Cómo Analizar un Standard de Jazz - Clase en Directo

[00:03:22]Hello. Hello.

[00:03:29]How are you? How are you? Today I wanted to do something a little different at the request of a subscriber. We're going to try to see live how to analyze standards in the practical sense of the word, that is, how to write American notation, but also how to analyze chords with Roman numerals. And I had brought up the example of Aigir to Robsodi because I think he has a little bit of everything. So we could look at that and try to see scales, Roman numeral analysis, as I say, guide arrows, etc., on the standard and then see some practical advice and such, but also ask me whatever you want about the video I brought last or any questions you have, okay? Confirming that it looks and sounds good.

[00:04:23]I'm without a pedal, which betrayed me this week, and I don't think I should have to buy a new keyboard just because of the pedal issue, which bothers me a lot.

[00:04:35][music] [music] So well, we're without a pedal, but we do n't really need it for analysis.

[00:04:46]Okay, welcome everyone here. Ia Raps is a very famous standard. Uh, the score I'm bringing you is from the old Realbook. There is an updated version in the modern React book which, in my opinion, is a little worse.

[00:05:01]So, I'm simply bringing in this tone. Well, we're in a real bind.

[00:05:07]We might think it's E-flat major, but we actually have C minor as the main sound. The minor C at the beginning is not a coincidence, nor is the fact that the 25 at the end goes back upwards. In reality, many of these standards that share major and minor tonality can be said to be in one or the other. There wasn't much of a "Hello, Javi, how are you?" How are you? Welcome. Uh, there was a lot of fuss about me saying that the LOL of Cual is in F minor, but well, it's in F minor and you can also say that it's in a major key. I say that because it starts in F minor, right? When we have that first chord with the Avemol in the melody. Actually, uh, what kind of tonic feel do we have here? And for me, we're in F minor. It is true that the progression then advances and we actually cadence towards the major demo at the end of the song, etc. So, well, there's no need to go crazy, it's in the key of four flats and that's it. Okay? And in this case there is a rhapsodit three flats turn and we are going to analyze it from the point of view of C minor. And I hope it looks good. If it's small, I'll tell him and I can increase it. Okay, first chord, C minor 7. That C minor s really, uh, for me it's not so much a C minor s as a C minor tonic. And what does a C minor tonic mean? A C minor tonic is a C minor chord that has an Aeolian scale and to which the seventh chord really wo n't suit well because the seventh is a note that gives a subdominant feeling to the tonic chord, that is, as if it wants to go somewhere else, and a tonic chord, by definition, wants to stay there. So, this C minor chord, I'm going to put some coefficients for the left hand, okay? So that we can analyze it like this, and I will also be giving open positions or 137 173. So, this C minor is the Tonic, so I would do C minor [music] with a ninth, for example, on the left, and that ninth in the melody, which is very cool, the D ninth of C. And the scale would be oil, [music] which is simply the tonal scale of three flats to do. Or it could be one of the interesting scales, as you've seen, for tonic function in minor, that is, melodic minor, which would force us to change the voicing to something like this or like this on the left, eh, or harmonic minor.

[00:07:33]which would take instead of the sixth and seventh, uh, a half step up.

[00:07:36]The sixth string is simply normal, but the seventh string is a half step higher.

[00:07:44]Both scales can justify a C minor sixth, transforming that C minor 7 that it puts there at the beginning into C minor sixth or C minor mag 7, okay?

[00:07:52]So, for example, the F here is good, the F sharp 7th second, let's analyze it, even though it's a chord that isn't really played much in practice. F sharp if it should have been written for me in that case as solve molta plus what is that it is a tritone substitute that will resolve down to F minor. So that eh solve bem ground this chord in normal position, okay? The [musical] four-note position that would come this way and the only function it has is to resolve down a half step to the F minor 7, okay? The F minor 7 chord is a tonal chord, so it would be the first minor degree and a tectonic substitute to go down to the [music] to the fourth tonal degree. What scale do tritone substitutes have? Well, as we've seen on the channel, they're using Lydia Bemol 7, which would be that scale. It is a mode of the melodic minor of two sharps or revemol minor, which is this.

[00:08:55]Okay? And then lida mol flat and when we fall to F minor, the three-flat scale, starting from F minor, the three-flat mode, okay?, which would be eh toico.

[00:09:10]As you know, in the minor key you cannot say the second degree is Dorian, that is a conceptual error, okay? In the minor key, the first degree is oil and the fourth degree is Dorian, because everything is displaced by two steps, right? Uh, I'm going to analyze the first line of scales and such, and then I'll show you the topic of physical analysis with Roman numerals, etc. Okay? And so that's the fourth grade. Hm. Easy, Doric. And then we have the fifth of the major key or flat, the flat in flat 7, sorry, in minor, which would be the B-flat 7. And simply again it is a tonal scale which is the Mixolydian.

