Love this. Gonna have to add it to my practice this week. Thanks for making videos that are understandable to those of us who aren’t quite there yet :)
100% yes. Jeremy’s book is #1 on my must buy list: jazz-library.com/resources/ In fairness, Jeremy is a friend and my personal piano coach, so I’m extraordinarily biased.
I personally prefer to use F7 instead of Fmaj7. It has a more bluesy feel. Though I do like combining the two, using the F7 as a transition chord between the FM7 and C6. You're already getting very bluesy with the #9 chords, so why not throw in a bit more?
I've recently advanced from beginner to rookie-ish/intermediate level, and decided that i can manage lvl 3, but i would like to ask if, the thing that u did on lvl 3 such as 2ndary dominants, and others are also applicable for other hymns/songs or can they only be applied on some chord progressions?
Hey Icarus - I use those secondary dominants and reharmonization in so many places. As long as they work with the melody, you are good to go. As a former church pianist, I used them on virtually every hymn. :-D
@@JoshWalshMusic i love playing hymns especially those hymns that are in the methodist hymnal, as I have just said,i just started piano 3 months ago and im trying to read notes and also play with only chords. If i may ask, do you have the full copy for this music sheet?
@@icarus5669 if you search google for Hymn Fake Book or an indivisible hymn name followed by “Lead Sheet” you’ll find stuff easily. Those are perfect to try adding 2-5-1 and secondary dominants to.
@@JoshWalshMusic thanj you very much!! I actually have another question here. I can get all my chords and bass walking right, but i cant seem to get this jazzy melody/lead in my treble clef. Can you suggest some practices/methods to use to get those jazzy leads you do in the melody?
In its most simple, dominant chord resolved down a fifth. For example, as the V in a V-I. But in some cases you aren’t “aiming” at I. You might be aiming to land on V instead. In that case you can use a dominant chord a fifth above the V chord. Putting this example into the key of C, you may use an D7 chord to take you to G. That’s a secondary dominant. So consider chaining these together. D7 -> G7 -> C. Or go even further with A7 -> D7 -> G7 -> C. (Also called a “turnaround”)
![[jazz piano] Amazing Grace (sheet music)](http://i.ytimg.com/vi/KB9GW3vm238/mqdefault.jpg)
More of this please
WOW! Great STUFF!
The old adage Josh "Rome was not built in a day" hang in, we'll get there with you. Thank you for your posting.
Wonderful! I wish I could do all that on the fly. Some day. Dina from PWJ.
This is a great lesson for someone just coming to grips with with how all this theory hangs together. Please keep up the great work, Josh.
Great lesson thank you 🙏
Thank you this was very helpful!
Jazz has always been like amazing magic to me. Watching this was like learning my first trick. Thank you.
Man, you are great! Secondary dominants, tri-tone and dim subs, inversions at the right places really let this great song roll. Thank you!
Thanks for the nice message.
Thank you so much for posting this Incredibly well put together and helpful video!
Beautifully explained and color coded!
Thank you for sharing your knowledge and explaining it in a way that we can pick up.
Love you much
Gsus chord on the 7th measure. Thank you, for lifting the 3rd on the G. It made my evening. Rough day. In need of some grace.
Amazing! Great work Josh!
I really appreciate how you break the reharm down into discrete steps. Can’t wait to try this out on my own.
I’ve actually wanted to do a reharm of Let All Mortal Flesh Keep Silence for a while now
Do it man, and send it to me using the contact form on jazz-library.com. I’d love to see it.
i saw the methodist hymnal and said...let's take a look.
Love this. Gonna have to add it to my practice this week. Thanks for making videos that are understandable to those of us who aren’t quite there yet :)
Love it! Those #9 chords are the best
I thought it was a bold choice with the major 3 in the melody! Did you catch my altered melody to accommodate it?
Where could I get a book of these hymnals? Love the contour of these melodies
Ty
Please make more tutorial about jazz Bebop Piano...thanks
Great video! Do you recommend by the way Jeremy Siskind's books?
100% yes. Jeremy’s book is #1 on my must buy list: jazz-library.com/resources/
In fairness, Jeremy is a friend and my personal piano coach, so I’m extraordinarily biased.
I personally prefer to use F7 instead of Fmaj7. It has a more bluesy feel. Though I do like combining the two, using the F7 as a transition chord between the FM7 and C6.
You're already getting very bluesy with the #9 chords, so why not throw in a bit more?
Today I learned about jazz chords.
I've recently advanced from beginner to rookie-ish/intermediate level, and decided that i can manage lvl 3,
but i would like to ask if, the thing that u did on lvl 3 such as 2ndary dominants, and others are also applicable for other hymns/songs or can they only be applied on some chord progressions?
Hey Icarus - I use those secondary dominants and reharmonization in so many places. As long as they work with the melody, you are good to go.
As a former church pianist, I used them on virtually every hymn. :-D
@@JoshWalshMusic i love playing hymns especially those hymns that are in the methodist hymnal, as I have just said,i just started piano 3 months ago and im trying to read notes and also play with only chords.
If i may ask, do you have the full copy for this music sheet?
@@icarus5669 if you search google for Hymn Fake Book or an indivisible hymn name followed by “Lead Sheet” you’ll find stuff easily. Those are perfect to try adding 2-5-1 and secondary dominants to.
@@JoshWalshMusic thanj you very much!! I actually have another question here. I can get all my chords and bass walking right, but i cant seem to get this jazzy melody/lead in my treble clef. Can you suggest some practices/methods to use to get those jazzy leads you do in the melody?
I didn't quite get the idea behind the secondary dominants.. can someone give an explanation of them rq..?😅
In its most simple, dominant chord resolved down a fifth. For example, as the V in a V-I.
But in some cases you aren’t “aiming” at I. You might be aiming to land on V instead. In that case you can use a dominant chord a fifth above the V chord.
Putting this example into the key of C, you may use an D7 chord to take you to G. That’s a secondary dominant.
So consider chaining these together. D7 -> G7 -> C. Or go even further with A7 -> D7 -> G7 -> C. (Also called a “turnaround”)
@@JoshWalshMusic thank you! Appreciate & love your work