Chord Substitution and Reharmonization are Jazz topics that are very often discussed together but are actually not really the same thing. This video is going to go over how I think while creating new chord progressions and how I use my reharmonization jazz skills to create several chord progressions for the same song.
The emphasis is on how to come up with chords and 5 examples of how to reharmonize a Blues in F. I also talk about how I improvise over the progressions, what to play and why.
If you only think of music as one chord at the time then you are really missing out! Reharmonization is a great example of how that which is another thing I am trying to illustrate in this video.
Voice leading is the method you use to create smooth transitions between chords. Often it is described with voice-leading rules that determine how we move specific notes in a chord move to specific note in the next jazz chord. In this video I will explain voice-leading quickly and then give some examples of how you can actually be very creative and create some interesting sounds and new chord voicings by using voice-leading.
The lesson also illustrates how you can create some great progressions by breaking some of the rules. There is no reason to be tied down and not be creative
Jazz Harmony quickly becomes a science and research, but it is better to be a little free and also just try out the opposite of what is expected once in a while. In the end it is not about music theory but about what sounds good.
Basic Voice Leading
The most basic voice-leading rules in jazz are probably the movement of the core chord tones. In general voice-leading is about taking the closest route to a note in the next chord.
Below in the example I have Shell voicings for a II V I in C major.
Notice how the 7th(C) of Dm moves to the 3rd(B) of G7 and stays there as the 7th of Cmaj7.
The same goes for the 3rd(F) of Dm, stays to become the 7th of G7 and then resolves to the 3rd(E) of Cmaj7.
In this case the chords are moving in a smooth way from one to the next and in all changes one note stays while the other descends.
Opposite Voice-leading from II to V
In the example below I am voice-leading the 7th of Dm7 in the opposite direction, namely up to Db.
This means that the Dm7(11) chord is moving to a G7(b9b5) with no 3rd. The 5th of Dm7 naturally moves to the b9 (Ab) of G7. The G7 resolves to the C6/9 quartal voicing.
Against the rules on V I
In example 3 I have written out a II V I that resolves the 7th(F) of G upwards to a #11(F#) on Cmaj7.
The transition from Dm7 to G7 is pretty straight forward with G(11) moving to Ab(b9), E(3rd) and C(7th) lead to Eb(b13) and B(3rd). The F remains.
When the G7(b9b13) resolves to Cmaj7 it is moving the F up to F#, B stays and Eb resolves to the 3rd(E). The b9 is also surprisingly resolving up to an A that in this case is a 13th on the Cmaj7.
Suspensions and Surprises
An advantage of starting to explore thinking of the individual voices is that it can free up how we think of chords as vertical blocks that can’t be changed.
This example is showing how you can use voice-leading to create some interesting suspensions in your playing and blur the lines between the chords.
The basic II V in this example is pretty straight forward with a bit of contrary movement in the top-voices. The G7(b9b13) is resolved to Cmaj7(9) also in the way you would expect, but the b9 is left hanging. This creates a suspension of the b9 and gives us a #5 sound on the Cmaj7 that is then resolved down to the 5 on the 3rd beat.
Not Getting Stuck in Drop2
Often when you think in voice-leading it keeps you in one type of voicing, so “strict” voice-leading will take a triad to another triad or a drop2 voicing to a drop2 voicing.
But once you start going in other directions you open for getting other results. In the example here below I am voice-leading the Drop2 Dm7(9) into a G7(b5b13) and then back to a Cmaj7.
Voice-Leading for new Voicings
Thinking in moving voices is also a great way to come up with completely new voicings. In the example below I am creating a G7(b9b5) voicing that I actually didn’t know before preparing this lesson.
The voicing is a little tricky to play but really sounds great and resolves perfectly to the C6/9.
More Drop 2 voicings in Action!
Of course if you want to dig a little deeper into using Drop2 Chords in comping then check out this lesson on using Drop2 voicings and adding Chromatic Passing Chords:
If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.
The most important chord progression in Jazz is probably the II V I. It is every where and we play it all the time. But if we play it all the time then it is also important to have a lot of different ways to play these jazz chords.
In this video I am going to take a look at 10 different ways you can embellish and add some variation to your II V I comping and chord melody playing.
The Examples on the II V I Chord Progression are different ways to use line-clichés, passing chords and secondary dominants.
#1 Stairway To Heaven
The first example is using the descending line-cliche associated with Stairway to Heaven or My Funne Valentine. This way of adding some extra movement and color to a II V I is a great addition to your chord melody or comping vocabulary.
