You made this video with the intention of teaching Jazz reharm, but you taught me more about chord/melody composition from scratch than any other video Ive seen.
Glad to hear it, mate. Yeah, they are really one and the same thing. Reharmonizing is essentially composing a song, but with a reference point. Thanks for the comment :)
looked months for such a video, but this video is the mother of all videos. Have to watch it 100 times probably to fully understand, but if you came up with this yourself, you have a gem here.
This video destroyed my previous understanding of music. After listening to you for 30 min I have a completely new understanding of how melody and harmony can work together. Insane. Thank you so much.
After watching many youtube's jazz piano, I found his method of teaching the easiest to understand. He's playing the simple chords and explain it step by step help the beginner to get through the maze of chord and harmonies structure. Thank you so much for spending time and effort to make such a wonderful teaching channel. I'm all grateful to you and to those who share knowledge on youtube.
I was looking in TH-cam the whole day for how to match chords to a melody and didn't find anything useful so I gave up on making the song and wanted to reharmonize a song and I'm here ladys and Gentlemans found the video I needed Thanks you soooo much you have no idea how long I've been searching for someone like you thank you I will continue working on my song
Excellent video. The link was very helpful, too. Clear instructions, though I had to stop the video and go back many times. As a jazz novice, this video gave me many hours of studying jazzy reharmonization. You are selflessly sharing lots of useful information, and I am very grateful for that. Keep up the great work.
I was jumping from video to video and I am very happy that I watched this video. I learned a lot and I see that, not only me, but many people also got very happy with the knowleged that you shared. Thank you so much!
The best teaching EVER!!! Thank God I got to watch this. I am a classical and contemporary pop piano player. I did not get to learn Jazz and I always want to learn how Jazz players think and arrange their music. The chart is awesome. I can finally have some clues while practicing on my own. Thank you so so much!
This is very insightful thanks for this eyes opening lecture. I have not just learnt reharm in jazz but further broaden my knowledge with contemporary music and reharmonizing songs in a million ways. Thank you again
The video was very clearly presented and easy to follow. I see this was done some time ago, so don’t know if you’re still reading comments, but if you are a suggestion would be to play some reharms you’ve done that you really like, and explain the thought process as to why you made the choices you made. A bit challenge is that there are so many possible choices one can make, how you can you approach the process in a way that you don’t get lost with all the possible choices.
Also, thank yoy for giving an amazing explanation of everything. Things like this, doesn't work really with those 10 steps, or 6 mistakes or all that quick stuff.. You gave us a perfect masterclass of this subject ! thaanks again !
Omg... why no one explain this kind of stuff? I mean I knew reharm was not just chord substitution, but really no one gives the time to explain these things and how they're relate, almost always people show an already made reharm without showing why in the first place... Thank you man, this is a really valuable lesson
Very thourah (Aussie pronounciation). The challenge becomes how to implement such information--it's so detailed that a simple sit down session at the piano might be overwhelming. Somehow "keyboard navigation" should figure into this seamlessly, but I guess that's the brain work each of us have to go through to digest the lesson. Thanks again.
Hey, yeah it's all about practice, I'm afraid. To be able to reharmonise on the spot, like good professional jazz musicians, takes years of practice. And you're practically an Aussie, mate ;)
Hi , this is a great way of teaching reharmonization.....thanks for sharing , it helped me even more with Google Doc with Acceptable Harmonies for all chord types and Possible Reharmonisation Chords for every single note. I had already printed out a copy.......for learnig........once again, thanks for sharing
@19:30 When you are doing the second reharmonization, How do you choose what the quality of each chord is? I am having trouble understanding how you know what chords to pick in bar 5 and 6. I understand that you find the key melody note and then make them 7ths but how do you know what quality it is? How did you know to make the first chord in bar 5 a diminished chord? Did you choose to go to the Eb because it is the 6th degree, and a C could only work with an Eb chord as the 7th degree if it is diminished? Let me know if that makes any sense to you, I could try to better explain myself.You have helped me so much in this last year since you set up your channel. I look forward to hearing back from you! maybe you could help me better understand how you choose your chords.
Wow what an amazing tutorial!!!! I ve learnt so much …and explained so well , with great notes to boot , well I’m definitely subscribed and I will be going to rewind and watch again ,,,,,so excited to find you and your channel!!!!,
Your comment on reharmonizing 4'33" made me try to improvise a melody with the 4'33" happening around me for a minute now. If I had perfect pitch it would be a lot more interesting. ☺
Not sure if you still come and read this comments section, but I have a question about the Acceptable vs Unacceptable harmony. What makes a harmony "unacceptable"? For example, what makes the 11th (F) an unacceptable harmony on a C7 chord? Thank you so much for all of your content! I have been slowly making my through your website material and have been floored by the volume and quality!
Thanks so much for your lessons! You're an excellent teacher and I have learned alot from you. The charts are incredibly helpful. Much gratitude. Peace
This is still far from my skill level, but I really thank you for your lessons! They're the best explanation finally mixing theory and practice I could find on internet. This really shows the thoughts behind chord/melody substitution/reharmonization choices.
Thanks, Soren. Glad to hear. Yeah, there are a million different 'rules' or 'substitutions' you can follow (tritone substitutions, borrowed chords, etc) but they all really come back to these basic ideas. Cheers.
Thanks a lot. I have found clear examples. That is what I need. Of course I must analyse everything step by step (as I have mentioned earlier the language is a little barrier) but music is the same everywhere. Thank you ;).
