Hey there, I hope you enjoyed the video and try out some of the chord techniques. Here is a link to Lalal . ai if you'd like to try it out. link: www.lalal.ai/?fp_ref=alex82
ive been waiting for more people to build on that idea from adam, “jazz impressionism” the video had me looking at different impressionist painters and listening to wayne all week, thank you so much for this video
I fell in love with this kind of music as a young and mostly musically illiterate listener. It must have made some intuitive sense to me, or I wouldn’t have listened so persistently, but even now, something like Nefertiti can seem like black magic when I try to pick it out by ear. This really helped pinpoint what I must have been picking up on some level and this is a great framework for exploring in greater depth, but also in a way just adds to the appreciation of the unfathomable genius of these musicians. Sincere thanks.
Very well presented intriguing concepts! Thank you Alex. So many possibilities again to keep an arrangement interesting and "spicy". The use of "AI" tools will increase a lot in all areas. We'll see what we gain and what we loose.
I see that you and I have a similar harmonic concept; but I base it not on the work of Ron Miller, but on the Soviet musicologist Yuzef Kon; who, in the context of decomposition of functionality, proposed a mathematical algorithm for an alternative analysis of the relationships of tensions and relaxations in chord progressions in the music of A. Schoenberg and Alban Berg based on three parameters: chord saturation (interval structure), chord position, chord register (1967).
@@gilevansinsideout If there is someone in your area who can translate Yuzef Kon's article from Russian, I can send you a PDF of the almanac containing it. ru.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD,_%D0%AE%D0%B7%D0%B5%D1%84_%D0%93%D0%B5%D0%B9%D0%BC%D0%B0%D0%BD%D0%BE%D0%B2%D0%B8%D1%87
Great video (as always)! Could you follow this up with more on chord progressions as they relate to reharmonization? I sometimes pick chords for color and have a hard time making them work functionally in a progression. I'd love to hear your insight on this topic!
Oh yep. That sounds like a good idea. Can you expand on what you mean by ‘making them work functionally’? As usually when you’ve selected a new chord it tends to fit within the progression already.
@@gilevansinsideout, I'll try. As a singer and player of other melodic instruments, I'm particularly interested in how a melody note interacts with the underlying harmony of the moment. You can convey so many different emotions! Sometimes, to punctuate a word in the lyrics, I choose a chord *only* be the emotional impact that I feel it has in relation to the melody notes of the moment. This can get me into trouble, because I wasn't actually looking at the "function" of the chord in tonal Western music. There's one particular jazz reharmonization I've been struggling with. My last pass at it got some great color at the appropriate moments, but when I showed it to a few jazz musicians, they weren't convinced it worked. I clearly need to rework it again, but I'm at a loss for where to begin this time.
Mmm sounds interesting. A lot of the progressions in Wayne’s and herbies music don’t ‘work’ either. So it might be a case of setting up a more modern sound or context from the start of the tune. Like I usually mention in my harmonising videos and you say in your comment , the bass line is important! Consider the interval to the melody and ‘melody’ of the bass
Hey there, I hope you enjoyed the video and try out some of the chord techniques. Here is a link to Lalal . ai if you'd like to try it out. link: www.lalal.ai/?fp_ref=alex82
ive been waiting for more people to build on that idea from adam, “jazz impressionism” the video had me looking at different impressionist painters and listening to wayne all week, thank you so much for this video
Oh thank you 😃
great! i really love the arrangements on herbie's speak like a child album. its amazing how he can achieve such color with only three horns!
Yeah, it’s a nice album isn’t it?
I fell in love with this kind of music as a young and mostly musically illiterate listener. It must have made some intuitive sense to me, or I wouldn’t have listened so persistently, but even now, something like Nefertiti can seem like black magic when I try to pick it out by ear. This really helped pinpoint what I must have been picking up on some level and this is a great framework for exploring in greater depth, but also in a way just adds to the appreciation of the unfathomable genius of these musicians. Sincere thanks.
Thank you! Yes it is interesting music isn’t it? Glad to have helped
i’ve been a fan of your channel for years now, love your content and it just keeps getting better
Thank you! I’m always happy to hear suggestions about what you’d like me to cover
This is wonderful! More videos in this vein please.
