This was such a good video Jared! I’ve been going over this exercise a lot recently but the way you explain things just gave me so many shortcuts to get it learned and operating faster. Appreciate all you’re doing mate. Great teacher!
this is fun,, i'm sure to learn some here.. i been training my ear to figure out melodies with a lot of difficult stuff between the melodies.. this is interesting leasson ty jared for sharing!
Bro, this is such an amazing lesson. I've been trying to walk my way through this for some time after watching a separate chord melody video of yours. These tips will accelerate my learning I think. Appreciate it a bunch!
I have used this process for finding cords to any song I hear or where I already can sing the melody but I don't know the chords. If it is a song you have heard the correct chord of the ones that might work will become more clear because they will just sound right to your ear. But using a minor chord in place of a major will give the song a whole different vibe. Also adding the relative minor (i.e the 6th degree of the scale for the 1st degree) even when you could stay on the major will add a little flavor as well. where i find the challenge is where the harmony of the melody line is the 7, 2 etc degree of a certain chord. much harder to find. hopefully Jared will do a follow up to this video for more complex harmonies.
HI Jared! Nice video! However, at 13:10 you say "the 2 chord is 2,4,6, the 3 chord is 3,5,7, of the scale". So, I draw from this comment that when figuring out which chord belongs to which note, you just consider the note, and then the harmonising chord will be the 1,3,5 of that selected note - correct??
Yes, if you treat the harmonized note as the 1 of the chord. There are still two other chord options to choose from though. Hope that helps. Thanks for the comment!
The chords and notes in the Dorian mode are the same as in the Major scale (which he uses here), just written differently, when you're looking at the scale degrees. The dorian mode is just a normal Major scale but you begin counting it from the "ii" degree so it should be exactly the same just with different notation. If you choose to use the dorian mode, instead of the scale degrees being [ii, iii, IV, V, vi, vii", I] it would get mapped to [i, ii, III, IV, v, vi", VII]. Notice the form of the degrees are the same just with different letters. It's probably done this way because it's better than constantly working backwards through the Major scale (to find the degree chords) all because you want a Dorian sound/wrote the melody with that in mind. Anything you do here can be translated backwards to the Major scale, which is probably better to learn to use before picking a different degree to use as the tonic (it might hinder your learning to skip ahead... go watch the chord series on this channel for a pretty good explanation of how it all works). Essentially, having the different modes just makes it easier to work with degrees since you want the first chord in the chord progression to be the "1 chord" or the chord of the tonic (first/home base) note... so if you want to go for a different sound (ie, dorian, phryggian, minor etc) it just makes it easier than trying to remember what note to count from. Ie you just need to know the chord type each degree has, like is it minor, major, dominant, half diminished? (some other chord you throw in from outside the scale? (because that sounds good sometimes... especially for transitions (there's diminished chords between each full step scale degree except vi and vii") and leadups and there's also other relationships between chords that can elevate songs (like substituting minor 7 chords for the relative dominant 7) but I'm getting really sidetracked)). This also makes it easier to learn things by ear, since if you already assume the first chord you hear in the progression is the one/tonic you just need to decide what sound it has to determine the degrees, ie Minor, Major (dorian? idk what that sounds like...) then from there you can listen for the chord qualities (major 7, dominant, minor 7, diminished etc) and figure it out from there) it probably helps skip a few steps in transposing (idk I haven't done it lol but it makes sense).
Mrtoast gave a good answer! I'll add one correction though. The Dorian scale would be spelled as follows: i, ii, bIII, IV, v, vio, bVII See the flattened roman numerals, and the diminished chord built on the sixth scale degree.
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This was such a good video Jared! I’ve been going over this exercise a lot recently but the way you explain things just gave me so many shortcuts to get it learned and operating faster. Appreciate all you’re doing mate. Great teacher!
Thanks so much! I'm happy it helped you learn faster.
Cheers :)
You are an amazing teacher! Very helpful information. Thank you!
Thank you 🙏
So glad it was helpful!
“Chapeau bas”, totally professional job, think you for it.
