I'm Adam Madison, and you're listening to the You'll Hear It podcast.

Well, today, you'll hear it,ers.

We are going to cover something that I don't think we've ever covered here at Open Studio, but it's kind of one of the most fundamental chord changes that you can understand.

And what I love about teaching this fundamental core change is it does so much to help us with things like tritone substitutions and general chord substitutions because it's kind of one of the first

malleable chord progressions that we learn as jazz pianists and the chord progression is as follows.

It's a three six two five, right? The old three six two five. Maybe it's a turnaround at the end of a tune. Maybe it's the turnaround at the end of an A section. Maybe it's right in the middle of a standard. But whatever it is, it's something that is very, very common in most great American songbook standards and a lot of jazz standards.

And it's one of those things that can be done in a variety of ways.

And we're really going to be talking about one chord out of these four chords.

And that is the sixth chord.

So let's get to it.

3625 in the key of C means that we start on the three chord, E minor seven.

Then we go to the six chord, A minor seven, or is it A minor seven?

We'll talk about that.

And then a two chord, D minor seven, and then a five chord, G7.

And usually you might end up, you know, at the one, right?

You could see this at the end of a tune something like you know we've heard it

a million times now the reason why we're talking about this is because there's so many ways to

approach this six chord we just talked on on Wednesday about diatonic sevens

and their secondary dominance.

So if we stick to the diatonic sevens here,

these are all diatonic root movements.

And sort of the most level one basic version of this

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