#2 James Bond
A similar and equally famous idea is this use of the line-cliché on the 5th of the minor chord.
In this example it is working great as a way to add a chromatic approach that lands on the V chord. Usually it is all on Dm and the movement A A# B is related to Dm. Here the B is used as a target and marks the transition to G7.
#3 Diatonic Passing Chords
Adding Diatonic Passing chords is a fantastic way to add movement to a chord progression. Notice that this way of comping the II V I would still work if the bass player is still playing a regular II V I bass line.
The Passing chords are really just adding two chords so that the progression walks up from Dm7 to G7. Looking for step-wise or 4th intervals in the bassline are both strong and common ways to add passing chords like this.
#4 Tritone Substitution
The Tritone substitution is a very powerful way to add some extra tension and color to a II V I cadence. In this example I am substituting a Db7 for the G7 and creating a top-note melody that helps move the progression along.
#5 Tritone II V Progression
Taking the tri-tone idea a step further is to substitute the G7 with a complete II V, so in this case an Abm7 Db7.
The idea is roughly speaking the same as #4 but instead of just using the Db7 it is now a complete II V: Abm7 Db7.
This example is played as a continuous stream of chords and a great little chromatic inner-voice movement on the Cmaj7
#6 Secondary Dominants
A variation of the Tritone substitution is also to use it as a secondary dominant. In the example below I am using Ab7 to pull towards the G7. So here Ab7 is a tritone substitute of D7, the secondary dominant of G7.
#7 Borrowing Minor Cadence
Modal Interchange is a great way to add color to a cadence. When ever we use a G7(b9) in a II V I in C major it is actually a dominant that is borrowed from C minor.
In this example I am borrowing an entire cadence, so first a bar of Dm7 and then followed by the minor cadence Dø G7 before resolving to Cmaj7
#8 Chromatic Passing Chord
Chromatic Passing Chords are a really useful addition to your comping and chord melody vocabulary.
This example is approaching the G7 from a half-step below. The idea is to have an F#7 at the end of the Dm7 bar that then resolves to G7 in the second bar.
#9 Neapolitan Subdominant
The Neapolitan Subdominant is an overlooked way to color cadences. In this example I am using the Dbmaj7 as a way to add a different color and pull to the Cmaj7.
The Neapolitan Subdominant is a IVm chord with a bII in the bass, so it is Fm/Db. Which is also why it is a (minor) subdominant chord.
#10 Chromatic Resolution
Of course it is also possible to use Chromatic passing chords in the resolution to the I chord.
This example uses the 2nd half of the G7 bar to introduce a Bmaj7 chord that is then used to create a chromatic approach to Cmaj7.
How To Use This Lesson
The way I think you can benefit from this material is probably to think about how I am playing the examples and try to insert that into your own comping or chord melody using your own voicings and songs.
In the end the best way to learn something new is to insert it into what you already play and use it when you are playing real music
Check out more Comping Ideas
If you want to check out how I comp and many of the ideas I use then check out this lesson on a 5 chorus example on Autumn Leaves:
If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.
A thing that is never mentioned when it comes to Music Theory is that there is a basic knowledge you want to obtain and then the rest gets easier. There are things that you need to know and work on that will make the rest very simple when combining Music Theory, Jazz Guitar and Practice.
In this video I am going to talk about three things you can learn or train for your music theory that will help you build a foundation to have an easier time understanding chord progressions, extensions and voice-leading. I am also going to relate this to what you need if you are improvising over chords, since that is what I am using the theory for.
Instead of looking at voice-leading upper-structure triad pairs in Utopian b7 minor then you can easily build the basic knowledge to make all the other stuff easy to understand.
Besides my rant on how people get things wrong with Music Theory this video is also on some of the things that you are missing if you don’t use music theory right or forget to check out important parts. When you study Jazz or Jazz Guitar then music theory is a part of what you need and what you want to learn, but you want to go about it the right way.
Most of the things I talk about in here are mistakes or problems that you run into if your approach to music theory is very superficial. Hopefully I also manage to give some pointers to a better approach to learn and use music theory so that it is actually useful for you.
Do you make these mistakes? Do you know other things that mistakes that are common?
Why it can be tricky to get reharmonizations to sound musical in a solo
Using reharmonizations in your solos can be tricky since you need to find the right place and the right type of reharm if you want it to sound natural and still surprising. This video will go over some Reharmonization techniques and how you place them in the form of a song. The place where you use stuff like this has a huge impact on how it works, and I will discuss this in the video.
