I am blown away by the aesthetic and quality of this video. I could honestly watch hours and hours a day of just this format. Beautiful video with an incredible design direction. Also loving the pacing of the examples and how nicely you've collected ideas together into a video. Thank you!
I absolutely agree Erik. I'm a guitarist and even so, just the theory behind it is so interesting. And as with most music theory, if you think about it hard enough, it all makes sense!
The "glitch" should be on the background though, not the keys, it makes it difficult to watch for those who can't see too well, I'm 3 minutes in and I've had to stop watching and just listen.
@@vigilancebrandon The keyboard shakes, but the background doesn't. If the keyboard is the focus of attention it shouldn't move. It messes with my eyes and I had to stop watching.
I have been watching Jeff's videos for a while now, and am always impressed with his great clarity within increasing layers of harmonic complexity. Watching, listening, and following along with this and his other videos you can really internalize and integrate the principles of sophisticated reharmonization that will influence the way you play, arrange, and compose. Thank you Jeff for sharing your knowledge with us. You are a talented teacher.
This reharmonization makes it sound more like traditional gospel. It feels like when the pastor does the alter call and start praying for everybody one by one.
I suspect Jeff can play these beautiful harmonies on the fly, and you have to marvel at this level of improvisational skill. It’s fascinating to see how church pianists develop these gorgeous harmonies around the hymns that the listeners have heard and sung countless times over in church.
in this day and age youtube has a paralysing number of music info + resources, but few make it so clear to learn as you - my thanks + respect to you from Australia!
Been trying to find theory stuff for a long time cause I’ve learned so much that’s on RUclips. This video is exactly what I’m looking for to advance my skills. Thanks man!
Great video! I often find myself figuring out fancy chords and progressions but I usually don‘t know where they‘re coming from / the theory behind it. Videos like this one really help to get a better understanding of cadences and micro-transpositions. Keep it up!
It's amazing how gracefully these concepts are explained, but although I understand the reason behind using these chords and cadences, I don't always get why or how you choose the quality of the chords (that's to say, why you would use an 11, or flat 5, etc. other than to simply accomodate a melody note). But that's a footnote at the base of this incredible jazz crash course you constantly expand with each video. I'd just like to say thank you, for the knowledge you've gifted me and many others.
It's the same concept of a II - V - I progression, except applied to the key of D minor, implying what's called a "modulation" to D minor in the progression.
@@SquidBlue Kinda disagree with you because the chord C/E is a C major chord in first inversion or a C major chord with bass of E which is not the second degree of D minor if this was the 251 in D minor it will look more like this Eminor7b5 A7alt Dm11 In this case the progression he used is the 751 which is kinda similar to the backdoor progression which is 471 so I believe it's a mixture of both? Not really sure but this is not the 251 in D minor
@@abdulalshibly3930 Yeah I'd say the C/E is sort of substitution for a ii but definitely still implies it because of the E A D in the bass, and C triad has the shared note G with an E minor triad (the minor third)
@@SquidBlue You're actually totally right that bass is what really holding the 251 didn't notice it. I was learning theory and there's this new idea: you can resolve the dominant chord on a relative major/minor from the tonic. i.e. G7| Cmaj7 is a regular 5 1 G7| Am7 is not a regular 5 1 that's the idea the Amin7 is the relative minor of Cmaj7 so if you think about it you can actually use the same ideas in modes like resolve the dominant of C on Dmin or Emin. Where I'm getting with that idea is maybe he used a similar concept to make the substitution from Emin7b5 to C/E Or maybe he just played the bass E to keep the 251 together and played another triad in the right hand and this is actually somehow very effective so I think he just did that there isn't always theory to explain everything but it's good to know it's out there to help ya. Thanks man for mentioning the bass part never noticed it
these reharms are very practical, thanks. I always used to think they were these crazy stuff (which are also cool) but I like how you explain them to make sense... I don't know many other people who ould explain concepts to us like that... thanks Jeff
This video is brilliant. So easy to follow. Please can you do a video like this for the 7-3-6 chord progression. I have heard gospel pianists use it but would really appreciate you explaining it with the kind of detail you did in this video. Thank you for the awesome videos Jeff.
@@Afiplaysmusic Hmmm. Did not think of it like that. Thanks.😊 Hopefully Jeff will shed more light on this and how we can think of these progressions and using them in context (and fingers crossed with some phat voicings.😄)
I like the terms transitions and arrivals, I always use tension and resolution with my students but I may have to co-opt that term. Great video, thank you
I learned a lot from this. I've known about V-I cadences and tritone subs for a long time, and can see/analyze them in songs that I learn, but a vid like this (like lots of your vids) helps me see how to actually use them creatively. Thanks.
GbMaj7 has more of plagal vibe (IV minor-ish). Same for the C7sus4 (basically Bb/C). It is a more appropriate sound for the melody. Of course, you know that and are trying to make things simple, but I felt it was a good nuance to make.
