Reharmonization of Amazing Grace on the fly (PDF in description)
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- Опубліковано 21 сер 2024
- Skip to 38:03 for the final version.
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Thanks for watching! What other lessons do you wish we did and what was your favorite part of this one?
Thank you!
Enjoyed all from good to best
What to do with How Great Thou Art? Lots of places in that one for passing chords!
Please, record more about reharmonization techniques.
Humorous, adventurious, and informative. Thank you.
I stand in awe! Wonderful, thank you so much!
You are so welcome!
Great lesson. Loved it. Thank you so much!
So glad!
Hey just wanted to say that this video is still insanely useful when it comes to implementation of jazz techniques. Insanely useful and shows ways of implementing theory into something actually enjoyable!
So glad you find it useful!
Thanks for not planning. Looking at you reharmonize live made us learn more than we would have if it was planned. Thanks for keeping it live. It was super fun.
Glad you enjoyed it! Thanks for watching
Amen bro
I am the pianist for my church. THANK YOU SO MUCH! I have avoided playing Amazing Grace because I am STUCK playing the same harmony for FIVE verses! Yikes! Your explanation and pacing were excellent! Thank you again!
Awww shucks! I'm so glad you liked it!
This is one of my favorite Piano instruction videos on UA-cam. As an intermediate Gospel player (in church), I'm always trying to break to the next level. This video helps me add some jazz elements to my talk-music, etc. I really appreciate this. Please don't stop doing these reharm videos.
So glad you found it valuable! We're doing new ones all the time!
As a gospel musician who grew up playing by ear in the church, your final reharm is actually close to my basic version of Amazing Grace. Sometimes I add a little more to it if I'm just messing around. But your theory and explanation opened my eyes as to why these progressions and movements work. I had no clue that all of that went into what I considered simple due to my gospel background. Thanks for your excellent teaching.
Thanks for watching. I'd love to hear some of your messing around. Yep! Sounds right. For native speakers, it's just a language. For outsiders, there's verbs and adjectives and conjugations and rules. My 6 year old is fluent in English...and my wife got a college degree in that exact subject. There's the language and then there's the analysis of the language, and in the end, the engaging communicators usually wish they were "smart" enough to diagram a sentence, and the honor roll kids usually wish they were "cool" enough to captivate an audience with a story. Some of the most amazing cats I ever played with had no idea what they were doing. We'd start a song and I'd ask what key we were in. They'd reply "E flat" when there wasn't a single E flat in the whole song. I stopped asking questions pretty quickly and just figured it out myself...probably the same way they learned.
@@LearnPianoLive I love this analogy! It makes so much sense! Keep posting videos like this. I love watching these theories explained. Maybe one day you can explain some more complicated reharms like what Cory Henry does.
@@whats.detroit9453 Yeah - what's great about his stuff is not even so much the reharms he chooses, but the extensions he adds and the voicings he uses. ...and, of course, how fluidly he does it all! We do voicing and extension lessons, but Cory's are mostly cycle moves and circle patterns. But the voicings he uses and the fact that he's on an organ/keyboard (which is another major aspect of voicing) is what sets his stuff apart. Unfortunately, there are as many different ways to voice things musically as there are to speak. You listen to anyone for very long and you subconsciously index their precise accent, most common vocab crutches, and rhythmic vocal patterns. Even though there are a finite number of ways to voice chords, each person has their own tendencies, just like a friend's speech patterns. 7 billion unique styles and counting....
GREAT! I suppose I'm a low-to-mid intermediate guitar player, singer, song-writer, performer in San Francisco, mostly self-taught. I found this vid extremely instructive. Practical, easy to watch and to comprehend. Love your low-key presentation. No pretense, no talking down, just good, well-stated info and theory. This was one of the most useful vids I've uncovered on all the Internets... Thanks! I've subscribed.
A heartfelt thank you for posting this very informative "thought process". You are a blessing to many.
So glad you liked it. Thanks for the kind words!
I keep replaying 38:42 to listen to that sweet Bbm7 to Eb7 into F6. It's delicious!
Glad you like it! Try it out. Let someone listen to YOU on repeat :)
This pulled a lot of things together for me. Thank you
That's great! Thanks for watching!
Absolutely loved it. Especially the figure-it-out-as-you-go-along format. Great work!
Great! More to come along these lines...
