Extreme jazz fusion reharmonization

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berklee jazz berklee jazz composition dirty loops dirty loops baby dirty loops harmony jazz chord jazz chords explained jazz composition jazz composition masterclass jazz harmony explained jazz harmony piano jazz reharm jazz theory jazz theory lesson knower music theory music theory lesson adam neely

...Do I need to be concerned because I found that 12-tone thingy weirdly consonant? Like, it didn't sound jarring or dissonant, but actually weirdly soothing and relaxed... and easy to follow... I don't think that is the feel I should get from that... :/
uh... what???
Alexis Harper
This video gave my band an album idea (we’re now doing a jazz fusion pop reharmonization album), as well as teaching me the beauty of the tritone substitution, which I really wish I had learned about sooner. It’s great.
Anders Enger Jensen
One of your best videos, indeed. I fell off about right before the Jeff Goldblum. Hehe, yes, whether or not you should! \u003c3 :D
Andrei Grozea
the grey Adam should have a name, \nAdam Durden
Andrew Wegierski
In the tritone substitution section, the tritone subs seem to lose their effect when you use both the V and the bII. In my opinion, the point of the tritone sub is to allow for chromatic descent in progressions. I also use tritone relationships for resolutions, like I might do F7 to Bmaj7, and therefore complete a sudden modulation of sorts. I don't know, I'm just not a fan of things like A7 to Eb7 to D-. \n\nAlso, in the chromatic descent section, the Dbmaj7#5 is just a tritone sub of a G7 leading to Cminor. Granted they don't have the same guide tones, but, you know you can mess with the quality of a tritone subbed chord (The Tadd Dameron turnaround...). Likewise the B7 is a tritone sub of F leading to Bb major. G-7/Ab is a substitute for Abmaj7#11 (13), and that is a sub for a D7 chord leading to G-. The only other chord that wouldn't make sense is C-7, but thats a ii of Bbmajor. ii/IV.
Aresh Aresh
7:49 *S T R E S S E D A F*
Artur Caminero
My dream is to fully understand your videos
*J A Z Z*
Barry The Bee
So... ya like jazz?
Ben Levin
Bravo! You touched on examples from the entire spectrum of harmony pretty much.
Benjamin Austnes Narum
The progression of chords through this video tells me a story of an increasingly mentally unstable Ed Sheeran.
Bernard Isselin
Superb! Melody and shape have their own value, but the chords and colors can change the golden lead. Thank you M.Neely ! Great explanation !
Bro what is the name of the song playing at the end while you were talking?! 🔥
Bryce Rosenwald
2:05 - sorry man, that belongs to Ed Townsend. That’ll cost you $100000000.
Charl Joubert
I understand the theory... but to me, it sounded worse and worse as you went; do I perhaps NOT like jazz??
Chris Wilson
so how do you go the other way ? How would you untangle say Coltrane's Interstellar space into a mindless pop song ?
Customer Cassette.
someone isolate that Its Always Sunny clip
Why don't I like that Em7(b5)?
That is what I was searching for. Thanks so much :)
What that is a sick-lick chord progression.
David Smith
Definitely some pretty chords once you added the tension.Another video could expand on this with some jazz funk grooving in addition to the reharmonization punctuated with some short funky chords as well as longer durations.Thanks for your animated video it rate it pretty COOL!
Derek Marshall
Awesome stuff! Now all we need is a video which deals with the composition of the licks and unison phrases!
This is my favorite video by far. I wouldn't mind the least bit if you made a series of reharm videos
1:35\nHmmm.... whats that sound... sounds like.... like something old...\nMabey a joke?\nYES! An old joke. Thats what i could write in 5 words but instaid i wrote a whole coment.
Such a concise explanation of wide ranging approaches, wow.
Frederik Marohn
To be fair, you have to have a high IQ to understand John Coltrane. His music is extremely subtle, and without a strong understanding of post bop and avant garde music most of his music will go over a typical listeners head. There is also Coltranes' advanced reharmonizations soloing techniques, deftly woven into the chord structure - his soloing technique often draws from polytonality, for instance. The fans can comprehend his music; they have the intellectual ability to truly appreciate his soloing technique, to realize that his music isnt just notes, they say something about LIFE. As a consequence people who dislike John Coltrane truly ARE idiots - of course they wouldn't appreciate, for instance, the usage of \
Gran Ribeyro
Random...chords.. ..
