in the same way as they do with Standards and you are not working on what connects the two chords.

At the same time, it can be really useful for a beginning improviser to work on a modal piece because it helps develop a sense of period (so feeling the bar, and the 4-bar periods) and a lot of modal progressions have really surprising chord changes that are easier to hear so that you don’t get lost when you play because you can easily hear what is going on.

This can be much more complicated with a Jazz standard. So there are pros and cons to learning modal pieces in the beginning that you might want to be aware of, but of course mainly if you aim to learn to also play Jazz standards.

My Aebersold backing track was clearly way too fast for me to play over it, and in this first attempt at learning a Jazz standard then I did not sit down and make my own slower and clearer backing track which is what I did later, just recording me playing the chords, but there is a funny side effect to practicing slowly when it comes to Jazz.

Practicing Slowly – The Wrong way

Any song that you play slowly enough becomes modal. You can easily try, just play a II V I but make each chord 4 or 8 bars long, and then you will hear how the forward motion of the progression disappears. This is also how The 2nd Miles Davis quintet made songs like Stella by Starlight and My Funny Valentine into modal pieces: slowing them down so that the function of the harmony disappears.

So when you want to practice slowly on a Jazz standard, then maybe it is not about taking the tempo too far down that will work against you because you can’t hear the flow of the harmony which is as important if you want to develop your jazz skills. Instead, you can slow other things down so that you internalize the harmony and learn to improvise over the chords. I have other videos on improvising with chord tones and in my course, I even reduce that as a starting point before gradually helping you develop your playing so that includes arpeggios, scales, chromatic phrases and octave displacement.

Another important aspect is to focus on the short chord progressions that are the building blocks of a Jazz standard progression. That is what makes it both easier to remember the chords and also what will make it easier to improvise over them because you have those shorter building blocks in your ears and in your fingers.

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3 Things that Ruin Your Jazz Practice And Stops Your Progress

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We all want to play fantastic lines in our solos!

But one of the worst things you can do if you want to play better lines is to practice songs at full speed and then just hope that it becomes better.

#1 Too Fast = No Control!

It won’t make your lines better, but it might make you bitter, and that is how a lot of people go about it, I have certainly done that myself quite often.

When you do that it is a bit like trying to learn Chinese by watching a Chinese movie with Chinese subtitles. You will probably get there but it is going to take a few years.

Setting up a better method

So, you should slow things down and really work on playing stronger lines by having time to really listen to them, and figure out how to make them better before you are blasting away at full speed.

The best way to work on your lines is by composing lines, and I am going to show you how I do that and talk about how you benefit from that and what to pay attention to so that you get the most out of it because this is about a lot more than just practicing slowly!

In the example below you can see how I composed an 8th-note line using different building blocks.

It starts with a chromatic enclosure and continues with an Fmaj7 arpeggio before ending with a descending Dm triad melody that also involves a chromatic enclosure.

Refining The Arpeggio Melody (stealing from Benson & Bird)

The next thing to add to the mix is a bit more energy with the rhythm. You can do this by playing the arpeggio as a triplet as you can see in the example below:

This is almost identical to a line that both Charlie Parker and George Benson use very often.

A More Original Idea

Let’s try to create a line that is a little more original and a little less like a transcription. Here the example is combining the Fmaj7 arpeggio with a scale melody that continues into a descending melody in the 2nd bar. The descending melody is in fact a pentatonic phrase with an added chromatic enclosure.

In the video, I talk a bit more about how important melodic direction can be for this.

What Are You Really Practicing

It is important to remember that in the end it is not really about composing the perfect lick, what you are working on is practicing to put things together so that you get better at doing that when you are soloing.

#2 It is NOT just the notes!

You need to focus on more than just playing the right notes. You can get a robot to play the right notes, but it won’t make it a great solo.

You want to develop your skills when it comes to taking those notes and turning them into a SOLID MELODY.

In the example below I am adding a note to the arpeggio because that is a great way to explore and find some good melodies.

The Power Of Pivot Arpeggios

Using Pivot Arpeggios and Octave Displacement is another way to get some more interesting melodies. In the example below I am doing that with the Fmaj7 arpeggio at the beginning of the line.

#3 Fix Your Phrasing!

Now that you are slowing down you practice then you can also start working on adding better phrasing to the lines.

The first thing to work with here is to get used to ending lines on the off beat. In the example below it is on the 4-and:

Another thing to work with is to add accents to the line. When you play a stream of 8th notes then what makes it rhythmically interesting is how you add accents to get the syncopation in there.