Best explanation of reharmonization I get it now. Thank you.
Glad it was helpful! Thanks for watching and subscribing!
Big up man, I bought a million books trying to understand this concept, and you just taught it to me in 40m smh, not like am dissing anybody books but your explanation was quite simple particularly the triton method, never the less am sure there's much more to it but I really appreciate your lesson thanks man it sounds great to me sml.
Yeah - sorry about that. Sometimes it just takes someone with the same perspective to show you. Glad it finally made sense! Thanks for watching and subscribing!
My piano teacher said: Igor Stravinsky said a good composer doesn't borrow ideas, he steals them. I'm going to try some of these ideas. Great lesson in seeing what works and what doesn't.
Thanks! Yeah - we're all swimming in the same ocean. New discoveries belong to humanity, even if the credit belongs to the individual
this helps me a lot! thanks and greetings from Argentina!
Glad it helped!
Great ways to look at things. This is something that came natural and used it for years as just a diminished chord progression. I'm sure you know all this , but this may help some viewers. I am largely self taught but I think it's accurate. I'll be using the base as a guide..usually it's in octaves. F base ..F7 chord ( A C Eb F) pinky on F. Next you can walk up fast. G A Bb.. Now the Bb base and Gmin7 G Bb D F..pinky on F.. Then base goes to B. Then I play a B dimin.
Simultaneously in the right hand.
Thumb on Ab.. .B D F.. essentially a B diminished.. Not a half diminished or Bmin7b5..(this also a G7b9.).. Next base continues
To C and the right hand plays F triad A C F. ....It sounds a little complicated but it's not. I didn't set out to write this long but this may help some people. By the way some may confused by the G7b9..
A G7 is just G B D F...(.the first four lines of the base F Cleff.) The b9 or flat nine is just the Ab..or A flat. It would be a sharp 8 but since 9
Of G is is A ..the flat makes since. However really the best way to see this is that we are using dim chords as passing chords. this run could be contined but it has to fit the song and we ended up on F Maj....I am still going to try some tritone subs out on this.. it will probably sound terrible.
Guitar players can use this exact method. I played it o. guitar ie. F to Cmin..last.night.. It sounded great.
I had been struggling to find a good tuto for passing chords, and finally found this! A big part of my questions is answered after watching it up to the end! Thanks a million for the good explanation!! Already subscribed!
Thanks so much! Glad it helped. We'll keep up the reharm vids until we work out all the kinks and get to more of the requests
This is pure musical GOLD! I have this on my list of nightly videos that I watch. I'm a self-taught pianist, so I always love watching these sort of videos! Thanks for the great video and keep up the amazing work!
So glad you enjoyed it. Thanks for watching!
Extremely generous and informative lesson, thank you very much.
So glad you enjoyed it
Thanks a lot You have no idea how valuable this video is. You have explained some very crucial aspects about chord progressions that most teachers out there struggle to explain, yet you demonstrated it with such ease Wow
Wow. That's a lot of really kind words. Thanks. Glad it helped!
I have a few people that will want this info. I'll share this video with them thanks for the PDF. In the description..
Sure thing. Thanks for watching
@@LearnPianoLive i did a gospel
walk up using maestro on my channel I can send you a link to the video or do you have an email address.?
Sure. I usually just do submission reviews for subscribers, but send it using the contact form on the site
this is so flipped cool!!!! oh my goodness. my white church will be going gospel on Sunday :D
So glad you liked it
LearnPianoLive ggfgggfsi
Your 'white' church? Tell me you are not talking about skin colour?
matthew wortley 😂
@@pgtips4240 why would he lie to you?
Congratulations for your work. Please do not stop. I'll share it with my friends here in Brazil.
Thank you! That is much appreciated!
The best of all my boy !!!
Hey the old way is not boring but just one way to play the song. However I love your reharms and I’m learning. Thank you 😊
Agreed - there's a reason all these songs stand the test of time! But sometimes you end up playing a popular song so many times, even a great song FEELS boring. Glad to hear you're learning. Thanks for watching!
I really like the way you do the reharmonization step by step. Good job!
Thanks for watching! Glad you liked it
Great video. I get that you wouldn’t want to necessarily use it all and make the tune way too messy, but it demystifies the concept for anyone to pull out some chord substitution techniques and make a simple song sound interesting. 👍
Yes, exactly
Great!! We'd love to watching other reharm videos like that!!!!
ua-cam.com/users/LearnPianoLivesearch?query=reharmonize Thanks for watching!
