How To Analyze Chords and Progressions


  1. Jens Larsen

    How do you approach analyzing songs and progressions for finding scales? 🙂

  2. herbert freud

    Great video as always! ! Could you sometimes make a video on Kurt rosenwinkel? That would be great 😊

  3. Simon Band

    I could follow to the diatonic chords and the 2-5-1 progressions to the diatonic chords. But the other stuff was a little too high for me. Could you introduce those more advanced things and how i know which scale to play maybe in an easier "beginner" version? Thanks so much!

  4. Jörg Tully

    I learned a lot, also from your shop lessons, thx! As a little hint: reading and listening to s.o. speaking doesńt work out really good, says psychology research. Itś creating interferences… (i always need to stop the vid to read and not to miss your explanations). But perhaps i am just to old for multitasking…

  5. Peter Schwimmer

    Hi Jens,

    I think that C harmonic minor for measure 4 (if a G7b9b13 is used) is not as strong as using the G altered dominant scale (Ab melodic minor) because there is more tension in the resolution to the C minor in measure 5 if there is no C note played in measure 4. Of course, one could play the C harmonic minor and make sure to not play the C note, but it might be safer to use the Ab melodic minor instead.

    The C harmonic minor seems to be a little better for the Dm7b5 in measure 3 because if one plays the C note in the scale but followed it in measure 4 with no C note (as is the case with the Ab melodic minor), then there is still a good amount of tension in the resolution to the C minor in measure 5.

    One could also play an F melodic minor for the Dm7b5 in measure 3 and that would work nicely if followed by the Ab melodic minor in measure 4, since both scales fit the chords well and you are sticking to one type of scale and just shifting it up 3 frets (if you want to use that approach). I guess the C harmonic minor would work for both measures 3 and 4, but then one has to be more careful in measure 4 to avoid the C (at least to make the resolution stronger to measure 5). At least, this is the way I hear the resolution from measure 3 to 4 to 5.

  6. drott ed

    Thank you for another great video! When I am playing this (or tunes with similar sets of secondary dominants: V/vi and V/IV) my ear wants me to stay in C harmonic minor over the C minor in the 5th and 6th measures, and stay in Ab major (as opposed to reverting to Eb major) in the 9th measure. Do you have any thoughts on this? I know there are "no rules in jazz," but it seems that most harmonic analysis seems to want us to get back to the home key right after we finish playing our secondary dominants.

  7. Docmansound Music

    This was very helpful. I especially liked the part about the lydian dominant being the same as the melodic minor of the relative 5th. Thank you for your great lessons

  8. Robert Douglas

    I actually feel bad for understanding everything you say, and not being able to pass that on, My bad, thankyou so much.

  9. Robert Douglas

    Thank you Jens, I love what you do, Iearned in the past, not as not a reader would like to study the other instruments that complemented the accompanying instruments, So sorry for my apparent lack of knowlege. Study stuff around what I do, Thankyou sir, have great respect for you.

  10. Bjarke Røtkjær

    After watching this video,i immediately grabbed my guitar to try your analysis.
    The result can be heard on my channel (There will never be another you )
    And yes,it's you who plays the fine rhythm guitar (Jens's backing track).
    Thanks for another great video.

  11. Asif Luger

    Cool lesson Jens but I didn't understand several things. How do you know what scales to play on what chords? What is exactly a Triton substitution? What is exactly a backdoor dominant? And do you relate every chord you analyze to the root of the melody?

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