This is a masterclass in making powerful moves with simple chords. How to use the voicings of Sick Chords. Kinda like when the piano teacher had to tell us to slow down to work through a part we didn't get so we could get it "under finger" / in the brain. Making synapses and pathways to latch on and retain. Thanks Jeff.
A lot of times I work on learning new chord progressions and find that while I'm reading that it's a C13 (or whatever) I have no idea how to voice it to get the feel I want. I guess there isn't a short-hand method to indicate the exact voicing of a chord when writing the chord in a progression (which becomes more and more significant as the number of notes increases).
I’m pretty new to music theory however I’m trying to see if you can answer this question. I understand that the more extensions you add to a chord and the more dissonance you add the jazzier it sounds. What makes a chord progression inherently Neo soul or gospel. What about the Harmony makes it identify as that genre?
A new door opens! Thank you! Did you just try any chords that could support the melody on the top rather follow some theoretical pathway (e.g., ii-V-I, flat5 sub, back door turnaround, false cadence, etc.). It’d be great if you could do a whole album of these. I think Bill Evans, Jim Hall and Howard Morgen did a few folk songs with this kind of treatment.. And I think the songs might be in public domain (no rights costs). Didn’t “Twinkle” come from Mozart?
I used a little bit of functional harmony to come up with the progression, but a lot of it was just using voicings that I like. Voicings > Progressions!
![5 Levels of Gorgeous Soulful Reharmonization [Neo Soul / Jazz Piano Lesson]](http://i.ytimg.com/vi/Qblx3R4ZdeM/mqdefault.jpg)
You’ve been on a roll this week, Jeff! I purchased your “sick chords” a while back, and love it. Keep them coming!
This is a masterclass in making powerful moves with simple chords. How to use the voicings of Sick Chords. Kinda like when the piano teacher had to tell us to slow down to work through a part we didn't get so we could get it "under finger" / in the brain. Making synapses and pathways to latch on and retain. Thanks Jeff.
Jeff, I’ve been following you for a few years and all I can say is that you’re amazing… you’re an amazing music teacher…
So cool, I can't get enough of seeing such cool reharmonization!
This is Fire!!!!!!!!!
This is great ....thanx!!
Really nice progression and great use of shell voicings. Love this. 🙏
Muchas Gracias !
Very cool~🎹🎶
That's right. Everyone’s favorite! 😄.That's right, give them a new jam.
can you do a brain mcknight chords video?? i would love to see that!
A lot of times I work on learning new chord progressions and find that while I'm reading that it's a C13 (or whatever) I have no idea how to voice it to get the feel I want. I guess there isn't a short-hand method to indicate the exact voicing of a chord when writing the chord in a progression (which becomes more and more significant as the number of notes increases).
Sometimes the chord symbol can inform the voicing, but to really get exact, you gotta go the sheet music route.
@@JeffSchneiderMusic good call! Great vid as always, inspiring to say the least
lmao this sounds like something that would be on hey arnold! lol I love it
I purchased 😎
I’m pretty new to music theory however I’m trying to see if you can answer this question. I understand that the more extensions you add to a chord and the more dissonance you add the jazzier it sounds. What makes a chord progression inherently Neo soul or gospel. What about the Harmony makes it identify as that genre?
It says it's maj 7 - min7 and dominant 7, do you include the other alterations as well?
Man came with them gospel chops
What program / VST and FX do you use to get that Narley Rhodes? 😀
Keyscape!
@@JeffSchneiderMusic
Sounds nice with the slow tremelo and a hint of chorus and reverb ✨
A new door opens! Thank you! Did you just try any chords that could support the melody on the top rather follow some theoretical pathway (e.g., ii-V-I, flat5 sub, back door turnaround, false cadence, etc.).
It’d be great if you could do a whole album of these. I think Bill Evans, Jim Hall and Howard Morgen did a few folk songs with this kind of treatment.. And I think the songs might be in public domain (no rights costs). Didn’t “Twinkle” come from Mozart?
I used a little bit of functional harmony to come up with the progression, but a lot of it was just using voicings that I like. Voicings > Progressions!
taking us to church while putting us to sleep w/ lullabies lol
haha! love that
I feel like J Dilla would dig this.
uhmmm, well... yeah, ok
he's still got it!