[00:09:51]It's in agreement.

[00:09:54]Three flats for B flat e. And what does he want? Well, it wants to resolve to E flat, which is the first degree in the major key or flat 3 in A minor. I don't care. and that it will be Ionic.

[00:10:04]My name is the Ionic.

[00:10:06]And here again is another interesting tritone substitute, the one that goes down, to the third degree in A major or the fifth in A minor, okay? The A-flat 7. [music] This A-flat 7, what's the point? Just as the G flat in the first measure wanted to resolve downwards to F, this A flat wants to resolve downwards to G in this case. Okay, the scale will be the same. Always the tritone substitutes Lydian flat 7.

[00:10:32]And when we get to G minor, instead of finding a cold G minor, which would be this, which would be the tonal, we find this G minor 7, flat 5. This is a relative second. As you know, relative seconds are the chords that form with secondary dominants 2/ towards chords of the key, right?

[00:10:54]So, the second relative minor is a minor 7th of annoying tonality, forming the 25 towards the second degree towards F minor 7.

[00:11:01]If we were, we have to think of it as if we were in the key of F minor and made a 25 towards the one, towards F minor. Then it's Locrian.

[00:11:10]Doubts about this. I went to the relative seconds video, okay? And nothing, and the 27th, this one is simply 27, right? Yes, the 27 eh that appears here is simply a secondary dominant eh that goes towards alpha, okay? 27 would be mixolidium flat 9 b 13 as 5 of the fourth in minor and it can also be eh mixolidium simply flat 13 which is this.

[00:11:36]Okay, that covers scales and a bit of understanding the first line, but let's see how the encryption analysis would work. When putting Roman numerals, here in the first grade, we have to put a smaller one. And a minor one is simply the Roman numeral one. Hey, go ahead, Javi, ask a one and a minus next to it.

[00:11:59]Let's answer Javi's question, and in the meantime, I'll see if I can show you how to play a minor one.

[00:12:08]It would be a smaller one.

[00:12:12]Okay, exactly. C minor. I'm going to write it in red. It looks cool. Whether to use mix 9 and bmol 13 in this case depends on the melody. Yes, in the solo part I will possibly use my B9 mol 13 exolido, but because for me it is juicier there. I mean, I'm just going to have this and this [music] to play on the C chord and the melody part can depend on the melody, uh, on the fact that it goes through the ninth. If it goes through a lick, then you'll have to use mixolid 13, which isn't the case, right?

[00:12:55][music] The melody is making these three notes here which can be in both scales because both are in mixo bem 9 [music] mol 13 or in mixo bem mol. So I can choose whichever one I want.

[00:13:13]And for improvising, I would choose the other one because of things like all these kinds of leaks involving the flat 9.

[00:13:29]If you don't have the flat 9 and the 13, you can't theoretically play the flat 9 in improvisation, okay? So thinking about the flat 9 is, well, it's what's always been done live and stuff. Cool!

[00:13:40]Hey, ask a good question. So, does the analysis look good? It might be a little small, but oh well, I'll try to put it in red.

[00:13:48]Then it would be a smaller one.

[00:13:54]Okay, cool. C minor. Let's move this forward. One smaller one. Now the F7, which is actually G minor, is put sub as its b.

[00:14:08]Wow, it's difficult to write in this situation. sub v7 of what it replaces.

[00:14:14]In this case, this is meant to be an S, okay?

[00:14:18]This is sub 5 of what? Well, it replaces the CCO of the 2. So this is, uh, sorry, the 5 of the fourth. In other words, this chord, this tritone substitute, could have been the 5th of the fourth. The fourth chord in C minor is F minor 7. So it's replacing the 5th chord of the fourth chord. It is the replacement for the 5 in the fourth. Then it says "sub", which comes from "substitute" in English, from the 5th of the fourth. Then sub 5 bar and here you put a quarter in Roman numerals. Okay, damn it, it's difficult, huh? It's also because my computer is positioned too far forward.

[00:14:53]Okay, I understand. Under 5 of the fourth.

[00:14:55]Then the F minor 7. Simply put, well, I'm going to skip the easy ones because otherwise I'll fill up the paper with stuff. The fourth, simply the minor fourth, which would be, uh, Roman numeral minor fourth. This is the B flat, it's the 77th flat.

[00:15:11]Em and this would be the major 3rd flat. The 3rd flat is the 3rd flat and not 3, okay? It's set to a minor key.