What you are looking for is a note that is on the off-beat and that is higher than the following note. In the example below the Eb is a great candidate, also because it is a chromatic leading note so it has some tension and therefore more energy:

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5 Reasons You Fail To Learn Jazz Standards And Simple Ways To Fix Them

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The way I learned the first two Jazz Standards when I was starting out is almost a perfect example of how to screw up everything I am going to talk about in this video, and one of those things is especially tricky the way we often practice now.

#1 The Song Is Too Difficult

The first two songs that I learned were Stella By Starlight and There’s No Greater Love. Both are incredibly beautiful songs and they are also very common standards so they are useful to have in your repertoire. But they are not really beginner songs, so it was a lot of hard work to learn them and maybe I did not get as much out of the process as I could have.

What I did was that I recorded the chords of the song and spent hours every day improvising over them, gradually finding ways to go from one chord to the next and finding something to play everywhere on the song.

It took me more than two months to learn the songs.

These two songs were much too difficult. There are so many different chords and chord progressions that you don’t get the opportunity to develop different options, and you don’t start working on making variations of what you are playing. This really means that you are not developing your ability to improvise and you are not building a flexible vocabulary which is what you want to do because then learning more songs gets a lot easier. Stella by starlight is also a pretty difficult progression to analyze which means that you end up just playing from chord to chord and not really trying to sound like real piece of music.

So you want to make sure to choose easy songs when you start out. Think about it like this: You will probably learn a lot of songs and you might as well ease into it, so If you are looking at a song and think: “I have absolutely no idea what is going on with the harmony” then keep looking for another song to learn. Nobody starts training for a marathon by running 42 km.

#2 Learn The Melody

One of the blessings of using apps on your phone is maybe also something that is really slowing you down in learning Jazz. Here I am, of course, talking about iReal, which is a great very practical app to have if you have to play a song that you don’t know. But there is one really huge problem with it:

A Song is not a row of letters, and if you focus too much on learning songs with iReal then you are probably very often ignoring the melody. Keep in mind that the melody IS the song, it is rarely just the chords and in a lot of songs then the chords are open to interpretation and there are many variations available, so if you only know one set of chords and you don’t know what other options fit the melody then you might get in trouble later.

So you want to spend time learning the melody because:

If you know the melody you always have something to play in your solo

The melody is a great starting point for a solo, and if there is one difficult spot to solo over, then use the melody in that spot.

If you know the melody you have a guide so you don’t get lost.

It is difficult to hear a chord progression in your head, like 1 bar of Gø, one bar of C7 to two bars of Fm6, but it is easier to have the melody playing in the back of your mind because that is a lot less abstract

If you know the melody it is easier to hear other chord changes because you can hear the melody against the chords

When you are playing a standard then sometimes the band plays other changes than what you know, but having the melody in your head helps you to hear those chords. For example, here is the opening for Stella,

and if I change the first chord like this…

you can hear that the melody is the maj7th of the chord so the 1st chord is now a Bbmaj7. (Stella with Eø on chord 1 + Stella with Bbmaj7 on chord 1?)

A bonus from this is that eventually, you want to start learning songs by ear, and the easiest place to start is to learn the melody by ear don’t worry about the chords, just learn the melody and maybe check out a few different versions. Then you can transcribe the bass and combine those two to figure out what chords are played.

#3 Learn To Play The Chords

I am actually surprised how often I have run into this. Imagine a student coming into the lesson to a lesson and we play a song he or she had to learn. The theme and the solo is ok, but playing the chords is not working at all. Whatever song you play, it really pays off to just learn to hear the harmony and to feel how it is to play that harmony. Not only for you to learn the song but also because you want to play with others. It doesn’t have to be fancy, but it should be there.

There is one thing that is going to make this a lot easier, and that is what I will talk about next.

#4 Think In Blocks Of Chords

Starting to think about chord progressions like this is such a gigantic step up. You can save tons of time and open up your playing really a lot. And this is just doing the same thing as we do whenever we read a book or a newspaper article.

Whenever you read a sentence, then you read the words but you don’t spell them, you read them as complete words.

“Scandinavian People Are Always Fantastic”

And that is something you also want to strive to do when you learn a song or even while you are reading and improvising. Make it into chunks of information that help you play over it. Something you can sum up in a few blocks instead of 30+ different chords.

And actually, there is a next-level of thinking related to this where you also start to realize how different chords are actually the same, but maybe that is for another video.

#5 Have The Material Within Reach

When it comes to improvising over a song you are still learning there is one part of the preparation you want to get right:

You need to be able to have all the scales or arpeggios that you want to use within reach. It is pretty much impossible to have any kind of melodic continuity or freedom if you need to skip up or down 3 or 4 frets to have material for a part of the song.

