Back in the day I use to see people play movements like this and when I asked them how do you know which chord is going to come next they always said "I am just playing from the top of my head" Thanks for explaining these things and not being selfish.
Bless your heart fam 👑. Its baffling that some folks would want to be "selfish" with the musical knowledge that they have, when ironically the beauty of the art is actually sharing it! (free or not).
@@EasyKeysPiano no one want to give anything for free now a days. But people are more willing to share now that there are many ways to monetize the knowledge.
Take it from an older Berklee guy... you've got a very balanced mix of grounded theory and playing skills.. please stick around.. I'm trying to make a comeback, with an emphasis on the Gospel jazz genre.. I'm using an alias for my TH-cam account.. please keep it going... I'll try to spread the word..
All of this harmonic knowledge is in the Standards like "All of Me", "Autumn Leaves" "Lady is a Tramp etc. all you have to do is play these tunes, it's all right there.
Bro, this is the best tutorial I've seen yet. You perfectly embodied the true meaning of a perfect explanation. You didn't withhold any information back like other people seem to. I've been struggling with understanding reharmonization. THANK YOU SO MUCH, GOD BLESS YOU. Please keep making more content like this.
Much appreciated brother 🙏🏻❤. You are very kind. Am glad the tutorial helps relieve your struggle to reharmonize and lights up a fire of ideas for you! More tutorials in this series are coming your way. Stay tuned 😉👌🏼
Thanks so much. I'm eager to watch your next videos. I believe that with your teaching of the secret behind all these movements l use to see, my playing will grow fast. Can you also teach me what scale to run over what chord? Thanks.
Much appreciated 🙏🏻. And sure I have done a good number of easy to follow tutorials on how and what scales to play over the chords you play without even thinking about it. This is one of them 👇🏼 th-cam.com/video/j1OnMS4qySg/w-d-xo.htmlsi=RFDlzbbsEqwfzKRf. This as well 👇🏼 th-cam.com/video/Koeu2oPGDC4/w-d-xo.htmlsi=pkde6_pEtAP9LiKH Checkout my REHARM CONCEPTS Playlist for more.
Much appreciated fam. Welcome aboard! Feel free to ask any question(s) in whatever grey area(s) you might have in your understanding of the tutorial 👌🏼
Amazing stuff. For clarification, but I thought from C to E flat is a Relative minor while C to A is Parallel minor, but you addressed C to E flat as relative major. You can put more light on this. Cheers
Firstly it's important to note that chords are generated from scales. The relative minor (scale) would always have the same notes as the Major (scale), however starting from the 6th degree of the Major scale. Thus the C Major scale cannot be the relative minor to the E flat Major scale because they do not have the same notes. However the C minor scale would be the relative minor of E flat major scale because they have the same notes. Same applies to C Major and A minor. Parallel chords on the other hand are chords with the same intervallic structure; thus C Major & C minor are parallel chords. Hope this helps.
You kind of have it backwards. Play C then count back four steps! You land on A, therefore A minor is the relative minor of C maj! To me that’s the easiest way to find it.
This is Actually My Favourite Video. Thank you Bigbro. This is a Boss Move. I salute Sir❤❤❤❤❤❤❤❤❤❤. - A really deadly Tutorial. U are dangerous on de Piano😂❤❤❤❤
Firstly, chords are generated from scales. The notes of a scale beyond the 7th degree of that scale would be the extension. For instance on key C, the higher D note would be the 9th, the higher F the 11th and the higher A the 13th.
8:30 - naturally, I would think of bass line: E, A, D, G, G. How did you know that you could also borrow from relative minor and start on the 6th and it would still work?
Because a Relative Major scale shares the same notes as its relative minor, hence Eb Major and C minor in this case. Thus you can easily substitute their various scale/chord degrees at will and not compromise the chord progression or harmony. For more explanation checkout the sequel to this tutorial 👇🏼 th-cam.com/video/EbYrmHtySxU/w-d-xo.htmlsi=NwCrFvadd3mb1zVt
First of all thank you for this tutorial even though it hurt my brain originally...rewinding and breaking it down into smaller chunks was helpful. I'm still a little unclear on a couple of things? If you know your destination key, wouldn't you always use the 2 5 1 progression of the destination key to get to the 1? When would you use the 7 3 6 progression? Additionally, if a song is in C major and you want to go to F (the 2 of F is the 5 of C which is G major) do you play the 2 as a major or minor chord since the 2 of a major scale is normally a minor chord?