Please do the other examples. This was fun to watch plus informative af
Cool. Thanks! Check out the link in the description under "OTHER REHARM VIDS"
Informative agmin7, informative ac7, and then informative af. Just a quick 2-5 on your af to help smoothen it a bit...
Amazing reharmonization. Thank you for the tutorial
You are so welcome!
Dude!!!! Amazing! just amazing! I just stumbled upon this vid and it has changed my life. I finally get it!! You wouldn't even know bro! thanks a million
Thanks! So glad you found it helpful
Tu es merveilleux
You make it so easy and I just had to learn I got it. Thank you thank you.
Great content man. I'm a guitarrist but quite good thing its useful for all musicians.
Cool! Thanks for watching
Very good . Learning some things. Its always good to know various ways to put things together. Very good quality,.
Wow. Thanks!
Excellent re-harm lesson-thank you!
Glad you liked it. Thanks for watching
Wow. I really like this format.
Cool! Thanks for watching!
You're the man!!! I've been studying a lot of harmony lately and you literally packed everything AND more that I've learned all into one beautiful reharm!! Thank you so much sir! More reharms sir!!
One request, would you mind doing a video on 'roman numeral analysis'? Using borrowed chords, etc, and everything that you've shown here.
Cool. So glad you enjoyed it! "roman numeral analysis" is a very specific request that implies some level of understanding going into it. So to be sure we're on the same page, are you talking about including the roman numerals in a reharm video like this? Or a video on how to analyze a song using roman numerals? Or...? Is there something specific you already have in mind like a recent college theory assignment or another video that piqued your interest in the topic or.... Just give me a little more info on where you're coming from. I hope I can incorporate it
LearnPianoLive Yes, exactly. A video including the 'roman numerals' in the reharm.
On another note, the song by Earth, Wind, & Fire called 'After The Love Is Gone' is something that I have trouble doing a roman numeral analysis to. An analysis of that song would help out a lot!
Ok..this is excellent teaching. I play some things like this.. but I learned a few things. I'm at 15.20 and played along with you. I often do the b7 chord on F which is a Eb
Triad. I was not seeing it as two minor.
It sounds similar, they both have the same notes...Also I go to Bb then F..sometime. The song Georgia has and Eminor half diminished going to an A7b9..I noticed awhile back that the Emin7b5 is a form of a dominant
C 9 .. E G Bb D....I like the way you teach..
Yes! This really feels like it starts to run into A Beautiful Mind territory after not too long - all the chords are substitutes for, or alterations to, other chords. At some point you turn into John Coltrane and then, shortly after, lock yourself in your basement to decode the messages that were surely sent from aliens to the Illuminati through the Bach chorales. Somewhere before that you gotta just throw the theory out and play whatever engages your soul. ...but it's fun to examine, practice, and experiment with!
Not too haphazard at all, I found it very well applied. I would love to see you do this again with the other subs missed this go around. Thanks!
I think we covered all of them or almost all of them here: www.learnpianolive.com/reharm Thanks for watching!
I really really really loved that F#7 as a tritone substitute at the 18:55. Even with the melody on the b3. I think it gave the right dissonance to it :)
Yeah - I'm often surprised the little gems I find when I go ahead and try something that technically should work but don't expect to sound good
+LearnPianoLive That's the magic in music. Nice videos by the way!
Thanks
Awesome! This was gold! Thank you so much for taking the effort!
Thank you for taking the time to watch
Very nice. The options, the options !
Right!?!??
ABSOLUTELY AWESOME!!!!
So glad you liked it! Thanks for watching
Pure AWESOMENESS sir!
So glad you liked it! Thanks for watching
Loooveee this!!! This is the kind of practical explanation we need on top of theory to solidify stuff!! Rick is amazing but sometimes it gets too complicated for biggeners like me and that makes it seem so impossible!! Thank you Soo much!!
So glad you liked it. Thanks for watching
Excelente Tutorial!!!!
Gracias por su aportacion.
Saludos desde Puerto Rico
¡Me alegra que lo hayas disfrutado! Gracias a usted por su apoyo ya Google por la traducción!