And this is probably not something that is impossible to overcome with a bit of practice, and if you are not at home over the entire neck then pick a place and start there. Once you have one position under control you can expand from there taking the positions next to the one you know..

 

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Make it Easy To Learn Jazz Standards – Important Chord Progressions in Minor

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In this lesson, I will go over the most important harmonic building blocks in a minor key, which will help you learn most Minor Jazz standards and give you a ton of options for your own songs.

When you learn Jazz songs, you need to memorize the chord progression, and if you try to do that as a long string of chords, that is NOT going to be very easy. Instead, you want to recognize the smaller building blocks of the song, making it 5 or 6 things to remember instead of 30.

It is a little like going from looking at a row of letters to recognizing the words and reading the meaning, and I am sure that you can see how reading words and remembering the meaning is much more useful than spelling everything.

This lesson will show you how that works.

Hearing The Chord Progression

The way I am going to do this is also important, because it will help you learn and remember songs a lot faster! I will play the different building blocks but I will also play some songs they are used in. Hearing how they sound in a song is probably more important than recognizing them on a piece of sheet music.

If you think about the chords in blocks like this you can use the songs you already know to learn new ones because you recognize how they are similar.

And more what is more important: You know how it sounds

#1 The Most Important Progression

As I will show you later in the video, minor keys do things major keys don’t, like having chord progression that is only one chord but still moves.

But of course, the most common progression is the cadence of the key, the minor II V I.

You have that in most minor songs like Alone Together or Yesterdays. And actually, the next progression is a very common variation on this II V I but it is a little hipper.

A funny side note with the minor II V I is that in the pure form, you use all 3 minor scales, one for each of the chords:

Dø from Natural minor, G7(b9,b13) from Harmonic minor, and Melodic minor on the Tonic chord being m6 or mMaj7. This is, of course, a part of why these are considered more difficult than the major counterpart.

But let’s check out a very common variation that just screams minor.

#2 The Most Minor Cadence

This Chord progression is extremely common in minor and includes a tritone substitution, which is maybe a little surprising since that is mostly seen as a type of reharmonization, but here it sounds surprisingly natural and I will explain why in a bit.

You know this progression from Minor Blues or songs like You Don’t Know What Love Is.

There is a reason that this tritone substitute doesn’t sound so crazy or out of place. The chord consists mostly of diatonic notes, so for Ab7:

Ab C Eb Gb

Is mostly diatonic to C natural minor: C D Eb F G Ab Bb C

This progression is probably the most common final cadence in minor Jazz Standards. Next, let’s look at an important progression that doesn’t resolve to minor at all.

#3 Another Common Cadence

You don’t always go back to the tonic in a song, there are other places you want to move to or visit in Minor. The relative major is a very common destination. You come across this in songs like Beautiful Love: – First minor cadence then major

or the other way around in Autumn Leaves, first to major then to minor:

It is a nice variation to have, as is the next one which is also a cornerstone in the tonality

#4 We Need To Go To The Subdominant

Another place that many songs go is the IV in the key. You don’t want to just cycle around the tonic all the time, that gets really boring. An example would be Alone Together. It first moves around on the tonic and then before it gets boring it goes to the IV chord.

So a cadence to the IV in the key is useful:

Before we get to the One-Chord-Progressions then let’s look at a few great minor turnarounds.

Should I Make A Major Version?

The minor songs tend to be a little simpler than many major progressions, mainly because there is less use of modal interchange and fewer modulations. But would it still be interesting to make a similar video for major keys?

#5 Turnaround Variations in Minor

There are turnarounds that almost only work in minor, but the two most common and important version is of course the I VI II V in minor:

And the version with a secondary dominant for the II chord, which is again a tritone sub:

 

Another turnaround that is used almost exclusively in minor is the Andalusian Cadence:

But in minor, you only need one chord to create progressions.

#6 Chord Progressions With One Chord

You know both of these examples since they are incredibly famous. These are really just voice-leading tricks that sound great and are often used in the minor.

The first is the “Stairway to heaven/My Funny Valentine” line-cliche which has a static minor chord where the root is moving down in half steps:

Often we forget the other variation of these which is the line-cliche from the 5th which you find in songs like Cry Me A River and of course most famously the Theme from James Bond

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Chord Melody – 5 Beautiful Methods You Want To Know

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Chord Melody and Jazz Harmony are beautiful things to explore. In this collaboration with the incredible Rotem Sivan, he shows us how to go over 5 levels of harmonizing the Jazz standard “All The Things You Are”, from a basic beautiful 2-note approach to counterpoint and reharmonization.

 

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