Much appreciated fam. First of all 2-5-1, 7-3-6, 3-6-2, are all the same circle of 5th movements. Thus it is the various degrees of the scale you are playing on that determines which its going to be. Regarding getting to your destination chord 1(C) or chord 5(F), see and approach that chord as a "root" chord, and do a 2-5-1 to it. Another way to look at it is to see it as a 6 chord and do a 7-3-6 to it, as I had explained in the tutorial. Now whether these chords would be major or minor would be at your discretion, based on the kind of sound you want to produce. Theres no hard and fast rule to the type of chord or voicing you use as long as it is based on the 2-5-1 principle. Hope this helps.
It would be helpful to demonstrate a few Major and minor 251 variations to practice in all keys. I find it helpful to think of everything as either minor or major 251.... that way we avoid saying 736 or 362 which can get confusing.... and just say minor 251
Got you fam. Theoretically that would definitely be essential. However the application of the variety of major and minor chords on the various degrees of the scale as I did in this tutorial, to illustrate the concept I explained, didnt warrant that. Its great to think of "everything" as either major or minor chords if it helps you better grasp what is explained, However "everything" wouldnt be "major or minor chords". Also, every tutorial illustration can be applied in all 12 keys.
Its actually the other way around fam. Note that the "5th" in the circle of 5ths concept is the "5th degree" of the major/minor scale. Thus you are moving from one 5th to another 5th and so on. Now starting on key C as you had mentioned, C would have to be the "5th" degree of some other major scale, which would be key F and not G. That's how you progress. Same as G which would have to be the "5th" degree of another major scale, which would be C. Furthermore in a 2-5-1 chord progression, if C represented the 2, what would represent the 5 and the 1? It would be F & Bb. Hope this helps.
Always remember that the Relative Minor (scale) would always have the same notes as the Major (scale). Hence the term "Relative" meaning (same notes). Thus the Eb Major scale cannot be the relative minor of the C Major scale, because they do not have the same notes. However the C minor scale would be the relative minor of the E flat major scale because they have the same notes. Same applies to Ab Major and F minor, or C Major and A minor. Also all chords are generated from scales. Hope this helps.
Great Video ..yet i would love more understanding of the best right hand voicings/chords to accommodate that fifth circle moment ,again a great lesson Thank You
Got you fam. Il do a sequel to this tutorial to demonstrate a variety of voicings that can be used, still based on the circle of 5ths & relative major/minor concepts. Stay tuned 😉👌🏼
![The Best Exercise for Mastering Real-Time Reharmonization [Neo Jazz Piano Tutorial]](/img/n.gif)
Back in the day I use to see people play movements like this and when I asked them how do you know which chord is going to come next they always said "I am just playing from the top of my head" Thanks for explaining these things and not being selfish.
Bless your heart fam 👑. Its baffling that some folks would want to be "selfish" with the musical knowledge that they have, when ironically the beauty of the art is actually sharing it! (free or not).
@@EasyKeysPiano no one want to give anything for free now a days. But people are more willing to share now that there are many ways to monetize the knowledge.
True that! 💯%
Kkk top of my head
I know right lol
Take it from an older Berklee guy... you've got a very balanced mix of grounded theory and playing skills.. please stick around.. I'm trying to make a comeback, with an emphasis on the Gospel jazz genre.. I'm using an alias for my TH-cam account.. please keep it going... I'll try to spread the word..
Many thanks brother ❤🙏🏻 You are very kind and I appreciate you! And I ain't going nowhere! Would drop tutorials weekly👌🏼. Let's make that comeback! 👊🏼
All of this harmonic knowledge is in the Standards like "All of Me", "Autumn Leaves" "Lady is a Tramp etc. all you have to do is play these tunes, it's all right there.
True that! 👌🏼
Bro, this is the best tutorial I've seen yet. You perfectly embodied the true meaning of a perfect explanation. You didn't withhold any information back like other people seem to. I've been struggling with understanding reharmonization. THANK YOU SO MUCH, GOD BLESS YOU. Please keep making more content like this.