Nice video.. Some comments.. Actually I go the b7 or chord Eb. (G Bb Eb) right before the Bb chord. Also I do a.jazz version that is similar to the jazz chords in Georgia on my mind. I'll make this as short as possible. I have done a fairly good amount of study on the tritone subs. I go from. F to Emin7b5 to A7b9 to Dmin7 to Gmin7 to C7. Essentially the 7 3 6 2 5. 1..progression....Also I like to to do the chord Emin7b5 as
E G Bb D thenmove the pinky from
D of the Emin7b5 to. C# on A7b9.
I put a base A here..then follow through the chords.
i literally just spent a whole day watching ur vids haha, i really want to make songs sound a little jazzy, what's the best advice you'd give me? i know the II-V-I is 100% useful, also tritone subs and literally everything that tab says lol, but what else would be good? thanks a lot man, u gained another sub. :D
adding 7's and 9's is the quickest way to add a "jazzy" sound. Get REALLY familiar with those
GREAT video. Excellent explanation and the pacing was perfect. I hope there is so much more to come. For those of you who want the sweet payoff:
tl;dw 34:50
Thanks! I should have included that at the beginning! We do a new reharm every 7 weeks or so.
Awesome vid bro!!
Thanks. Glad you enjoyed it. We'll keep trying this workshop until we work out all the kinks (and complete most of the requests)
so easy explained! Great!
So glad you liked it!
great video i love all the possibility's very nice piano sounds so good guitar dosent sound as good so i arpegeate more with small 3 note extensions on subs with piano sounds great thank you like your straight ahead approach
Love you much
Back atcha
Thx. I love theory. My wife loves it she plays piano
Sounds like a good woman. Treat her well!
Actually I loved the Bdim going into the cmin7 chord...I guess it's all subjective
Listening back I agree with you - it's usually a matter of expectations vs. reality. When a chord doesn't go where you expect, it registers as "bad". Here's Herbie Hancock talking about it with Miles Davis: ua-cam.com/video/FL4LxrN-iyw/v-deo.htmlm1s That's why a lot of times when you hear someone else play - even note for note exactly what you played - it sounds better than when you play it. Perspective changes when you get to be 100% audience and not 50/50 performer/listener. The best players are doing a lot more listening than playing and can smooth out or even overlook their own mistakes better. It doesn't lock them up like it does less experienced players
some chords may fit in, if the voicing is right
Very good tut
Thanks! Glad you enjoyed it
Great instruction! But I think from a teaching point of view, instead of layering each new harmonisation technique on top of what has gone before, thereby increasingly complicating the demonstration, it would be good to introduce each substitution onto the basic harmony from scratch, thereby isolating the effect. It could then all be put together at the end. Just a suggestion - it's a lot to take all in all at once
I couldn't agree more! That method has lots of advantages. We try it both ways in different reharm lessons now. The biggest thing I want students to get is that you CAN layer reharm techniques and that it takes a lot of experimentation to become familiar with them.
quite entertaining and useful stuff. Why don't we get rid the "obvious" the 2-5 1 sound and make them tritone subs instead, this way they sound more elegant then add drop two on minor and create paralel 2-5 -1.
Great question! An impact wrench IS an enhanced screwdriver, but there are still some jobs that a screwdriver does better. We want to become familiar enough with all the tools that we can put them to use when it's time. A couple more quick analogies:
1. Why don't artists use all neon colors instead of the boring, regular colors? Wouldn't everything be so much more colorful if they stopped using bland colors?
2. Why don't we get rid of "Once upon a time" or "Based on a true story" and other trite story telling techniques? They're useful, and their triteness can actually make them more effective in some cases.
3. Entire genres are built around 2-5-1's, so they get to keep them. Like asking a horror film writer, "Why don't you try making one that isn't scary?" or telling Ford, "All the other car companies are making vehicles, so why don't you try something different like cupcakes?"
Really, though, each chord combination has its own characteristics/color/overtones/auras. The truth is, some people use tritone subs instead of 2-5-1's all the time. Nothing wrong with that. But to a higher level listener, the overuse of any particular tool (or the omission of a tool) will be noticeable.
Great tutorial.
Thanks! All the feedback helps...
Thank's a lot, very helpful.
So glad. Thanks
Great info here! How might I harness this to use very sparingly for pop writing...or for adding just a sprinkle when needed playing songs?