Steven Jonathan my heart was filled with so much joy when i first heard that, it's such an amazing transition there at the end, it's so good. these chords do something to me.
More, more, more of this, please. I really enjoy hearing (but don’t yet know how to do) reharmonizations of country songs a la Lenny Breau, Joe Pass, Oscar Peterson et al. (I’m a guitarist.)
this is super awesome man, i began watching all your videos. First i didn't get anything what was happening, but slowly and surely it's all sipping in ma brain haha. Love it man! Thank you so much for doing these!
The b9 Maj7#11 (as a tritone substituted V) to I(add9) is such a beautiful, iconic cadence - I think it works so well because the Maj7#11 of b9 is basically just a sus4 of I with the tension of a b9 in the bass, thus evokes that lofty, classical sus4-Maj flavor, but the suspension of the 4 is given even more momentum resolution with the lower b9. I think the first time I fell in love with that cadence must have been as a little boy with John Miles' "Music", and it'll never not be "that 'Music' cadence' for me :)
Jeff ..was talking to a piano tuner..we were exchanging licks..he hit a chord.. My ears perked up.. Actually I think it was precious lord take my hand..but it works on Amazing grace. It was the voicing of the F9#5. You almost played it. Try voicing the F9#5. ..with a B in the left hand.. Right hand will start withA below middle C. Also included Db Eb G..so thinking in terms of the. F scale ..F G A Bb C D E F (G)..this chord can interpreted in several ways. A is Maj 3 Db is the b13 or #5 the Eb is b7 and the G Is the ninth. Now this.chord is now one of my favorite altered chords. The G on the top has a strong pull down to F. The Db will pull to D The Eb will pull to D also..the A is mag3 of F. So this F9#5 is amazing. Also can server as modulation tool.
!["Amazing Grace" Modern Jazz Reharm [Part 2]](http://i.ytimg.com/vi/bus3Fsj6Uvk/mqdefault.jpg)
Finally, someone who is knowledgeable and has concise explanations.
Wow so cool!! I'm loving this keyboard look 😊
Thanks, Nahre!
This is my favorite video on jazz reharmonization. Each time I feel stuck (which happens a lot), I come back to this video. Thanks Jeff!
I am blown away by the aesthetic and quality of this video. I could honestly watch hours and hours a day of just this format. Beautiful video with an incredible design direction.
Also loving the pacing of the examples and how nicely you've collected ideas together into a video. Thank you!
Dont usually comment but, this video opened my eyes.
I absolutely agree Erik. I'm a guitarist and even so, just the theory behind it is so interesting. And as with most music theory, if you think about it hard enough, it all makes sense!
Love the skewed perspective piano. Graphics from directly above are so hard to actually follow. This feels much more natural
The "glitch" should be on the background though, not the keys, it makes it difficult to watch for those who can't see too well, I'm 3 minutes in and I've had to stop watching and just listen.
Andy Nicholson what do you mean?
I wonder what software that is he is using?
@@vigilancebrandon The keyboard shakes, but the background doesn't. If the keyboard is the focus of attention it shouldn't move. It messes with my eyes and I had to stop watching.
Andy Nicholson wow I didn’t even notice
Brilliant. I quickly went from just watching to playing along my piano. Thanks for sharing this!
I have been watching Jeff's videos for a while now, and am always impressed with his great clarity within increasing layers of harmonic complexity. Watching, listening, and following along with this and his other videos you can really internalize and integrate the principles of sophisticated reharmonization that will influence the way you play, arrange, and compose. Thank you Jeff for sharing your knowledge with us. You are a talented teacher.
Learning that much in about 10 minutes, that's awesome. Thank you!
This keyboard visualization is fantastic. Your videos are always so packed with theory, but I found this one easier to follow than most.
Best teacher in the world
III - VI - II - V - I = ‘The Schneider Order’ to watching Star Wars for the first time
Best comment of the year
@GianCalvii which is?
KS the original
May the 4th's be with you
This reharmonization makes it sound more like traditional gospel. It feels like when the pastor does the alter call and start praying for everybody one by one.
Been playing for 14 years and doing gigs sometimes, but there's some new stuff here and it's EXACTLY what I needed thanks :)
Thanks Jeff...this video demystifies the piano.
This is really nice. Can’t wait for Part 2.
Love this format! More please
That format is just perfect! Thank you!!
I suspect Jeff can play these beautiful harmonies on the fly, and you have to marvel at this level of improvisational skill. It’s fascinating to see how church pianists develop these gorgeous harmonies around the hymns that the listeners have heard and sung countless times over in church.
in this day and age youtube has a paralysing number of music info + resources, but few make it so clear to learn as you - my thanks + respect to you from Australia!