[00:15:19]Flat 3. Excuse the slowness, I 'm not used to this stuff.

[00:15:24]Bemol 3. MAG. Damn, that's bad. Let's see.

[00:15:28]M 7. Okay, [laughs] Ma 7, uh, flat 3, 7, okay? That would be the same thing.

[00:15:44]Then the lavemol 7 uh would again be a substitute and would be sub five of whom.

[00:15:50]Well, this would have to be the five of the five, right? In other words, it would have to be a D that would be a G5, which is the fifth minor C. So it's replacing the five of five.

[00:16:00]Then you put sub c of 5, which would be like this, sub 5 of five. My God.

[00:16:19]Okay, good morning, Raúl. Have you seen what a mess I'm making here?

[00:16:26]Uh, I understood that. Five out of five. That is. Very good, Javi.

[00:16:30]Okay, I'm going to delete the last ones so that everything is a bit cleaner and we'll continue analyzing from there.

[00:16:35][snort] Raúl, we're doing what you asked. I think it was you the one who analyzed a standard like that with Roman numerals the other time, wasn't it? Okay, so I'm going to delete all of this and we'll come back here to analyze the second line.

[00:16:50]Okay? Is the first line clear?

[00:16:52]Well, then the sun men - 7 b 5 would be eh 0 - 7 b, mol if you want or it would simply be analyzed with the 25, which we'll see how that goes now. And the 27th would be the 5th of the fourth. Secondary antens are analyzed V7 of whatever, in this case V7/ quarter. It's visible. Let's see if it shows up.

[00:17:16]Yes, it's visible. It's visible. Yes. Cool.

[00:17:21]Thanks, Javi, man. And technology. I feel totally boomer, even though I'm not one. Okay, but anyway, the point is that you find out. So, it would be five of the uh fourth S27. Cool. And if you have any questions, just stop by, okay? And I repeat, we already have the entire first line. What number 25 said. Well, in addition to all this, in addition to all the lines and all the Roman numerals and such, the two fives are marked with a bracket underneath that groups the second and the fifth. In this case, for example, on this line, how many two fives are there? Could you tell me? How many two fives are found in this part?

[00:18:00]Simply.

[00:18:07]Hi, Javi, says Javi, yes, I haven't been into jazz and analysis for very long, but so far I'm doing well with what I've been studying. Perfect. Yes, the thing is to start with simple songs, simple themes like this that can contribute to your development, but within the tonality and such.

[00:18:22]Well, here are two fives. There is one that is this, which is the first one that goes to the flat 3, that is, it is the normal 25 of the relative major key. And this is the relative 25 that goes to the fourth degree, okay? So, these two would also be analyzed with brackets, apart from putting here the whole other story I've been telling you, okay?

[00:18:44]You'll find everything else here, and there are two brackets. Cool! So, well, that's it, how's it going? Let's go for the second line. Sounds good, right?

[00:18:57]Very good, Javi. Two. Yes sir. Uh, I recommend that sometimes when you start the topics or start analyzing yourselves, the first thing to do is mark the two fives.

[00:19:06]You throw two c pa pa pa pa pa. Then, uh, chords of the key, you make the key separately on a piece of paper, like, you write it with all the chords and you go contrasting them. This is one, this is two, this is three. And you write them all down. This will have taken about half of the analysis out of the tonality of a standard theme. E and the two fives and then you start writing down secondary dominants on a separate piece of paper. This is what happens when you do analysis without thinking, isn't it? And you pick the dominant ones without thinking and without failing, right? This month I was with a student who was preparing for her advanced exams, and I was telling her, "Don't think about the exam. I mean, write these down on a separate sheet of paper and then transfer them to the actual exam paper, you know? Because if you have to be calculating and you mess up the calculations, well, everything's going to be ruined.

[00:19:53]I do the typical thing of raising the key, modal interchange, and secondary chords.

[00:19:55]Perfect. I call that the key sheet, and for me, it's the best thing you can do. I mean, it's worth the time you spend doing it so you can then go quickly, do it, check that it's right, and then everything. Okay?

[00:20:06]So, second line. Here we have, after the relative minor 25, that one that I think was the ochre, as we said, and mixed minor 9, 13, or mixed minor 13, which Javi and I were talking about. Well, here we go to F minor, which is where the melody comes in.

[00:20:31]And now this is F minor." [Music] that's usually played in normal minor. I think it says minor 7.5 there, but forget it because the beauty of normal minor is that it creates contrast with the chord that comes next. And now I'll explain this better, okay? But if you play F minor 7b5, in the structure of FAM [music] -7b5 you'll already have the B natural note, which is what creates the effect of the flat minor modal interchange that comes next. So, for me, if you put F minor 7b5 here, you're taking away from this because the ear [music] has already heard the B natural, and then the minor comes along and says, "Oh, but I already knew this." So it's not as impressive. Anyway, normal F minor, which in this case would be Dorian, the fourth degree of the minor key.

