Why Reharmonization Is For You And How To Get Started
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- Опубликовано: 3 июл 2024
- Reharmonization! I imagine the word itself sets off alarms for some people thinking: "Crazy Music Theory will follow" and there are going to be the weirdest examples of chord substitutions and bass-notes over triads with extensions.
But it isn't that bad. Reharmonization is a great way to add variation to both your solos and your interpretation of a song, for example in a chord melody arrangement.
In this video I am going to give you some basic reharmonization ideas to use, it is pretty basic and stuff you might know already but not use like this or maybe have played examples off. The video is not going to make you the best arranger of our time but it will give you some things you can put to use in a lot of places and if you are only playing the basic changes all the time then starting to work on improvising with the chords could be just the thing you should do to get to a higher level.
Content:
0:00 Intro
0:24 How Do We Use Reharmonization.
0:52 Playing with the Expectations of the Listener
1:25 #1 Major instead of Minor
2:17 Example on Stella By Starlight
2:37 Solo Example
2:50 Hearing this in context - Timing and Placement in the form
3:25 #2 Tritone Substitutes - Using Complete II V's
3:45 Example on There Will Never Be
4:30 The Effect
4:48 Solo example
5:06 #3 Parallel Minor Chords - Dim Chords
5:15 The Two Types of Minor chords
5:47 Example 1 - Dim to m7 - Someday My Prince Will Come
6:48 Recorded examples
7:18 Solo Example
7:28 #4 Parallel Minor Chords - Harmonized Bassline
7:33 The Progression that is reharmonized.
8:23 Example on Days of Wine and Roses
8:45 Using this in Melodies and Recorded examples in solos
9:20 Solo Example
9:27 Like the Video? Check out my Patreon Page!
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I am guessing you didn't realize that you needed reharmonizations? :)
Or do you already use it?
Content:
0:00 Intro
0:24 How Do We Use Reharmonization.
0:52 Playing with the Expectations of the Listener
1:25 #1 Major instead of Minor
2:17 Example on Stella By Starlight
2:37 Solo Example
2:50 Hearing this in context - Timing and Placement in the form
3:25 #2 Tritone Substitutes - Using Complete II V's
3:45 Example on There Will Never Be
4:30 The Effect
4:48 Solo example
5:06 #3 Parallel Minor Chords - Dim Chords
5:15 The Two Types of Minor chords
5:47 Example 1 - Dim to m7 - Someday My Prince Will Come
6:48 Recorded examples
7:18 Solo Example
7:28 #4 Parallel Minor Chords - Harmonized Bassline
7:33 The Progression that is reharmonized.
8:23 Example on Days of Wine and Roses
8:45 Using this in Melodies and Recorded examples in solos
9:20 Solo Example
9:27 Like the Video? Check out My Patreon Page!
Jens, I'm always thrilled to see new reharm material from you -- these examples are great. I especially like the ideas illustrated in There Will Never Be and Someday My Prince. My theory is still lagging behind what my ear understands instinctively, so I just use what sounds right; I can always tell what works and what doesn't. Right now, I'm working on a chord melody of I've Told Every Little Star, which is supposed to be one of Kern's favorites from among his own tunes, and I'm applying a lot of reharm, so this video is timely.
Yes, but not in the same exact manner. It is nice to learn new things though. I like variety, and applying different styles to various other styles. Getting ever so deeper into Jazz lends itself to the ability to hear where you want to go with it.
Definitely a jazz guitarist :)
Sees A7b9, plays A7b13. Minor7 chord, pff! add a 9 for free! That 13b9 voicing was neat.
The format of this video was really good-giving the chord reharm and then a solo excerpt. Love your videos!
That is how Jazz works :)
Glad you like the videos.
There's only 10-ea diatonic scales...it'll make sense if you learn how to push down from MAJOR towards it's PARALLEL min...AND it's RELATIVE minor towards it's parallel Major...
in other words...C MAJOR...towards C min...AND A min towards A Major.
it just depends how you see it...I see CHORDS and Possible MODES or visa versa.
