Was doing that while in college, but one of my classical teacher told me this was bad because it wasn't tonnally fonctionnal. Won't get influenced so easily next time, this is full of harmonic discoveries.
Great lesson! It’s great that the method I originally used to start reharmonizations is a similar method of yours. I would literally try whatever chord while keeping the melody in tact. It’s an interesting journey for sure. Lol
For those of us that practive music theory on weekends, does anyone know a midi plugin that can do or can be programmed to do similar? Or if there are none , is anyone interested in making it? I am imagining a plugin that will evaluate a lead melody. In this example, the bass follows the beat of the mellody. But, in theory, if the bass beat is off (which usualy is the case), it coud still 'follow' Nicholas' or other's recipe. If I were to make it, It would also play or generate the cord inversions in a specific style (similar to what scaler does), etc?
What a fantastic drill. How does one gain the ability to assimilate chords into both hands at the same time (spontaneously), as opposed to a basic melody in right hand, chords in left hand, kind of approach?
I've been wanting to break out of basic, vanilla chords so bad and this exercise illustrates how seamless and free this stuff can be. Now I just need to learn more chords... Ayy, check out Maxo / Max Coburn on Soundcloud. His chord work is ridiculous. I think you might dig it.
I wish I could do 1% of what he does but I don't even know where to begin. At times to me it sounds like a mad mess of random chords that magically work together somehow. Is there more to this chaotic style of chord writing that may not be obvious to an intermediate level musician? Any tips on where to start? Thank you in advance.
@@jkvasn Thanks for the kind words. I just checked that dude out, and yes, there are definitely a lot of random chords. There are lots of other styles that do this type of chord content (gospel comes to mind). I think after working on these things for awhile, you start hearing "groups" of chords instead of each individual chord, and that makes the thought process a bit easier. This is a great question, and I may do a tutorial on this at some point. Keep an eye out.
This is awesome! I have a question though. How do you apply this when jamming with a bass player? If he’s on the 1, for example, would you still apply the chromatic bass movement on the keys?
Great question. This drill is meant mainly to train you to latch on to the thought process that any bass note and be combined with any melody note and there will be some subset of chords that can be played. Though you won't necessarily be always able to move roots if the bass player ISN'T moving (ie...the above reharm theory doesn't usually mesh with a bass player unless your "root" is in the middle of the keyboard and not interfering with his/her frequencies), what this drill WILL train your mind to do is to be able to combine any bass note that you hear with any melody note that you want to play in a more confident manner.
Nicholas Semrad thank you! That makes sense. Keep putting out the great content. You’re one of my favorite players. Please come to Chicago again soon 🎹🤘
Thank you Nicholas. I'm going to putting myself in it. I like the way you resolve the sound of the upper note over a bass half step below (es. G note/ F#). You used a voicing like this (Eb/F#) that sounds me like a dominant cord with a dimished sound. Really tasty sound, because in that passage I was not convinced to use G or Gm or C triad over F# bass. But I've got a question, when I started to play chromatic bass (descending/ascending) I felt the necessity to create a state of tension and release in the upper voicing. Do you recommend me to "think" like this? How do you approach with it? Thank you bro, Greetings from Italy!
Honestly, you can think of it in any way you want. The movement is all that really matters! If you're feeling a desire to create "tension-and-release moments", you should do it! I usually don't even think about the "release" until I get to the voicing that I'm aiming for at the end, so there'll be lots of dissonance in the middle. Thanks for watching!
Hey Nick! amazing video - is it a general rule of thumb that the bass "needs" to follow a certain pattern? Is it the case that, were you NOT to follow a pattern, the reharm would lose all sense of musicality, which is especially problematic seeing as the reharm is sorta atonal. Thanks!
Do you have any guitarists that come to mind who are super good at this? IDK if it works this way for piano players but I will hazard a guess that for you, keeping the bass and the melody under the same fingers is a lot more straight-forward than for fretted instruments, so you're freer to make interesting chord choices with your other fingers, whereas if I'm changing the chords up in this way I can't just say "the melody is always on my pinky and the bass is always on my index" for example. Or maybe I can, after a much smarter guitar player that you point me to shows me how.
It also might just be the case that I don't get to separate the bass and melody that way, that's fine whatever, guitar is weird. I have 5 middle Cs, they're all too far away from the bass anyway. I just want to know which headspace to be in, know what I mean?
@@TypingHazard You're totally correct....guitar works in a way that makes this process a slight pain in the ass. I think the best 2 re-harm guitar players in my eyes are Isaiah Sharkey and Jonathan Dubose. Start there and let me know what you think =)
Question for Nick: do you give much thought to maintaining a consistent number of voices while you're playing through a progression like this? Seems like 5-6 voices are more or less interchangeable without it feeling like the density changes too much
That's a great question, but I don't think that hard about any sort of rules when playing these chords. Whatever sounds good sounds good to me, I guess =).