[00:21:21]And now, if you have any questions about what I just explained, let me know. Okay, the flat minor if this is modal interchange.

[00:21:28]When you play For modal interchange in minor keys, you have to keep in mind that the chords for modal interchange are taken from the modal interchange of the relative major.

[00:21:36]What do I mean by this? I mean, I'm going to minor, but I'm taking chords from E-flat minor [music] from the modal interchange of E-flat minor. It's as if I go to the relative major first, which would be E-flat minor, and then from there to E-flat minor to get the modal interchange. I mean, I'm thinking in terms of the major key instead of the minor key to get the modal interchange. This is very typical. Um, the A-flat minor 7th, which is this chord in its root position, [music] is the fourth degree of E-flat minor, which is the parallel, excuse me, the relative, the parallel minor of E-flat minor, that is, what you would get doing normal modal interchange in E-flat minor, okay? And it would be, uh, what would normally be played, and that's what we're going to do here. Okay?

[00:22:31]So, we have F minor in the normal Doian chord, and then we see it in the Dorian.

[00:22:40]This B minor chord is interesting. It's a chromatic chord that's justified from the... well, first it's justified from the melody, since the third is D.

[00:22:49]Javi says, "Is that modal interchange often used then?" I didn't know that. Yes, it's typical in minor keys, okay? Like, you're in C minor, you could do a modal interchange with C major. Yes, of course, and you can do it, [musically] of course, but you can also do a modal interchange by taking the relative minor, the parallel minor of E minor, which is in turn the relative minor of C, okay? So, you're in C, but you have all this available, which is like... E minor major, etc. Okay? So in C minor you can suddenly add, for example, E major, etc., for example, to this E minor, right? Or any of the ones I mentioned.

[00:23:51]Okay, E minor also sounds cool.

[00:23:58][Music] I'm not using the pedal today, but you get the idea, right?

[00:24:07]That sound doesn't sound too far off, does it? I mean, it really seems like something you've heard several times. Okay, noted. So, and then I was saying that this B minor chord [Music] is chromatically justified as being a half step away from the Bb 7, and I don't usually play it in this song. I, uh, here we simply say the F minor [Music] is a D7, which is like the fifth associated with that D7, okay? And then it resolves to mine or mine. But anyway, I'm going to focus on analyzing so you know that you can play the other way and that there are people who play it, myself included, but we're just going to analyze the score so we can write over it later. So, that B minor is chromatic with respect to the strong bass Bb, and the melody is in D, which is the third, and that's where the justification comes from, okay?

[00:25:06]And then sigol seven to go to my [musical] degree. What scale would we put in B minor? Well, possibly Dorian and then to B minor 7, Mixon, and even Iahonic.

[00:25:23]So we've ended up cadencing in the relative major to then return, and there will be people who will tell me, "Ah, no, it's not so much minor because it ends up cadencing in E minor."

[00:25:36]Well, I mean, the feeling of the tonic at the beginning is clearly minor because we all have this in our heads as the tonic. What happens is that then it evolves throughout the song until it becomes minor, okay? And it ends up resolving in B minor, in fact, a little bit lower on the keyboard, maybe.

[00:26:04]Okay. E and 25 to go back up.

[00:26:07]So let's analyze it now from the point of view of Roman numerals. Raúl says, "The G flat sub 5 of the fourth." The G flat and the G flat of the first line, you say.

[00:26:21]The G flat of the first line. The second chord would be a sub-5 of the fourth."

[00:26:24]Yes, very good. That's already in place.

[00:26:27]And I write the sub-5 like this, look. I urgently need to buy another screen and put it here. But anyway, you mean this one, right, Raúl?

[00:26:43]This one, which would actually be G, would be G- flat 7, I write it like this. Well, it's written like this, okay? In the standard sub- 5 of the fourth because we're in minor, that's all. No minor fourth chord or anything, just like that.

[00:27:13]Okay, copy it if you want and I'll analyze the second line.

[00:27:22]Okay, so this is simply the fourth.

[00:27:27]This is very interesting.

[00:27:30]What do you think will be respected?

[00:27:34]Uh, what's usually written when it's simply a modal interchange is the Roman numeral relative to the tonic of the key. Regarding C, you'll write that this is a flat 6, [music] okay? So you would write flat 6, I 'll analyze it here so you can see, but it would be flat, uh, flat 6 minor 7. And If you want, to justify it you can put "modal interchange" in parentheses, or if you're in English, you can reverse the letters and it's "modal interchange," okay? The minor 6 7. And then, uh, the same thing happens for this one, the B minor 7. You'll just have to put "seventh + 7."

