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- เผยแพร่เมื่อ 27 ก.ค. 2024
- www.glenrosejazz.com/
In this lesson I show how to harmonize tunes in fake books using simple jazz chords played as four-note block chords under melodies. We match simple 7th chords inversions to melodies so they fit under melodies at the beginning and middle of every bar. The melody often has the 9,11 and 13th of the 7th chord supporting it, thus automatically creating a more sophisticated jazz chord sound.
This lesson is made from excepts of the full one-hour lesson available on the website.
"Matching Chord Inversions to Melody."
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Thank you for this. A very valuable lesson for me.
Hello from New Zealand.
I've been doing this for a while before I saw this video and it really is the best way to use the correct inversion for the chord. Also adding drop-2 or 3 voicings makes a huge difference!
Great video. Thank you!
Can't wait to try this. I've been playing classical piano for over 60 years. I'm locked into reading full scores. Improvising melodies and creating chord inversions to match isn't easy for me.
I was classical in the beginning. Just takes time to learn the music theory to get improvising. Eventually you see ho the classical composers improvised too. Creating their compositions.
I’m in the same boat mate, 60+ years or reading the dots and this at my age 73 is a big drain on the mental ability to grasp it quickly while trying to do it. I wish my original music teacher had taught me the chord method of learning the piano instead of the usual (at that time) learning to read and play the music scores and it would have been second nature by now. I find myself falling asleep with theses videos because of trying to concentrate so much.
friggin fantastic! thank you, mr. rose!
What a great explanation! Thank you :)
This is a very good technique. The single note left hand avoids muddy sounding chords.. You can play alternating octaves on each beat with the root notes in the left hand using the fifth finger and thumb.
Amazing lesson!
Thanks for the very night Christmas price, 30%, it's a real gift for us.Your are our 2021 Santa Claus , thanks again for ALL you give to your students all around the planet.
French lady in red 👱♀️
Thanks, Glen!!! That was the one tip I must have missed. I never knew that, if the melody note is a non choral, you drop the top note. Awesome!!! Thank you, Sir!!!
Sometimes the melody note is a chord tones, sometimes not. If the melody note under the four-note 7th chord in your right hand is not one of the chord tones then it is a 9,13 or 11 color tone. It may be also be altered, meaning
b9, #9, b13 or #11. The color tone in the melody is then automatically creating a 9, 13 or 11 jazz chord. The result is simple, pleasant jazz chords in your playing. The beginning of a cocktail piano sound using easy listening jazz chords.
Great lesson! I understand inversions much better now. I love the piano. Such a versatile instrument. ☺
Thanks for the nice words.Being second natire with inverting chords is really where it's at for composing, playing , improvising, everything. You need scales too but get those chords under your hands first.
So cool.
Thanks 😎
Glen you break it down so well! With a lot of work I believe I could do this.
Thank you Stephen, So glad to hear it.
Great tip on the common keys , for a jazz beginner like me
Yes, the common keys of C, F, Bb, Eb, and G are the most comfortable for pianists playing standards. Look in your fake books and you will see that most of the tunes ad in these keys. We need to play in all of the keys but these are the ones that fall under the hands in the easiest way when playing standards. Easier for most runs and arpeggios, blues, soloing, fills and just general ease of playing.
Glen, I've been inspired to re-learn the piano through all of your videos. After moving to college, I haven't had the time to really practice or play but I've always kept up with your uploads. You're a real inspiration and your music is beautiful, I'm excited to move back home in a few weeks and really dig deep into music again. Also read your whole biography and it taught me a lot. Cheers to you, Glen!
Hi Jimmy Lee, Sorry for the late reply. I get so busy that I forget to check messages from TH-cam. Glad my breaking it down on how use the chords for playing fake book lead sheets got you inspired. SInce you are still in your college years, you have the mental focus to really get the skills you need to play fluently and well. The most important place to begin is with the "Five Jazz Chord Types" lesson. Everything else is built from that point. You will want to learn those basic chord types and get facile with inverting them. Then you will be cooking with gas for everything else you do on piano.
@@GlenRoseJazz Appreciate it Glen - an inspiration!
I found this tutorial very helpful.
Good to hear. It's basic block chord stuff. Just go at it slowly.
Finally a video that's helpful and the video maker doesn't need to tell to like and share and subscribe I am doing it anyways great
Thanks for this lesson! I've been scouring the internet for how to make sense out of real book standards and this feels like exactly what I was looking for :)
Glad to hear it
I really enjoyed the lesson. Thank you Glen
Glad to hear it! Thanks
Thanks Sir. Glen Rose!
