four of those tunes that  you need to know coming up
four of those tunes that  you need to know coming up

what's up brent here from learn jazz  standards real musicians just like you  
what's up brent here from learn jazz  standards real musicians just like you  

learn how to play jazz all while shortening the  learning curve no matter what instrument you play  
learn how to play jazz all while shortening the  learning curve no matter what instrument you play  

on this channel we do a lot of jazz theory jazz  improv tutorials as well as jazz standard deep  
on this channel we do a lot of jazz theory jazz  improv tutorials as well as jazz standard deep  

dives like in today's video so make sure you  subscribe and hit that bell notification button  
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to never miss out on anything going on here  everybody loves to play some jazz blues and  
to never miss out on anything going on here  everybody loves to play some jazz blues and  

of course outside of just playing jazz blues's  themselves there are certain jazz standards that  
of course outside of just playing jazz blues's  themselves there are certain jazz standards that  

i find tend to lend themself more to bluesy  playing than others so i'm going to show you  
i find tend to lend themself more to bluesy  playing than others so i'm going to show you  

a few jazz standards that i think really lend  themselves to the blues and do stick around to  
a few jazz standards that i think really lend  themselves to the blues and do stick around to  

the very end of the video because i'm going to be  giving away something free that will really help  
the very end of the video because i'm going to be  giving away something free that will really help  

you learn these jazz standards super effectively  the first jazz standard is doxy by sonny rollins
you learn these jazz standards super effectively  the first jazz standard is doxy by sonny rollins

now doxy is actually a tune that really shares a  lot of commonalities with the blues in the first  
now doxy is actually a tune that really shares a  lot of commonalities with the blues in the first  

place the biggest part being that it actually is  made up of completely dominant seventh chords so  
place the biggest part being that it actually is  made up of completely dominant seventh chords so  

the one chord in this case borrows from blues  harmony making it just a dominant seventh chord  
the one chord in this case borrows from blues  harmony making it just a dominant seventh chord  

and notice that it just kind of cycles through  dominant seventh chords to the sixth chord to the  
and notice that it just kind of cycles through  dominant seventh chords to the sixth chord to the  

two chord which is even a dominant seven chord the  five back to the one and very notably the bridge  
two chord which is even a dominant seven chord the  five back to the one and very notably the bridge  

also borrows from blues harmony so you have the  one chord here in bar nine which of course goes to  
also borrows from blues harmony so you have the  one chord here in bar nine which of course goes to  

this four chord the e flat seven and to the  e diminished seventh which is a really common  
this four chord the e flat seven and to the  e diminished seventh which is a really common  

thing in jazz blues so already it's kind of a  form that is similar to the blues so obviously  
thing in jazz blues so already it's kind of a  form that is similar to the blues so obviously  

this lends you lots of opportunities to play  super bluesy language and while you obviously  
this lends you lots of opportunities to play  super bluesy language and while you obviously  

want to be playing the chord changes  as well using minor pentatonics major  
want to be playing the chord changes  as well using minor pentatonics major  

pentatonics and quote-unquote blues scales is  something that is completely acceptable to do  
pentatonics and quote-unquote blues scales is  something that is completely acceptable to do  

over top of this tune jazz standard number  two is in a mellow tone by duke ellington
over top of this tune jazz standard number  two is in a mellow tone by duke ellington

now in a metal low tone it doesn't necessarily  have a blues harmony built into it however  
now in a metal low tone it doesn't necessarily  have a blues harmony built into it however  

there's lots of opportunities to superimpose the  blues over top of it so for example we start here  
there's lots of opportunities to superimpose the  blues over top of it so for example we start here  

with this dominant two chord in which you can play  lots of b flat bluesy stuff right it goes from a  
with this dominant two chord in which you can play  lots of b flat bluesy stuff right it goes from a  

two b flat seven to an e flat seven to an  a flat even though this a flat is major  
two b flat seven to an e flat seven to an  a flat even though this a flat is major  

you can actually superimpose a lot of minor  pentatonic stuff over top of it as well and  
you can actually superimpose a lot of minor  pentatonic stuff over top of it as well and  

truly every single time i see a major one chord  i'm really playing lots of major pentatonic stuff  
truly every single time i see a major one chord  i'm really playing lots of major pentatonic stuff  

and even minor pentatonic stuff to really brighten  it up and make it bluesy now near the end of the  
and even minor pentatonic stuff to really brighten  it up and make it bluesy now near the end of the  

tune in bar 25 we have this d flat 7 which is the  iv chord which then goes to the sharp 4 diminished  
tune in bar 25 we have this d flat 7 which is the  iv chord which then goes to the sharp 4 diminished  

which is obviously boring directly from blue's  harmony and even when you listen to the melody  
which is obviously boring directly from blue's  harmony and even when you listen to the melody  

of in a mellow tone you hear that they are really  honing in on that bluesy element there especially  
of in a mellow tone you hear that they are really  honing in on that bluesy element there especially  