[00:28:24]You would put seven and max minor 7, sorry, minor seventh 7. Okay, I'm working on this one and the rest are easy, right? Because this is tonal, this is tonal, this is tonal, and this is the five. This one is the five.

[00:28:46]V7. What scale does the five have on the one in a minor key?

[00:28:53]And a continuous bracket. A continuous bracket is for the, uh, no, I haven't explained the dashed bracket yet, Raúl, but the continuous bracket is the one for the two fives, uh, the two fives below, continuous bracket, and the two fives below are sometimes written with a dashed bracket. I don't usually indicate it, but you can also use it. And we're also missing the lines, by the way, I'm going Let's add the lines so you can see. Dominants are usually marked with a line, uh, a line, I mean, an arrow, right?

[00:29:19]So, all the dominants that resolve to their place, I mean, this one, for example, wait, let's clean this up. All the dominants that resolve to their place would have an arrow, okay? This one, for example, I hope you can see it, would have an arrow pointing this way. This one doesn't resolve to its place. This one would have an arrow like this, through here. And then this one would have an arrow pointing this way.

[00:29:45]Cool. And this one, since there's a repeat sign, it actually falls up here.

[00:29:50]So it would have an arrow pointing this way. That's for the mediants that resolve to their place, but the substitutes have the same arrow, but with dashes, okay? Like this. This one would have the same arrow, but with little dashes pointing this way.

[00:30:09]Wow, that's precise. And this one like this.

[00:30:13]Dashes like this, okay? Towards this way.

[00:30:18]My goodness, etc. Okay, that's for the Substitutions. Are there any more 25s? Yes, here you would put the brackets for 25s.

[00:30:26]This is 25, uh, this is 25, which we already put before. And this is 25. Okay, that's it.

[00:30:43]The five of the one would have Mix 9, altered. The 5 of the 1 in the standard way, uh, Javi has uh Mixon 9 B 13, but you can put it as a resolve to the one, whatever you want. You could put it altered, you could put it symmetrical, you could put it by whole tones, etc. Okay. Yes, but the original is Mixol 9 Mol 13.

[00:31:15]Okay. And now we come to the B.

[00:31:17]The B, uh, well, the B doesn't have much mystery, but it's in G minor. Suddenly we've modulated to G minor. And what happens, what does [music] do if you do this or [music] and then the -7 of [music] modulated to G minor? Here the feeling of The tonic starts on G, so the modulation is clear, and we have to start analyzing from the key of G, both in Roman numerals and in scales, everything. So, the G minor 7 is already one, meaning we would go to the second box, okay? I'm going to quickly analyze the second box; it would be Ionian for the E minor. B flat minor, I've never seen it there before. Let's leave it for now, [music], but well, if you leave it, you could do Dorian, for example, and it could be a modal interchange, or you could do Phrygian, which would be the most appropriate modal interchange.

[00:32:20]We would be getting the E minor minor and then the 25th to the minor, okay? The 25th would be crazy, A minor 7, and the D, uh, Mixolydian minor 9, Mixolydian 13. The G minor Aeolian, and you put Roman numerals for it, one minor.

[00:32:39]I'll get to that now, okay? And the two fives, well, I think it's A minor 7 flat 5 and Mixolydian flat 9 flat 13 the D minor 2. I'm going to analyze the inn and then we'll use Roman numerals. G minor, yes again, and that's it. And here the same thing happens. It modulates to the relative major of G minor. What is the relative major of G minor? Well, yes, major flat. And put another way, as I said before, it moves in the key of two flats. So now it does the 25 [music] of Dorian Mixo to Sidemol, which is Ionian here. Em, and this F minor is very cool. I normally play it Dor, I think it's the pivot chord here for the modulation and we can see it in several ways. I already play it Dorco because I'm seeing it as already somewhat derived from E-flat major, okay? As going back to the three flats. So, Dorian and then back again. But well, we could also be seeing it as modal interchange, the minor fifth, etc., which would be like minor minor, uh, blah blah blah, but well, making it Dolichocephalic, Okay? And D and G, well, the crazy one, and mix G minor 9 minor 13 and that's exactly where it starts again, okay? Which has a double bar. I don't know if you can see it well from this distance, but before the C minor there's a double bar, huh? Okay. And let's see the history in Roman numerals now.

[00:34:08]So, I'm going to mess this up.

[00:34:11]Tell me if there are any doubts up to this point.

