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

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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?

Expand what you know about Music Theory with this video:
https://www.youtube.com/watch?v=7WG8d1D0QY8&t=0s&list=PLWYuNvZPqqcFJjvYtDUJgpLnYPtB86HTg&index=11

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Comments

Hubert Van Calenbergh says:

It has happened to me that I accidentally chose the wrong Melodic Minor mode in a solo. The joke is that it didn't sound bad at all. Seriously!

Артём Мякота says:

1:40 this made my day :DDD

Avery J says:

Jens Larsen Hey discovered you a couple weeks ago. I'm not what you call a jazz player but I can fake it. I'm working on it though.

Could you please do a lesson on I Fall To Pieces by Jamie Johnson? It's a basic 3 chord song but you can hear great substitutions and awesome jazz runs by the guitarist Brent Mason. I'm not asking for a note by note but just some of the subs and show a run or two to show where his mind is at.

I think one reason I'm struggling is because I can't find a context that I understand but I do understand this song. If you could do this it would make my year! And I'm sure it would help others.

Little Moe Perkins says:

It`s interesting that in many lessons I get as a beginner, the discussed tune would always be analyzed and directed as II-V-I. Other than that are considered as complex substitutions. This is the first time I receive different perspective, although both approaches need the same effort to study and I really not sure which one is going to make sense more for me. Thanks, this lesson broaden my knowledge.

Turntable Thoughts says:

So insightful as always! Not sure if that was a slight on Green Day or a compliment

Benjamin Simon says:

Jens is slightly sassy in this video and I like it

goldenrhinogrey says:

These are awesome reminders. As someone who's been studying jazz in earnest for a year or so, my mind has been set (by other educators) to "always be looking for ii-V-Is, ii-Vs, V-Is, and tritone subs for all of the above." It's good advice and usually very applicable – it also feels empowering to realize that so much early jazz is primarily built off of those mini-progressions. But I should absolutely try be more aware of when that's not what the harmony is communicating to me.

George Linston says:

the yousician ad with the bass that I keep seeing before your vids always gets me groovin and movin idk cause it isnt even that great lol

downhill2400 says:

Interesting!

Peter Dunphy says:

Excellent,thank you.

Jim Kangas says:

All true, but I've used theory (or Jens videos) to discover new sounds that I might have never discovered. What I find interesting about theory after a lot of study is that there are many ways to get to the same points. It's all good to me.

Anthony Demitre says:

yes when I first learned jazz harmony I couldn't apply it for a long time until I realised how chords related to each other, and the old Genesis line applies "You gotts get in to get out"

live2groove says:

Could you explain this with an actual song that isn't ii V I ? ei Girl From Ipanema

Tony Gonzalez says:

What is a good Music theory book to study?

gado says:

0:00 "Hiverybody, my name is Jens Larsen."

– Jens Larsen

Kenneth Gonzalez says:

Find songs where the progressions are used — essential advice! Two thumbs up 🙂

Omar Brsli says:

eye opening indeed , I guess I never had good fundamental knowledge in music theory to begin with ,that is why I don't fully understand the licks you post, thank you for posting them and for the great lesson .

Jaime Gonzalez says:

So technical it blows my mind.

noelj1412 says:

Hey jens… Is there any book you could suggest for a comprehensive understanding of music theory? … Great video as usual … Thanks

Toortog Pown says:

First and foremost music is sounds and learning the sounds. Music theory is a way of labeling sounds so they can be talked about, remembered. and reused.

Brazen NL says:

04:33 what do you call that progression (or are you naming the substitution)? I use that, but never knew the name of it.

Andrea Salustri says:

Dear Jens, great explanation as usual
Just regarding theory I have a dilemma (it can be this topic has been discussed already …)
we keep studying so many devices to be used on so many different chords in so many different keys.. our study is based on the theory but when we improvise we could not elaborate so much information ..
it means that should we internalize the sounds of the different devices vs the sound of the different chords so that no "calculations" needed when we improvise?? For sure I would get lost in in second if I start thinking ‘this is Eb7#11 so it means Lydian dominant so we are in Bb min melodic….’ in other words, the final target of our study should be to recognize the sound of the chord and apply the right devices accordingly by ear?? .. That means we should be able to instantly distinguish G7b913 from Galt for example…So the dilemma is: how to use the many precious staff we are learning from you… thanks, Andrea

Kyle Ernest says:

This is really really good.

Thomas Neocleous says:

"so simple they use it in punk rock" absolutely savage

A.O. says:

in the "not everything is a ii-V-I" I am a bit confused: your example is Dmaj7 – G7 – Amaj7
We clearly are in the key of A. Dmaj7 is part of the subdominant area like B-7, they are one note away from each other (B which is a 13th for Dmaj7, a legit tension and common substitution, perfectly diatonic) so the two chords are very similar.
Meanwhile G7 (G B D F) is one non-diatonical note (G) away from E7 (E G# B D), and does have the same function as a dominant.
Plus the note G can be labeled as a #9 of E7 (and I get the 5th is not altered but …) so not far from being part of a perfectly accettable Valt.
That way you can say that not everything is a ii-V-I … but, in this case it's one note away to be one 😀
Anyway, great video, I really appreciate your lessons.

Wayne Elliott says:

Many people believe that there is a 'MAJOR PENTATONIC',
and a 'MINOR PENTATONIC', when really it's just an inversion.

Shuzies says:

Jens……rant………we all have these days……wishing you a better day….your friend ron

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