This is such a helpful video, thank you for sharing your in-depth knowledge and clarity! I'm wondering if the same rules on acceptable harmonies also applies to vocal harmonies eg is it acceptable to sing the 5th note of a chord as a vocal harmony with the 3rd in the melody? Do you have any videos reading to vocal harmonies?
In general, do not change the melody note while trying to reharmonize a tune. The point of a reharmonization is that the harmony (and not the melody will change.) For example, if you change the chords AND the melody of My Funny Valentine, what makes it a reharmonization of that tune and not an original composition?
i wonder if changing the wind frequency in the room, let's say, using a fan for example, would count as reharmonization when 4'33 by john cage is playing...
You can change the melody note in the reharmonization? Perhaps but from what I've read elsewhere that's to be avoided unless it was so subtle as to be practically unnoticeable.
Excelent, I found that very clear!! I'm trying to reharmonize brazilian songs but I still have some doubts... Is there an algorithm (i.e. a series of steps) that I can use as a procedure to make them sound jazzy? Is it enough if I just alter the chords and then introduce ii-V-I cadences? Thanks for helping, best regards!!
Hi Pedro, If you haven't already, watch my video on 'how to turn any song into a jazz song.' I may answer many of your questions there: th-cam.com/video/bkOu4K95DcQ/w-d-xo.html But to make a song sound professional, as a start you should learn jazzy chord voicings (with various extensions and alterations) and insert passing chords (I cover these in the above video). And then reharmonise the chord progression. It's hard to give a definitive 'series of steps' that you must follow, partly because half the fun is creating your own chord progression (rather than just following a formula), and partly because there are so many sub-genres of jazz. If you want a song to sound like a Bebop, then you would put in lots of ii-V-I's and speed it up. If you want a song to sound like modal jazz, then you would put in quartal chords and use chords that last for many bars and move by step (I released a video on 'how to reharmonise a tonal song into a modal jazz song' recently) If you want a song to sound like Afro-Cuban jazz, then you would change melody to fit a clave rhythm and play a montuno piano rhythm with the chords. etc. I do plan to cover all these topic in future videos (as soon as I have the time). But watch the above link, as I cover a number of steps you should take to make a song sound jazzy. And if you have more questions, feel free to ask :)
Great google doc. Thank you. One question, however. For the C7+ chord you list the 13th as an acceptable (jazz) harmony. Is that correct? It seems pretty clearly to clash - landing smack between the #5 and b7.
For dominant chords, you want to avoid any note that form a b9 or #9 interval with the guide tones (3rd and 7th). In the C7+ chord (C - E - #G - bB), the 13th (A) is a 9b from the 5th, and so not considered an avoid note. But the last word belongs to your ear, so just skip it if you don't like it!
Hello Walkthatbass, first Id like to thank you for your work. im a sax player trying to learn more about voicing and harmony and your channel is really really great. Im a writing you today to ask if you have any good books references to give about jazz harmony in general. I already have the two mark legine books: the jazz theory book and the jazz piano book which hasve a lot of great stuff. However Im looking for a kind of "study book" with exercises especially for reharmonisation tecnics. i know this kind of books exists for classical harmony but i didnt find any for jazz harmony. do you have a good reference? Thanks again Mat
Hi Matthieu, The two Levine books are brilliant, so definitely read them a few times. For voicings I like 'Voicings for Jazz Keyboard' by Frank Mantooth - though this is for keyboard (obviously) and limits itself to 'modern' jazz piano voicings. For jazz harmony, I like 'The Chord Scale Theory & Jazz Harmony' by Barrie Nettles. Though from memory these are just pure theory books that don't have many exercises. In terms of a 'study book', I hear ok things about the Berklee Press Jazz Books (titles include: The Berkless Book of Jazz Harmony; Reharmonisation Techniques; Jazz Composition). I think these are more your standard university-esque books with proper exercises and examples and things like that. Though I haven't delved too deeply into these so I can't tell you much about them. Sorry.
hi, just to thank you for your answer. i got the jazz composition book of berklee press and learning a lot of new stuff, especially on jazz harmony (for instance on modal harmony). thanks again for all your work, its always a plaisir to learn new stuff in the fantastic world of jazz. take care
First, thanks for a great lesson. I am a guitarist and you have helped me considerably! Much appreciated. I downloaded the PDF for this lesson. I think that the chart at the top of page four is incorrectly labeling the degrees of the C chromatic scale! Let me know if I am not reading it properly. Thanks again.
Ah right, just my webpage. Sorry, I don't have it as a pdf so I don't know what chart you are referring to. The acceptable harmonies chart? It's possible that there is just a mistake there.
So when using the chart how do I go about it when playing in another key other than C or if my melody notes isn't revolved around C? Do I just shift it all over? (like moving in half steps when transposing from C to C#?)
Hi can you explain in terms of music theory why the 1 - 5 - 6 - 4 chord progression works so well? how does this chord progression create and resolve tension? Why is it so popular? it doesn't make sense for me. I.e. 4 is not a dominant (pre-dominant chord) and doesn't resolve as strong as 5 to 1. many thanks
Sorry for the late reply. I was away on holiday for the last month. If we look at the harmonic function of those chords (I have a separate video on harmonic functions, if you don't know what these are: th-cam.com/video/Tloy3wGsJ1o/w-d-xo.html), we find that the 6 chord has a 'tonic function' and so effectively is just a substitute for the 1 chord. So the chord progression is: 1-5-6-4-1 (repeat) So effectively you're playing a tonic (1), then a deceptive cadence (5-6), then a plagal cadence (4-1), and repeating. This can be simplified to: 1-5-1(sub)-4-1 So effectively you're playing a tonic (1), then a perfect cadence (5-1), then a plagal cadence (4-1), and repeat So the reason this chord progression sounds good is because it's just a cycle of repeating cadences. So you build tension with the 5 and 4 chord, and resolve it immediately with the 1 and 6 chord. So this is a very simple chord progression that creates very little tension (especially when only using triads rather than 7th chords) and resolves it immediately. This is why this chord progression is used by lots of pop songs, and is less common in Jazz songs (compared to the II-V-I which builds MORE tension by not resolving to the tonic immediately). Does that make sense to you?