Same way as if you're wanting master them all - take a single concept and over-apply it, everywhere you can, until it starts to leak into your everyday playing. Then you're ready for concept 2...rinse and repeat
Oh-my-god! This was insane. I can't express how much I admired the way your fingers find each chord, so naturally. And I like this attitude of just throwing crazy ideas in and not thinking too much! A very creative mind :)
Hey but bro, one question: what happened in the very end? You said we 2-5 the last F, but the 2-5 for F is like G and C, instead you went Bb and Eb?
I get it that you went to Bb cause Bb is the sus 4 of F. After this you went to Eb because it is the fifth of the Bb....
Edit: Oh ok, so it was just a 2-5 and not a 2-5-1? I think I was trying to complicate it in my mind :)
tl;dr: Yes, you're right.
I *think* we're talking about the Bbm > Eb7 > F move at the end. Several different perspectives on this: (1) the way I described it: It's a super fancy suspension, where we randomly changed the chord quality, and realized we could turn the now-minor chord (Bbm) into the "2" of a 2-5 (at 33:50) - with no "1", as you pointed out. OR (2) Bbm and Eb7 are both 'borrowed chords' from the parallel key of F minor. That's a thing. I didn't get into here. I do in the forthcoming Twinkle Twinkle Little Star reharm video. In short: you can just steal chords from the minor key of the same name...just because. OR (3) this particular combination of suspending the 1, realizing it's the 4, changing the chord quality, realizing it's a borrowed chord and makes a pretty little 2-5 in the key of the flat 3 (key of Ab, in the case of F, like this song)....that whole series of events is called a back-door dominant and it's so common it can basically be substituted for a 5 chord any time you want. In other words: if you have a 5 chord, you can instead play a minor 4 > flat 7 dominant and it will sound like a thing - it's a dominant, but a really back-door way to get to it.
subscribed, i love it
Thanks!
Jump to 36:49 to hear the finished version
Thanks I put a 38:03 tag in the description. Thanks for the idea.
Aw man I really like it !!! If I give you credit for the arrangement, would you mind if I re-arrange it for a brass ensemble?
Sounds cool. Send me a link. Thanks for asking
Thank. you. very. much!
Glad it was helpful!
Cool vid
Thanks. Glad you liked it
Please make more tutorial about jazz Bebop Piano.. thanks
Working on it now! :)
I like your reharm..I play these chords sans a few. I normally just hear but it's nice to catorgarise the progression. nuances. You went to the Cmin7 as the 2min7 off the Bbmaj7. I usually go to the Eb triad..which is just a rootless. C min7. Do you have the sheet.
music version..Oh yeah I play sprinkles.of D blues over this.
Thanks for watching! And yeah - there should be a PDF in the description
@@LearnPianoLive Your welcome. I.checked it earlier
There is a transcription of the audio.but I.did not.find.notes
themselves.
I subscribed and will be watching you often. I use the tritone sub by flatting the the five or sharp 4. I had never seen or don't remember seeing the circle of fifths as a way to do the tritone sub. I am going to add that to my daily use. I've used the the 1 3 6 2 5 progression for years.. I didn't realize that it referred to the next chord. I haven't finnished the lesson yet and will be looking at your other videos..I think this would be a good way to jazz up Aura Lee.
For sure! Glad you found it helpful. Pass along any Aura Lee reharm when it's done. I'd love to see what you come up with
@@LearnPianoLive if I'm not mistaken .it's more or less. Love me tender.. I found a video of yours reharmonizing it.. I'll check that out. I can probably send you a link on Amazing Grace.. I like to to go to the flat 7 triad Eb rather than the C min 7.. which I totally like.. but I've never reharmed Amazing Grace.. I also like to do plain and embellished. How do I get this to you? It is good to compair notes..
Right - gotcha. I thought you meant YOU were going to use it to jazz up Aura Lee. Yes - it's the same as Love Me tender
@@LearnPianoLive I'll be doing some reharms on my channel I'll be giving your channel a shout out. Specicifically I'll send this link.
I went though all my amazing Grace videos and they are moreless beginning videos.
I am going to send you a gospel walk-up video that you may like. it's done at full pace and tutorial speed.
wow.no comment bro. you also good
Thanks!
I filled out the form.
I got that. I didn't see any video submissions in there, but thanks for sharing your story.
wow! where was this video all the while. Pls sir, can you give a description to the pdf file?
