First Exercise for Jazz Piano Reharmonization!

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Wondering where to start for reharmonizing spontaneously at the piano? Here's an exercise about combining tritone substitutions and tonicization that is useful for every pianist, arranger, and composer.

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You are so nice! I have a long way to go as my time to practice is still limited. One step at a time. Thank you!

lorimfrancis

That’s awesome that Fred was your teacher!!!! Love your videos and playing!!! Thanks for all your videos!!! Been in a musical drought for a long time due to depression and life’s many curveballs, trying to get back on track…find your videos inspiring, thank you!!! ❤

rd-muvj

Great lesson Jeremy, we need more of these simple tricks!

francescomanfredi

Wow....a whole new world is open up ! ....this SIMPLE trick made it look so comlex....👍😏

robertomui

Great video!

There's another way to explain why only 2 out of 12 notes are inadmissible on a dominant chord.

If G7's main function notes are the B and F, then the F# and C would be notes that clash functionally with the 3 and 7 of G7. They undermine the function of the G7,
Another way of saying this is that those note are the function notes (3/7) of D7!!!
And those notes (F# C) want to GO TO G or G7!!!
So, if one plays either the F# or the C ABOVE the function G7, the brain hears harmonic and functional confusion, saying:
"WTF function are you trying to communicate. Are you playing G or trying to GET to G?"
When the ear is confused as to the reason (function) of a chord (or notes that are part of another function... it hears the result as wrong.

Anyway that's a bit long winded, and all one really needs to know to understand howt 10 out 12 notes work on dominant 7th chords, is the way you explained it.
🙏.

MarkEisenman

Sounds cool and very interesting theory-wise! Inserting those dominant chords sort of reminded me of chain complexes in algebraic topology.

robinbalean

Nice. This is something that I practice at times. One thing I discovered recently: instead of going down by 2 1/2 steps with a dominant chord, make the first one a minor seventh chord, and you have a ii-7 V7 substitution.

So targeting that Ebmaj7 chord, play F-7 E7 | Ebmaj7.

Another thing to practice is to target minor and major chords with a minor or major a half step above, this is giving you, of course, the side step technique, which you have covered in one of your other excellent re-harmonization videos .

richardsprince

Looking forward to ‘Second Exercise for Jazz Piano Reharmonization!‘…

jonathanmallalieu

Very interesting observation about Cole Porter songs being both major and minor. And, "All Of You" is a great selection for this exercise, mixing tritone substitution with tonicization. Mathematically speaking, I think the exercise is demonstrating the transitive property of "tritonicization".

donm