Wow you never fail to deliver the goods, my friend. I searched all over the internet for an explanation like this but no one could do it... you're a legend! I just made it easier for myself by framing the progression more in terms of 4-1-5-6 (so that the cadences are clearer 4-->1 & 5 --> 6). awesome stuff. thanks heaps :)
Hi! I'm wondering if there is any difference in the two concepts, Key Melody Notes, mentioned in this section and Target Notes, mentioned in Passing Notes section. Thank you!^^
Not really. I use the term 'target note' when talking about improvisation - so we target a particular note when improvising so that it sounds good over a particular chord. The Key Melody Note is the same idea, but it's a already written out note (so we are not improvising) - so we are now picking a chord so that the melody sounds good. Same idea, just applied in a different context.
Hi! I'm sorry for asking again. I'm sort of confused of how to increase and decrease tension. As in Jazz Improvisation chapter, I have known that the way to increase tension is to play avoid notes, and to decrease tension is to play chord tone or available tension. But in Some Rules and Tips section, the ways to increase and decrease tension were introduced and they seem to be about higher and lower extensions, and alternations. (Actually I couldn't be sure whether in the expression 'use higher extensions and alterations' 'higher' modifies only 'extensions', or both 'extensions and alterations'. And what does 'higher' and 'lower' mean in this context?) So, I wonder what I can understand that aggregatively the way to increase and decrease tension is. Sorry for my poor English. Thank you very much for your organized theory, from Korea!
Hi, 'Higher' refers just to the extension. So the 9th is a low extension and the 13th is a high extension. All 12 notes can be categorised into one of three categories - resolution, low tension and high tension. Resolution = chord tones Low tension = available tensions High tension = avoid notes So for example for CMaj7: Resolution = C E G B Low tension = D F# A High tension = all other notes Higher extensions (#11th and 13th) create more tension than lower extensions (9th) Altered extensions (#9, b13) create more tension than non-altered tensions (9, 13) Does that make sense?
Walk That Bass Thank you for your reply! So, do you mean there are 3 points of view, or criteria for categorizing tension? 1. higher vs lower: from b9 through 9 #9 11 #11 b13 to 13, the tension gets higher. 2. non-extension vs extension(EDIT: non-altered tensions vs altered tensions): 9, 11, 13 have lower tensions than b9, #9, #11, b13. 3. chord tone vs available tension vs avoid note: chord tone resolves tention, available tension has low tension, and avoid note has high tention. Then which one should I choose among the 3 criteria for making tension and resolving it? And if root note and 5th are 'week harmony', then they seem not to resolve the tension as much as guide tone does, thinking that week harmony weekens the harmony where they are and so you advised us to avoid the week harmony. (So, do you mean that week harmony is used in order to resolve tension, not in key melody note but in passing note?) They are what I have encountered while studying your theory! Thank you always!
Hey. So this is slightly subjective and different people can have different opinions on what notes create more tension. But personally, I would rank notes from low to high tension as follows: 1. Chord Tone (for C7 = C E G Bb) 2. Natural extensions (9, #11, 13 = D, F#, A --> where 9
Thank you for the reply! So, can I understand that '2. Natural extensions' refers to notes a step higher than chord tones, and '3. Altered extensions' refers to available tensions except for '2. Natural extensions'? And so, it seems like generally speaking, in dominant chords there are 1, 2, 3, and 4, but in non-dominant chords are only 1, 2, 4. Furthermore, I got to wonder how the concept of 'available tensions and unavailable tensions' applies to other scales(modes) like Phrygian mode, Locrian mode, Aeolian mode, and the like. In terms of chord, Phrygian chord seems like m7 b9 b13, so it has b9 and b13, which are unavailable tensions to m7 chord. Locrian chord also has b9, which is an unavailable tensions to m7 chord. so has Aeolian. How could they have the notes, which are avoid notes to m7? Or should I think all they are different chord types(or, in terms of scale, different scales/modes)? m7 consists of 1, b3, 5, b7, 9, 11, 13, but Phrygian consists of 1, b3, 5, b7, b9, 11, b13. They have different notes, so are they different chords/scales/modes from each other? Just, Phrygian chord is also a different chord type from m7, M7, 7, dim7, or the likes? Therefore, the fact that Phrygian has b9 and b13, which are unavailable tensions to m7 isn't strange? And Phrygian chord also has its own available tensions and avoid notes? .....If it's true, alteration of the tensions in m7, M7, 7, and so on leads to different types of scale/mode? I wonder how I should understand it.... Sorry for you if I'm bothering you... But I hope you think of it as my pure curiosity:) Thank you!
