How to Analyse a Chord Progression (Harmonic Analysis)
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- เผยแพร่เมื่อ 1 ส.ค. 2024
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Video on functionality: • Jazz Piano Tutorial - ...
Video on Secondary Chords: • Jazz Piano Tutorial - ...
Video on Passing Chords: • Jazz Piano Tutorial - ...
Video on Borrowed Chords: • Jazz Piano Tutorial - ...
This Jazz Piano Tutorial is about Analysing a Chord Progression (AKA Harmonic Analysis).
In this lesson I plan to show you how to analyse a chord progression and discuss how you can use this information to improvise. And we are going to use the first half of the Jazz Standard My Romance as our example.
Analysing a chord progression is partially subjective. There are a number of different ways to analyse the same chord progression - so the way I’m going to do it is not the only way you can do it. I’ve got my own personal preferences and biases which I will explain as we go. And unfortunately, learning how to analyse a progression well only comes with practice. There are certain patterns and clichés that you discover only by analysing lots of different Jazz Standards.
When analysing a chord progression, take the following general steps:
- Analyse the overall Form of the song;
- Analyse the First Level Chord Progression - this looks at each individual chord as a separate, standalone entity;
- Analyse the Second Level Chord Progression - this looks at only the structurally important chords and functionality, ignoring immaterial passing chords. But what is 'important' and what is 'unimportant' is to an extent subjective.
If you enjoyed this Jazz Piano Tutorial on Analysing a Chord Progression, please subscribe.
How this guy analyzes chords chart: 20min video
How I analyze chords chart: FiRsT ChOrD DeFinEs The kEy
I used to do that, now I just check the ii-V-I and that's it but I can't improv to save my life
jajajaja maybe in Britney Spears music the firs chord defines the key but not in Jazz.
@@gallillito don't act like Jazz is incredible it's only ii-V-I everywhere.
@@gallillito same for grime and UK drill :)
This is how I learned it on school, so I may be biased when I say that this is a fantastic, concise video.
this man is saving the world one half step at a time!
this is a topic that it isn't that often pointed out to be able to improvisers and I feel it is essential. very well explained
Terrific video. Thank you for choosing a complicated song to walk through instead of one of the simple ones. It's much more instructive that way!
No worries, Daniel. Yep, it's a bit more interesting than just showing a series of ii-V-I over 32 bars (a la Satin Doll or Autumn Leaves)
:)
i really appreciate you putting these fantastic videos up for free. everyone's only selling CD tutorials nowadays and i can't afford it. thanks!
Great lesson. I've been so mired in "first-level" improvisation on my guitar. I look forward to getting home and trying to relax a little with your "second-level" approach; maybe I can stretch out my ideas a bit more.
Wow! That was awesome thank you so much. I'm analyzing Elizete and was having some trouble, but I am able to use your lesson and directly apply it to that song. Much appreciated!
This is beginning to open a door that's been rusted shut for years. Thanks!
Clearly written in details, so well explained. Keep it up.
Much appreciated 💚💙💗
Thanks for the video! My training was in Common Practice Period (1600-1900) European music with some study of avant-garde practices. Jazz was considered “pop” music and unworthy of consideration. Thanks for making Jazz less mysterious! I LOVE the breakdown into prolonged tonic followed by predominant- dominant-tonic. That is a very good hook on which to hang a jazz analysis. The example piece you used showed departures from that exact pattern that used the back door cadence pattern. That was very helpful! I would love to reharmonize songs in a jazz style and this information is vital to reharmonization! THANKS!!!
Yoo, spent last couple hours watching your videos and they're really helping me with my music theory assignments :) thank you for showing advanced analysis with easy to follow wording. Subbed and ready for new uploads
Thank you for the lesson! I’ve been scared by this for so long but now I’ve made the first step. It’s pretty hard to do the analysis and I make so many mistakes but that’s the only way to improve myself I guess. Again thank you very much!
Thank you very well explained, short schematic and concise.
Excellent analysis,thank you.
Great work. Clear explainations. Thanks a lot.
what a gem of a tutorial. thank you so much.
Really clear and easy to use and apply
Thank you for your selfless efforts
Very well explained, thank you!
Top-notch! Very clear explanation of a not-so-easy task. Your videos have helped me reinforce what I've studied in theory books. Thank you!
Thanks, Eric :)
Thanks for posting. This is very helpful.
Thank you for this lesson!
Learning various things. Going back to earlier videos. Then I'll be bak.
Wow. It can't be clearer than this. Thanks VERY much.
One of best jazz tutorials I have ever viewed! My quick regarding jazz piano sheet music and those sub-divided notes in brackets. I know "3" is triplets but what about 6,9,12, etc.
