Thanks for the great video. The chords subs are great. I like your approach to start off with the simple chords and add subs. This vid is on a immediate level. I think you could make a big hit with teaching “how to add chords “ using simple tunes. You should also explain your chord choices using rules, example: if one plays a V7, one can always add the ii before the V7. Etc... Really a great lesson. Keep posting. 👍👍👍
Hello bro. Can you please make a tutorial of how to add SATB for this song (as an example)? A simple SATB in jazz will ok. Fully SATB jazz? That's wonderful. 😁
Hmm. Bit confused by the definition of secondary dominant as the dominant of a dominant. Not just the dominant of a diatonic chord other than the tonic? Aren't we talking about sequential dominants in the third step? Thanks for all of your work on the videos!
Hello. When you put the G7sus4, you played a maj second with the chord (The A that goes chromatic to the A flat), but the chord says Sus4 and not Sus2. How could you note this A in the chord? It would be G7sus4add9?
Just to be clear, a G9sus4 would contain the A (9th), and the third (B) would be raised to the fourth (C). If it only contained the 9th but no 3rd or 4th, I would call it a G7sus2
Question, when you're throwing in the non diatonic chords, like the Dbmaj7, how are you knowing these will work? Is there a theoretical reason like with the tritone substitutions or does it just come down to it having the needed melody note and sounding good? I'm having a hard time understanding how people decide which chords to use when they're not diatonic to the key.
hi! there are many non diatonic chords that are used in hundreds of tunes and have become part of the arsenal of the reharmonizer, like resolving to the biimaj7 Db maj7 before the c maj. I am making a video right now tackling this. However it sounds good, use it!
Hello, Jeremy. Confusing, but these chords can be classified as one (or more) of 10 categories, explained to me by my Berkley Jazz School graduate piano teacher. In the key of C they are:1- the diatonic chords2-Secondary dominants with related ii-73-Extended dominants with related ii-74-substitute dominants with related ii-7 (just the ii-v of any diatonic chord)5- Passing diminished ascending (c-, c#dim, d-, etc)6-Passing diminished descending (d-, c#dim, c-, etc.)7- Passing auxiliary diminished (cdim7, gdim7)8- Modal interchange sub-dominant minor f- (Dbmaj7, d-7(b5), f-7/f-6, Abmaj 7(6), Bb7 (these are just chords with notes F and Ab.9-Modal interchange tonic minor (c-7, Ebmaj7 G-7)10- Specialty chords (f#-7(b5), V7sus4, Bbmaj7Hope this helps more than confuse.
Hi. Just a suggestion. Instead of a keyboard diagram. It's be great to have an actual transcription. I think you do that with other videos. It says I can download it under the video description. But i couldn't find it. Maybe it's only for sale, if you're trying to sell it. I get it. But if it is free, please use normal transcriptions.
Thanks for the video! I am waiting for the part 2.
Loved the reharm. When will you be showing part 2? Looking very much forward to it.
thanks ! I had forgotten about part 2! So many backlogged videos , please be patient! cheers
Jazz Duets useful video, well done!
Thanks for the great video. The chords subs are great. I like your approach to start off with the simple chords and add subs.
This vid is on a immediate level. I think you could make a big hit with teaching “how to add chords “ using simple tunes.
You should also explain your chord choices using rules, example: if one plays a V7, one can always add the ii before the V7. Etc...
Really a great lesson. Keep posting. 👍👍👍
Great material!
Thank you very much Nick - this is an extremely useful video.
I got a lot out of this. Thank you very much!
Absolutely brilliant.
Great video, thanks!
If the reference to the intro of Steely Dan's "Deacon Blues" in bars 9 and 10 was deliberate, I'm your fan for ever.
Great Lesson!! Thank you!
This is amazing! Thank you for the lesson.
great lesson
beautiful. it sounds like a Chritmas song now. thanks
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Hello,
Same small detail than the others videos, the color of cords played is hard to see for me!!!
Cool! Thank u!
muy bueno nick!
gracias miguel!
Buen video!! Haga más en español please ,but thank you .
Hello bro. Can you please make a tutorial of how to add SATB for this song (as an example)? A simple SATB in jazz will ok. Fully SATB jazz? That's wonderful. 😁
amazing video.
q: why change the D for a F#m7b5? is not a tritone substituion, cause tritone substitution would be Abm7b5...
thanks for this class!
Probably because "D9" contains the "F#m7b5" chord(3 5 7 9).
Love all
Opening your 🎬 is like entering Ali Baba's cave 😊
Amigo, ¿tendrías la gentileza de subtitular el video, por favor? Hay cosas que no alcanzo a entender...
Muchas gracias!!
Any chance of using a piano for the keyboard?
at 6:54 - you showed G7b9, but in the e piano you had played an F add9....
Hmm. Bit confused by the definition of secondary dominant as the dominant of a dominant. Not just the dominant of a diatonic chord other than the tonic? Aren't we talking about sequential dominants in the third step? Thanks for all of your work on the videos!
I have the same doubt and I'm having an hard time trying to understand it! Hope Nick will help us! :-)
Hello. When you put the G7sus4, you played a maj second with the chord (The A that goes chromatic to the A flat), but the chord says Sus4 and not Sus2. How could you note this A in the chord? It would be G7sus4add9?
That conveys what it is but probably it would be called a G9sus4
rouby44 it makes sense
Just to be clear, a G9sus4 would contain the A (9th), and the third (B) would be raised to the fourth (C).
If it only contained the 9th but no 3rd or 4th, I would call it a G7sus2
Question, when you're throwing in the non diatonic chords, like the Dbmaj7, how are you knowing these will work? Is there a theoretical reason like with the tritone substitutions or does it just come down to it having the needed melody note and sounding good? I'm having a hard time understanding how people decide which chords to use when they're not diatonic to the key.
hi! there are many non diatonic chords that are used in hundreds of tunes and have become part of the arsenal of the reharmonizer, like resolving to the biimaj7 Db maj7 before the c maj. I am making a video right now tackling this. However it sounds good, use it!
You have to check that the note in the melody fits in the chord structure or the scale used for it
Hello, Jeremy. Confusing, but these chords can be classified as one (or more) of 10 categories, explained to me by my Berkley Jazz School graduate piano teacher. In the key of C they are:1- the diatonic chords2-Secondary dominants with related ii-73-Extended dominants with related ii-74-substitute dominants with related ii-7 (just the ii-v of any diatonic chord)5- Passing diminished ascending (c-, c#dim, d-, etc)6-Passing diminished descending (d-, c#dim, c-, etc.)7- Passing auxiliary diminished (cdim7, gdim7)8- Modal interchange sub-dominant minor f- (Dbmaj7, d-7(b5), f-7/f-6, Abmaj 7(6), Bb7 (these are just chords with notes F and Ab.9-Modal interchange tonic minor (c-7, Ebmaj7 G-7)10- Specialty chords (f#-7(b5), V7sus4, Bbmaj7Hope this helps more than confuse.
Hi. Just a suggestion. Instead of a keyboard diagram. It's be great to have an actual transcription. I think you do that with other videos.
It says I can download it under the video description. But i couldn't find it.
Maybe it's only for sale, if you're trying to sell it. I get it.
But if it is free, please use normal transcriptions.
Noooo!! There are pianist here too.. So it's perfect 👌
Nice, but It looks like more as a gospel reharmonization:)