[00:34:15]Okay, G minor. Key of G minor.

[00:34:19]You can put it here at the beginning, or not?

[00:34:20]This would already be a minor one. So, just like that. This is the two.

[00:34:27]This is the two, huh, minor 7, we see the 5 and it's Locrian.

[00:34:40]Okay. Damn, dude, this is the five.

[00:34:45]The keys are simply like this. This, well, a minor one again.

[00:34:51]This is a 25. You mark it, by the way, this was one too. You mark it.

[00:34:57]And this one, I'm doing it all out of order, but well, this and this go in their place, so you put an arrow to their place. The F goes from minor and the D goes from G. E Here you can simply put minor fourth because you're still analyzing from G, or you can put 2 C thinking about analyzing from Bb major. Uh, what would I put? Well, I'd probably put 25.

[00:35:23]Look, this is really nice, isn't it? I mean, when you hear the C minor, it actually sounds like a minor fourth because you're coming from here, [music] it's going to sound like a minor fourth, but what it really is is the 25th onward. You can add it from either of the two ways, okay?

[00:35:41]So, you put 2 - 7 and this is already the fifth degree and one more.

[00:35:56]Well, the lyrics for another day, okay, and now the F minor 7, what happens? Well, for the F minor 7 you have to put a minor fifth, even if you play it Dorian, okay? You put a minor fifth because that's how it actually sounds. We're in Bm major. We 're not hearing it as the second of Em major [music], we're hearing it as a minor fifth.

[00:36:28]So, I I would put it as a minor fifth, although we'll later realize that it's already the pivot chord towards the other key. Em. And here you can add modal interchange if you want, as I did before, so in parentheses you put IM.

[00:36:43]Cool!

[00:36:45]Okay. And then here, nothing, this is already the two and the five because here you can analyze it from C minor, okay? Two, you put -7 of minor 5. I don't like that half-egg thing, but well, if you like it, then you put -7 minor 5 and this is the 5 V7, the peak of the G7. And we'll see questions again. Juan, with an I Real Pro chord chart it's much easier, but for that you need to have the melody line studied or nearby.

[00:37:18]Okay, I don't work that much with IR Real Pro, in fact I don't even have it, Raúl, to be honest, but you're saying so I could do it here or so you can work on it at home.

[00:37:30]Right, Oh, you have to have the lyric because it doesn't appear in the cipher of the real one. Right, well, yes. And with the pencil, right? On the tablet, well, that's another option, huh? I don't know, I've always been very analog. I've actually always done this on paper, okay? I'm showing it to you because I think it was you, wasn't it, who asked me for the analysis of the theme like this, and that's the idea.

[00:37:49]How are you, Carlos? How are you? Uh, and the second box, let's see, wait.

[00:37:56]Ah, I'm going up. Mixo 9, Flat 13.

[00:38:00]Carlos, I'm going to answer yours, okay? I didn't understand. Mix 9 13.

[00:38:04]What did you mean? Mix 19 13 is the same as Figio dominant.

[00:38:10]The five of the one. And I already answered that before, okay? And we've already analyzed the second box. Yes, we 've analyzed the second box, it would be the Ionian E minor.

[00:38:25]As it modulates We can say it's one if you want, right? And then you can put that it's modal interchange. If we look at the minor scale, if it can be put, it should be Phrygian, [music], although surely everyone plays it Dorian, because modal interchange, strictly speaking, would mean doing modal interchange of E minor where this would be cold, but well, that's another topic. So, uh, I would simply put minor fifth there in the minor scale, uh, if then the 25th, well, you can put either seven, uh, V7 of the 3rd and you're still analyzing with respect to E major, or you can put 25th and you're already analyzing over G minor, since the key of AB is G minor.

[00:39:12]Mm, I'll continue answering questions. The five of the one would have mixed chord, blah blah. Yes.

[00:39:18]Modal interchange. Modal interchange.

[00:39:21]You say the minor chord, right, Carlos? Yes. Uh, Raúl Juan says, "With a chord chart, I already know this could be used, I think, sharp over the semi-semi... We're looking at some cool scales for chords. Yes, you could definitely use what I've sharped two over the half note, no doubt.

[00:39:38]What would that be?

[00:39:42]It would be a C melodic minor mode, which is a scale you 've already heard if you've used it in the first chord of the song.

[00:39:50]In the melodic minor.

[00:39:59][music] You could also use the C sharp two here on the seventh chord.

[00:40:08][music] [music] Okay, then we'll look at some improvisation if you want. There are some cool lines here for chromatic improvisation, [music] huh? We'll look at it later if you want, okay? And you could use D minor and E minor, blah blah blah blah, and that's it, right?