Indeed reharmed like a BOSS! I really enjoyed this lesson, especially your logical number system. Thanks Jeff.
Been trying to find theory stuff for a long time cause I’ve learned so much that’s on RUclips. This video is exactly what I’m looking for to advance my skills. Thanks man!
Great video! I often find myself figuring out fancy chords and progressions but I usually don‘t know where they‘re coming from / the theory behind it. Videos like this one really help to get a better understanding of cadences and micro-transpositions. Keep it up!
Full version of the last one amazing Jeff
Really appreciate these videos, Jeff. Please keep them coming! Thank you for sharing your knowledge with everyone.
LOVE this new format, Jeff. Killin' in!
2:05 I just gasped in that example, thanks for these easy to follow educational videos. Subscribed!
There's something about gospel tunes, done with jazz harmonies - so sublime.
Dear Jeff, please don't forget the second part.. Is's such a cool and modern version of Amazing Grace. I love it!!!
Love this, pls do the part 2 ♥️
Liam Marziano Learn part one first.
It's amazing how gracefully these concepts are explained, but although I understand the reason behind using these chords and cadences, I don't always get why or how you choose the quality of the chords (that's to say, why you would use an 11, or flat 5, etc. other than to simply accomodate a melody note). But that's a footnote at the base of this incredible jazz crash course you constantly expand with each video. I'd just like to say thank you, for the knowledge you've gifted me and many others.
Please carry on with amazing grace We love it
Thanks so much for your continued breakdown of music and demystifying these wonderful movements/progressions that we enjoy so much.
Very Grateful for your lessons
BRUH! You gotta keep going with the last one
It's the same concept of a II - V - I progression, except applied to the key of D minor, implying what's called a "modulation" to D minor in the progression.
Squid Blue i don't know what that means but i'll try to hit random keys and see what works best to fill the gap
@@SquidBlue Kinda disagree with you because the chord C/E is a C major chord in first inversion or a C major chord with bass of E which is not the second degree of D minor if this was the 251 in D minor it will look more like this
Eminor7b5 A7alt Dm11
In this case the progression he used is the 751 which is kinda similar to the backdoor progression which is 471 so I believe it's a mixture of both?
Not really sure but this is not the 251 in D minor
@@abdulalshibly3930 Yeah I'd say the C/E is sort of substitution for a ii but definitely still implies it because of the E A D in the bass, and C triad has the shared note G with an E minor triad (the minor third)
@@SquidBlue You're actually totally right that bass is what really holding the 251 didn't notice it.
I was learning theory and there's this new idea: you can resolve the dominant chord on a relative major/minor from the tonic.
i.e. G7| Cmaj7 is a regular 5 1
G7| Am7 is not a regular 5 1 that's the idea the Amin7 is the relative minor of Cmaj7 so if you think about it you can actually use the same ideas in modes like resolve the dominant of C on Dmin or Emin.
Where I'm getting with that idea is maybe he used a similar concept to make the substitution from Emin7b5 to C/E
Or maybe he just played the bass E to keep the 251 together and played another triad in the right hand and this is actually somehow very effective so I think he just did that there isn't always theory to explain everything but it's good to know it's out there to help ya.
Thanks man for mentioning the bass part never noticed it
these reharms are very practical, thanks. I always used to think they were these crazy stuff (which are also cool) but I like how you explain them to make sense... I don't know many other people who ould explain concepts to us like that... thanks Jeff
This video is brilliant. So easy to follow. Please can you do a video like this for the 7-3-6 chord progression. I have heard gospel pianists use it but would really appreciate you explaining it with the kind of detail you did in this video. Thank you for the awesome videos Jeff.
Would love to watch that too :).
Isnt that basically a ii-V-I to the 6th degree of a major scale? Like E to A to D in the key of F? (Talking abt root movement not chord quality)
@@Afiplaysmusic Hmmm. Did not think of it like that. Thanks.😊 Hopefully Jeff will shed more light on this and how we can think of these progressions and using them in context (and fingers crossed with some phat voicings.😄)
@@Afiplaysmusic That's what he does as 8:24, is that what you mean?
I see the.7.3 6 2 5 1 as essentially circle of fifths. In C .Possibly.. Bmin7b5.(G9) Emin A7 Dmin G7 C. I'm going.by.memory.here.
great content delivered expertly
I like the terms transitions and arrivals, I always use tension and resolution with my students but I may have to co-opt that term. Great video, thank you
Its so, so beautiful !
Yes, I would like to see a follow up video. Thanks!
My head's spinning, but this is chock full o' great tips & techniques. Thank you!
Great piano Jazz lesson. Thank you so much ❤😅
Excellent! More reharms on Amazing Grace please.
Thank you Jeff! Eagerly waiting for a continuation!
very simplified and easy to understand..superb teaching skills, keep it up Sir!!!!
