Tag Archives: music theory guitar

The Music Theory You Need to Focus on First

Most of the time the one thing that holds you back from really understanding Music Theory or using an idea on several different chords is a really simple part of what is going on.

A big part of what having a good overview of music theory is to be able to think in different layers. You can think of the notes you play as individual notes but also as groups of notes like arpeggios, scales or other melodic ideas. But you need the basic overview of the material to be able to do this.

Content:

0:00 Intro – The Basics Are What is Holding You Back

0:21 Three Layers of understanding what is going on

0:37 High-Level Tricks with no foundation.

1:14 Learning the instrument and tying it to Music Theory

1:50 #1 Using Other Arpeggios Over A Chord

2:35 How To Relate an upper-structure to a root note

3:09 Analysis of “The Fake Michael Brecker Lick”

3:39 Build your options from knowing what it is.

3:56 Exploring diatonic sus4 triads

4:26 #2 Pentatonics Over Extended Chords

4:54 Bm Pentatonic over Cmaj7

5:24 How Theory Can Help You Use this better.

6:03 #3 Understanding How Chord Progressions Move

6:25 Fm6-Cmaj7 example

7:01 Voice-leading and how you use it.

7:56 #4 How Do You Learn This?

8:14 Not when you solo, but maybe in on the Bus?

8:47 Connecting different types of information

9:05 Like the video? Check out my Patreon Page!

Connect Music Theory with Fretboard Knowledge

A very big part of studying this is to also work on your overview of the Fretboard.

You can check this out here:

Do This To Improve Your Fretboard Knowledge

Fretboard Visualization That makes musical sense for Jazz Guitar

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Music Theory – The 3 things you want to Know

A thing that is never mentioned when it comes to Music Theory is that there is a basic knowledge you want to obtain and then the rest gets easier. There are things that you need to know and work on that will make the rest very simple when combining Music Theory, Jazz Guitar and Practice.

In this video I am going to talk about three things you can learn or train for your music theory that will help you build a foundation to have an easier time understanding chord progressions, extensions and voice-leading. I am also going to relate this to what you need if you are improvising over chords, since that is what I am using the theory for.

Instead of looking at voice-leading upper-structure triad pairs in Utopian b7 minor then you can easily build the basic knowledge to make all the other stuff easy to understand.

Table of Contents

0:05 Intro

0:45 #1 – Learn Your Scales

1:09 Why we use scales in improvisation

2:11 Learning the Scales – What to learn

2:58 How To Practice

3:31 #2 – Diatonic Chords and Harmony

4:04 Building Chords in a Major Scale

4:52 Diatonic chords makes it easier to Learn Songs

5:33 What You Want to Learn

6:10 Practice Tips

6:22 How To Play Changes (in 30 seconds)

7:10 #3 Relating Notes To The Root

7:42 Adding Extensions to an Ebmaj7

8:36 Why You Want to know the Extensions in the Scale

9:06 Extensions for another Chord – How it Sounds

9:56 Putting the 3 Things together in one overview

10:30 Like the Video? Check out my Patreon Page

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The PDF with examples for this video is available through Patreon. You can check out my Patreon Page here: https://www.patreon.com/jenslarsen

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If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

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This Is Not Bebop, But It Is A Great Coltrane Solo

It is not surprising that a Coltrane solo isn’t bebop, but it is interesting to figure out why that is the case. Understanding what types of licks or melodies are typical for a style of music is a really good description of what is going on.

The solo that I am talking about in this video is John Coltrane’s solo on the F blues – Take the Coltrane off the Coltrane/Ellington album from 1963.

In the video I am presenting an analysis of the solo with a focus on the melodies, there placement and function in the form and not only the notes that are being used. I find that it takes a more detailed view to understand a solo than just what scales are being used.

Let me know what you think?

A few thoughts on this Coltrane solo Analysis

As always music is not an exact science so this solo has a lot of traits that are really not bebop sounding but it still contains examples of normal bop lines and chromatic passing notes etc. So clearly Coltrane is rooted in that tradition even if he is moving away from it.

I am going to talk about this using three examples from the solo but it can be a good idea to check out the whole solo. There are a lot of transcriptions online so you can easily find that and listen to the solo.

Some of the things that are different are about the choice of sounds, but in my opinion it is more about how the sounds are used and the melodies than what scale. I am curious what you think?

Melodies without direction and not playing blues

What is interesting about this first part of the solo: He doesn’t play the 3rd of the chord at all for the first 8 bars, that is very different from bebop where everything is tied much more closely to the chord. Here the melodic statement is very strong and fairly long but it is intentionally vague. If you play the melody it could fit on a Cm blues just as easily as a F blues which is not really going to be the case for a Parker or Stitt solo. There is a Wes solo that does this as well and Wes would often sit heavily on the “II” sound on a V chord.

