Been watching the new (Spring 2020) episodes and came back to this older one - didn't recognize Adam at first! All these episodes are so, so helpful - thanks to both of you!
Thanks guys!!! You said just enough to save this guitar player from having to stare at your hands for a really long time to figure out what the heck you're playing. My ears helped fill in the missing info too :). Great lesson. Reharming can do no harm...at least yours don't!!
Oooooh my goodness what's this. I love this so much. Heyyy guys be blessed and bless us with more of these. I discovered this page not too long ago but hey am so much in love with what u are doing. Thanks!
That's mindblowing! I don't know if I'll be able to sleep now with Autumn Leaves rehashed! :) I love the G13,#9 no root chord you played in the beginning - what was that? You went through the first part very quickly! it would help with a brief transcript: Every hack, the reharm chords and the way of thinking - you could even turn it into a course and sell it - like the free spirited way of thinking! I miss the slower break down for the beginning - encore!
8:56 thanks I know this sound and loved it, but never consciously figured out what makes it tick. This whole episode and podcast is filled with that sort of thing, so I don't know why I mentioned it in the comments of a half decade old video. Mainly, so I'd have a reference timestamp saved in the comments, to come back to this later🤣
After listening (and watching) to that part again several times, I think it's E C D G C, then Eb Ab C Db F Ab C, with the top C held as a pedal tone. Nice voicing.
The reharm at 9:00 is something Barry Harris uses. The “e” as the root for the Fm chord is part of the diminished chord built into Fm chord (Fm6 diminished scale). The em to A7 is the tritone’s minor (A7 being the tritone of Eb7)
Great video! Y’all have Any tips on IMPROVISED reharm WITH a band. Like maybe some reharm ideas to throw in on the fly that can color the sound without being too jarring... This is assuming the other musicians won’t know what coming, but the reharm idea will still sound interesting. Thanks 🤙
Also, the c in autumn leaves is still a 3rd on the half-diminished chorD iImyb5 the moment you keep this third for instance the Eb on Cm7b5 it still will sound good because of the interval connection and the Minor Mediant. I think this is the Modal approach in this way you could easily rewrite also the theme but keep the functions in the intervals I like for instance It Could Happen to you and play each 4 chords in Either Eb G or Bmajr relativeness...when chord changes is linked to the theme something really interesting occurs, then keeping the original tones...of course the bass player should have those changes also and you guys are talking about playing with all the Darlings in the Closet..being as friendly to your bass player...I love to let them go with me on certain moments....My favorite piano player in Holland is Joost Zwart..he has his compositions being black of all the slash chords, of course, he is also perfectly able to play the Standards with His Explosive Harmony, I have taken this technique directly from Bachs approach...of keeping the numbers...(functions of intervals)
I have a weird one: why does a III minmaj7 b 5 (1, b5, M7, m3) sound really good as a substitute for the ending tonic chord? I know there's a point where theory becomes a bit redundant but still curious.... I think it's something similar to that diminished idea at the start
It's directly from the melodic minor scale and it's derived harmonies. Let's use C minor as our basis. If you play what you referred to as a III major 7 #5, the notes are Eb, G, B, D. Those are just stacked 3rds, and C is a 3rd below the Eb. I would a Name this chord more appropriately C-9(maj 7). Does that help you?
Probably something they made up. I was thinking of rushing to my keyboard to figure it out. Sounds so sweet. I'm much better a figuring complex melodies than I am simple stuff. It's right up my alley. I compare myself to Einstein I can do complex trigonometry but can't tie my own shoe😁
Your Gbmaj7 superimplied(imposed), over the Bbmaj7, this is the bVi, and is called Shadow harmony, this works because we keep the "Shape" intact, if we even conserve the interval; we could do this on any of the 12 keys but the melodie shifts than while we keep the interval in the chosen Chord...this is a new way of reharmonisation that uses the concept of modality and is actually used mostly if one is able tyo freely improvise without a bass player to have to adjust to... in This we we could write It could happen to You in three different keys the fisrt four bars in Ebmaj the next four in Gm,aj7 the next four in Bmaj, so the meldoe shifts just a major third while modulating but bykeeping the inteval, we can justify it and it works great look normally D7 bar 4 goes and resolves to Ebmaj7, Now it maigically enough resolves to a Gmaj so a normal ordinairy d7 Gmaj V-I progression sounds in thos context rather magical!!!! Check this technique out! I invented this two years ago out of Giant steps analysis + baroque fanatism
Sorry but you talk about things for solo piano... The real challenge is reharm with a bassist you don't know in a jam session for example... Yours from France...