because we're boring from that blues harmony  so in a mellow tone great tune if you want to  
because we're boring from that blues harmony  so in a mellow tone great tune if you want to  

superimpose blue stuff over top of it jaz center  number three is on the sunny side of the street
superimpose blue stuff over top of it jaz center  number three is on the sunny side of the street

now on the sunny side of the street is one  of those tunes that is just super swinging  
now on the sunny side of the street is one  of those tunes that is just super swinging  

and infectiously happy it's at a good medium  slow tempo and so it's just one of those tunes  
and infectiously happy it's at a good medium  slow tempo and so it's just one of those tunes  

that we can easily apply blues harmony and blues  language over top of so for example in bar five  
that we can easily apply blues harmony and blues  language over top of so for example in bar five  

i really love super imposing minor  pentatonic stuff over top of the  
i really love super imposing minor  pentatonic stuff over top of the  

six chord and really using that as an opportunity  to play something bluesy but you can also play  
six chord and really using that as an opportunity  to play something bluesy but you can also play  

lots of major pentatonic kinds of things on top  of the major one chord as that's also another good  
lots of major pentatonic kinds of things on top  of the major one chord as that's also another good  

opportunity to outline some of that stuff keep  in mind of course that the major pentatonic  
opportunity to outline some of that stuff keep  in mind of course that the major pentatonic  

c major pentatonic and a minor pentatonic are  essentially the same scale because they're coming  
c major pentatonic and a minor pentatonic are  essentially the same scale because they're coming  

out of relative keys so you can know that that  is actually a tonal center and a choice of notes  
out of relative keys so you can know that that  is actually a tonal center and a choice of notes  

that you can really capitalize on throughout this  entire tune now before i go over the last one let  
that you can really capitalize on throughout this  entire tune now before i go over the last one let  

me know in the show notes or in the comments  down below which jazz standards do you think  
me know in the show notes or in the comments  down below which jazz standards do you think  

lend themselves really nicely to the blues and  playing bluesy lines in bluesy language of course  
lend themselves really nicely to the blues and  playing bluesy lines in bluesy language of course  

that does not include a jazz blues itself  let me know would love to hear your thoughts
that does not include a jazz blues itself  let me know would love to hear your thoughts

now georgia on my mind is one  of those ballads that just has  
now georgia on my mind is one  of those ballads that just has  

that natural instinct to play bluesy stuff and  in fact you can play very simple lines over top  
that natural instinct to play bluesy stuff and  in fact you can play very simple lines over top  

of this tune and it will sound really good and in  some cases it's even better to place simple bluesy  
of this tune and it will sound really good and in  some cases it's even better to place simple bluesy  

lines over top of it now the opportunities  that i look to play blues is when we get to  
lines over top of it now the opportunities  that i look to play blues is when we get to  

this six chord the d minor seventh chord this tune  is in f major this is a really great opportunity  
this six chord the d minor seventh chord this tune  is in f major this is a really great opportunity  

to play lots of d minor bluesy stuff and of  course as always over top of any of the major  
to play lots of d minor bluesy stuff and of  course as always over top of any of the major  

one chords you can play major pentatonic things  but i even like to sometimes in the resolutions  
one chords you can play major pentatonic things  but i even like to sometimes in the resolutions  

play the minor pentatonic over  the f major seven because it just  
play the minor pentatonic over  the f major seven because it just  

super imposes that blues harmony over top of it so  this is another great jazz standard where looking  
super imposes that blues harmony over top of it so  this is another great jazz standard where looking  

for those opportunities to play blues will just  add so much soul especially if you combine it with  
for those opportunities to play blues will just  add so much soul especially if you combine it with  

playing the chord changes and even bebop lines as  well now if you need any help learning these tunes  
playing the chord changes and even bebop lines as  well now if you need any help learning these tunes  

that i've gone over in this video today it can  be really helpful to have a step-by-step process  
that i've gone over in this video today it can  be really helpful to have a step-by-step process  

for learning them by ear without sheet music so  do make sure you get my free guide called learn  
for learning them by ear without sheet music so  do make sure you get my free guide called learn  

jazz standards the smart way you can get that at  learnjazzstandardsthesmartway.com but i'll also go  
jazz standards the smart way you can get that at  learnjazzstandardsthesmartway.com but i'll also go  

ahead and leave that on the screen as well so  that you can download that right away there i  
ahead and leave that on the screen as well so  that you can download that right away there i  

also have linked up on the screen a great video  that goes over an additional 10 jazz standards  
also have linked up on the screen a great video  that goes over an additional 10 jazz standards  

that i think are really good ones that are often  called on jam sessions so if you like to check  
that i think are really good ones that are often  called on jam sessions so if you like to check  

out that list do check that out on the video  on the screen right now all right that's all  
out that list do check that out on the video  on the screen right now all right that's all  

for today's video make sure you like this video if  you found it valuable make sure you subscribe hit  
for today's video make sure you like this video if  you found it valuable make sure you subscribe hit  

that bell notification button and we'll look  forward to seeing you in the next one cheers
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