Great lesson, thanks
Glad you liked it!
Thanks, very helpful
Thanks Mr Rose, can I make a suggestion, you probably know LADY IN RED, for the next lesson coming... 😍
Wow, gematria!
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Sounded great but it was so strange to see you removing chord tones next to the melody in the 2nd voice like the 3rd, 7th, and root when the melody was not a chord tone. I thought it was necessary to have 1,3,7 to define chord.
Great explanation of technique, I found it helpful but I don’t think it will be adequate for navigating all lead sheets or songs with more complex harmonies. Likewise just playing the root of the chord notated on the lead sheet in the bass I found to not work all the time.
On the word "goin" there is a Gm7, but since the melody is on C you aren't playing the Bb, but the Bb is the note that makes the chord minor. Is that a problem?
I wouldn’t say it sounds bad, would you? The minor third is pretty much implied by the harmony anyway. But here you have an obvious candidate for the left hand to help out, once you’ve mastered the right hand technique. If you can reach up a tenth, that sounds really nice.
@@martinmills135 This video is not for people who can play a tenth with one hand!
@@codetech5598 Lol, I didn’t get the tiny hands only brief. You could just play a third instead, it’s just that that sounds like mud in the lower octaves, so you’ll want to move your left up.
The result of the C melody note in this instance is a sus4 replacing the minor 3rd in the chord. A common and cool minor jazz chord. There is a way to play a minor sus chord in your right hand with a minor 3rd in it also.
Voice it 7-1-b3-4 instead of the example in the lesson you are looking at that is voiced 5-7-1-4. Both are good choices. I chose not to show the 7-1-b3-4 in the lesson because I like to teach the method with one rule first before showing alternative suggestions and exceptions.
@@GlenRoseJazz I heard that the 7-1-3 (no 5) voicing of a seventh (or minor seventh) chord is called the "close voicing".
Fabulous, a question please, Is this how you play if you want to accompany your self .?
No..... Reason being is that you do not want to be playing the melody on the piano if you are singing it. If you are playing for yourself, or accompanying someone, you just want chords, not melody. Your singing is the most important thing to concentrate on and what your listeners will be focused on. Be careful not to let your accompaniment get in the way. A sparse and simple accompaniment is safest. No one really cares about your accompaniment much when you are singing. They want to enjoy your voice and delivery, not get distracted by your playing.
When playing standards you do want jazz chords under your voice and there are many ways to make them. When you are starting out, the basic five jazz chord types, four-note 7th chords will work just fine.
Maj7, minor7, m7b5 and diminished7 all sound terrific. Play them in your right hand in any and all inversions. Keep your left hand simple. Root, 1-7, 1-5, 1-5-7 , 1-3 (or 1-10 if you can manage it.)
I left the dominant 7 chord out of the list above because it can use some help. The plain, four-note dominant 7 chords is often a pretty dull bird in standards. if you add a 9 or 13 to it then it comes to life. In lesson #3 in the "Matching Inversions to Melody" series I show how to easily replace the root with the 9 by just moving a step up from the root. Similarly you can add a 13 to the dominant chord by raising the 5th a whole step. In both of these moves of making 9 and 13 dominant chords just follow common sense. They work better on some inversions than others.
You can actually also make any of the five jazz chord types into 9 chords with the same move of raising the root to the 9. It is an easy move, not much to it. But again, works better on some inversions than others. Just experiment and you will get it.
The other thing you can do to support your singing with beautiful jazz chords is learn the rootless jazz chords. I have an extensive lesson for those on the website. but don't get lost in those until you get a handle on the basic four-note 7th chords. They are the foundation of not only your chording but also your improvising (and fills also!)
Now do this with guitar...🙏🙏🙏
Guitar accompaniment with jazz chords for your singing is far easier than on piano piano. But.... for supporting melody with jazz chords it is more difficult. You can actually get a four-note 7th chord under a lot of your melody similarly but it's often not easy and sometimes not possible. Just make your four-note 7th chords on any four string combination and invert them up the neck. You won't be able to stay on the same four strings you began on. It becomes a delightful puzzle in the doing. Guitar logic is a special animal because the strings are laid out in open voicings to begin with. Beautifully voiced jazz chords are often automatic and one jazz-chord shape can service all twelve keys. A different universe than piano.