I am going to disagree with Peter's point about surprising listeners with an unexpected reharm .. particularly with the example given here that turns light into darkness, to the extent that it takes the tune and the mood to a different place that actual song is written to evoke .. The thing about standards is not just that they are familiar melodically and harmonically, but that they come with lyrics and lots of memories i.e. a built-in overall sentiment .. Unusual reharms that are theoretically correct but interfere with the anticipation and emotional response of the listener may be interesting and exciting to Berklee grads, but, to put it crudely, are unnecessary musical mast%$#@tion on the part of the artist, and irritating and frustrating for listeners ..
They talk the language of pharasis....like high priest... Don't focus....pls...don't focus on their hand... You will understand nothing...nor their language... Best is to master the scales and be the master of this clowns.
I could listen to peter reharm all day long. So beautiful.
Been watching the new (Spring 2020) episodes and came back to this older one - didn't recognize Adam at first! All these episodes are so, so helpful - thanks to both of you!
I'm watching these old ones for the first time in 2023... and my first thought was "Whoa, Adam's uncle from Milwaukee used to do this podcast? Cool!"
You guys are send from Jazz heaven for us mortals to open our ears. I like Open Studio soo much
That outro jam was great
really loved this one, the overhead camera helps a lot too
Thanks Johan! We appreciate the feedback.
Thanks guys!!! You said just enough to save this guitar player from having to stare at your hands for a really long time to figure out what the heck you're playing. My ears helped fill in the missing info too :). Great lesson. Reharming can do no harm...at least yours don't!!
Best duo
Wow super underrated channel, well done guys
Love this channel. Peter and Adam are very knowledgable and make a great team. Thanks
I love to play in the 'Big Boy Pool'...I needed a life raft for some of it though...Great stuff!
Hey, thanks for a great channel and exciting content. This is a gem for anyone looking to advance his improvisation skills!
We love this stuff, keep it up. Brilliant
Thanks Ian!
That first hack is pure gold! Thank you!
such a great lesson, you guys are beasts
Oooooh my goodness what's this. I love this so much. Heyyy guys be blessed and bless us with more of these. I discovered this page not too long ago but hey am so much in love with what u are doing. Thanks!
13:41 killerbassline. Youll hear/see it 😂
This channel should have 20M subscribers. really!!
Excellent and refreshing. I shall return...
Love it, love it, love it.....Thank You!
Really love the 3rd reharm hack, thanks for sharing!!!
This is the podcast that’s been missing from my rotation.
Thanks,guys. I use these trix/hacks in songwriting.
Love your podcasts and brilliant banter 🤣 big love from the uk!
That's a VERY creative "hack" that you've shown for "Autumn Leaves" because it's so outside the overly familiar progression.
That's mindblowing! I don't know if I'll be able to sleep now with Autumn Leaves rehashed! :) I love the G13,#9 no root chord you played in the beginning - what was that? You went through the first part very quickly! it would help with a brief transcript: Every hack, the reharm chords and the way of thinking - you could even turn it into a course and sell it - like the free spirited way of thinking! I miss the slower break down for the beginning - encore!
You are awesome guys! Keep up the good work!
idk why that gin and tonic line creased me up 😂
8:56 thanks I know this sound and loved it, but never consciously figured out what makes it tick. This whole episode and podcast is filled with that sort of thing, so I don't know why I mentioned it in the comments of a half decade old video. Mainly, so I'd have a reference timestamp saved in the comments, to come back to this later🤣
that bassline hand glitch at 13:43😂😂
13:41?
I didnt know they were from saint louis😇
HELLO FROM FLORISSANT, MO
thanks guys!
Such sweet chords at 5:37!
After listening (and watching) to that part again several times, I think it's E C D G C, then Eb Ab C Db F Ab C, with the top C held as a pedal tone. Nice voicing.
Nice conversation!
Oooh, that 2 voice counterpoint reharm is fun. It'd be hard to do it live but its really fun for composition.
you're are the best I love them!!!!!!!!!!!
The reharm at 9:00 is something Barry Harris uses. The “e” as the root for the Fm chord is part of the diminished chord built into Fm chord (Fm6 diminished scale). The em to A7 is the tritone’s minor (A7 being the tritone of Eb7)
This it great stuff guys.
Instant subscribe!
Great video!
Y’all have Any tips on IMPROVISED reharm WITH a band.
Like maybe some reharm ideas to throw in on the fly that can color the sound without being too jarring...
This is assuming the other musicians won’t know what coming, but the reharm idea will still sound interesting.
Thanks 🤙
yeeees more of this!
This is A W E S O M E
Thanks Brenda! Glad you enjoyed this episode. #youllhearit
great, loved this!
8:25 note to self
Beautiful son!
