All right, that's, Over The Waterfall.
I'm gonna now look at it differently.
I'm gonna re-harmonize it and put some
different chords under those, those notes.
So what in the world is going on there?
You have the simply scale.
what we know of this tune it's dee, dee,
dee, dee, dee, dee, dee, dee,
dee, dee, dee, dee, dee, dee, dee, dee,
dee, dee, dee, C, G, dee.
D, D, D, C, and G.
And D, D, D.
So it's mostly just Gs and Ds and a C
But when you begin to think about these
they belong to a lot of other chords also.
If you just take that much of the to tune.
First thing I do is I think about well,
slowing the tune down slow enough
so that you can actually hear some of
And take your time and place chords in
Like there's the standard places where the
chords exist currently in our,
in our mind of how we think about how this
It's all D, right.
So if we begin to say, well,
there could be a chord.
Another chord here and another chord here
and another chord here.
Then we have these landing points.
Ba da bing that's a F-Sharp.
That's a G.
That's a E.
So, lets just look at this parts of the
F-Sharp note, E note, F-Sharp.
So then, what I would ask myself is what
chords have F-Sharps in them.
Okay, that's, that's the first question.
A B minor chord has an F-Sharp in it.
So we can start this song in B-Minor.
Then you have an E note.
Well, what goes with an E note?
So you could go.
F-Sharp, as F-Sharp minor has an F-Sharp
note in it.
[LAUGH] And then you have this E note, I
mean F-Sharp note again.
And I would go so far as to play an A with
an F-Sharp note in it.
I hope this is making sense.
[LAUGH] You can really think about the fi,
the first train of thought is, let's put
more chords more often.
Than what we have done in the traditional
So, we picked those landing notes, and
we think about, what chords could have
those notes in them.
And we can begin to think about extensions
Like we could be the seventh of that
chord, or the sixth of that chord, or
even the nine, right?
The second note of the scale.
Without diving deep into jazz harmony yet.
The, this is my though process anyway.
B-Minor and E-Minor.
There's an open A note and I'm playing a
B-Flat Major 7 at that moment.
D, E-Minor, F-Sharp Minor,
A with a, with six on top, A7 or
A13, D, E-Minor, B-Minor.
And I put the C on the bottom.
So it's kinda like a D7.
instead of C there, it could be A-Minor.
Because that has a C note in it.
And instead of G, it could be E-Minor.
Because an E-Minor has a G in it.
Then when we go to the bridge.
It's traditionally been a D chord.
But that A note.
Could be part of a B-Minor chord.
And this B note could be part of an
F-Sharp, cuz it's the [INAUDIBLE].
Again comes the B-Flat chord,
because that D note is in the B-Flat.
Little two, five, one, B-Minor, A7,
To a D7 with a, with a C in the bass.
And then I might do a more standard
And instead of ending on the one,
I might end on the four.
that's just, a, some of the ways that I
think about re-harmonizing.
So I hope this helps you get a little
insight into what the possibilities are.
I'd love for you to send me a version of
a traditional tune of some kind.