You're on the right track. Every scale/mode has it's own diatonic chord. It's just that some of them are not 'allowed' under traditional harmony. (but they are allowed in more modern jazz, where you can do anything) m7 chord consists of: 1, b3, 5, b7, 9, 11, 13 but Phrygian consists of: 1, b3, 5, b7, b9, 11, b13 Which means we cannot convert the Phrygian mode into a m7 chord (it would have unavailable tensions). (in practice, we instead turn the Phrygian mode into a susb9 chord. See here: th-cam.com/video/l04hsDh2XB4/w-d-xo.html ) These unavailable tensions (or avoid notes) can be played as quick passing notes over the m7 chord, but should not be over-emphasised (they are AVOID notes, after all). If you haven't already seen it, watch my 'Overview of Jazz Theory' video - I explain avoid notes and provide some context there: th-cam.com/video/WzLBA5kCP1w/w-d-xo.html
Thank you for this wonderful lecture! I love your logical explanations! By the way I wonder why in some chord types the rule of the strong harmony and unacceptable harmony are kind of different from in other chord types. According to your Chord lesson, to non-dominant chords, which have no tritone between 3rd and 7th, available tensions are notes a step higher than the chord tones and the other tensions are unavailable tensions. It works well in M7, m7 mM7, m7b5, and dim, and well in 6, m6, thinking the 6ths are their chord tones taking the place of 7th. In dominant chords, which have tritone in between 3rd and 7th, unavailable tensions are the notes a half step higher then 3rd and 7th and the other tensions are available tensions. It works well in 7, 7sus(supposed 4th is a chord tone). But the rules applied to 7+ and M+ seem different from them in your Acceptable Harmonies table. In 7+, I can understand why #5 is a strong harmony, because #5 is a chord tone and why 11 and 7 are unavailable tensions, because 7+ is a kind of 7 chord, which has a tritone, so the unavailable tensions are notes a half step higher than 3rd and 7th. But I don't get why 5 is also an unavailable tension. In addition, in M7+, I wonder why b7 isn't an available tension even though it is a step higher than the chord tone #5. Sorry for my poor English. And thank you a million in advance!
Hi, So available tensions are somewhat flexible and subjective. For the 7+ chord - you could argue that the natural 5 is an available tension. Much like the 3 is an available tension over a 7sus chord. But then it's important to play the 5 (double #11) above the #5, so the chord definitely sounds like a #5 chord, and not a nat5 chord. So I'm open to this. For the M7+ chord - you're generally not allowed a b7 and a nat7 in the same chord. Then the chord quality becomes confused. Is this a dominant chord or a Major chord? The chord will just sound a bit confused. Having said that, in more 'modern' and 'contemporary' Jazz, you're allowed to have any combination of notes you like - so a M7b7#5 chord, could be possible. But for 'traditional' music theory, this should generally be avoided. Does that help?
i tried looking at the google document, if i chose a E as key melody note and chord Gm7 should fit, but it sounds completely off, i cannot understand the rules even tho i've red them. Gm7 is green, but there is no E note in the gm7. Wasnt the point that the E note should be in the chords that are chosen or is that not the case?
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You made this video with the intention of teaching Jazz reharm, but you taught me more about chord/melody composition from scratch than any other video Ive seen.
Glad to hear it, mate. Yeah, they are really one and the same thing. Reharmonizing is essentially composing a song, but with a reference point. Thanks for the comment :)
@@WalkThatBass even this comment is gold! You're incredible
@@WalkThatBass that’s a 🔥🔥comment
invaluable lesson. I have found nobody so clear as you are in explaining jazz theory and put it in practice.
Thanks Antonio, very kind of you.
Im gonna shout it even louder, THAT GOOGLE DOCS FILE IS AMAZING !
You are the best teacher on youtube
Thanks, Marco.
I've watched hundreds of Piano lesson videos, and this is by far the best one I have ever seen.
looked months for such a video, but this video is the mother of all videos. Have to watch it 100 times probably to fully understand, but if you came up with this yourself, you have a gem here.
Exactly!! I looked for years and couldn't find one that explains so clearly like this.
This video destroyed my previous understanding of music. After listening to you for 30 min I have a completely new understanding of how melody and harmony can work together. Insane. Thank you so much.
I'll definitely will need to watch this more than once to truly understand all the gems you've taught.
What an amazing lesson I’m a lot clearer on increasing and decreasing tension especially. Thank you for this.
After watching many youtube's jazz piano, I found his method of teaching the easiest to understand. He's playing the simple chords and explain it step by step help the beginner to get through the maze of chord and harmonies structure. Thank you so much for spending time and effort to make such a wonderful teaching channel. I'm all grateful to you and to those who share knowledge on youtube.
I was looking in TH-cam the whole day for how to match chords to a melody and didn't find anything useful so I gave up on making the song and wanted to reharmonize a song and I'm here ladys and Gentlemans found the video I needed Thanks you soooo much you have no idea how long I've been searching for someone like you thank you I will continue working on my song
A very deep systemic intro for anyone, which I ever enjoyed. Thank you very much.
Dr. Alex from Berlin, Germany.
Excellent video. The link was very helpful, too. Clear instructions, though I had to stop the video and go back many times. As a jazz novice, this video gave me many hours of studying jazzy reharmonization. You are selflessly sharing lots of useful information, and I am very grateful for that. Keep up the great work.
Thanks, eaglewarrions. Glad you liked it. If you followed everything in the video, then you're doing rather well. This was is pretty dense.
I was jumping from video to video and I am very happy that I watched this video. I learned a lot and I see that, not only me, but many people also got very happy with the knowleged that you shared. Thank you so much!
The best teaching EVER!!! Thank God I got to watch this. I am a classical and contemporary pop piano player. I did not get to learn Jazz and I always want to learn how Jazz players think and arrange their music. The chart is awesome. I can finally have some clues while practicing on my own. Thank you so so much!
This is very insightful thanks for this eyes opening lecture. I have not just learnt reharm in jazz but further broaden my knowledge with contemporary music and reharmonizing songs in a million ways. Thank you again
WHY IS YOUR TEACHING SOO CLEAR!!!!!
