Exercise- Harmonising the Chromatic scale with Major scale and vice versa
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- เผยแพร่เมื่อ 26 พ.ย. 2017
- I would like to share this exercise it illustrates a harmonic framework on which to start learning, understanding and assimilating non diatonic notes.
PDF here: jazzduets.com/collections/har...
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Aside from the excellent musicianship, you are one quality educator!
The most useful and technically created video on harmony. You are top-notch. Love the little piano demonstration better. I cant read the staff but i understand what is being taught
You are my new internet hero! Each one of your videos is so carefully crafted and lovingly explained; please continue making these truly inspiring and insightful videos!
Michael Valdez I couldn’t agree more. This guy is threat.
A motorcycle accident on October 3rd severely injured my wrist. Your pleasant videos have given me new romance with non-diatonic notes, along with fresh thinking on approaching them. You have helped me maintain my sanity as I convalesce. Thank you!
Thank you very much for this informative and inspiring explanation of harmony. Jazz Duets is one of my favorite channels on TH-cam!
You have done something special with your life. Congratulations and thanks for all of your insight.
Brilliant lesson!
In the beginning I had SO many questions. By the end, you had answered them all. Thank you kindly.
5 años tiene este video y recien lo veo!!!! exelente Maestro, hermoso tutorial GRACIAS
Calm voice!!!
Makes learning music so relaxing than just reading it!
Thank you!!!!
Also well explained topics!
One of the best music theory channel on TH-cam! Awesome!
Thanks Nick for your awesome videos - no one covers the non-diatonic like you do.
Getting down to the essentials..brilliant in your clarity
Very glad I opened TH-cam today!
Fantastic! Simple, rich and beautiful. Thank you sir.
awesome Brother!!!!!!!! thanks to your careful guidance an instruction... and pics.... I finally understand whats going on between a Major I chromatically descending to an VI major (or VI7) Love your approach!!!!! Ill keep tuning in !!!!!!! seriously!!!!!!!!
you are by far the greatest thing on youtube
Lezione di una bellezza commovente... Pure poetry! God bless you
Great content, this is the kind of stuff that brings enthusiasm to my music theory learning! Well done, and great accent by the way!
At 3:14 he says cycle of 5ths clockwise but the diagram reads cycle of 4ths clockwise. Very good video.
Your channel is amazing! Thanks!
"You may be asking yourself, "What do these chords have to do with tasty jazz lines"" lol. Your delivery is as excellent as the content. Thank you!
Man this informaions are great,thank you for sharing!!!
Thanks 4 this fantastic information!
That's weird, I came to same conclusion intuitively (but without your eloquence and concise explanation) when I was mucking around with harmonizing the major scale the other day. Those particular three notes seemed to crop up constantly. I noticed that many jazz standards have chords based on those very alterations. Also, I noticed in a lot of jazz charts subsitute the IVm for the bIV7, and i started to muck around with that too. And then a lot of the beautiful lines I have heard by jazz musicians sunk in..that's what they were doing! That's pedal progression is gorgeous! Your channel is wonderful, by the way! I also arrived at the "play a chord tone over a chord and perceive its unique quality" lesson myself...but you put it into words, into a real pedagogical tool! Now I feel validated on my jazz journey and can spread the knowledge to others - spread the jazz message. Thank you so much!
Alex Hills g
Beautiful!
Great, don't give up.
Amazing! I realy love to listen, learn, explore like this. For the scale challange I found out, that C - G - F7 - C - F - D79 - G - C works well.
Yes I agree it is pleasing
This is awesome!!! I'm looking forward to the next installment. I'd also love to hear what you have to say about voicing chords. I try at the piano but I can never get the sonorities that you come up with in these videos on the harmonization sections.
You are the Best.... Thanks....
I love your quite voice
This video led me to like and subscribe. I really liked the way this sounded and maybe I am on a better path for ear training.
I loved the task at the end, even though I had some trouble with the Eb. had to change it to a D# to make a B7.
the only way I could harmonize it with the Eb was doing Fm, G, Cm6, C7, F, D7, G, C. sounded nice but looks kinda weird. A cadence in C minor then one in C major.
I did the following, and i thought it sounded really nice:
C Ddim7 Am7 Em7 (Fmaj7 Fm6) D9 G7 C
the parentheses are two eighth note beats
Holy shit this is beautiful
I appreciate the panning
Fascinating!! What link did you intend to share at 6:40 in the video ("a further and deeper explanation")?
Nice tq
Thanks a lot for this video and the assignment!
I would harmonize it as C-G-B7-em-dm-D9(rootless)-G(7)-C. The E vs F# bit is obviously the tricky bit. Are there any other possibilities besides D9? (I tried F#7, but that seems incompatible with anything using G-D in the next chord)
superb ! where else can you get this stuff except here? that's right,stay tuned.
Hi! I am very like stuff, that you are making! This is your invaluable experience! And this video was very helpful for me. Thank You!
I have a question:
Can you make a video about hearing. Especially about absolute pitch. Is it necessary and helpful for jazz improvisation?
No, yes ;)
Relative Pitch is much, much more useful than absolute/perfect pitch
this is a way to explain the so called bebop scales, infact the maj bebop has the b6 between 5 -6 while the dominant has the nat. 7 btw b7 and T (if u think of subdominant is the nat 3rd),,i was in a clinic with Barry Harris and he is something quite similar to what you re saying here.Great stuff, i m working on it since sometimes, and besides harmony and melody there s some rhythm develop,,because you deal with scales with 8 note, that , if you think in eighths notes fill perfectly to the bar.
Why does the chromatic line upwards in the end not contain a c# (or db)?
About your descending major task, What about:
C , G , B7, E7#9, A7#5, D9, G7, C ???
Thank you so much for your videos.
He covers this very same one in another video. Your last G7 ought to bear a b9- more tension.
Is correct to call the C7 a secondary dominant too as it's the 5 of F? Or is it only referred to as a secondary dominant when approaching another 7 chord?
A superb lesson, but how do you harmonize b3 and b2? :)
Something like G7#5, G7b5 and C7b9?
thats the NEXT video!!!
Why no D flat in the chromatic scale?
Thats your real voice!?! Delightful!
Why is your circle of fifths backwards. If we move clockwise we step in fourths starting at C
BlackMath . . The "Circle of 5th's" is universally recognized and accepted when depicted in either clockwise or counterclockwise illustrations.
That may be but the teacher starts on C and move Clockwise, which c-f is a fourth and so on. If he is moving that way should it be called a circle of fourths?
In Nick's diagram, often the way Jazz musician's view the circle, counterclockwise is in ascending 5ths, and clockwise is ascending 4ths. If the circle is depicted with "F" just left of "C", then clockwise is ascending 5ths. Either way, I remember the sequence with mnemonic: "Fat Cats Going Down Alleys Eating Birds". The fourths direction is: "BEAD with a G".
yeah no shit thats why I asked the question
Idk why it so cute
4:02
Can someone elaborate the satchmo comment? Thanks :)
satchmo- Louis Armstrong
I know that (he's the reason I learned to play the trumpet after all haha), I meant why did you refer to him for that scale degree? :)
thats phrase I heard him play or very close to it
En español por favor
Orlando Valdivia Bravo learn english
I see a lot of dynamics here.