If you know you basic Music Theory well then you can easily start to add another level to how you analyze melodies and chord progressions which will help you work more focused and learn faster when you practice.
This video will discuss some of the things that you use Music Theory for that will help you learn more efficient and process much more information!
Passing chords are a great way to expand the sounds you have available in your comping and chord solos. As you will see in this lesson they are also making it easier to make you comping sound more melodic and musical. In this lesson I am going to discuss 3 types of passing chords and demonstrate how they can be used.
The Diatonic Passing chords
The easiest place to look for chords to use when harmonizing a melodic comping idea is of course to use the diatonic chords of the scale at that point in the song.
If you want to know more about Drop2 chords and other voicings then check out the Jazz Chords Study guide
This is what I am doing in example 1 here below. The example is on a II V I in G major, which is the chord progression that I will use for all the examples.
In the example the diatonic passing chords are used on the Am7 chord. The first part of melody consists of the notes C, D and E. On the Am7 I am harmonizing the melody with the chords Am, Bm7 and Am7. Using the neigboring chord when harmonizing notes is a very common and very useful way to use diatonic passing chords. In this example the Bm7 chord is used to harmonize the D and it voice-leads nicely up to the following Am7(9) voicing that harmonizes the E.
Different versions of Passing chords solutions for an Am7 melody
Of course there are several ways you can take diatonic passing chords. Below you’ll see examples using only Am7 voicings, a Bm7 and a G6 diatonic passing chords.
Diminished Passing chords
This approach to using passing chords is to harmonize melody notes with a dominant diminished chords. On the II chord, Am7, the dominant is E7 and the associated is a G#dim.
This example is also using a G# diminished chord to harmonize some notes on the Am7 chord. The notes that belong to the dominant in the scale are the prime candidates for using the diminished chord. In the example below I am using it to harmonize the D and B notes.
Practicing the Diminished passing chords
One way to work on practicing the this way of alternating a II chord with a diminished chord is to do the exercises here below.
You may recognize this exercise as the Barry Harris 6th diminished scale, which is build on exactly this idea of alternating tonic with a dominant chord.
Chromatic Passing Chords
Chromatic passing chords is a great way to especially harmonize chromatic passing notes in the melody. This means that having this in your vocabulary is going to make it possible to add chromaticism to your comping melodies.
The example below shows how you can use chromatic passing chords on both the Am7 and the D7 chords.
On the Am7 the B, Bb, A melody is harmonized with Am(9), Bbm7 Am7 and in the same way the D,Eb,E melody on the D7 is harmonized with D7,Db7 and D7.
Notice that the voicie-leading is also chromatic, so the way to use this is to look at the note that the chromatic note is resolving to. The chord that is used to harmonize the resolution will also work well to harmonize the chromatic note. On the D7 it is clear that the Db7 is just shifting up a half step to become the D7.
Sometimes you can also reverse this so that the chord moves one way and the melody another which can be a great effect, but that is for another lesson. You can always leave a comment on the YouTube video if you would like a video on this,
Expand you the possibilities with chords
Passing chords is a very powerful tool in comping and chord solos and of course also in chord melody arrangements. Checking out these techniques are really something that is applicable in so many areas of playing and will pay off on a lot of levels besides the direct use.
If you have any questions, comments or suggestions for topics then please let me know. Leave a comment on the video or send me an e-mail. That is the best way for me to improve my lessons and make them fit what you are searching for.
Reharmonization techniques are useful in many ways in Jazz both in improvising and arranging. In this video I will go over 5 reharmonizations of a part of All The Things You Are. The different versions will illustrate several techniques and options for reharmonizing the standard. Some of the concepts are tonal and functional others are in the modal or atonal end of the spectrum.
I mostly hope to give you some ideas on how to think about the progressions that are not really functional and tonal, but that you can still percieve and mold as musical phrases.
Analyzing Chord progressions is something we all do as Jazz Guitar players. We need to understand Jazz Harmony in order to play good solos and to improve our Jazz Comping.
Here’s what most people seem to get wrong: Understanding the chords in the context of the song and not just looking at what type of chord it is.
The way we apply Music Theory to our harmonic analysis of a song decides how well we understand the chord progression and helps us play better solos.
In this video I will go over 5 types of progressions that if you can use to better understand the functional harmony that you find in a jazz standard.