NICE....😍
The video was very clearly presented and easy to follow. I see this was done some time ago, so don’t know if you’re still reading comments, but if you are a suggestion would be to play some reharms you’ve done that you really like, and explain the thought process as to why you made the choices you made. A bit challenge is that there are so many possible choices one can make, how you can you approach the process in a way that you don’t get lost with all the possible choices.
Many many thanks for this video ! I updated and remembered many things learned at music university 10 years ago... Have a great great day !
Also, thank yoy for giving an amazing explanation of everything. Things like this, doesn't work really with those 10 steps, or 6 mistakes or all that quick stuff.. You gave us a perfect masterclass of this subject ! thaanks again !
This is the most thorough/ well explained Theory video I've seen in a while, thank you so much!!
10:06 ooo altered FINALLY I RECOGNISE IT WITHIN A CONTEXT NOW
I learnt a lot here about reharmonization, and about music in general. I will listen again and make notes.
Right off the bat, clear definitions. Thanks
Thanks for just being straightforward and assuming the intelligence of the viewer. very helpful!
Always happy to help, misssusansrockacademy :)
Just simply amazing how well reharm is presented here... simply amazing! Thank you.
Live changing video .never find a video with such detailed explanation . Thank you so much！
Thank you so much for this. Really enjoyed myself
This is amazing, keep up the good work.
Omg... why no one explain this kind of stuff? I mean I knew reharm was not just chord substitution, but really no one gives the time to explain these things and how they're relate, almost always people show an already made reharm without showing why in the first place...
Thank you man, this is a really valuable lesson
Very thourah (Aussie pronounciation).
The challenge becomes how to implement such information--it's so detailed that a simple sit down session at the piano might be overwhelming. Somehow "keyboard navigation" should figure into this seamlessly, but I guess that's the brain work each of us have to go through to digest the lesson.
Thanks again.
Hey, yeah it's all about practice, I'm afraid. To be able to reharmonise on the spot, like good professional jazz musicians, takes years of practice.
And you're practically an Aussie, mate ;)
Hi , this is a great way of teaching reharmonization.....thanks for sharing , it helped me even more with Google Doc with Acceptable Harmonies for all chord types and Possible Reharmonisation Chords for every single note. I had already printed out a copy.......for learnig........once again, thanks for sharing
My pleasure, Samson. Thanks for the message :)
@19:30 When you are doing the second reharmonization, How do you choose what the quality of each chord is? I am having trouble understanding how you know what chords to pick in bar 5 and 6. I understand that you find the key melody note and then make them 7ths but how do you know what quality it is? How did you know to make the first chord in bar 5 a diminished chord? Did you choose to go to the Eb because it is the 6th degree, and a C could only work with an Eb chord as the 7th degree if it is diminished? Let me know if that makes any sense to you, I could try to better explain myself.You have helped me so much in this last year since you set up your channel. I look forward to hearing back from you! maybe you could help me better understand how you choose your chords.
outstanding ! thanks and waiting for your further lessons of jazz
Really, really helpful lesson. Thank you so much!
No worries, Marco. Glad it helps.
Wow what an amazing tutorial!!!! I ve learnt so much …and explained so well , with great notes to boot , well I’m definitely subscribed and I will be going to rewind and watch again ,,,,,so excited to find you and your channel!!!!,
Your comment on reharmonizing 4'33" made me try to improvise a melody with the 4'33" happening around me for a minute now. If I had perfect pitch it would be a lot more interesting. ☺
Not sure if you still come and read this comments section, but I have a question about the Acceptable vs Unacceptable harmony. What makes a harmony "unacceptable"? For example, what makes the 11th (F) an unacceptable harmony on a C7 chord?
Thank you so much for all of your content! I have been slowly making my through your website material and have been floored by the volume and quality!
What an amazing lesson. Great worksheet too
Thanks so much for your lessons! You're an excellent teacher and I have learned alot from you. The charts are incredibly helpful. Much gratitude. Peace
Thanks, Tj. Glad I could help.
you are a perfect teacher...it's very very clear.!!!! Thank you!!!!
Thanks, Paolo. My pleasure.
You are amazing! Just what I needed. Thank you so much
Happy to be of service, Sigurd :)
This is still far from my skill level, but I really thank you for your lessons! They're the best explanation finally mixing theory and practice I could find on internet. This really shows the thoughts behind chord/melody substitution/reharmonization choices.
Another great video. Reharmonization makes a lot more sense now thanks to you, thanks for sharing.
Thanks, Soren. Glad to hear. Yeah, there are a million different 'rules' or 'substitutions' you can follow (tritone substitutions, borrowed chords, etc) but they all really come back to these basic ideas. Cheers.
Thank you! Your advices are absolutely spot on.
Excellent video....really clear and easy to understand...well done sir!!
Thanks mate. :) Glad to hear it.
Wonderful, MASTER...
Generous- thanks, thanks.
No worries, Elio.
Best video i had seen, gracias
Thanks a lot. I have found clear examples. That is what I need. Of course I must analyse everything step by step (as I have mentioned earlier the language is a little barrier) but music is the same everywhere. Thank you ;).
Thanks, Tom. I'm afraid I don't know very much Polish, so I can't help you with that :) Przepraszam.
Duuude! This is huge my man.
Haha. Thanks Man.
Brilliantly presented! Thank you so much.
No worries, Erick. Glad you like it.
this is really good
Great video. Help me get a deeper understanding of harmonization. Super
Sorry, typo. Meant to say your video helped me get a deeper understanding of harmonization
No worries, mate. Glad to hear it. Thanks for the comment.