The 2nd 4 bars is a development of the first 4 but then moving with the chords, still not playing the 3rd of the chords.

So this is really about what note he isn’t playing and it becomes even more clear when we don’t have the piano comping.

Unresolving Tensions and Angular melodies

This example illustrates how the approach is much more modal. Coltrane is very often playing melodies that fit the chord but are not really functional and moving forward towards the next chord.

This is clear in the first bars where there is first an angular statement just using an F7 arpeggio. In fact using the 2nd inversion F major triad which Coltrane seems obsessed with in this solo.

A great example of how the emphasis is on sound rather than function is the Altered dominant in bars 3 and 4 of this example. Here there is a clear altered or tritone sound and the b5 is really at the center of the line, but the line is not resolved. It stops before changing and the statement on the Bb7 is unrelated to the altered line.

The last part of this example is demonstrating how the chords are interpreted. The statement on the Bb7 is turned into a motief that is moved down in half steps to give us an Am7 Abm7 Gm7 progression.

Another thing that shows how this is less functional is that the final II V is replaced with C7 Bb7 in the song taking away the main cadence of the Jazz Blues.

Super-imposed Pentatonic Scales

Coltrane doesn’t really use normal blues phrasing a lot in this solo and here he does use Fm pentatonic in a way that is really typical for everybody who came after him. I think it is important to notice that using Fm pentatonic on a Blues in F is something that is quite rare with the bop guys. Pentatonic scales are not really a part of bebop in the way they are used as a sound here.
The blues phrases of Joe Pass and Charlie Parker are quite different and much more a mix of major and minor.

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Get the PDF!

You can also download the PDF of my examples here:

Why Coltrane is not bebop

If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or  send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.

Please subscribe to my YouTube channel and feel free to connect with me via Instagram,Twitter Google+ or Facebook to keep up to date with new lessons, concerts and releases.

Favourite Chord in the key of C Major?

A chord that isn’t in the key isn’t always a modulation. There are many chords that you will come across in songs that music theory does not describe as a modulation.

In this video I talk a bit about some of those progressions of chords. Show an example of something that is a modulation and a few progressions that are not modulations but still contain chords that are not found in the scale.

The way I view music theory is that it is a description of the music that I play that helps me understand and hear what is going on. In most genres of music you will find a lot of chords that are maybe not diatonic to the scale but are still in the key. Examples of this are found as secondary dominants, modal interchange or borrowed chords from the parallel key.

Content of the video

0:00 Intro and a bit of heated discussion

1:09 Diatonic Chords

1:37 Modulation or not?

2:00 Progressions with non diatonic chord in the key

2:39 A progression that modulates

3:26 What can you come across? Secondary dominants

4:06 Modal Interchange/Borrowing from minor

4:25 Overview of the 21 chords in C minor.

4:55 Song examples with borrowed chords

5:25 My favorite chord and a little solo with it!

5:55 Like the video? Check out my Patreon Page!

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3 Music Theory Mistakes You Want To Avoid (Jazz Rant)

Besides my rant on how people get things wrong with Music Theory this video is also on some of the things that you are missing if you don’t use music theory right or forget to check out important parts. When you study Jazz or Jazz Guitar then music theory is a part of what you need and what you want to learn, but you want to go about it the right way.

Most of the things I talk about in here are mistakes or problems that you run into if your approach to music theory is very superficial. Hopefully I also manage to give some pointers to a better approach to learn and use music theory so that it is actually useful for you.

Do you make these mistakes? Do you know other things that mistakes that are common?

Don’t Just Learn Music Theory! Connect it to the Songs You Know and Play!

Music Theory is like every other aspect of music, you need to work at it from the ground up and you will only get the benefit of it if you use it in what you play! In this video I will talk a bit about what the very fundamental things are that you need to know well and why you need to know that part of Music Theory. I will also talk about why you should apply it and how it will benefit your playing.

 

Content:

0:00 Intro

0:37 The Foundation You Need to know

0:42 The Backdoor Dominant example

0:55 Get the basics down – What you need to know (in all keys)!

1:29 Putting The Theory into Practice – What is Music Theory

2:00 Apply Music Theory to Music

2:34 Study the theory that fits the music you play.

2:51 Enter Sandman does not have an Augmented 6th Chord

3:13 Recognize the stages of Having a skill – The Blues

4:07 Recognize the stages of Having a skill – The Secondary Dom7th

5:26 Learn a lot of music! Something to understand the theory with!

6:07 Some examples of Songs with IV IVm

6:27 Some Songs that modulate a major 3rd up

6:41 Use Theory to understand styles.

6:48 Go beyond your own genre and try to understand the music

7:40 How do you use or study Theory?

8:02 Quick Analysis of Creep – comparing it to a few other songs

9:13 Like the video? Check out My Patreon Page!