Hello, my name is Mark from Jazz Guitar Lessons dot net, on numbering chords in a tune to transpose with ease. So let's get going. Welcome to Jazz Guitar Lessons, where we help guitarists to learn jazz faster, express themselves more fluently, and have fun along the way. My name is Mark, and if you're looking to learn jazz, form better practice habits, and especially if you enjoy French accent, make sure to subscribe. We're going to talk about a few certain examples. So I think I would really recommend if you're listening to this on the bus or in your car or while gardening or running, you should probably take this podcast home and grab your guitar with you when you want to study these concepts, just in case I go a little bit too fast. So let's get started. We're going to start with the song All the Things You Are. There are three things I want to do today. Honestly. Use all the things you are to give you some examples and incentives on why you should number the chords and relative size, relative size, everything. So all the things you are will be first and we'll look at B-flat blues. And lastly, we'll look at your favorite leaves, which is of course one of the the most played and most called tune the jam sessions. And every singer wants to sing it. So you must know autumn leaves in many key. So let's start with all the things you are. So the song I know. First, let's start with a caveat. So here are the two. The two reasons why you should learn Roman numerals. Or at least go by one 6 to 5 and learn the chords, but not as chords, but as relationships between chords. The number one reason is in the title of this podcast is to transpose. So if you meet a singer and she I will say she. I'm sorry, I know to 2019 now what I need to say. She she will get on your nerves and she will want to play all the things you are in a different key or Stella by surname, different key. Summertime in a different key. They always do that and it's normal. As humans we have them sort of a range of capacity for a voice. So she will call it in a different key. Number one that's super practical. And number two, it allows you to see a lot of common things in between all the standards you learn. So after you learn 20 or 25 different standards, you will see the same progressions come back all over again. All the time, all the time. And that's a good enough of an incentive. Because if you start seeing, we would see the forest for the trees, then it's going to be much, much easier to learn many more songs. You're like, all right, this song is just, you know, x, y, z progression. But we have this twist and you start to really understand harmony, and you start to really understand substitutions and how you can get creative with chords, even though you know, it's a big, big mystery to a lot of people. so let's get started with all the things you are, number one. So let's start with, you know, this song, if you don't, you can pause this podcast, go on a website, go on YouTube. Famous song. You are on the. You know, I'm playing a sort of chord melody here. I just want to talk about these first eight bars and how we would, Roman numeral realized, so F minor seven is your first chord, B-flat minor. Seven is your second quarter, third is E-flat seven going to a A-flat major? Seven to D-flat major, seven. And then we have a fun little twist D minor, 77C major. So I'm going to give it away. The song is in the key of A-flat and it goes to the key of C major. So we'll I'll just give you the example of how to put numbers together. And then after that we'll attempt it in a different key. How's that. Cool. So F minor seven is the six chord in the key of A-flat. Of course my teachers, my my teachers, my my students go to your teacher. They go to your instructor. Mark, how should I notice? How could I have known that this is the six chord? Well, if you grab any old fake book or sheet, you will see that the key and the class had the treble clef. It will show four different flats and four flats. Is it's the key of A-flat major. Right. And by playing the chord that is the six of one, two, three, four, five, six, that's an F note, and F is actually f minor is a relative minor to A-flat major. All right. So that's what we need to know. So let's simplify this game F minor seven and six. And then it's going to go to. And the key of this light five and one. So that's A-flat. And we land on one. So you can learn essentially all the things you are by saying hey 6251. If you were to teach it to someone with math, quote unquote math, you you cannot see my air quotes while do the podcast. That's silly. Right. So you go 6251 hey, you're out. You're out of trouble already. You know, four bars with four numbers. And then the next chord is a D-flat major, seven. And this is the four chord. So it goes 62514. I don't know if you noticed, but this is all in the cycle of four. It's