Much appreciated brother 🙏🏻❤. You are very kind. Am glad the tutorial helps relieve your struggle to reharmonize and lights up a fire of ideas for you! More tutorials in this series are coming your way. Stay tuned 😉👌🏼
❤❤❤❤❤❤ loving it thank you for sharing
You are very welcome 👑 ❤
Eye opener on borrowing from the relative major. 👍
You bet 👌🏼
Thanks so much. I'm eager to watch your next videos. I believe that with your teaching of the secret behind all these movements l use to see, my playing will grow fast.
Can you also teach me what scale to run over what chord? Thanks.
Much appreciated 🙏🏻. And sure I have done a good number of easy to follow tutorials on how and what scales to play over the chords you play without even thinking about it. This is one of them 👇🏼 th-cam.com/video/j1OnMS4qySg/w-d-xo.htmlsi=RFDlzbbsEqwfzKRf.
This as well 👇🏼 th-cam.com/video/Koeu2oPGDC4/w-d-xo.htmlsi=pkde6_pEtAP9LiKH
Checkout my REHARM CONCEPTS Playlist for more.
This is some powerful knowledge m🔥🔥🔥God bless you for sharing🙏🏻
You're very welcome fam. Bless you too 🙏🏻👑
Subscribed. Bless you brother. Looking forward to learn with you
Glad to have you brother. Welcome aboard! 👑
Another bloody Tutorial by my Coach ♥️♥️♥️.. I was waiting for this ♥️🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰🥰…
"Bloody" 🤣😅!! Appreciate you Boss ❤❤👑❤❤
Ha !
😅!
Don’t understand it yet but it sure sounds incredible. New subscriber!
Much appreciated fam. Welcome aboard! Feel free to ask any question(s) in whatever grey area(s) you might have in your understanding of the tutorial 👌🏼
Amazing stuff. For clarification, but I thought from C to E flat is a Relative minor while C to A is Parallel minor, but you addressed C to E flat as relative major. You can put more light on this. Cheers
Firstly it's important to note that chords are generated from scales.
The relative minor (scale) would always have the same notes as the Major (scale), however starting from the 6th degree of the Major scale.
Thus the C Major scale cannot be the relative minor to the E flat Major scale because they do not have the same notes. However the C minor scale would be the relative minor of E flat major scale because they have the same notes.
Same applies to C Major and A minor.
Parallel chords on the other hand are chords with the same intervallic structure; thus C Major & C minor are parallel chords.
Hope this helps.
You kind of have it backwards. Play C then count back four steps! You land on A, therefore A minor is the relative minor of C maj! To me that’s the easiest way to find it.
Yes sir!👌🏼
This is Actually My Favourite Video. Thank you Bigbro. This is a Boss Move. I salute Sir❤❤❤❤❤❤❤❤❤❤.
- A really deadly Tutorial.
U are dangerous on de Piano😂❤❤❤❤
"Deadly"🤣😅! Appreciate you Champ! ❤❤ 👑 ❤❤
U are amazing in every Way
You are the very best!
Great stuff, thanks!
Much appreciated 🙏🏻
Well done bredda!🔥🤘🏾
Much appreciated fam! 👊🏽🖤
NICE!!!…Thank you sir!
Absolutely fam, anytime! 👌🏼
Can you shed light on Chord Extensions
Firstly, chords are generated from scales. The notes of a scale beyond the 7th degree of that scale would be the extension. For instance on key C, the higher D note would be the 9th, the higher F the 11th and the higher A the 13th.
8:30 - naturally, I would think of bass line: E, A, D, G, G. How did you know that you could also borrow from relative minor and start on the 6th and it would still work?
Because a Relative Major scale shares the same notes as its relative minor, hence Eb Major and C minor in this case. Thus you can easily substitute their various scale/chord degrees at will and not compromise the chord progression or harmony. For more explanation checkout the sequel to this tutorial 👇🏼 th-cam.com/video/EbYrmHtySxU/w-d-xo.htmlsi=NwCrFvadd3mb1zVt
First of all thank you for this tutorial even though it hurt my brain originally...rewinding and breaking it down into smaller chunks was helpful. I'm still a little unclear on a couple of things? If you know your destination key, wouldn't you always use the 2 5 1 progression of the destination key to get to the 1? When would you use the 7 3 6 progression? Additionally, if a song is in C major and you want to go to F (the 2 of F is the 5 of C which is G major) do you play the 2 as a major or minor chord since the 2 of a major scale is normally a minor chord?
