Jazz Piano for Beginners: Chord Substitutions (Lesson 9)
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- Опубліковано 9 чер 2024
- In this Jazz Piano online course I will bring you from the level of a complete jazz beginner up to the level of an intermediate/advanced pianist. We will talk about both theory and applications, and cover concepts ranging from chords and scales, to diatonic harmony, voicings, substitutions, soloing, tensions, and much more.
Course playlist:
• Jazz Piano for Complet...
In the ninth lesson we will look at chord substitutions; namely, the process of exchanging one chord for another which plays the same "role" (usually this refers to the functional harmonic role). We will group these substitutions into three groups: dominant, subdominant and tonic substitutions. We will cover such things as tritone substitutions, backdoor dominants, minor fourths and so on. In the last part of the video we will bring everything together and use a few different types of substitutions to reharmonize an existing (and fairly simple) chord progression.
TABLE OF CONTENTS
0:00 Introduction
0:19 Example
1:25 Simple substitutions
3:03 Dominant substitutions
4:15 The minor iv
5:06 Backdoor dominants
5:59 Tritone substitutions
9:17 dim7 substitutions
11:59 Tonic substitutions
13:39 Subdominant substitutions
16:54 Application
Thank you for the lesson, putting your time and energy into making these
I LOVE this series! Please keep it going. It's helpful for you to teach the concepts with C major as the base and using the 1-7 number system so many of us are familiar with.🔥
Thank you, much appreciated from South Africa
Thanks for making it this far!
@11.59 the flat-five half diminished, (or sharp-four half diminished) tonic substitution is an inverted Am6 or Am/F♯. Great series. :)
Thanks!
My favorite teacher 👍👍👍👍simple
This series is amazing! Thank you very much :)
Glad you enjoy it!
This is what I was looking for. Clear as water. Thank you!
Thiese lessons get better and better 🙌
Key of C :
G7 b9= 4th diminished
Muchas gracias Assaf
Esto es maravilloso para mi
Another great lesson man. Many thanks!
My pleasure!
What a brilliant lesson. Thank you so much for this. This opens up a world of possibilities when playing ans I can't wait to incorporate thisinto my playing
This is gold. Gracias Assaf!
Love this, thank you Assaf
I absolutely love the way you cross your thumbs for your 13#11 chords at 8:16.
If you don't mind, I shall be stealing that idea...
Didn't you hear anything I taught you this course? Steal, steal everything! Steal like there's no tomorrow. Make Bernie Madoff seem like an amateur!
Excellent!
Fantastic 👍
I learned a lot. Thanks! :)
Thabk you
When is your next video ? Always so thankful for your help
In one hour! :D
God bless..
Guy l cant wait for lesson 9
Excellent Assaf! I’m glad I found your channel…
As a classically trained composer I have a slightly more advanced question: how do you deal with the different levels of harmonic tension from the formal perspective? Like saving a special sound for a climax, or those kinds of things… Any tips for us composers out there?
Thanks in advance.
Regards,
Rodrigo Landa-Romero
That's a high-level question that I'm not sure I'm well equipped to answer, nor is it jazz related. You could learn as much about this (even more) by listening to Beethoven as you can by listening to Bill Evans. The only thing that is jazz-specific is that jazz "tolerates" a lot more tension than classical music, but I've never thought of it really formally until now. Can you maybe share an example of a jazz track/song where you think one can hear different levels of harmonic tension?
Thanks for your reply Assaf… I’m not exactly an expert in jazz repertoire, I’m a bit more classically oriented, what comes to my mind is the harmony from the impresionists like Ravel, Debussy, and even Boulanger (her “Old Buddhist Prayer” has very interesting chord extensions). Ravel was heavily influenced by jazz.
It would be really interesting to categorise the chords and voicings you use in different levels of tension-dissonance. I mean, a simple M7 is not as strong as the polychord Am7/Ebm7. Also, depending on the voicing those same harmonies can sound quite harsh or not…
I know it’s not related to normal jazz theory, but since you have way more experience in harmony that most of us composers, could you maybe make a video on that subject?
BTW Happy musicians day🎼👍🏻
Regards,
Rodrigo Landa-Romero
I’m a more rock/pop oriented songwriter who used to think the level of jazz theory in this series was impenetrable or didn’t apply to my style of music. Now I know I was mistaken and feel like I have enough tools to experiment with for months or years.
Hello sir.
I just want to say it here:
THANK YOU FOR 9 Lessons...out of 20. Looking forward to the rest.
For this sacrifice of putting out applied knowledge - Thank you so very much.
I find it Interesting that The flat 9th is in all of the dominant chord substitutions is this coincidence or is the flat 9 really nice to play with a dominant chord
Not for the backdoor dominant!
For the tritone substitution it's built in: If you think about, say, a Db7 = Db, F, Ab, B substitution for a G7 = G, B, D, F in the key of C, then these are the b5, b7, b9 and 3rd degrees of the G major scale. So the b9 is "built into", or at least suggested by the tritone substitution.
Question: Is tonization the key to extending/embellishing the melody or is the melody what embellishes the tonization/chord structures? Or both?
I'd say the first, if I understood your question correctly..
@ :45 does the Bb dom (G7 dom substitute) need to be based on the tonic's dominant? IOW’s, not really r/t the G7? Thx.
I worked with it and I think the answer is yes.
Yes.