Nicholas Semrad just revolutionized the way I think about music. And he did it in plain English. Thank you.
You gotta do more of these, Nick. Love hearing your thought process. So tasteful and yet technically sound.
I'm glad you dig them!
This is one of the most practical ways of explaining reharmonization Ive ever heard.
My life just changed.
hahaha fuck xD
Concerned about the false octaves with the tritone sub. A simple escape tone would make it work. melody D C and Bass Db to C
This is my favorite video on reharmonization of the many out there. Thank you!
This is literally the most beautiful video i have seen in waaaaaaaaaaaaaaaaaay too long. Thanks buddy :)
Amazing bro! You're the best.
Your way of using the prophet and synths is an inspiration for our generation!
I wish I had this video 20 years ago, but I'm glad it's here now.
really dig this. makes this topic very approachable. thanks man
Awesome, just opened Many doors within my musical mind. Thanks for an amazing tutorial!
Was doing that while in college, but one of my classical teacher told me this was bad because it wasn't tonnally fonctionnal.
Won't get influenced so easily next time, this is full of harmonic discoveries.
Ha I love the intro. Thanks.
I love your production style. Its fresh and funny. Keep it up.. you Rip.
Thanks a ton!
Listening to this at 0.5x playback speed sounds like Nick's just drunkenly stumbling onto some beautiful chords... amazing!
Love these!
Nick new fan here! We need more!!! You are absolutely incredible!!!
Bro that was beautiful! Thanks for sharing and educating.
thank you !
Hi Nick.... right now I'm doing a standing ovation!!!!! Thaaaaaaanks!!!
Great concept and example ! thanks for the tutorials!
Thanks sir Nicholas! I'll definitely try this soon and tag you.
i just subscribed straight up... men you just killed it
You presented it sensational! It is very valuable to me. Thank you !!!
FANTASTIC!
Yeh! You put out such great content... Really been enjoying the grid kids episodes too!
Amazing! Also, gotta love the editing
Yes and yes.
Subscribed with notifications on. Excellent video.
Many thanks for your time good sir.
So good Nick! Thank you.
Nick, you're a beast !
Thank you so much. This has really opened my eyes to how rehamonization works! Stay safe!
Thank You! Very useful concept for instant reharmonization.
Great video. I liked & subscribed!
Great lesson. It's a real ear-opener. I love your emphasis on experimentation. Beautifully presented.
Loved this video! Keep them coming
More lessons plz! 🙏
So stoked on this, great video!
Nick, that’s awesome! Thanks a lot, from Nick Semkov 🤝👍
Man, you are one of my musical heroes, this videos are dammn usefull and so funny to watch. Please keep doing them. This are awesome!!!!
Great lesson and great way to practice being creative.
Thank you so much the great lessons🙏🏽
Can you do a video on the basics of funk harmony and piano technique?
Thank you very much for this lesson :)
Really useful!! Thanks. You Are great!
Nice.
wow this is just amazing. I am going to go practice. Now. thank you!!
Very good video
Great !!!!
Master yoda!
Cool!
Diz iz zow owzam! Nicholas iz zow owzam!
Fantastic! ❤️🙏🏿🎶🎼
Maaan !! i'm new follower and please just more of videos like this !!
Both interesting and funny ;) cool!
Great stuff!
Great lesson! It’s great that the method I originally used to start reharmonizations is a similar method of yours. I would literally try whatever chord while keeping the melody in tact. It’s an interesting journey for sure. Lol
Super!! I hope I learn this stuff some day)))
thanks sir
Thanks! Great concept !
What do u know
Please make more tutorial about jazz Bebop Piano.. thanks
Great bro. how can I get those materials
For those of us that practive music theory on weekends, does anyone know a midi plugin that can do or can be programmed to do similar? Or if there are none , is anyone interested in making it?
I am imagining a plugin that will evaluate a lead melody. In this example, the bass follows the beat of the mellody. But, in theory, if the bass beat is off (which usualy is the case), it coud still 'follow' Nicholas' or other's recipe. If I were to make it, It would also play or generate the cord inversions in a specific style (similar to what scaler does), etc?
Yooo Ive found the absolute legend
Usefull 👍
Amazing stuff 👌🏽
Thank you so much for this!!!
"Hey, Nicholas. Phone for you"
"Who is it?"
"Churchy B!"
Thank you sir
Wowww..Love Like you play
What a fantastic drill. How does one gain the ability to assimilate chords into both hands at the same time (spontaneously), as opposed to a basic melody in right hand, chords in left hand, kind of approach?
Thank You Very Much Sir 😃😃
Question: how do you choose if a chord should be major or minor? in the Left Hand
I love the funny vibes you included in this video..great idea though
I've been wanting to break out of basic, vanilla chords so bad and this exercise illustrates how seamless and free this stuff can be. Now I just need to learn more chords... Ayy, check out Maxo / Max Coburn on Soundcloud. His chord work is ridiculous. I think you might dig it.