I thank you for learning this
this is amazing, tysm
Thankyou🙏👏 this will help alott🖤
Thank you very much, you deserve to be a master :)
amazing video. your 2nd reharm of "my funny valentine" is badass.
Great material here! Thanks a bunch. Not to complain (how could I) but this video deserves a better microphone :)
this video was so well made and i understood every word you said. but my brain needs way more processing power to put all of this to practice 😵
thanks a lot for the content really clear and good info.
No problem, Fidel.
thanks a lot man this is really helpful!
I really wish you can be my piano jazz mentor!!!
Helpful lesson gad bless you
Sir, I have never seen anything like this before.Insanely informative.Thank you.thank you.
My sincere pleasure, Ephraim. Glad you liked it. Thanks for the comment.
This is such a helpful video, thank you for sharing your in-depth knowledge and clarity! I'm wondering if the same rules on acceptable harmonies also applies to vocal harmonies eg is it acceptable to sing the 5th note of a chord as a vocal harmony with the 3rd in the melody? Do you have any videos reading to vocal harmonies?
Subscribed!!
I love this video!!
There needs to be a 2 thumbs up option👍👍
Kono piano wa kawai desu ne~
7:26 this lesson was amazing, and I just had to point out that harmony is shortened to harm here
*Unacceptable harm*
In general, do not change the melody note while trying to reharmonize a tune. The point of a reharmonization is that the harmony (and not the melody will change.) For example, if you change the chords AND the melody of My Funny Valentine, what makes it a reharmonization of that tune and not an original composition?
i wonder if changing the wind frequency in the room, let's say, using a fan for example, would count as reharmonization when 4'33 by john cage is playing...
You can change the melody note in the reharmonization? Perhaps but from what I've read elsewhere that's to be avoided unless it was so subtle as to be practically unnoticeable.
My reharmonization of john cages 4"33:
Thank you for listening
LOOOOOOOL
Remarkable!
Best regards Maestro ! thx
Lol. You're too kind. If only...
Walk That Bass : This lesson and the spreadsheet helped me out immensely, very very good wooping work! yes you are!
Perfect tutorial , your channel is so underrated...
maybe because the piano is "undertuned"
@@ZaraPaz696 Irrelevant because the information, especially the way he explains certain things, are extremely underrated.
Solid af
Excelent, I found that very clear!! I'm trying to reharmonize brazilian songs but I still have some doubts... Is there an algorithm (i.e. a series of steps) that I can use as a procedure to make them sound jazzy? Is it enough if I just alter the chords and then introduce ii-V-I cadences? Thanks for helping, best regards!!
Hi Pedro,
If you haven't already, watch my video on 'how to turn any song into a jazz song.' I may answer many of your questions there: th-cam.com/video/bkOu4K95DcQ/w-d-xo.html
But to make a song sound professional, as a start you should learn jazzy chord voicings (with various extensions and alterations) and insert passing chords (I cover these in the above video). And then reharmonise the chord progression.
It's hard to give a definitive 'series of steps' that you must follow, partly because half the fun is creating your own chord progression (rather than just following a formula), and partly because there are so many sub-genres of jazz.
If you want a song to sound like a Bebop, then you would put in lots of ii-V-I's and speed it up.
If you want a song to sound like modal jazz, then you would put in quartal chords and use chords that last for many bars and move by step (I released a video on 'how to reharmonise a tonal song into a modal jazz song' recently)
If you want a song to sound like Afro-Cuban jazz, then you would change melody to fit a clave rhythm and play a montuno piano rhythm with the chords.
etc.
I do plan to cover all these topic in future videos (as soon as I have the time).
But watch the above link, as I cover a number of steps you should take to make a song sound jazzy. And if you have more questions, feel free to ask :)
I'll reharmonize 4:33.
There. It's done.
Wanna hear it?
Great google doc. Thank you. One question, however. For the C7+ chord you list the 13th as an acceptable (jazz) harmony. Is that correct? It seems pretty clearly to clash - landing smack between the #5 and b7.
For dominant chords, you want to avoid any note that form a b9 or #9 interval with the guide tones (3rd and 7th).
In the C7+ chord (C - E - #G - bB), the 13th (A) is a 9b from the 5th, and so not considered an avoid note.
But the last word belongs to your ear, so just skip it if you don't like it!
It always sounds weird when I use diminished chords is there any restrictions when using them?
Hello Walkthatbass, first Id like to thank you for your work. im a sax player trying to learn more about voicing and harmony and your channel is really really great. Im a writing you today to ask if you have any good books references to give about jazz harmony in general. I already have the two mark legine books: the jazz theory book and the jazz piano book which hasve a lot of great stuff. However Im looking for a kind of "study book" with exercises especially for reharmonisation tecnics. i know this kind of books exists for classical harmony but i didnt find any for jazz harmony. do you have a good reference?
Thanks again
Mat
Hi Matthieu,
The two Levine books are brilliant, so definitely read them a few times. For voicings I like 'Voicings for Jazz Keyboard' by Frank Mantooth - though this is for keyboard (obviously) and limits itself to 'modern' jazz piano voicings. For jazz harmony, I like 'The Chord Scale Theory & Jazz Harmony' by Barrie Nettles. Though from memory these are just pure theory books that don't have many exercises.
In terms of a 'study book', I hear ok things about the Berklee Press Jazz Books (titles include: The Berkless Book of Jazz Harmony; Reharmonisation Techniques; Jazz Composition). I think these are more your standard university-esque books with proper exercises and examples and things like that. Though I haven't delved too deeply into these so I can't tell you much about them.