Anyway.....the Maj6/13 or b6/b13
So..it's relatively SIMPLE..becuase you're just warping
the dorian or aeo to obtain 10 different scales with 7 modes -ea
you'll get 70 -ea Modes...instead of only 7...
Dorian............................Aeo
Melodic min Harmonic min
Melodic min b2 Harmonic min b2
Melodic min b5 Harmonic min b5
Melodic min #4 Harmonic min #4
Ion #6 = Phygian #4 ( tritone)......Notice the E dim in the lesson
But Im in C MAJOR...ish...lol
Im not going to have a problem modulating
E7, E AUG, E dim into F MAJOR or F min.....From C MAJOR/Amin.lol
The ....2, 4, b6 7.....are all possible full diminished
C Harmonic MAJOR or C Harmonic min
AND
A Harmonic MAJOR or A Harmonic min
The Augmented chords will also over lap as will....C,E, Ab or C, E, G#
That's ALOT of COMMON CHORDS
The Basic is changing the I, IV, V chords...
because.....b3, b6, b7 are just the SECOND ARPEGGIO of the I, IV, V chords.
b6 = Harmonic MAJOR.......C Maj F min G7
b3 = Melodic min C min F MAJ G7
b3, b6 Harmonic min C min F min G7
A min will simply be in reverse....but the kicker is
A melodic min #4 or A Lydian b3 ( E Harmonic MAJOR)
I could play B7 into E...
becuase the B (II) slowly shift UP....as wil...
B dim...B min...B7..(then to Bmaj7...if I contiune to Push UP..then AUG
but I also could play A dim to G min/Bb MAJOR
or A dim B dim into C melodic min
or A lydian #2 to C# Harmonic min
A Harmonic min........A min D min/dim.....E7
A Harmonic MAJOR A MAJ D min/dim E7
I have discovered your videos maybe 4 months ago now. And i am listening and trying to catch up with you ever since. You are such a nice person, thanks a lot for all those efforts to share the good knowledge. It is greatly appreciated.
Reharmonization is magic. I really enjoy when I personally do it to a given melody. And as always, it works in all genres. Thanks for your great video, you made me pick up my guitar and play some jazz after about a month.
Thanks, Jens! I truly value your sharing of your amazing musical knowledge!! Not only do you have a great educational background, but you have proven yourself as a top musician and are able to teach complex musical ideas in a simple and direct manner! There are so many great guitarist who have lived and currently live in Scandinavian countries --maybe the highest percentage per capita of anywhere in the world! A very great place to study and play jazz guitar!
I really love and appreciate this stuff! Sooooo helpful and important for our ears and overall approach. Thank you Jens!
Glad to hear that, Ricky 🙂
Another excellent lesson! Always presented well. With the perfect amount of information. Go Jens Go!!!
Thank you very much, Jon!
Very handy tips, I like the approach using cadences, it allows for ins and outs without having to do an entire composition... Thank You!
This is a fantastic lesson. Really enjoy the practicality and versatility of these beautiful techniques.
Glad you like it! :)
always useful stuff, your channel is unbelievable
Thank you :)
Amazing video. Thanks. Jose.
Glad you like it!
Thanks Jens!!
You're very welcome Jume!
Awesome work here man! Really important way to work around and add diversity to the overall sound of a tune!
Thanks! Indeed a great tool :)
@@JensLarsen You're very welcome! It is a useful concept in playing!
Nice information, real to the point and it provides me with something new, i am going try it out Thank you!
Thank you :)
That new camera! Gorgeous quality Jens
Thank you very much Shawn! Most of the upcoming stuff is on that, I might have a few vides shot on the old one.
Cool!
Thank you!