I learned a lot here. Thanks!
Excellent content and excellently presented.
This channel is amazing ! Thank You !
Brilliant!
AWESOME!!!
Dude! Love your vid, please keep doing this! Greetings from Mexico!
Thankyou . This really helped take me beyond a basic understanding and I'll look at lead sheets differently now.
No worries, Simon. Thanks for the comment.
Your videos have been such a boost to my understanding of theory. Thanks!
No worries, Joe. Happy to help :)
Thank you!
Very good indeed!
This channel is great. How is it not more popular? Oh, right, jazz....
Anyway, thanks!
Jazz - music for introverts :)
Very well done, and a good framework for finding scales to play improvisation over a progression.
Thanks phexy :)
Thank you so much for this content, this is pure gold. Walk that bass!
No worries, Nelly. My pleasure :)
Great help...
Excellent lesson and very concisely presented, covering a complicated topic. Great lesson!
Thanks, Jim
Muchas Gracias !
Appreciated Genius!!!!!🎼🎵🎶
thank you so much.
Amazing
thank you your vids are awesome!
Thanks, mate :)
Great video 👍 these are pro level tips ,good deal,I can dig it,so in other words, learn how to " read fast" look for "chunks" of chord groupings, and it'll be easier to keep up 😺
Nice.
Hi.. Great channel. I'm learning a lot. Thank you.! You refer to an early video to watch before this video, on functionality. Can you please point me to that video? I can't seem to find the correct one. Thanks!
Brilliantly clear! Thanks so much.
Thanks
No worries :)
This came at just the right time. Something just clicked in my head when you explained tonic prolongation and showed those examples.
You're doing student musicians such a huge favor!
Glad it helped, mate. Thanks for the comment :)
Content keeps getting bigger
Wow, I have just learnt a lot. That was amazing, thanks so much!
No worries, Connor :)
This is an excellent overview of harmonic anaysis (harmony analysis) I learned several things in it and some things that I had a general idea we're confirmed amd codified. Too keep this video long term and watch when no internet is available, do the following:. First set it up so you can quickly find it on your phone. I suggest all Android users put this under harmonic analysis. Then download tube mate and video frame player. Then download this on Tubemate. and and keep it your phone or cloud storage.. When you play the tube mate video back , play back on video frame player. Now back to the comment on this video. If one is a biginner, this will help them understand what is going on in a song, but it may be just a little much at first.. I liken it to the introduction to calculus after learning algebra.. (The concepts and terminology may be new but in the end they allow you to basically understand all modern western music .) I plan to share with all students .
Just a slight reference to the functional system of notation (which you probably already know): Chords of the "IV" group are usually called "Subdominant" instead of "Predominant" with the cadence being S-D-T. A bit of a tribute.
Yeah, thanks. You're right that 'subdominant' is definitely more common, especially in classical theory. I'm not sure why I started using 'predominant' instead. Maybe I prefer it because it tells you where it goes - pre the dominant
:)
But yes, either works.
Walk That Bass it makes your text short hand notation for secondary dominant (sd) work well though :)
Great channel btw
Can you analyse never gonna let you go? 🙏🙏🙏
Great lesson, thanks!! but do you even have time left to improvise while you studied all tis content? :p i mean do you know al this material at the back of your hand IN EVERY KEY? :o
I made it to 13:16. Your videos are detailed and valuable. The FM7 Bb7 CM7-"this is where practice & experience come in handy""backdoor progression". -its still a PD-D function in C, 2-5 but in Eb not C, I am a bit confused. Please tell us which video is the chord functionality, perhaps a hyperlink. Thanks again.
Sorry, I have since added the links to the other videos in the description. You'd want to watch the one on Borrowed Chords. Here they are:
Video on functionality: th-cam.com/video/Tloy3wGsJ1o/w-d-xo.html
Video on Secondary Chords: th-cam.com/video/alDSEBsxJIw/w-d-xo.html
Video on Passing Chords: th-cam.com/video/e7En25foxgs/w-d-xo.html
Video on Borrowed Chords: th-cam.com/video/VZVAhmXNmA8/w-d-xo.html
Your videos are sooo good and useful! As a self taught, is there a way to define a path to learn Jazz piano? I'm trying to figure out what's the order of the topics that need to be learnt and also how to define a practice routine. Any advice on this? I have Mark Levine's book, very good to have an understanding of theory, but I find it very hard putting everything in practice.
Oh man I’m just like you but I’ve started recently (I even use the same book lol). I guess the solution is to learn more pieces by sheet music.
It’s 3 years passed by now since you wrote your comment. Have you found a solution ?