I wish I could do 1% of what he does but I don't even know where to begin. At times to me it sounds like a mad mess of random chords that magically work together somehow. Is there more to this chaotic style of chord writing that may not be obvious to an intermediate level musician? Any tips on where to start? Thank you in advance.
@@jkvasn Thanks for the kind words. I just checked that dude out, and yes, there are definitely a lot of random chords. There are lots of other styles that do this type of chord content (gospel comes to mind). I think after working on these things for awhile, you start hearing "groups" of chords instead of each individual chord, and that makes the thought process a bit easier. This is a great question, and I may do a tutorial on this at some point. Keep an eye out.
@@NickSemrad Thank you for taking the time to answer my question. I look forward to seeing more great content on your channel.
Can we add any degree which we want??
Can you do a tutorial on how to add which extensions during regular songs?
Sheeeesh!
Hello,brooo,this,is,awesome
Amazing 😍🔥
What would you recommend for learning the different types of chords....e.g. expanding chord vocabulary so we have options to select on each base note?
Dominant 7ths in the bass is a good place to start..
This is awesome! I have a question though.
How do you apply this when jamming with a bass player? If he’s on the 1, for example, would you still apply the chromatic bass movement on the keys?
Great question. This drill is meant mainly to train you to latch on to the thought process that any bass note and be combined with any melody note and there will be some subset of chords that can be played. Though you won't necessarily be always able to move roots if the bass player ISN'T moving (ie...the above reharm theory doesn't usually mesh with a bass player unless your "root" is in the middle of the keyboard and not interfering with his/her frequencies), what this drill WILL train your mind to do is to be able to combine any bass note that you hear with any melody note that you want to play in a more confident manner.
Nicholas Semrad thank you! That makes sense.
Keep putting out the great content. You’re one of my favorite players. Please come to Chicago again soon 🎹🤘
Wow
non functional harmony sounds so cool (cool video btw)
Pls we need more...😭
🤯
A superb musician, and everything was brilliantly well explained - bravo!
I like the intro 😂hello future superstar internet type
Thank you Nicholas. I'm going to putting myself in it. I like the way you resolve the sound of the upper note over a bass half step below (es. G note/ F#). You used a voicing like this (Eb/F#) that sounds me like a dominant cord with a dimished sound. Really tasty sound, because in that passage I was not convinced to use G or Gm or C triad over F# bass.
But I've got a question, when I started to play chromatic bass (descending/ascending) I felt the necessity to create a state of tension and release in the upper voicing. Do you recommend me to "think" like this?
How do you approach with it?
Thank you bro,
Greetings from Italy!
Honestly, you can think of it in any way you want. The movement is all that really matters! If you're feeling a desire to create "tension-and-release moments", you should do it! I usually don't even think about the "release" until I get to the voicing that I'm aiming for at the end, so there'll be lots of dissonance in the middle. Thanks for watching!
Hey Nick! amazing video - is it a general rule of thumb that the bass "needs" to follow a certain pattern? Is it the case that, were you NOT to follow a pattern, the reharm would lose all sense of musicality, which is especially problematic seeing as the reharm is sorta atonal. Thanks!
Show irmão.
Saudações brasileiras
Do you have any guitarists that come to mind who are super good at this? IDK if it works this way for piano players but I will hazard a guess that for you, keeping the bass and the melody under the same fingers is a lot more straight-forward than for fretted instruments, so you're freer to make interesting chord choices with your other fingers, whereas if I'm changing the chords up in this way I can't just say "the melody is always on my pinky and the bass is always on my index" for example. Or maybe I can, after a much smarter guitar player that you point me to shows me how.
It also might just be the case that I don't get to separate the bass and melody that way, that's fine whatever, guitar is weird. I have 5 middle Cs, they're all too far away from the bass anyway. I just want to know which headspace to be in, know what I mean?
@@TypingHazard You're totally correct....guitar works in a way that makes this process a slight pain in the ass. I think the best 2 re-harm guitar players in my eyes are Isaiah Sharkey and Jonathan Dubose. Start there and let me know what you think =)
Subscribing! I did want to hear an exquisite rendition, tho! Thank you, beautiful!
Love you much
CAN YOU PLZ DO SOME “REHARMONIZATION” PREACHING CHORDS!!!!
Question for Nick: do you give much thought to maintaining a consistent number of voices while you're playing through a progression like this? Seems like 5-6 voices are more or less interchangeable without it feeling like the density changes too much
That's a great question, but I don't think that hard about any sort of rules when playing these chords. Whatever sounds good sounds good to me, I guess =).
That G7 over B had a churchy vibe to it too sweet voicing though
Thanks.. for the comedy 😂
I will NEVER look at the "Happy Birthday" song the same EVER again