How I TRY and Harmonize Like Gil Evans #3.1 (Anthropology 1st A Section)
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- Опубликовано: 3 авг 2024
- #arranging #jazz
If you are really into harmony, you'll enjoy my Intermediate Workbook. You can get it here: ko-fi.com/s/47c236ec92
You can buy the PDF with full analysis here: ko-fi.com/s/ca7f96ee36
0:00 Intro
0:17 Rules
0:30 First bar
2:35 Second bar
3:10 Bars 3 & 4 and basslines
5:50 bars 5 & 6
8:24 bars 7 & 8
10:45 Playthrough
11:00 Orchestration
@Fredrik Erlandsson / trumpetfredrik
/ gabrielcassaro
Closed voicing, open voicing, jazz harmony, theory, Miles Davis, big band, sax soli.
Nice! Thanks for having me Alex
It was my pleasure.
Thanks - great video and great arrangement, as usual!
Thanks for playing the trumpet! The cup muted trumpet adds a nice sleek edge to it.
Awesome quality of production with real recordings, love it.
Glad you enjoy it!
Thanks. That’s really interesting. I used to do a lot of exercises in four and five part ‘dynamic harmony’, as it was called, where there were a series of rules that you were supposed to follow. However, when I did my own freer harmonisations I would go for more diatonic harmonies and more independence in the baritone sax line so it’s interesting to see that you did something similar here. I was mainly following my ear and hadn’t realised that great arrangers like Gil Evans also often deviated from these ‘rules’, although it makes perfect sense that he would. I found that the insistence on diminished and parallel chromatic chords on the passing notes became cloying after a while in the exercises we used to do in jazz harmony classes.
Thanks for your comment Nigel. I'm glad the video is interesting for you.
What does 'Dynamic harmony' mean? Is it something like non-functional chords?
@@lfsdhnfjlsdbkgjsbk It's not the same as non-functional chords. It's something much more limited and specific to big band arrangements really. They also call it 'soli'. It's a method of harmonizing a melody so that the top four saxophones, for example, all play the same rhythm as the melody following its contours up and down and thus create a dense, powerful line. I think it's also called 'four way close harmony'. I didn't learn it in an English speaking country. It's really good. On the on-beat notes, you normally play notes from the chord which corresponds to the specific part of the melody you're at, extending them downwards and for the off-beats you can play diminished chords, chromatic symmetry, dominant sevenths...there's quite a lot to learn. I've hardly ever followed the rules exactly in extended passages. I usually find that I have to invent something a bit different to make it work.
@@nigelhaywood9753 ok i just didn't connect your comment to soli
Yes, I was wondering about 'Dynamic harmony' as well. There is lots of ways to do it! I hope you enjoyed my take on it.
Amazing vid! Really great recordings 😋
Thanks Jed! Maybe we could try another collab one time? Because we can always use more trombone!
I love your vids! Subscribed immediately. I guess you'd have to listen to a lot of Gil Evans to know what kind on bass lines he "would" write, or are you coming up with your own bass lines with no influence from Gil? For me, that's the hurdle, how to come up with interesting bass lines without working myself into a corner. Keep up the great vids!!
Excellent, thank you. I just come up with basslines I think would work, using what I have learn by studying Gil. Good on you, if you get stuck try something else! It opens the door to creativity.
In bar 4 , why did you harmonze the whole bar as the Bb7? Why did you not harmonize the Fmin7 (Fmin11) part of the bar with that chord?
Hi Gary, thanks for your question. In the next video you'll see that I try a different method (its coming out in a couple of days). In this case it was mostly because I just came from an F7 and I didn't want to repeat another F in the bass right away. In the video's I don't explain all of my thinking as it would take too long, so thanks for asking.