@@cofftps67yago94 Hey! :) I haven't spent much time on piano, so no progress and no, I haven't really found a solution unfortunately. Generally speaking yes, the more exposure you get the better it is!
@@AlessioMartorelli88 alright thanks
Hello i would like to know the numbers used in just the two of us plz..
the best..............
Cheers :)
This saved my graduation
What is the title of the video on functionality. I looked for one on your channel named "Functionality" and couldn't find one.
It’s this one: th-cam.com/video/Tloy3wGsJ1o/w-d-xo.html
Fucking hell your videos are so well explained. Thanks.
I'm a bluegrass guy, not a jazz musician so I'll ask a very newbie question: why don't you guys solo with the ionian or aeolian modes during first level improv? Is it simply to get a jazzier sound?
may i add... non-diatonic (dominant) 7th chords can be viewed as "the V of sth.
for example in the key of C
G7 is the V of I, written as : I/V
E7 is the V of 6, written as : vi/V
A7 is the V of , written as : vi/V
you get the picture
also: remember that any Dominant 7th chord contains a diminished chord in itself since it's last three intervals (notes) are both a minor third apart (3 semitones), so you can look at it as the VII chord of a key of your choice :P
would love to have somebody help me to understand augmented chords and their function and how to use them
A7 is the V of ii? written as ii/V?
@@sunnieem2499 iii
u r god
Can you tell us which of your videos you are referring to when you say your video about "functionality"?
Hey, sorry. Put the link in the description.
Here it is: th-cam.com/video/Tloy3wGsJ1o/w-d-xo.html
And you may also find my video on Tonal vs Modal Harmony useful: th-cam.com/video/OCkCn0dEgpw/w-d-xo.html
Thanks a lot. This is really helping me analyse I've Got a Crush on You which has, what I believe, is a modulation to the III chord in the 7th and 8th bar.
Hmm one thing I don't quite get: Why play C Lydian over I(C)maj7 chord and not Ionian? Why EDorian over IIImin7 chord, and not phyrgian?
i had the same thought.....
Usually the F# will sound better when a melody is played over I(C)maj7, especially in jazz context. It makes it sound brighter, and maybe a lot less classical which is good for jazz. Same goes for the Dorian over IIImin7, which is brighter and easier on the ear than phyrgian. Actually the notes of this dorian scale are the same as C Lydian, as it also raises the F to F# - so there is a consistency in this thought too :)
You just alter one note, and it makes for a much sweeter sound, loving this!
phexy delic E Dorian has a C# too, correct?
Hey mate,
Exactly what phexy said. So you could just as easily use C Ionian and E Phrygian if you wanted to. That's perfectly fine. But the 'standard' scale a jazz musician would generally use over a Maj7 chord is the Lydian mode while the 'standard' scale for a m7 chord would be a dorian. There is some theory behind it (see my video on Lydian Chromatic Concept) but it's really just convention which can be broken.
Walk That Bass thanks
Good analysis but you should have also played the song to illustrate the analysis.
PS I see I asked prematurely before reading the comments. You do refer us to: th-cam.com/video/Tloy3wGsJ1o/w-d-xo.html Thanks again!
what's this guy's name and where is he located?
Not really understand why is G7 is Tonic. Ok. we don't have pre-dominant. but we also can do it without it. Tonic-Dominant-Tonic 8:20
Music is not about playing scales over chords.
It seems weird to think in terms of what scale you are going to improvise in over each chord. Shouldn't you just play whatever you hear in your head? Naturally, what you hear in your head will be influenced by the chord progression.
You can play however you want. Different people play and think differently. Some people think 'vertically' (in terms of chords). Some people think horizontally (in terms of scale). Some people think in terms of motifs, or rhythms, or feelings. There's no right or wrong way to do it. Playing whatever you hear in your head is as good a technique as any, but as you say, that's obviously influenced by the chords, key, diatonic scale and much more.
Yes, but the crucial thing there is playing what you 'want'. If the sound isn't in your head before you play it, then how can you want to play it?
It's a bit of a chicken egg situation though, I think. You have to know what sounds are available to be able to hear them in your head. And for that you need to already have played various scales and chords and recognised their particular sounds.
I'm not sure about that. I think that someone who has listened to a lot of jazz, but not learnt any theory, could sing the 'right' notes over chord changes. I suppose the theory could help with recognising what those notes are by ear, largely by reducing the space of possibilities. But in the end, you want to be able to instantly recognise all of the twelve notes relative to the current tonal centre, at which point, you wouldn't need to know about which scales 'work' over which chords.
32 bar all bars are cops
Thank you!