This channel is proof of the fact that piano IS the superior instrument.
Thanx, Gentlemen.
Also, the c in autumn leaves is still a 3rd on the half-diminished chorD iImyb5 the moment you keep this third for instance the Eb on Cm7b5 it still will sound good because of the interval connection and the Minor Mediant. I think this is the Modal approach in this way you could easily rewrite also the theme but keep the functions in the intervals I like for instance It Could Happen to you and play each 4 chords in Either Eb G or Bmajr relativeness...when chord changes is linked to the theme something really interesting occurs, then keeping the original tones...of course the bass player should have those changes also and you guys are talking about playing with all the Darlings in the Closet..being as friendly to your bass player...I love to let them go with me on certain moments....My favorite piano player in Holland is Joost Zwart..he has his compositions being black of all the slash chords, of course, he is also perfectly able to play the Standards with His Explosive Harmony, I have taken this technique directly from Bachs approach...of keeping the numbers...(functions of intervals)
Hi,
Can you explain what relation you see in a «Eb» melody note on a Cmin7/5b and the G/Eb/B keys please?
Nice!
Really cool stuff!
I have a weird one: why does a III minmaj7 b 5 (1, b5, M7, m3) sound really good as a substitute for the ending tonic chord? I know there's a point where theory becomes a bit redundant but still curious.... I think it's something similar to that diminished idea at the start
It would probably be better to call that a IM7#9
It's directly from the melodic minor scale and it's derived harmonies. Let's use C minor as our basis. If you play what you referred to as a III major 7 #5, the notes are Eb, G, B, D. Those are just stacked 3rds, and C is a 3rd below the Eb. I would a
Name this chord more appropriately C-9(maj 7). Does that help you?
What is that tune played behind the intro at the 0:09 mark?! What a great finger exercise piece!! Great video!!
Probably something they made up. I was thinking of rushing to my keyboard to figure it out. Sounds so sweet. I'm much better a figuring complex melodies than I am simple stuff. It's right up my alley. I compare myself to Einstein I can do complex trigonometry but can't tie my own shoe😁
@@chrisbranch231 r/iamverysmart
"emotion in motion" by Peter Martin
Your Gbmaj7 superimplied(imposed), over the Bbmaj7, this is the bVi, and is called Shadow harmony, this works because we keep the "Shape" intact, if we even conserve the interval; we could do this on any of the 12 keys but the melodie shifts than while we keep the interval in the chosen Chord...this is a new way of reharmonisation that uses the concept of modality and is actually used mostly if one is able tyo freely improvise without a bass player to have to adjust to... in This we we could write It could happen to You in three different keys the fisrt four bars in Ebmaj the next four in Gm,aj7 the next four in Bmaj, so the meldoe shifts just a major third while modulating but bykeeping the inteval, we can justify it and it works great look normally D7 bar 4 goes and resolves to Ebmaj7, Now it maigically enough resolves to a Gmaj so a normal ordinairy d7 Gmaj V-I progression sounds in thos context rather magical!!!! Check this technique out! I invented this two years ago out of Giant steps analysis + baroque fanatism
Sounds great!
What kind of stereo bar is that on the mics?
0:08
Great, I'm bored with the usual changes 😎
It would be nice to see the notation onscreen
9:00
What is the intro?
Q C autumn leaves
Emotion in Motion by Peter Martin
6:09
Nerds!
what is that freakin intro song??? omg!
"Emotion In Motion" by Peter Martin from the album "What Lies Ahead"
Wow great, John! You are correct. Thank you! #happypracticing
Sorry but you talk about things for solo piano... The real challenge is reharm with a bassist you don't know in a jam session for example...
Yours from France...
Jesus Christ @7:44 was delicious
Lost weight and the mustache !
13:12 bald headed guy loses interest? Lol
That's a disrespectful comment. These guys deserve better.
@@Wachnin13 lol watch him. Hes not even interested then acts like he is 😂
I am going to disagree with Peter's point about surprising listeners with an unexpected reharm .. particularly with the example given here that turns light into darkness, to the extent that it takes the tune and the mood to a different place that actual song is written to evoke .. The thing about standards is not just that they are familiar melodically and harmonically, but that they come with lyrics and lots of memories i.e. a built-in overall sentiment .. Unusual reharms that are theoretically correct but interfere with the anticipation and emotional response of the listener may be interesting and exciting to Berklee grads, but, to put it crudely, are unnecessary musical mast%$#@tion on the part of the artist, and irritating and frustrating for listeners ..
They talk the language of pharasis....like high priest...
Don't focus....pls...don't focus on their hand... You will understand nothing...nor their language...
Best is to master the scales and be the master of this clowns.