[00:40:44]Okay, any more questions up to this point? Do you want us to go into some advanced scales for the song then, which could be good, or would you prefer some more improvisation tricks?

[00:40:57][music] Let me know if you have any questions about what we've covered so far Now.

[00:41:13][music] [music] My case is up next, says Javi.

[00:41:36]Cool. Tomorrow, the arrows.

[00:41:39]Hey, what do you mean by arrows? We 've already put the arrows in, right?

[00:41:42]Raúl, tell me if you're missing any.

[00:41:46]Um, we put the arrows for A earlier, and we just put the arrows for B.

[00:41:52]Let me know if you have any questions about the arrows. The arrows for the substitutions are marked with a dotted line, and the arrows for the regular dominants that go in their place are marked with a solid line. Uh, advanced scales. Let's see if you surprise us with new concepts. Okay, let's see. First degree, we said in C minor, I would put either melodic minor or harmonic minor.

[00:42:13]What I do is put melodic minor.

[00:42:16][music] Those sounds. You can try improvising with this four-note chord that I've told you many times I like. The flat 3, max 7 sharp 5. In this case, it would be E A G-flat max 7 sharp 5 over C over C minor, right?

[00:42:35]That sound.

[00:42:37]I never actually play the G-flat 7 because I prefer having time to improvise over the C, but if you want to play it, it would be the G-flat 7. The F minor, never mind, I'd just make it Dorian.

[00:42:52][music] I'm not going to get into harmonic minor, but anyway. Doian, that's it. The C-flat, well, you can put it in the A-flat, you can add, let's see, something different, the S-flat 9, which would require changing the voicing.

[00:43:15][music] This is a mode of the A melodic minor of the avem molo, you can think of it as G altered if you 're more familiar with it, starting from Siena, very good, it sounds something like this.

[00:43:36][music] Let's do the five plus space.

[00:43:39]Famenor s.

[00:43:43]Okay, [music] uh, what's happening?

[00:43:50]You have to change the voicing, okay? If I'm here putting in the boingen that isn't right.

[00:43:53]You have to put in this [music], which would be like a boingen taken from the Aven 7 melodic minor, or you can put in something a bit more cluster-like, which are derived from this, which is the normal altered Deora voicing.

[00:44:12][music] This one is good because you simply change the C to B natural in the voice leading.

[00:44:17][music] And now.

[00:44:30][music] That's a bit of the sound. Okay, then the... Well, you can put in altered, you can put in symmetrical.

[00:44:46]In the call that sounds [music] like this.

[00:44:54]In my major, you can put in... I'm putting in [music], but you could put in, for example, a sharp 5th line.

[00:45:03]Then you would come from [music], uh, voicing. You can do this, you can also just do a cluster, or if you want to keep the original, then something [music] that does n't involve the normal fifth.

[00:45:20][music] Like, this It's the C melodic minor chord over E-flat 5. There's a video about the I-flat 5 on the channel, okay? And then the A-flat, the I- flat 7, the G minor 7-flat 7 or C- flat 2, which would be like this and is a mode of the A melodic minor chord, okay? [music] There it would sound resolving to F [music] the altered 278. It can be altered, one option, or it can be, well, the basic one would be mixed 9 13, which we saw before. You can also use symmetrical chords, although going towards minor it sounds a bit... I don't like it that much. [music] That would be altered symmetrical chords.

[00:46:16][music] Okay. Even the E chord.

[00:46:26]Try not to make it too obvious.

[00:46:28][music] The E chord is very prominent, it sounds very obvious if played like that, as if it were linear. And okay, the second line we have the F, which would make it Dorian, the A-flat Dorian also because of what we explained before. [music] So if you include the D7 that I mentioned, you would have to do it, it would be the B77 and well, it's good to do it lol 7 [music] as an isolated dominant to resolve back to the Bm. If you include the B, the one there, well, doian, as we told you before, and the Bm or Bb you can add [music] something interesting like.

[00:47:11]Here's a cool thing, which is that if you're coming from a scale that's outside like the Dorian, sometimes when you want to add something interesting in Bg, for example, in this case, let's imagine I say, "Ah, I'm going to add an altered chord because it's very interesting, from our Bb, [music] well, actually the altered Bb is closer to the B natural torian than, for example, the Bm, and you're going to take away some of the surprise of the change.

[00:47:41]As you wish. Okay, [music] that would be with altered and then resolve towards the mall which would make it Ionian or Lydian sharp five or even normal Lydian.

[00:47:54]Lydia sustained five would be this [music] and normal lydia would be this.