Oh yeah, that's that jazz! I want that jazz. I want MORE jazz!
Greg Haybittle
Reharmonisations......\n1:45 Original\n2:05 Diatonic\n2:57 Non-Cyclic\n3:36 Varied Harmonic Rhythm\n4:13 Added Tensions\n4:42 Cycle 5 Progression\n5:26 Tritone Substitution\n6:38 Chromatic Bassline\n8:07 Ascending Bassline\n9:17 Mirror Chords\n9:50 Multi-Tonic Systems\n10:24 12-Tone\n\nGreat tutorial Adam!
Hedgehog Fox
I'd love to listen to the whole of the song at the beginning!
9:59 - What he did was spell out Bb+, A+ and Ab+ triads and played major sevenths on them. It's tricky because he crossed the bar line and used deceptive (or incorrect) enharmonic nomenclature for Gb (F#) and Db (C#). These \
Israel Mercado
Adam & smeegol je je je great explanation.\nThanks to smeegol for asking for the juicy jazz.\nOnes you get a bite of a nice jazzy chord progression you won't go back to 3 chords notes...😎
Ivan Arguello
Good shit just what I was looking for
JJay Berthume
Jack Rota
Remember the To Do List from the odd time signature vid?\n\nNow you should check off \
Jackson Elmore
do a vid on ways how poor musicianship can be a good quality depending on the aesthetic goal
Jacob Pursley
He really brought that boy Schoenberg in with the 12 tones 😂
Janne Hako
lol, that alex ehler guy..
Jerad Mal
ya like jazz?
Joe Pesce
This was brilliant! Thanks again Adam.
John Haslam
Heard of Nate Williams shape of you cover?
Johnny Bravo
Don't you hate it when you're listening to coltrane and the synth is in the wrong key? Utter trash
Just a rando
The more you turned it into jazz, the worse it sounded....you reached a point where it sounded great, and then it just got bad.....
Kyle Ganger
hey dude, can you do a micro tonal video? Check out Ron Sword too, he has written a bunch of theory books in different tone scales.
1:37 the Lick truly does reign supreme.
Lucas Andrade
Hi. Music theory newbie, here. Silly question: the relative minor of Gm is Bb, m'okay? So why at the first step, diatonic reharmonization, Gm was replaced by F/A. I'm completely clueless about it. Can anyone help me? I really want to understand this process.\n\nGreetings from Brazil! \\,,/
Matkat Music
This video could be so much better if you had played those voicings in real time with decent feel instead of relying on robotic DAW/Finale playback for all of the examples. Feel is everything. Also, I don't think any person who might call themselves a jazz pianist would play any of those voicings you wrote in your examples either. If you're gonna try to teach the language, you should know the idioms used by the instrument you're using to teach that language. But you have way more subscribers than me and your videos have way better editing than mine, so what do I know lol
Max Johnson
but if I just pick up a guitar and play, I'll figure this all out on my own, right?
Michael Rosen
hey Adam this vid is dope I had been trying to figure out dirty loops' style for ages. lately I've been working on some neo soul tunes like Jill Scotts 'gettin in the way'. the song is a cyclic chord progression and the chords appear to be non functional over a simple melody. that being said when I try to figure out the chords I am able to hear at least 3 chords per each chord. they are typically related like over the F# (first chord) I'm also hearing C# and A#m. are you familiar with this song? is it basically an example of what you're discussing here regarding dirty loops, at least harmonically? I would love your take on it!! I'm a fan of yours bud!
So, the diatonic reharm is basically the melody of Shape of you over the progression of Thinking out Loud?
Maybe I'm just an unsophisticated neanderthal who is incapable of understanding or appreciating the music theory behind reharmonization, but I thought all of the examples in this video sounded terrible. Absolute garbage.\n\nI'm fine with jazz and jazz fusion, but I cannot stand 12-tone. Béla Bartok is a disgrace to music.
