Where to start for Jazz

[msf sadib]

Look at the interval between the first column and the second - Em7 to EbM7 - that's a minor 2nd interval, so it's chromatic in this context.

I think passing chords are more of an ornamentation than anything else.

So Em7 here has no relation with the A7 here?

A7 is the V7, and Em7 is the ii7 (assuming D Major tonic)

How do I know if it's Em7-A7 is the substitution of C major 7 or if it's tonicizing the D major chord.

It could be either. I think it's giving the ii and V as options.

This attachment might bring some enlightment.About the Substitution#3 is Em11-A7b9 substitution for Dm7 or is it tonicizing the Dm11-G7b9.I think Dm7-G7b9 is the substitution of G7 chord in relation to C major key.But what of Em11-A7b9 ? it doesn't seem like a substitution in relation to C major.So in this it's probably tonicizing the Dm11 chord right?

[msf sadib]

How do I know if it's Em7-A7 is the substitution of C major 7 or if it's tonicizing the D major chord.

It def is tonicizing D. ‘mediant substitute for C’ notwithstanding.

so a chord can tonicize & substitute at the same time in some cases.WOW !! I didn't know this.You're awesome Jan !

[jancivil]

my mistake

[msf sadib]

I'm not a good pianist or guitarist.Most of the stuff that I make are made in my DAW piano roll.And I mostly make electronic music.But I've great zeal for learning new stuff.I know basics of chords & stuffs.Now I want to learn about jazz music theory and how to utilise it.But I don't know where to start & what sort of materials to look out for further reading & watching

Let me help you with that. https://www.google.com

After 7 pages of people being willing to help, I don't think he needs Google...

That's true.You guys have been so helpful that I can't be thankful enough

[jancivil]

How do I know if it's Em7-A7 is the substitution of C major 7 or if it's tonicizing the D major chord.

It def is tonicizing D. ‘mediant substitute for C’ notwithstanding.

so a chord can tonicize & substitute at the same time in some cases.

Yes, overlapping happens all the time.

[msf sadib]

I don’t know what the creator of that is thinking.
The actual b5 substitute for V of C will be Db7, just as in ex 1.
They state that’s the reason for #3, this is just inconsistent.

I found these in this website:http://www.thejazzpianosite.com
The site itself is decent.Step by step explanation.But I get stuck sometimes.That's when I come to you guys for help.Also I'm reading the previous posts in this thread to read all the things again you had written about

[xtp]

Let me help you with that. https://www.google.com

Maybe it is you who should use google to define the meaning of help, because you are obviously incapable of comprehending that the op has initiated a very informative discussion, and is already being helped by a number of educated, intelligent people who frequent the theory forum.

[BertKoor]

if we didn't want to talk about theory in the theory forum and just provide advice on incorporating styles we could simply delete all of these threads and replace them with a sticky that says "go transcribe music"

Tempting.... very tempting...

[ariston]

Yes, all that theory is important, but don't forget the MOST important thing:


"It must schwing!"

[jancivil]

I don’t know what the creator of that is thinking.
The actual b5 substitute for V of C will be Db7, just as in ex 1.
They state that’s the reason for #3, this is just inconsistent.

I found these in this website:http://www.thejazzpianosite.com
The site itself is decent.Step by step explanation.But I get stuck sometimes.That's when I come to you guys for help.Also I'm reading the previous posts in this thread to read all the things again you had written about

Ok, #3 three there is perfectly normal. I actually saw Gb7 for G7b9 (& in the previous Ab7 for A7b9), I guess I’m burned out.
It’s not different than what we covered.

[jancivil]

Yes, all that theory is important, but don't forget the MOST important thing:


"It must schwing!"

errr

No, listen to Miles’ solo on the Autumn Leaves

[ariston]

Yes, all that theory is important, but don't forget the MOST important thing:


"It must schwing!"

errr

No, listen to Miles’ solo on the Autumn Leaves

You mean on Cannonball's album? Ah, but that's meta-Schwing!

[jancivil]

Yeah, that one

[ariston]

That's probably the only version of Autumn Leaves that I can listen to without nausea.

[deastman]

I just want to drop in here for a moment to say that this topic is amazing! I never really “got” jazz. It wasn’t ever part of my world, growing up. It was something played in the dentists office, or that coworker who insisted on playing the smooth jazz station all day, every day, or the guitarist friend who was into the incomprehensible fusion players. I couldn’t understand the structure at all. But as I’ve gotten older, I’ve gradually tried to broaden my horizons and inject more chromaticism into my own playing. Mostly it has been a pretty haphazard approach, simply hunting around for chord progressions and substitutions which sound good to my ear, with very little logic behind them. Having read through this discussion (two or or three or four times in the case of Jan’s posts), I can finally say that I actually *get it*! This is opening so many doors for me, it’s just incredible. Thanks to all of you!