Jazz Piano for Beginners: Functional Harmony (Lesson 5)
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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 fifth lesson we will start delving in jazz theory, also known as diatonic or functional harmony. This theory underlies almost all of western music, and it shows you WHY jazz chord progressions are the way they are. It's so important that it's safe to say that without it, you cannot understand jazz. I will break it - and its main ideas - down in this lesson. We'll get back to it and embellish it as we go along.
TABLE OF CONTENTS
0:00 Introduction
1:07 Theory
4:34 Word of caution
5:58 Basic idea #1
7:41 Basic idea #2
10:44 Application
16:32 Practice
17:22 Pennies from heaven
I'm from India, I always had a dream of learning jazz but couldn't afford to, the level of your instructions brings tears to my eyes, I've made it somewhat through scales and chords and I'll be able to be a jazz pianist because of you. I'm greatful forever. No words can tell how much you've helped. Thank You from the bottom of my heart!!!
You are a real music teacher. I found this topic so confusing for years.
Merci. I'll come back to this when I have earned my chops. I love your lessons, but I've decided to master my triads first.
Go for it! But you don't need to be a keyboard ninja to understand and appreciate functional harmony!
Always excited when a new video drops
Thank you so much!
Thank you for this lesson
I found it informative and interesting. Waiting to understand the undefined chords, too.
Amazing lesson ❤🙏
Interesting and informative. Looking forward to the next lesson.
It's a-comin', and we will start resolving some of those question marks!
Fantastic lesson
Thanks! 😃
Wow!
Thanks you for this amazing class, can’t wait to the next one , in the meantime practicing hard on the other lessons on this amazing course!
More to come!
going to deep ty mate
Too deep? You mean there's too much theory? But this is how you learn jazz piano ...
@@MangoldProjectthis is not to deep this is perfect keep going i’m learning so much
Thanks a lot 😂😂😂
❤
Thank you for the theories.
Is that why in Jazz instead of 451, its 251 progression, because the 2 can act as a 4?
Also, I just realized a good mnemonic for remembering the roles..TSTSDTDT😊
Well, 251 is really a 451, i.e. subdom to dom to tonic. Functional harmony doesn't tell you which one is "better", though.
Surely its 2, 5 ,1 that is very popular functional harmony example, rather than your suggested example 4, 5, 1. 2, 5 ,1 follows the circle if fifths aswell. Sounds far more natural to the ear. The 2 being a minor tone preceding the 5 dominant 7, satisfies our western ear better than the major 4 tonality. Interesting how every single chord is a 7th chord. Maj7, min7 or dominant 7. I know people who don't prefer the tonality of a major 7, over maybe a 6th tonality or basic triad.
In functional harmony, a 4-5-1 and 2-5-1 play the same "roles", and the distinction between them is meaningless *from the diatonic harmony perspective* (I would say the distinction is minor, but that pun is too obvious). As for a 2-5-1 being "better" than a 4-5-1 ... That again is a hard case to unequivocally make. Beethoven and Mozart, as well as Queen, Rolling Stones and The Beatles would (mostly) disagree. The 2-5-1 has actually fallen out of favor in modern pop, being replaced by the 4-5-1 (inasmuch as functional harmony is even used to "understand" more modern music from the last couple of decades, which is up for debate as well).
251 is a 451, and a 651. Just like a 736, is a 236, and 436. You can't just practice what you're told to practice. You have to discover music to the point you realize nothing is right or wrong actually. What "you know" about chords, is what was played first, then written down. In other words somebody sat a piano and played what sounded good to them, without knowing, thinking, or saying "look this is a 251 🤓"... You get it?
How can you extend this method to functional harmony across various scales, including unconventional ones? Is it possible to create a formula that, while not perfectly accurate, consistently yields results? For example, in your video, you demonstrated this for several minor scales, but I wonder if i could do the same for the entire family of four scales: major, melodic minor, harmonic minor, and harmonic major, along with their modes. That would give me 28 scales to experiment with. I understand it's a significant request, and I don't expect you to fulfill it, but I'm struggling to apply various concepts. While I know music is more about feeling and listening than reading and understanding, I believe improving my theoretical knowledge could greatly enhance the harmony and coherence of my compositions. I'm drawn to unconventional, bizarre sounds in music, and I believe understanding these principles could help me achieve that. (I want to find out for all the scales myself, just some advice on how you approached finding the gunctionnal harmony in your minor jazz video and how I could, like how can I find the character, not guide note of any scale, not the church mode, maybe just one video where you focus on one scale and you show us how you find tonic, pre-dominant, weak tonic, and dominant. Thank you nonetheless.)
Music theory is really just an attempt to formulate the common elements of music in some cohesive way. Once you get into the "bizarre" territory music theory starts to break down: what's theory and what's just bizarre? At one point you will have to take the concepts taught to you and apply or modify them to fit your own artistic vision. No one will do that for you.
This is true.
9:34
I Tonic
ii Subdom
iii Tonic
IV Subdom
V Dom
vi Tonic
viib5 Dom
Thank you so much!