Sorry.
hi, just to thank you for your answer. i got the jazz composition book of berklee press and learning a lot of new stuff, especially on jazz harmony (for instance on modal harmony). thanks again for all your work, its always a plaisir to learn new stuff in the fantastic world of jazz. take care
Wait, where is the final reharm ... what time stamp?
First, thanks for a great lesson. I am a guitarist and you have helped me considerably! Much appreciated. I downloaded the PDF for this lesson. I think that the chart at the top of page four is incorrectly labeling the degrees of the C chromatic scale! Let me know if I am not reading it properly. Thanks again.
Sorry, did you mean the google doc spreadsheet in the description?
The PDF entitled "reharmonizing a song"
Send me the link. I'll have a look.
Walk That Bass www.thejazzpianosite.com/jazz-piano-lessons/jazz-reharmonization/how-to-reharmonize-a-song/
Ah right, just my webpage. Sorry, I don't have it as a pdf so I don't know what chart you are referring to. The acceptable harmonies chart? It's possible that there is just a mistake there.
So when using the chart how do I go about it when playing in another key other than C or if my melody notes isn't revolved around C? Do I just shift it all over? (like moving in half steps when transposing from C to C#?)
muito muito bom obrigado
I wonder when I can change the structure like each section(AABA) or can change every 4 bars 8 bars?
what did you mean at 22:09 when you said "soprano voice"?
Hi can you explain in terms of music theory why the 1 - 5 - 6 - 4 chord progression works so well? how does this chord progression create and resolve tension? Why is it so popular?
it doesn't make sense for me. I.e. 4 is not a dominant (pre-dominant chord) and doesn't resolve as strong as 5 to 1.
many thanks
Sorry for the late reply. I was away on holiday for the last month.
If we look at the harmonic function of those chords (I have a separate video on harmonic functions, if you don't know what these are: th-cam.com/video/Tloy3wGsJ1o/w-d-xo.html), we find that the 6 chord has a 'tonic function' and so effectively is just a substitute for the 1 chord.
So the chord progression is: 1-5-6-4-1 (repeat)
So effectively you're playing a tonic (1), then a deceptive cadence (5-6), then a plagal cadence (4-1), and repeating.
This can be simplified to: 1-5-1(sub)-4-1
So effectively you're playing a tonic (1), then a perfect cadence (5-1), then a plagal cadence (4-1), and repeat
So the reason this chord progression sounds good is because it's just a cycle of repeating cadences. So you build tension with the 5 and 4 chord, and resolve it immediately with the 1 and 6 chord. So this is a very simple chord progression that creates very little tension (especially when only using triads rather than 7th chords) and resolves it immediately. This is why this chord progression is used by lots of pop songs, and is less common in Jazz songs (compared to the II-V-I which builds MORE tension by not resolving to the tonic immediately).
Does that make sense to you?
Wow you never fail to deliver the goods, my friend. I searched all over the internet for an explanation like this but no one could do it... you're a legend!
I just made it easier for myself by framing the progression more in terms of 4-1-5-6 (so that the cadences are clearer 4-->1 & 5 --> 6).
awesome stuff. thanks heaps :)
Hi! I'm wondering if there is any difference in the two concepts, Key Melody Notes, mentioned in this section and Target Notes, mentioned in Passing Notes section. Thank you!^^
Not really. I use the term 'target note' when talking about improvisation - so we target a particular note when improvising so that it sounds good over a particular chord.
The Key Melody Note is the same idea, but it's a already written out note (so we are not improvising) - so we are now picking a chord so that the melody sounds good.
Same idea, just applied in a different context.
Walk That Bass Oh I got it! Really thank you for your kind ansnwer!
i do love learn jazz with your videos but i cant understand it because you speak too fast. please speak slowly.. thanks a lot fpr your tutorial
There are a speed button on youtube :)
Hi! I'm sorry for asking again.
I'm sort of confused of how to increase and decrease tension. As in Jazz Improvisation chapter, I have known that the way to increase tension is to play avoid notes, and to decrease tension is to play chord tone or available tension. But in Some Rules and Tips section, the ways to increase and decrease tension were introduced and they seem to be about higher and lower extensions, and alternations. (Actually I couldn't be sure whether in the expression 'use higher extensions and alterations' 'higher' modifies only 'extensions', or both 'extensions and alterations'.
And what does 'higher' and 'lower' mean in this context?)
So, I wonder what I can understand that aggregatively the way to increase and decrease tension is.
Sorry for my poor English. Thank you very much for your organized theory, from Korea!
Hi,
'Higher' refers just to the extension.
So the 9th is a low extension and the 13th is a high extension.
All 12 notes can be categorised into one of three categories - resolution, low tension and high tension.
Resolution = chord tones
Low tension = available tensions
High tension = avoid notes
So for example for CMaj7:
Resolution = C E G B
Low tension = D F# A
High tension = all other notes
Higher extensions (#11th and 13th) create more tension than lower extensions (9th)
Altered extensions (#9, b13) create more tension than non-altered tensions (9, 13)
Does that make sense?
Walk That Bass Thank you for your reply!
So, do you mean there are 3 points of view, or criteria for categorizing tension?
1. higher vs lower: from b9 through 9 #9 11 #11 b13 to 13, the tension gets higher.
2. non-extension vs extension(EDIT: non-altered tensions vs altered tensions): 9, 11, 13 have lower tensions than b9, #9, #11, b13.
3. chord tone vs available tension vs avoid note: chord tone resolves tention, available tension has low tension, and avoid note has high tention.
Then which one should I choose among the 3 criteria for making tension and resolving it?