all descending fourth or descending fifth. So you could either go F, A-flat. That's a whole ascending fourth or a few descend fifth. You could go. Right. There's descending fifth. Descending fourth. Same thing here. 62514. Then comes the pickle. Then you like. How can we? Relative size D minor seven G7. The C major. And the. The trick is you don't. So what you say is, well this is now in a new key starting at the D minor seven. That's the interesting part. So what you say is if you were to write this down on the chart, you would just put a bracket under the staff for these bars and go bracket, bracket arrow to C because C is C major is where our destination and D minor seven and D7 are considered as being part of the key of C. But now you're going to say Mark how the C major cowboy relates to A-flat major, which is the key of the song and the the good and the short answer it is not. It's not related. But that's what the song does. And that's what the composer decided to do with the song. So we must use that. So if you go, A-flat major, the C major, you can say that you're going to the key of three one, two, three. That's the key of three major. So I'm going to summarize this into a formula. If you're learning, if you're attempting to learn all the things you are, you're doing (625) 146-2514. And then 251 in the key of three five, one in the key of three. I don't know when by fast I'm going to do it again. 62514, then 251. In the key of 3251 in the key of C major being the three we're referring to. Good. So two things. Number one, if you keep playing on all the things you are, I'm going to play for a little while more artistically. You're going to see this come. And then. So the progression that happened in bars one through eight actually repeats itself in bars nine through 16. It's still, starting with a C minor in bar 13. In bar nine. Sorry, C minor. So. So 625, one four and then two five in the key of three. However it does that in the key of E-flat now. So you learn 16 bars of all the things you are. And actually you've already been through four keys, namely in the normal key, it's A-flat, C major in E-flat, G major, but the bars are actually copy and pasted. They're just transposed through a different key. Even the melody's pretty much the same. So this is things to keep an eye open for, because you're like, you don't have to relearn everything. It's not like every chord by chord. You have to look at it and relearn it and go, okay, I must, you know, memorize this. You don't need to memorize it. You if you see the the values of the chords for what they are underneath it. So that's my first point. And my second point is let's try to play the first eight bars of all the things you are that we we've talked about. And let's just put them into another key as an exercise. If we if it would have been a live show, I would have taken a call and go, hey guys, which key do you want me to do it in? And instead of A-flat, I'm going to go and choose just to mess with your mind a little bit to the key of C major. I have a little issue with my nail here. I should file it. Sorry you guys, I've been doing a lot of classical guitar recently. Do some sort of freaking out on my nails, if you know what I mean. So let's pick the key of C major and go 62514 in the key of C major and then 251 in the key of three. And that's determined. So if C major is our one we start with what is 3123CCDE. So m e majors are three. Now great guitar key. So see if you can play along with me 6251. In the key of C major six is A minor 725 to indicate symmetries D minor seven D7 the C major, the four which is F. So far so good. Good. Brain fart. I'm sorry. Where were we? Did. Yeah. Oh, yeah. Okay, we're going to E major. Right. Remember? Remember, Mark, we're going to be major. Okay. So (625) 555-5514. That's f major. Then we're going to the key of E major. So the chord is F-sharp minor seven. That's two to B7 which is five of imagery. And then actual image one last time 62514251. There we go. I'm going to stop there for all the things you are, because I think you get the picture. And we just spent about ten minutes on this. But that's how you transpose. So I'm going to go a little bit faster and cover. the first one was all the things then talked about B-flat blue. So one of the things you I will encourage you to do, and I'll only spend like a minute on, it's a thing that traditional jazz blues, you know, the one with the Lithuanian B-flat. So. You know, you you're from a B-flat, and you go to an an E-flat dominant. And that's four. And a lot of people, a lot of my students, they still, when I refer to for sorry, sometimes they don't really understand what I'm saying and say, you know, you know, you go to the four chord for like, a Roman. Roman is the four. And this is in bar five. A lot of people are thrown off because like, I don't know, bar. What