[00:48:01]Okay. "Uh," says Raúl, "Dashed arrow for sub 7s." That's right, yes, that's the most standard. Okay, and in the B, in the -7 B 5, I would do it in loco sharp 2 or the normal [music] which would be the -7 mol 5 with the melodic minor of do and the R7 altered.

[00:48:28]And the [music] sol ya aeolian or the sol you can also make it melodic minor because it is the tonic here because we are thinking in sol minor.

[00:48:37]This scale, this is the melodic minor of G. And on the 25th I would do Dorian to represent that we are modulating to G, the altered F7 [music] here, possibly Ionian so as not to confuse it and this F minor that I was talking about before here I wouldn't do Phrygian, although it could be, I would do Dorian because I am already thinking of it as E minor. [music] And that's it, right? I believe it's supported by the pair if you like.

[00:49:13][music] Here [music] special mention to the left-hand voicings of B, which don't fit much because of the Melo, do they? Because you're with Melo down here.

[00:49:31][music] That question came up today with a student. What happens when the left hand interferes with the right hand's voicing register?

[00:49:39]The idea is to remove notes from the voicing. You can start removing them from the top.

[00:49:47]Carlos says, the end, in the end many advanced scales come from the melodic minor. Yes, especially the ones I use, since I'm very melodious. And playing with symmetry, tones, and little else. Yes, that's about it. As someone I saw in a YouTube video said.

[00:50:02]Um, but how many jazz scales are there? And another one was asking about the jazz scale. Well, not much more, but of course, I internalized all the tones well and all that.

[00:50:12]Okay? So, [music] [music] minor tell me the topic [music] was altered altered [music] and here we can put doc, mixo or The 7 too [music] the B minor melodic locre sharp two altered let's go [music] to the Ionian semol of the alpha to see this better perhaps [music] locre sharp two alter and everything is gone.

[00:51:22][music] [music] small substitution there at the end F minor [music] and now you do B minor 7 and B minor s.

[00:51:42]This is the one I was telling you about in the video of my favorite substitution. F minor and you make [music] B minor B E7 and you resolve to E minor. How to take the 25th of a tritone of distances. You are in F minor B flat 7. Instead of F minor B flat 7 play B minor 7.

[00:52:01]E 7. It sounds like this. I mean, oh, [music] there at the end I think it suits him well.

[00:52:16]Since we come from or if you came the fa both are fine.

[00:52:34]Okay, more questions. Hence the giggles.

[00:52:38]Yes, absolutely. Um, okay, well that's pretty much it and what I'm going to end up saying is how we're doing from now on.

[00:52:45]Okay, I'll tell you this and then I'll leave. Let me know if you have any questions. The chromatic line thing for improvising is cool. So, here's an interesting color scheme on this topic, which is the following.

[00:52:57]Okay, let's begin, shall we? [music] It's not that there isn't one, it's not the one I'm referring to, but then now fa minor 7 and now eh mi molete and you have the third of the miemol which is the sol connecting with the flat 7 of the a flat, with the seventh of the sol minor 7, with the third of the do, with the seventh of the fa [music] and that's it. The flat is a different story, isn't it? But all this chromatic line [music] that you can use to improvise. And how is it used for improvisation? Well, by putting it into reasons.

[00:53:33][music] For example, it creates a very, very melodic melodic line, if you'll pardon the redundancy, right? In other words, it could be a song, as I said the other day, trying to improvise the songs melodically first.

[00:53:53][music] [music] [music] [music] melodic line.

[00:54:22]chromatic [music] [music] etcetera. Okay. Well, I hope you enjoyed the class. It was somewhat at the request of, I think it was Raúl who asked me one day, to analyze the standards like this. And that's it, ask me any questions and if you don't have any questions I'll leave, I'm roasting in this live light.

[00:54:59]Thanks to everyone for stopping by. By the way, I wanted to tell you that this month, uh, I don't know if I'm going to make any videos as such. What I will do is live streams, and I will possibly do more live streams. Why is this? Well, because it takes me ages.

[00:55:11]A pleasure, Carlos. Very good class. I'm going to play for the hour I have until 2.

[00:55:15]Ole.

[00:55:16]Greetings everyone, thanks for stopping by.

[00:55:18]So, I think he'll talk about live broadcasts sometime soon. There will definitely be one on Thursday and I'll log on sometime.

[00:55:22]I'll also try for an afternoon time, and if not, possibly a Tuesday morning, or we'll see, okay? So there will be more live streams and fewer videos this month, but that's it. Okay, so if there's no doubt, we'll see you next week, same place, if not sooner, okay? Have a good day and stay in the shade, it's very hot.

[00:55:41]Hugs to all. Thanks for stopping by.