Should be a link in the description. Thanks for watching!
I’m at 8:15 into the video, great informative content, interesting you suggest that additional 2-5s would probably not fit too well in there, couldn’t we argue that the song’s measures 5-6-7 (with the Dmin already moving into G moving into C) are already built around a basic 2-5-1 progression anyway...?
I also have a quick question, when we do a 2-5-1 into a minor 1-tonic chord, having a 2 which is half-diminished and then a 5 which is dominant 7 (or even altered)... where - i.e. which initial scale maybe? - does that type of musical thinking come from, does it stem from some particular scale somewhere? For the 1 to be minor, and then for its 2 to be half-diminished, and then for its 5 to be dominant 7 altered... I’m just curious to know how the musical-logic works on that one progression there...
In A minor, for example (all white notes), the 2 chord would be B-D-F-A. That's a half diminished chord. The 5 chord would be an E. Now the 9 of an E chord would be F#, but in A minor, there's just an F and no F#, so the 9 of the E is a flat 9. Did I answer the question?
@LearnPianoLive, great, yes! I see, so the 2 here would just be kind of the Locrian end of an Aeolian 1, or something to that effect... which prompts me to ask something like “but then shouldn’t the 5 (i.e. the E in the example) be a “minor seventh” since the A minor scale contains (from all the white notes) a G natural instead of a G# along with a D, translating into an E minor...?”
Anyway, whatever sounds good is what it’ll be, I find myself seldom relying with time on theory when I try to come up with a new melody I fancy, since half of the time it works, and half of the time... one needs to think outside the usual diatonic boundaries and chat “borrowed chords” and “secondary dominant” to find a way to reason the choice of notes... so I’m really only curious for the sake of theoretical curiosity! But great perfect answer, and amazingly well done for the video, Like’d and Subscribe’d.
@@MarcAbela Yes! "Naturally"...the E would be minor because of the G natural, but when creating the chords or "Harmonies", you're supposed to use a G#, which would give you an E major chord in the key of A minor. But when creating the "Melodies", you can use either the G# or the G natural. These are the purposes of the "Natural" "Harmonic" and "Melodic" minor scales.
@@LearnPianoLive Oh, wild, interesting stuff, finally the "melodic minor" which would land (in A) something like A B C D E F# G# (A) if I'm not mistaken shows up somewhere not only "theoretically" but also somewhat "applied" in a bit of concrete way on my little musical radar... the "harmonic minor" often shows up when chord progressions starts on a "minor 1 chord" but want to use a "major 5 chord" so that part had been covered, but the melodic minor was still to be reasoned... thanks for all the new wisdom shared here, ain't much of course but I'll be making sure to indulge in the full length of all the commercials on the videos you book here so as to help increase whatever little revenue I can help provide! :)
Nice video man, just one question:
at 17.53, why are u playing the c in the f#7 chord, like that would be the b5?
Good catch! I don't remember what I was thinking at that moment, but it was probably either because the melody was a C and throughout the song I try to disrupt the melody as little as possible OR it was possibly a technical concept sometimes referred to as a screw-up :) Occasionally I will incorporate the "screw up" technique in the places I haven't practiced enough.
I haven't sent a video but I have amazing Grace on a few videos.
I could easily send a link here. I'm not sure how to use the submission area.. I could send a link to a email address easily. In the meantime I'll try the submission form area.Also I'll find at least one video on Amazing Grace. I think I did it in F.
Cool. That contact form goes directly to my email. Feel free to use it that way.
@@LearnPianoLive I just noticed.you.had given me way to.send.one.of my videos..last year. I have around 800 videos on You tube..startef in 2012..had a.guitar site that I started in 2007..its.kind.of in limbo now..Btw about 399 of my videos are lost..
Near the end, around 34:30 you say Bbm7 to Eb7 to F6 is a 2-5-1 progression. How?
That would be what's known as a "backdoor 2-5" in the key of F. Bbm7 > Eb7 > Ab6 would be a regular 2-5-1, and the keys of Ab and F kind of have a special relationship since they're only 3 half steps away. That's the short version :)
@@LearnPianoLive Thanks for responding. That was helpful.
I just read the pdf..the words are often ungramatical..I read.the whole thing.I had listened previously.to the video..Also when you said two.five..it say 25..
