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Jazz & More Guitar Lessons: Reharmonization

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Jazz Advanced, Reharmonization.
In the last segment,
I spoke about chord melody.
Started with some basic chord melody,
and some more advanced chord melody.
And before leaving that subject,
I would like to continue to speak
a little bit about reharmonization.
I touched that subject a little bit
while I was discussing different options
how to play chords on Autumn Leaves,
and I improvised a little.
Chord melody version I just did.
For instance, you have a lot of freedom
when you're doing reharmonization of for
instance a jazz standard.
The important thing to remember is to have
a direction, to know where you're going.
'Cause then you can start almost anywhere,
if you have a direction, and
you end up at the, the right place.
It's all about creating tension and
release.
It's the same thing when
you're playing outside,
when you're going outside the changes.
So let's, if we take a, a standard.
For instance, for
instance Autumn Leaves like I did here.
We have the melody.
[MUSIC]
And the chords are C minor 7, F7.
So instead of that I can play
[MUSIC]
start somewhere else.
[MUSIC]
And then, using another chord,
another chord scale where
that same note exists.
So.
So C sharp, minor 7.
[MUSIC]
Then I could
do C minor F7.
I can do a chromatic,
[MUSIC]
B minor 7, E7.
[MUSIC]
And then.
End up on A minor 7 flat 5.
Instead of doing
[MUSIC]
now I'm doing
[MUSIC]
So it's all about ending up at the,
at the right place and
to have a direction.
Here I have a,
a bass line that goes like this.
Lower down and going up instead.
You can start on F sharp 7, G7 altered.
Maybe.
A flat 7 sus.
Maybe A A major flat A major flat 5 or
it's a major 7 flat 5 or sharp 4.
B minor 9 11, or B7 dominant.
You see.
Can do all of these things.
For instance, the old Django Reinhardt
piece, Nuages, that goes like this.
E flat 7, A minor 7, flat 5, B7, G.
You can maybe do, try to do.
You see I'm doing
E flat 7 sus,
B 7 sharp 9.
A, A flat minor 7.
And then D flat 7 or D flat 7 sus.
Then landing on the correct chord,
G major 7.
So it all has a direction.
[MUSIC]
But why not even try.
[MUSIC]
C minor 7, B flat 7,
sharp 11, B flat, minor 7,
A7, sharp 11, flat 5 and
end on A flat major 7 sharp 11, flat 5.
[LAUGH] Or constant intervals,
you can maybe.
[MUSIC]
'Cause you have this one.
You can find the nice voicing.
[MUSIC]
This is like
[NOISE] F triad with E flat in the bass.
F over E flat.
[MUSIC]
This is called constant structures.
When you find the voicing you like, and
you harmonize every note
with the same voicing.
[MUSIC]
For instance,
[MUSIC]
you hear the sound is very different
according to what kind
of voicing I'm using.
There's so many.
[MUSIC]
So many possibilities.
[MUSIC]
Hm.
[MUSIC]
So you can see, there's so
much things you can do here.
I'm mixing it up with.
[MUSIC]
That's
a
little
bit
about
Reharmonizing.
So pick any standard or any song you
know and try to come up with some
new chords that fit with the melody
using these ideas I just showed you.
[MUSIC]