6 Ways to Reharm "Amazing Grace" Like a Boss
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- Опубликовано: 29 сен 2024
- Here are 6 reharmonizations of Amazing Grace using II V I's, secondary dominants, tritone substitution, and more.
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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?
@@vigilancebrandon3888 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
Wow so cool!! I'm loving this keyboard look 😊
Thanks, Nahre!
Excellent! More reharms on Amazing Grace please.
please please make another siiiick gospel progression again!!!!!
Love you much
This is without doubt a very interesting chord progression, but its also what annoys me the most about some jazz players. No doubt they have their theory spot on, but thats also the problem. Playing becomes a mathematical excercise in advanced chord theory instead of just playing what feels right. You can cut half the chords away and the music flows and sounds much better. You don't "need" to have a different chord on each note in the song, or even 2-3 chords on a single note. Some places it sounds beutifull, but often it just makes the music sound messy and overly complex, and on a simple song as Amazing grace, this is just over the top imo
It's ii - V - I's all the way down :)
8:10
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
"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
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.
Finally, someone who is knowledgeable and has concise explanations.
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
Brilliant. I quickly went from just watching to playing along my piano. Thanks for sharing this!
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.
Amazing video. One piece of feedback though if I may - I'd take the flicker off of the keyboard in future episodes! Thanks Jeff.
Love this, pls do the part 2 ♥️
Liam Marziano Learn part one first.
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)
@@AfiScruggsplaysbass 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.😄)
@@AfiScruggsplaysbass 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.
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!
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!
Really appreciate these videos, Jeff. Please keep them coming! Thank you for sharing your knowledge with everyone.
This is really nice. Can’t wait for Part 2.
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!
Learning that much in about 10 minutes, that's awesome. Thank you!
Guys it's just a 5 of the 2 of the 4. Why are you confused?! Lmao cool video
Thanks Jeff...this video demystifies the piano.
In example #2, what was the purpose of using a sharp five in the F? It doesn't fit diatonically in F major or B-flat major (which you borrowed from), so how does it work? Is it just used as a tension note that resolves to D for the IV?
You got it bro. It gives you a nice little interior voice moving by half-steps. C natural in the Cm chord, C# in the F#5 chord, and D natural in the Bb maj chord. Those little chromatic slides on the inside of chords give you so much soul. Love it.
Nice attempt to explain, but you’re missing holes in information, suddenly add-9 equals the tonic, then sus4’s appear out of nowhere and 13ths. Lovely playing and concept, just too many gaps in explanation. Thank you for trying to explain this on such a great simple tune. You are a good player.
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.
Best teacher in the world
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.
Amazing video! But I think you have made a little mistake. That Gb Maj 7 isn't a tritone substitution, because of it's major 7th (to be a tritone substitution it needs to have the tritone of the V7 chord, Bb-E, got in a Gb 7 chord). That Gb Maj 7 is a phrygian modal interchange.
Thanks for the useful information in the video, love your channel!
Around 2:45 I had a siezure + stank face from how nasty that transition was
Love this format! More please
There's something about gospel tunes, done with jazz harmonies - so sublime.
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.
Jeff this is awesome! Please more variations this is great. Btw, what software are you using for displaying the keys?
Hey Jeff,
really great video you made, just wanna correct a minor mistake (pun intended):
As far as I know, substituting a dominant chord with the maj7 (!) a tritone away is technically not a TT-Sub but rather a borrowed chord from phrygian as the TT-Sub relies on the tritone between the third and the unaltered seventh.
Doesn't change the beautiful sound, just some nerdy correction about how to name it ;)
You can also just view it as a upper chromatic approach chord which is the most straight forward way to view it in my mind.
Great lesson! I could barely get thru the first time I watched I kept stopped and trying things out. Thanks!
Been playing for 14 years and doing gigs sometimes, but there's some new stuff here and it's EXACTLY what I needed thanks :)
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.
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 my favorite video on jazz reharmonization. Each time I feel stuck (which happens a lot), I come back to this video. Thanks Jeff!
Superb......
Nobody:
Jazz musicians:
Alexander Lohmann: Huh?
@@Daberney lol u clearly dont get the meme
danielsame: Maybe you can stop Laughing Out Loud long enough to explain it to me.
@@Daberney wait i dont remember wht this video is abt, give me a few mins.
Edit : so jazz musicians tend to "jazzify" everything and show off their amazing technical skills regarding music, so the comment is referring to that
It's not funny when explained
6:49 oh christmas tree....
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!
Indeed reharmed like a BOSS! I really enjoyed this lesson, especially your logical number system. Thanks Jeff.
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.
I heard somebody makes the F9#5 chord awhile. back. My ears perked up..what is that chord?
I said that sounds like some kind of tritone subdominant...I looked at the notes.. A C# D# G..you did not have the Eb but the.F9 has a b7 In it . D# is just Eb. So I Thought this just a B7 chord..tritone.sub. F to. B is a min 5.. So what the bass player.could be playing the.B. Now it could be altered chord. A (B) C# D# and G. From B scale ( b7 9 3 #5). So this could be a.special case of the sub
dominant..which.by definition is 3 whole steps away. Also I found this to be one of most beautiful chords if you play the notes. F in the base and notes A C# D# G. When.I go the 4 chord.of F ..which is Bb..I changed the G note to F..which is a nice resolution.. Don't have a piano in front of me..but I found this is a.good way to modulate.Maybe key of E. Awhile back I did the song Coal minor.daughter.and if memory serves it sounded like.the same modulation. Just to muddy the waters.a.little more. It is an
A 7sus4. ( A C# D# G) (R 3 4 b7) I dont know. I never tried it..but I think.this chord can.modulate to D.