🌄 Beautifully designed vid for us who actually took music theory but never really applied it in every day playing 🎶🏞🎸🌟👹🎵🌈⛥🏛😎✨
You're very welcome! I am glad you like it! 🙂
@@JensLarsen Jens you can do no wrong in my book, keep those excellent vids rollin 🎶🎸🌟🎵😎✨
I'm a simple man
i see like, i click Jens Larsen
Thanks Yuri!
Like very much this lesson as the previous one/ easy concept quick to apply -- p.s what about a future lesson on Robber Ford/Revelation song?
Thank you, Francesco 🙂 I am not sure I think Robben Ford lessons are my thing. There are many others who cover that
At least one lesson you could :-) maybe from the times with miles Davis
Very interesting....does your book go this in depth with topics like chord substitution? Also, how many actual chord progressions and/or standards are in your text?
Very useful, thank you Jens! I always wonder with these reharmonization (i am talking about improvization part, not theme), when do the lines that come from reharm thinking become pointless/not good, considering that comping section plays original changes :)...
Glad you like it Omar. I guess that depends on how much the people comping can react to what is going on with the soloist. Some styles just don't have a lot of communication.
Sometimes the good rhythm section will pick up on the reharms, and if not there’s a moment of polytonality! Stravinsky used it in his music
Hi Jens, great Video, thank you very much! Yet I've got some questions to the subject of this video: Is and if it is, how is it "possible" to play reharmonizations in solos if the rhythm section is't aware of your plan? Or would it differ between playing with just a bass player and playing with a pianist? Other than that i would be very interested whether you had a video about communication in bands, especially in a jazz context?
I think the best way to explore that is probably to try it out in different situations and find some examples you like on records?
It really comes down to how the rhythm section approaches comping and can vary from person to person.
I find with just a bass player it works really well, with pianists I’ve experienced them sometimes getting scared and laying out haha, which works as well. Other times they’ve joined me
Very nice set of reharmonizing videos. Do you have a PDF book or are you planning one on this?
I posted the PDF for this one on Patreon, but maybe you mean like a complete book?
I'm confused.. I thought you used tri tones on dominant chords ? Not on the 2-? For instance, would this be a good place to use them say in 'Topsy' (1flat)...use tri tone subs in the B Section on 2nd bar of the D7, G7 & C7 chords ? The subs are 1/2 above next chord giving it some motion...do u have a before an after of a standard 'reharmononized' w/ tri -tone magic ?
PS I had gr8 time playing in Den,Nor & Swe! Gr8 beer,cool folks that like music and the grls aren't hard to look at either! Just sayin' haha
Lesson saved for (much) later. You make cool content but that is a bit over my skill level at the moment 🤪
Thanks Kerodan! There's a bunch of other stuff that is less specialized too :)
Hi Jens, I'm a jazz double bassist and get a REAL LOT out of your videos - not the least is what is going on with the guitarist and pianist?! I'm not always playing with others as sophisticated as what you are presenting here but it does raise at least one question for me: when you are soloing "out there" (and I guess it depends on how far out) what are your expectations of the bass player? Keep in mind we are not all Ray Browns who might instantly adjust to the new harmony. Thank you, you are a very talented teacher.
Thank you! :) I find that a lot of bass-players catch this, I do sometimes as well when I am comping. For the rest it will just work as some outside tension that moves back home, so that can work as well.
Hi Jens, Not sure you will see this comment, but if you do, have you considered making a episode about Brazilian Bossa? We just lost an icon, Joao Gilberto, not necessarily a virtuoso, but rather a insightful and complex player, and beloved all around the world.
Thanks Claude! I have a few already: ruclips.net/p/PLWYuNvZPqqcHoEvV3phRjtXWmTYb0rDoU
Don't know if I will be making a video on somebody who died, I would have to get used to the thought first.
@@JensLarsen Great. I might have missed those ones. I will for sure take a look at them.
The first song in the video sounds like familiar bossa nova, anyone knows the song?
It is "Embraceable You" by Gerschwin :)
Thank you so much!!