🎵 3 PATTERNS Demystify ALL the CHORD CHANGES in Jazz Standards (Almost)

Get your free PDF cheatsheet here www.getyoursaxtogether.com/3chordpatterns

When we did counterpoint secondary dominants (classical stuff), We'd write the original chords, and underneath write ii of IV, V7 of IV - IV. So you had context in the home key but also the function of the chords

So this is all it was all along after all with some substitutions and passing chords? The jazz progressions I mean? Great lesson. Learned a lot as a guitarist too. Thank you

Harmony. Got to love it. Once you go around the circle and define every reason why every note/chord works, you come to realize that any note can work anytime, anywhere and the only real question is "Does it sound good?" This is a very cool screen you've got setup there. Great Fun, love the thinking and enthusiasm. Thanks much.

Great video Jamie! It's a really meaty one this one but amazing how u showcased the fact that most jazz could simply be broken down into those 3 patterns and that it need not be overly complicated! Thanks!~

Thanks Jamie! Chocked full of good information! I definitely had to pause a few times to be able to understand what was being taught.

A lot of great stuff covered here, Jamie. Your videos are SO well done. 👍

The way I write down the 2-5 to 4 looks like this: iim7/IV - V7/IV - IVmaj7

This may be the single most helpful video I've seen in a long while. Thank you so much!!

What a great video Jamie!!🎉 thanks so much and I’ll wacht it again

For brevity of terminology and better understanding of context, I prefer to refer to a dominant 7 with a natural 13 and a #11 simply as a Lydian dominant (provided your listener knows what that means). That and the altered dominant are tritone substitutions of each other using different modes of the same scale.

Pure gold. You are the man Jamie!

thanks for the pdf, fantastically explained

Im a guitar player..and this make perfect sense..but the cavot is you must know something about substitutions,tritone subs and sec doms..GREAT LESSON..

Great info! I like how these rules are really based on the story of the progression. Not just snapshots of a chord to analyze, but a common narrative that we come across time and again in jazz. A suggestion for 5:50 the Roman Numeral analysis: ii/IV, V7/IV, IV ("2 of 4, 5-seven of 4, 4"). At least, that's what I used in college theory and still use for my own purposes and teachings. ;) The extra chords at 21:26, I think they could still fit into the rules. - The D7#5 at m10 is basically a III7#5 - vi - III7#5 - vi - II7 etc. It functions as a V7 of the relative minor, so maybe that's sorta rule 1? Or a better yet, just extending rule 3 (m8-9 repeats for 10-11 and 12-13). Oh yeah it's definitely repeating rule 3! - The D7alt at m22 fits the backdoor 2-4 rule. It's basically a modified V7/IV (same notes as Bbalt/D). - The Gb6 at m26 is a variation of the D7#5 from m8, 10, and 11. Rule 3 for sure! Anyway, I really appreciate the opportunity/challenge to geek out about this stuff. Jazz is so much fun!

Fabulous lesson Jamie. One to watch several times 😎

Thank you Jamie! Great lesson.

Interesting lesson, Mr Anderson. Thanks a lot.

Good lesson, helpful. Most other "teachers" are either not on my wavelength or not answering my category of questions. But this lesson got down to business for me. Even so, I'll need to watch multiple times to grasp it all.

Incredible I know the bare minimum about music theory, as someone recently interested in chord progression this lesson is amazing even I understood almost everything time to practice! Thanks.