The best. This all text..hope.no mistakes.
great content delivered expertly
This keyboard visualization is fantastic. Your videos are always so packed with theory, but I found this one easier to follow than most.
Can you do the whole song with the last concept? It would be awesome. Great video!
The problem with this reharmonization is that every song sounds the same, is not recognizable anymore and is therefore boring!
Every jazz person would play this this nearly the same and so creativity has been strangled.
Music comes to an multi-tonal event without a soul!
Have you heard Harry Connick Jrs. take? I actually am a fan but I find his harmonic and everything but the kitchen sink absolutely wrecks the song. However, I am the only person on the planet as no one wants to attack Christians who strangely enough all adore it. Would love to know what others think? This is an excellent video. I do sometimes like traditional songs to be kept simple in structure.
I don't play piano, but I occasionally have an idea that I might learn a bit. This view of the piano would work pretty well for me, but I imagine it'd be easier if there was an indication as to which hand was playing what, possibly even an indication of the fingerings. Perhaps that wouldn't work with the software you've used?
man im watching this with some swearing because how mind blowing this theory thank you so much jeff!
Not sure that's technically a tritone sub if it's a maj7 chord rather than a dominant. What you played was still a substitution a tritone away - hard to say you're wrong when the term itself accurately describes it. But I think the textbook definition would say a tritone sub is dominant and that a bIImaj7 is something else.
Scary how this pops up, as I just started trying to reharmonize amazing grace yesterday
Nice Reharm !
Please carry on with amazing grace We love it
Good tutorial and nice song! I started to learn and posted a video. If interested, check it out and appreciate any advice. This is helpful to me. Thanks!
I think the tritone sub has to contain the same tritone, not be a tritone apart yeah? So the tritone sub for the C7 would be a Gb7. I get that the melody has an F, but if that's the case, you might want to use another dominant chord like an Eb#13 or something to round out that sound.
Yes, I would like to see a follow up video. Thanks!
This is great theory, but why not demonstrate this in the key of C instead of the key of F? Wouldn't that make it easier for beginners?
Its very confusing if not thought slowly and step by step.. show us the main root chords of the ii-v-i and then u can use inversions cos its very confusing
isn't this more just adding passing chords rather than a complete reharmonization?
seems like a good video, but I will not watch because of the shaking piano.
omg i tried again, please dont do this, so I can enjoy your videos too. Love.
Please make more tutorial about jazz Bebop Piano... thanks
Nice, really enjoyed the explanations and examples! If you could fix up the jittery keyboard graphic, it would help the vid a lot, too!
adds to the aesthetic tho ... :)
No one likes my jitters!
AWESOME!! Thank you!! beautiful!
Great piano Jazz lesson. Thank you so much ❤😅
That format is just perfect! Thank you!!
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
LOVE this new format, Jeff. Killin' in!
Amazing Grace is a draggy song. there are other songs much better. .
My favourite cadence is the b6-b7-1
Thank you Jeff! Eagerly waiting for a continuation!
this shaking is unnecessary and very distracting jesus...
Jacob Collier intensifies
why Gbmaj7 and not dominant for the tt sub? it does sound great
Great tips! Thanks 👍🏼👍🏼👍🏼🎹
At this rate, you could explain Brexit to us Brits easily
DUDE , you are fuckin awesome.
Thanks so much for those videos😊😊
this sounds like jazz hmmm
Can you do what a friend we have in JESUS ?
Thank you so much for this video Jeff! But i am a novel in approching harmony and chords substituition, so i have a question regarding example 2: why F9 with #5(Db)? I can't understand from witch scale it cames out
Thank you
Hey! The #5 is like a b13 - it's an altered extension that adds extra tension to the V7 chord.
Hey Jeff, loving the video and the new layout is easy to use! I just wanted to ask how you decide what extensions and alterations to use? Like that first ii-v-I in "Bb"? Why did you make it a 9#5?
yes, great video :-D, I also don't understand where #5 came from
Chromatic movement between chords is usually the reason for using certain alterations. In this case the target chord is Bb major. If we look at how the individual voices in the chords move, the Eb in Cm7 moves to the C# in F9#5 that moves to the D in Bb major. In other words, you kind of approach the D of Bb major chromatically from both directions.
So, it has to do with voice leading. But it also has to do with simply using your ears and knowing the different flavors of the different extensions. When deciding which extensions/alterations to use, you just need to listen to the sound that you want to hear and then play that sound. But usually it has to do with chromatic voice leading.
Check your email (gmail) please
Thank you so much sir I like your videos
wich software its use to do this visual ?
Can I Apply this on guitar?
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.
Hi Jeff. Can you explain where the #5 comes from (around 3:30). I hear that it fits perfectly (I would use it if I added a second voice) and that it sounds much better than playing the normal 5, but what is the reason for it?
Is it actually simply a passing note from the Eb (3rd of Cm7) to D (3rd of Bb)?
Watching this thru.. You did a Csus13 ..I usually play this as a sparse C13 chord. Left hand will be on the base of the 5 dominant Chord (C)..right hand Bb E A. (b7 3 13). I see why you want the sus 4 F in there...essentially. we are.creating tension.
I FEEL ILLUMINATED WHAT THE FUCK IS THIS
Jeff hi what type of App you using to visualize Piano Keys ??? Thank You
Great tutorial, thanks!
Can't unsee the twitching piano