do you mean, bar five, bar eight, bar seven. It's a great thought experiment to do that. So one two second bar three, three, 4 or 5. After all, the initial bar six bar seven bar eight bar nine bartender. Right. So, and I stopped counting at the end, right? I guess nine and 11, 12 and back to one. And I'm going to do the same thing now and just call the functions the Roman functions. And you rewind this podcast and figure it out if there is anything that's unclear to you. So 141. Four sharp for diminished optional one six and bar 2516251. So if you're having a hard time doing this, it should become pretty obvious that you should do you should know how to do this, which which chord functions, do what? And also that once you nail this, there is nothing preventing you from playing losing all keys. And that's why sometimes I. I don't like the word the confrontation. But I confronted some people like, yeah, I know I get jazz and some students or even friends. I'm like, all right, let's play the blues in a flat. No, let's play the blues in D-flat. Let's play the blues and be natural. let's play the blues. And you know what? In A is probably easy for guitarists or E, but, when you play these strange keys, if you're good at relative izing, everything becomes super easy to play. Anything, anytime. good. Now let's finish this podcast by examining autumn leaves. you guys will hate me because I'm going to do autumn leaves in the key of the, something else recording. The Cannonball recording. And then it starts like this, right? Okay. Right. Extensive G minor chord. And the song goes. That's how Miles plays at the actual. So I'm just going to run through the course quickly because some of you guys start on a knee minor. And actually it's in the key of E minor and in G major. So my key or the key that's most often played in jazz is C minor seventh, F7 to B-flat major, E-flat major. You can find this on the website. By the way, just type in autumn leaves a minor seven five to D7 Digimon again C minor, F7, B-flat major, E flat, seven and seventh flat five B7 altered. To the G minor. Some sort. So I'm going to simplify. Autumn leaves a lot to you, and this might come in as a revelation. Or at this point this is all old stuff for you. I guess you probably have already tuned out, or saw the podcast. so let's do this. C minor, seven, F7, B-flat major. That's A251 in the key of one, which we will consider B-flat major to be our one here. All right. And then it goes to four again. So 2514. Pretty popular happened. And all the things are happening in blues at the same time. So. Can you do this again 251I have issues not ornamented around. I always put icing on the cake. It's second nature. Sorry. So 2514. And now when you go to a minor 755 to D7, all I have to think about is this is a minor, two five, minor two five and a G minor. And now ask yourself how is B-flat major and G minor related. And B-flat major is the one key and G minor is the relative minor. If you don't know what the relative minor is. So brush up on theory a little bit. It just keys a major in the minor key always have their cousin or brother relative, right? So how I would summarize and I'm going to leave you with that thought, how I would summarize autumn leaves in this case is. Either I would say it's a diatonic cycle. So it's cycle of fourths from 2 to 5 one four, then to. So it goes through all the notes of the key. Then it goes back to C. So 2514736. It's all it's 123456. But actually not in that order. It's order ascending up before it and starting on two. So it's like you're going through all the chords and key. So I would say either diatonic cycle from two or to some and initiated years I would say well it's 251 and the key of one of the key. And then it's a minor two five to the relative minor once again 2512. The major key that that key you're playing one and 251 in the key of their relative minor. That's it. So now if you realized like oh I can play two, five one or I can play a diatonic cycle, I can play this in any key. So if you just keep going through your cycle, you will eventually get to the two five of the relative minor because of the nature of the cycle. So you could you could play autumn leaves in any key. If you just spend a minute to sort of figure out what the keys are. All right. So that's it for this podcast. Number 37. Once again my name is Mark from Jazz Guitar. Lessons learned. Improve your jazz guitar playing with a real teacher. There's many more lessons on the website and the blog as it is. And we have memberships. We have courses, we have tons of free stuff. We have a YouTube channel. Please check it, check it out. Jazz guitar lessons dot net and I'm looking forward to seeing you again in this podcast or on the website. drop and say hi. You can always reach me at Mark at Jazz Guitarist visit and I'll see you next time. Thank you for.