Great stuff, well paced, well presented
Nice Reharm !
I think this is This is the best way to learn.
Love this visual way of teaching, thanks.
I learned a lot from this. I've known about V-I cadences and tritone subs for a long time, and can see/analyze them in songs that I learn, but a vid like this (like lots of your vids) helps me see how to actually use them creatively. Thanks.
GbMaj7 has more of plagal vibe (IV minor-ish). Same for the C7sus4 (basically Bb/C). It is a more appropriate sound for the melody.
Of course, you know that and are trying to make things simple, but I felt it was a good nuance to make.
Great stuff to know! Very well explained Jeff! Thanks so much!
Great tutorial, thanks!
Melted right away when you played the sixth version 8:09
Steven Jonathan my heart was filled with so much joy when i first heard that, it's such an amazing transition there at the end, it's so good. these chords do something to me.
Great lesson! I could barely get thru the first time I watched I kept stopped and trying things out. Thanks!
Really enjoyed this, Jeff!
Please do a full video on the last one!!
Very clear. Easy to follow. Well done. Thanks!
Tks and yes, pls part 2!
Stumbled across this video and seeing the title instantly made me think "tritone sub would be cool" - thanks for doing me that solid.
I'm studying music at the moment and this video gave me more ideas for reharm than my tutors have in the last year. Fantastic video Jeff.
You Tha Boss Doc..........Nice Visual And Reharm Sound.........
This video is amazing! This is how you’re supposed to teach!
Love this reharm! I have one reharm I did several years back on this song-same key of F Major!
This dude is a boss.
More, more, more of this, please. I really enjoy hearing (but don’t yet know how to do) reharmonizations of country songs a la Lenny Breau, Joe Pass, Oscar Peterson et al. (I’m a guitarist.)
I love this guy
Jeff could you do a video of the whole song. This was so good?
Second vid please! Learned so much just from this one vid, thanks for everything!!
this is super awesome man, i began watching all your videos. First i didn't get anything what was happening, but slowly and surely it's all sipping in ma brain haha. Love it man! Thank you so much for doing these!
man im watching this with some swearing because how mind blowing this theory thank you so much jeff!
This was gold!
Thanks so much for those videos😊😊
Jeff, This is so powerful - thank you so much
Lovely voicing of that last Bbmaj9 with that right hand cluster.
great lesson Jeff. Thank you so much for the lesson
The b9 Maj7#11 (as a tritone substituted V) to I(add9) is such a beautiful, iconic cadence - I think it works so well because the Maj7#11 of b9 is basically just a sus4 of I with the tension of a b9 in the bass, thus evokes that lofty, classical sus4-Maj flavor, but the suspension of the 4 is given even more momentum resolution with the lower b9.
I think the first time I fell in love with that cadence must have been as a little boy with John Miles' "Music", and it'll never not be "that 'Music' cadence' for me :)
AWESOME!! Thank you!! beautiful!
"I'm gonna play an F7"
*Proceeds into playing F9*
(btw I know that the 9 chord has a 7 in it)
The 9th is just an extension, it would've sounded weak without it
That's the way jazz musicians do it.
Yeah... Yeah. I caught that. Oh. Well.
Sound like you don't play jazz too often
Amazing video. One piece of feedback though if I may - I'd take the flicker off of the keyboard in future episodes! Thanks Jeff.
Woow what a good material
Jeff ..was talking to a piano tuner..we were exchanging licks..he hit a chord.. My ears perked up.. Actually I think it was precious lord take my hand..but it works on Amazing grace. It was the voicing of the F9#5. You almost played it. Try voicing the F9#5. ..with a B in the left hand.. Right hand will start withA below middle C. Also included Db Eb G..so thinking in terms of the. F scale ..F G A Bb C D E F (G)..this chord can interpreted in several ways. A is Maj 3 Db is the b13 or #5 the Eb is b7 and the G Is the ninth. Now this.chord is now one of my favorite altered chords. The G on the top has a strong pull down to F. The Db will pull to D The Eb will pull to D also..the A is mag3 of F. So this F9#5 is amazing. Also can server as modulation tool.
Thanks for this Jeff! Keep up the great work.
Another great video Jeff, I always enjoy watching them
Thank you so much for this. Would absolutely want to see more with this reharm and others reharms as well!
Better than 1000 lessons :) Super thanks!
Can you do the whole song with the last concept? It would be awesome. Great video!
This is absolutely amazing. Great way to breakdown the theory!!
This is beautiful!
Lovely vid, thanks Jeff!
This was so well explained bro. Thank you.
please, bring it home!
Excellent stuff
Excellent chord changes 🎹 👍
Great tips! Thanks 👍🏼👍🏼👍🏼🎹
Anybody asked for the follow up? This was great!!
Superb......
Wow! Love this.
Love all your vids Jeff! 👍🏼❤️