Cheers, thanks! :)
this is fun,, i'm sure to learn some here.. i been training my ear to figure out melodies with a lot of difficult stuff between the melodies.. this is interesting leasson ty jared for sharing!
Thanks for checking it out! I hope it helps :)
Bro, this is such an amazing lesson. I've been trying to walk my way through this for some time after watching a separate chord melody video of yours. These tips will accelerate my learning I think. Appreciate it a bunch!
Thanks so much! :)
Super glad it was helpful for you.
I have used this process for finding cords to any song I hear or where I already can sing the melody but I don't know the chords. If it is a song you have heard the correct chord of the ones that might work will become more clear because they will just sound right to your ear. But using a minor chord in place of a major will give the song a whole different vibe. Also adding the relative minor (i.e the 6th degree of the scale for the 1st degree) even when you could stay on the major will add a little flavor as well. where i find the challenge is where the harmony of the melody line is the 7, 2 etc degree of a certain chord. much harder to find. hopefully Jared will do a follow up to this video for more complex harmonies.
Totally. Glad this process helps for learning songs. I thought about making a follow up video on harmonizing extensions. Thanks for the suggestion! :)
Very great explanation, which I accidentally also figured out just last week 🙈 and of course you can also use the inversions of chords…
Thanks! 😊
Ter-rif-ic!!🙂🙂
Thanks, Michael! :)
Time to go platinum
Let's gooo! 🚀
Yes, thats true. You are my teacher
HI Jared! Nice video! However, at 13:10 you say "the 2 chord is 2,4,6, the 3 chord is 3,5,7, of the scale". So, I draw from this comment that when figuring out which chord belongs to which note, you just consider the note, and then the harmonising chord will be the 1,3,5 of that selected note - correct??
Yes, if you treat the harmonized note as the 1 of the chord. There are still two other chord options to choose from though. Hope that helps. Thanks for the comment!
Great lesson Jared - next week's sounds like fun too!
Thanks! :)
Greetings to Jared and everyone too.
Greetings! 👋
How would this work if my melody was in the Dorian scale?
The chords and notes in the Dorian mode are the same as in the Major scale (which he uses here), just written differently, when you're looking at the scale degrees. The dorian mode is just a normal Major scale but you begin counting it from the "ii" degree so it should be exactly the same just with different notation. If you choose to use the dorian mode, instead of the scale degrees being [ii, iii, IV, V, vi, vii", I] it would get mapped to [i, ii, III, IV, v, vi", VII]. Notice the form of the degrees are the same just with different letters.
It's probably done this way because it's better than constantly working backwards through the Major scale (to find the degree chords) all because you want a Dorian sound/wrote the melody with that in mind. Anything you do here can be translated backwards to the Major scale, which is probably better to learn to use before picking a different degree to use as the tonic (it might hinder your learning to skip ahead... go watch the chord series on this channel for a pretty good explanation of how it all works).
Essentially, having the different modes just makes it easier to work with degrees since you want the first chord in the chord progression to be the "1 chord" or the chord of the tonic (first/home base) note... so if you want to go for a different sound (ie, dorian, phryggian, minor etc) it just makes it easier than trying to remember what note to count from.
Ie you just need to know the chord type each degree has, like is it minor, major, dominant, half diminished? (some other chord you throw in from outside the scale? (because that sounds good sometimes... especially for transitions (there's diminished chords between each full step scale degree except vi and vii") and leadups and there's also other relationships between chords that can elevate songs (like substituting minor 7 chords for the relative dominant 7) but I'm getting really sidetracked)).
This also makes it easier to learn things by ear, since if you already assume the first chord you hear in the progression is the one/tonic you just need to decide what sound it has to determine the degrees, ie Minor, Major (dorian? idk what that sounds like...) then from there you can listen for the chord qualities (major 7, dominant, minor 7, diminished etc) and figure it out from there) it probably helps skip a few steps in transposing (idk I haven't done it lol but it makes sense).
Mrtoast gave a good answer! I'll add one correction though. The Dorian scale would be spelled as follows:
i, ii, bIII, IV, v, vio, bVII
See the flattened roman numerals, and the diminished chord built on the sixth scale degree.
Thanks for your contribution!