You mean the Watson auto-transcription? Yeah - those things are terrible!
Awesome video! how can I learn all of this stuff ( advanced music theory) by myself? I wish I could reharmonize myself in the future.
You're here! You're learning it. Of course, I go in-depth with students at my $20/month site LearnPianoLive.com, but there's tons of stuff here on UA-cam for free! I'd say pick up all you can here and find a teacher like myself whenever you feel like you've done all you can on your own. There's a full workshop on the reharm concepts at www.learnpianolive.com/reharm
LearnPianoLive thank you for your fast response!
Need the pdf like the circle and the substitution sheet please ,it’s dead :(
Sorry I missed this comment! Hit me up through the contact form on the site and I'll send it your way. Are you, by any chance, trying to download on an iPhone? Thanks for the feedback! I want it to be available to everyone
Very nice! Thanks! Do you still have the PDF?
There seems to be an error on your website
That's the second time I've heard that this week :/ Can you send a screenshot to Jamin@LearnPianoLive.com and I'll respond with the PDF?
Didn't catch your name, however...!
Wow helped my guitar aging alot is it in key of b or f
Great! It's in F
An you teach imtermediate player
That's up to each student to tell me :) I can't teach every intermediate player, but I can teach any play who clicks with my teaching style. We all have stuff to learn from each other!
More hymn reharmonizations
Comin' atcha...
What piano is that you are using if you don't mind me asking? 🙂
It was a Yamaha U3 that I altered with a digital addition so each of the keys also sent a midi signal and the keys had an switchable stop on them so I could play it as a straight acoustic piano, digital only, or combination. I had the same thing done to the Young Chang grand I play on now. It's confusing to watch because it looks and sounds like an acoustic, but acts like a digital piano, because it is.
@@LearnPianoLive Was just curious, I have just bought a U3 and I don't like it. The shop has said they will change it for me and I have to come in and play it before they deliver. I think a lot of the U3 pianos can have dodgy bass notes. The one I played in the shop when I bought it was a really good one but had quite a soft tone. The one I have is super bright, too bright for me I think.
36:43 his reharmonization.
Thanks
Where is the contact review located? Is it in the description?.
www.learnpianolive.com/contact-us-2.html
your pdf seems to have a some NETWORK ERROR...cant download fyi thanks
Thanks for the feedback! Did you follow the link in the description and then click on the "Click here to download the PDF" link? I just downloaded it on 2 different machines. I want to get it to you, so confirm that you're trying that and let me know if that's not working for you.
o k my hp cant DL,,,though my cpu cant...strange...but thanks i tot the pdf were the notes....but thanks nonetheless
whish i knew what you were saying.
ênds up sounding like piano lounge music in some sort of mid-rated hotel bar.. Now I know what to avoid, although the first part was good. But then it just sounds muddy and loses everything from the original. Harmony is there to ACCOMPANY melody, not the other way round - ask any guitarist who has got past accompanying and learnt to play melody plus harmony.
Great point! Songs should not be reharmonized randomly or overly changed. Otherwise it just ends up sounding like an exercise! Anyone who mistakes the preparation for the actual task has missed the point entirely. Listen to John, people! Don't run line drills during a basketball game, don't do pushups during battle, and don't use these worksheets to create art!
But also, let's not needlessly berate those hotel bar pianists. There are a lot of them using that time to do really good work developing important skills. No one is really listening to you anyway, so you might as well try some of that new stuff you just learned and want to master. Three cheers for the bravery and persistence of background musicians in hotels, wedding receptions, and cruise ships around the world! May we all aspire to use vulnerable times to become better at our craft like you!
36:50 good...
Thanks!
great music theory but doesnt sound too good
eh - can't win 'em all, right? Thanks for watching anyway. Maybe you'll prefer our next reharm
19:23 that sounds very cheesy lmao
lol. yup
Everybody Loves Raymond
Il a besoin de faire ces grimaces ? On dirait qu'il chie dans son froc ou bien qu'il est constipé. Trop de manières....
Not bad, but almost painful to listen to.
I really just don't get jazz. I always look for the best possible chords these guys seem to enjoy playing horribly sounding chords.
The problem is that they get bored with normal stuff.
Yeah. I feel the same about Piccaso. I guess he was a genius or whatever but it doesn't really do anything for me. Why couldn't he just paint something normal like an apple or something? People love apples.