And if root note and 5th are 'week harmony', then they seem not to resolve the tension as much as guide tone does, thinking that week harmony weekens the harmony where they are and so you advised us to avoid the week harmony. (So, do you mean that week harmony is used in order to resolve tension, not in key melody note but in passing note?)
They are what I have encountered while studying your theory! Thank you always!
Hey. So this is slightly subjective and different people can have different opinions on what notes create more tension. But personally, I would rank notes from low to high tension as follows:
1. Chord Tone (for C7 = C E G Bb)
2. Natural extensions (9, #11, 13 = D, F#, A --> where 9
Thank you for the reply!
So, can I understand that '2. Natural extensions' refers to notes a step higher than chord tones, and '3. Altered extensions' refers to available tensions except for '2. Natural extensions'?
And so, it seems like generally speaking, in dominant chords there are 1, 2, 3, and 4, but in non-dominant chords are only 1, 2, 4.
Furthermore, I got to wonder how the concept of 'available tensions and unavailable tensions' applies to other scales(modes) like Phrygian mode, Locrian mode, Aeolian mode, and the like. In terms of chord, Phrygian chord seems like m7 b9 b13, so it has b9 and b13, which are unavailable tensions to m7 chord. Locrian chord also has b9, which is an unavailable tensions to m7 chord. so has Aeolian. How could they have the notes, which are avoid notes to m7?
Or should I think all they are different chord types(or, in terms of scale, different scales/modes)?
m7 consists of 1, b3, 5, b7, 9, 11, 13, but Phrygian consists of 1, b3, 5, b7, b9, 11, b13.
They have different notes, so are they different chords/scales/modes from each other?
Just, Phrygian chord is also a different chord type from m7, M7, 7, dim7, or the likes?
Therefore, the fact that Phrygian has b9 and b13, which are unavailable tensions to m7 isn't strange?
And Phrygian chord also has its own available tensions and avoid notes?
.....If it's true, alteration of the tensions in m7, M7, 7, and so on leads to different types of scale/mode?
I wonder how I should understand it....
Sorry for you if I'm bothering you... But I hope you think of it as my pure curiosity:) Thank you!
You're on the right track. Every scale/mode has it's own diatonic chord. It's just that some of them are not 'allowed' under traditional harmony. (but they are allowed in more modern jazz, where you can do anything)
m7 chord consists of: 1, b3, 5, b7, 9, 11, 13
but Phrygian consists of: 1, b3, 5, b7, b9, 11, b13
Which means we cannot convert the Phrygian mode into a m7 chord (it would have unavailable tensions).
(in practice, we instead turn the Phrygian mode into a susb9 chord. See here: th-cam.com/video/l04hsDh2XB4/w-d-xo.html )
These unavailable tensions (or avoid notes) can be played as quick passing notes over the m7 chord, but should not be over-emphasised (they are AVOID notes, after all).
If you haven't already seen it, watch my 'Overview of Jazz Theory' video - I explain avoid notes and provide some context there: th-cam.com/video/WzLBA5kCP1w/w-d-xo.html
Is the piano a bit detuned?
Yeah, he uses a digital piano in his newer videos.
Thank you for this wonderful lecture! I love your logical explanations!
By the way I wonder why in some chord types the rule of the strong harmony and unacceptable harmony are kind of different from in other chord types.
According to your Chord lesson, to non-dominant chords, which have no tritone between 3rd and 7th, available tensions are notes a step higher than the chord tones and the other tensions are unavailable tensions. It works well in M7, m7 mM7, m7b5, and dim, and well in 6, m6, thinking the 6ths are their chord tones taking the place of 7th.
In dominant chords, which have tritone in between 3rd and 7th, unavailable tensions are the notes a half step higher then 3rd and 7th and the other tensions are available tensions. It works well in 7, 7sus(supposed 4th is a chord tone).
But the rules applied to 7+ and M+ seem different from them in your Acceptable Harmonies table.
In 7+, I can understand why #5 is a strong harmony, because #5 is a chord tone and why 11 and 7 are unavailable tensions, because 7+ is a kind of 7 chord, which has a tritone, so the unavailable tensions are notes a half step higher than 3rd and 7th. But I don't get why 5 is also an unavailable tension.
In addition, in M7+, I wonder why b7 isn't an available tension even though it is a step higher than the chord tone #5.
Sorry for my poor English. And thank you a million in advance!
Hi,
So available tensions are somewhat flexible and subjective.
For the 7+ chord - you could argue that the natural 5 is an available tension. Much like the 3 is an available tension over a 7sus chord. But then it's important to play the 5 (double #11) above the #5, so the chord definitely sounds like a #5 chord, and not a nat5 chord. So I'm open to this.
For the M7+ chord - you're generally not allowed a b7 and a nat7 in the same chord. Then the chord quality becomes confused. Is this a dominant chord or a Major chord? The chord will just sound a bit confused. Having said that, in more 'modern' and 'contemporary' Jazz, you're allowed to have any combination of notes you like - so a M7b7#5 chord, could be possible. But for 'traditional' music theory, this should generally be avoided.
Does that help?
Walk That Bass It really helps! Thank you!:)
My reharm of 4:33 is sitting with a guitar for 4 and a half minutes instead of a piano
I mean...technically, isn't *every* performance of 4'33" a "reharmonization" of sorts?
i tried looking at the google document, if i chose a E as key melody note and chord Gm7 should fit, but it sounds completely off, i cannot understand the rules even tho i've red them. Gm7 is green, but there is no E note in the gm7. Wasnt the point that the E note should be in the chords that are chosen or is that not the case?
EACH BAH
Here's a link for a reharmonization of John Cage's 4'33'':
Just kidding, loved the reference there