Much appreciated fam. First of all 2-5-1, 7-3-6, 3-6-2, are all the same circle of 5th movements. Thus it is the various degrees of the scale you are playing on that determines which its going to be. Regarding getting to your destination chord 1(C) or chord 5(F), see and approach that chord as a "root" chord, and do a 2-5-1 to it. Another way to look at it is to see it as a 6 chord and do a 7-3-6 to it, as I had explained in the tutorial. Now whether these chords would be major or minor would be at your discretion, based on the kind of sound you want to produce. Theres no hard and fast rule to the type of chord or voicing you use as long as it is based on the 2-5-1 principle. Hope this helps.
That helps tremendously. Thanks again 👍
Anytime fam 👊🏼
It would be helpful to demonstrate a few Major and minor 251 variations to practice in all keys. I find it helpful to think of everything as either minor or major 251.... that way we avoid saying 736 or 362 which can get confusing.... and just say minor 251
Got you fam. Theoretically that would definitely be essential. However the application of the variety of major and minor chords on the various degrees of the scale as I did in this tutorial, to illustrate the concept I explained, didnt warrant that. Its great to think of "everything" as either major or minor chords if it helps you better grasp what is explained, However "everything" wouldnt be "major or minor chords". Also, every tutorial illustration can be applied in all 12 keys.
Whoa...that 6-2-7-3-6 in the relative major really opened my eyes to new possibilities.
Now thats the spirit! 👊🏽👑
Is the 7 chord also called the B7 half diminished? (Bø7)
Thats correct or Bmin7b5.
Mercy!!!
😅🙏🏻
Hey bro! I’m confused in the first part because I thought the circle of 5th would be from C to G, From G to D etc…
Its actually the other way around fam. Note that the "5th" in the circle of 5ths concept is the "5th degree" of the major/minor scale. Thus you are moving from one 5th to another 5th and so on. Now starting on key C as you had mentioned, C would have to be the "5th" degree of some other major scale, which would be key F and not G. That's how you progress. Same as G which would have to be the "5th" degree of another major scale, which would be C.
Furthermore in a 2-5-1 chord progression, if C represented the 2, what would represent the 5 and the 1? It would be F & Bb.
Hope this helps.
@@EasyKeysPiano wow…thanks bro. Wasn’t looking at it like that at all. I gotta definitely watch the video over.
@@JBecky1990 Sure fam. Anytime 👌🏼
Aren't you just moving backwards around the circle?
Correct. You could see it that way as well.
6:22
@@matthew1291 😉
Please if you could consider taking 1hr to slowly breakdown these
What exactly do you need clarity about?
I thought Eb was the relative minor of C and Ab was the relative minor of F? Maybe I'm thinking of this incorrectly.
Always remember that the Relative Minor (scale) would always have the same notes as the Major (scale). Hence the term "Relative" meaning (same notes).
Thus the Eb Major scale cannot be the relative minor of the C Major scale, because they do not have the same notes. However the C minor scale would be the relative minor of the E flat major scale because they have the same notes.
Same applies to Ab Major and F minor, or C Major and A minor.
Also all chords are generated from scales.
Hope this helps.
He
Great Video ..yet i would love more understanding of the best right hand voicings/chords to accommodate that fifth circle moment ,again a great lesson Thank You
Got you fam. Il do a sequel to this tutorial to demonstrate a variety of voicings that can be used, still based on the circle of 5ths & relative major/minor concepts. Stay tuned 😉👌🏼
2:12 the movement of fifth is 732567.... ahha totally lost
😆! Where did I loose you?
362 ❤❤❤❤❤
👑❤❤👌🏼
😅😅jazz bebop please
It applies there as well 😄👌🏼
Better yet, how come you couldn't figure this out for yourself
Ofcourse I did 😆!