Excellent thank you
Glad you liked it
THANK YOU SO MUCH I’ve been looking for a video exactly like this for so long!!!!
Great 😊
Your videos are amazing, please please keep up the content you are doing blessed work.
Thank you so much!
Thanks!
Another in-depth, engaging and highly effective resource! This is wonderful! 🔥🎷
Thanks 😊
Very well presented intriguing concepts! Thank you Alex. So many possibilities again to keep an arrangement interesting and "spicy". The use of "AI" tools will increase a lot in all areas. We'll see what we gain and what we loose.
Thank you. Yes indeed we’ll see what we lose/gain! 😀
Hey Alex, I've been thinking about understanding jazz harmony better and trying to use it more in my music, and your video pops up. Nice one!
Hey Tom! Oh cool, yeah I thought someone like you might enjoy this different look at harmony
Ron Miller's books are great!
They are!
I see that you and I have a similar harmonic concept; but I base it not on the work of Ron Miller, but on the Soviet musicologist Yuzef Kon; who, in the context of decomposition of functionality, proposed a mathematical algorithm for an alternative analysis of the relationships of tensions and relaxations in chord progressions in the music of A. Schoenberg and Alban Berg based on three parameters: chord saturation (interval structure), chord position, chord register (1967).
Oh I’m not sure if I have read that persons work! I’ll check it out, as I’ve read quite a lot on Schoenberg 😄
@@gilevansinsideout If there is someone in your area who can translate Yuzef Kon's article from Russian, I can send you a PDF of the almanac containing it.
ru.wikipedia.org/wiki/%D0%9A%D0%BE%D0%BD,_%D0%AE%D0%B7%D0%B5%D1%84_%D0%93%D0%B5%D0%B9%D0%BC%D0%B0%D0%BD%D0%BE%D0%B2%D0%B8%D1%87
Oh wow. I know some Russian speakers, but not that well. I’ll look him up though
Great video (as always)! Could you follow this up with more on chord progressions as they relate to reharmonization? I sometimes pick chords for color and have a hard time making them work functionally in a progression. I'd love to hear your insight on this topic!
Oh yep. That sounds like a good idea. Can you expand on what you mean by ‘making them work functionally’? As usually when you’ve selected a new chord it tends to fit within the progression already.
@@gilevansinsideout, I'll try. As a singer and player of other melodic instruments, I'm particularly interested in how a melody note interacts with the underlying harmony of the moment. You can convey so many different emotions! Sometimes, to punctuate a word in the lyrics, I choose a chord *only* be the emotional impact that I feel it has in relation to the melody notes of the moment. This can get me into trouble, because I wasn't actually looking at the "function" of the chord in tonal Western music. There's one particular jazz reharmonization I've been struggling with. My last pass at it got some great color at the appropriate moments, but when I showed it to a few jazz musicians, they weren't convinced it worked. I clearly need to rework it again, but I'm at a loss for where to begin this time.
Mmm sounds interesting. A lot of the progressions in Wayne’s and herbies music don’t ‘work’ either. So it might be a case of setting up a more modern sound or context from the start of the tune. Like I usually mention in my harmonising videos and you say in your comment , the bass line is important! Consider the interval to the melody and ‘melody’ of the bass
Could you do an analysis of the whiplash pieces like too hip to retire, overture for whiplash, first rehearsal, upsingin
Hey there, oh I’ve seen the movie but don’t know the exact pieces. I’ll check them out
@@gilevansinsideoutplease please please😭those pieces are fenomenal jazz big band writing
i love how the section are utilized and the armonizations
Are the scores available anywhere?
I tried to check but i didn’t find it, for too hip to retire there’s a score on musescore but i think it’s not the same as the original
Thanks
What is the program that you use to transcribe?
Hey there. Its called Lalal.ai link: www.lalal.ai/?fp_ref=alex82
It's called Lalal. link: www.lalal.ai/?fp_ref=alex82
great explanation of this non-functional harmony
Thanks
weird click at about 50 seconds in. might wanna check it out
Oh yeah I heard it. Very weird.
BAss¡