Oliver Frank
So basically, add some 7ths
Omer Tabach
Onix Junes
If I heard a pop song on the radio after you mutate it with jazz I'd probably crash from joy..
That's stressed AF
12:28\n😂😂😂\nsocial media disses John Coltrane\nftw. subscribed.
1. Screw music theory\n2. Use random chords for maximum Jazz\n3. ....\n4. PROFIT!
Probus Excogitatoris
Even the most complex chord is just another sound. There is a reason why music has not evolved in a straight line towards more and more complex music. The most complex harmonies is what we call noise. Fact is, you get bored by everything. Another fact is, that you get faster bored with complex harmonies than simple ones... just like you would probably choose a quite simple cuisine if you had to stick to it for the rest of your life. This obsession many jazz musicians have with harmonic complexity has nothing to do with artistic or musical value. It's basically a form of addiction making jazz musicians restless and unfulfilled seekers in pursuit of higher and higher complexity. If you truly like the sound of jazz, then it makes sense to learn jazz harmony. But, I get a feeling it often has little to do with a sincere appreciation of jazz or music in general. Let's face it, only a tiny minority (of equally obsessed people) can stand the kind of extreme music many jazz musicians are pursuing. It has to do with an obsession with complexity.\n\nFrom this perspective it's quite tragic and ironic when jazz musicians (or often classical musicians) think they are so much more sophisticated and artistic than people who can appreciate simpler harmonic content. No, you are just obsessed people who have convinced yourself noise is music.
Rock & Rollin' Nolan
Ya like jazz?
Ryan N
I didn't realize Adam doesn't just like Jazz, but \
Sean Verity
look at this fucking nerd
wait, A7 is Adom7? not Amaj7?
Amazing video dude. Subbed.
You're like the Vsauce of music.
Stephen Weigel
8:40 not infinite without xenharmony ;) ;) ;)
The Black Circle
Hey Neely!!!! You should hit me up with a DM. I have this fresh new concept that you might be interested in.
Love how the little in between black&white skits completely mirrors the Jazz nerd audience's feelings \
You are a sharp dude. Thanks for the video.
Toby Bromfield
5:27 was awesome!
Tonny Teixeira
Torc Handsomeson
shouldn't it sound good too though
Torilovem Interwebs
Step 1: Get a person who never really thought about music theory and make them watch 10:00\nStep 2: Look at their face
Trevor Gagnon
I don't really understand any of the theory concepts in here (because I am uneducated and uncultured swine) but it's interesting to watch, and watching it makes me feel smart.
Val Brown
ahaha \
WG 149
Meh. Needs more licc
Werner Erkelens
Hnnggg I want that jazz, give me the JAAAAZZZ!
William Romig
I thought I could learn something from this, but I learned nothing! Is there a video that I could watch to help me understand all the words you were saying?
Zieliński Marek
you talk too much bro on your vids bye !
YIKES! I'm sorry but no amount of re-harmonization can make me like that song. In fact now I am the proud owner of a re-harmonized \
I wish there were two comment threads, one for people with at least a BM in music and one for the idiots.
Frank zappa
The striking chord changes may be disturbing to the layman's ear.
james cisneros
Extreme Lesson; although this is above my skill level, you’ve(as usual)explained it in a way I was able to wrap my head around. I enjoy watching lessons above my level of playing as they provide something to strive towards. Also when the instructor loves music as much as yourself I am always able to find something in an advanced lesson that I am able to utilize in my playing. \n\nKeep them coming.
justin. y
what program are u using?
Have you heard Jacob Collier's insane pop cover arrangements?
My Favourite Things
PROTIP: Make sure the synth and the vocals are in the SAME KEY!
Ah yes, the classic constant structure major seventh harmony cycled in major thirds across consecutive multi-tonic systems; of course.
If I were Sheeran, I'd be really sad listening to the version at 3:38... Because it sounds soooooo much better than his own.
no but why
ooOOoo tHaTs ᵗʰᵉ J A Z Z
rasmus myklebust
the lick :I
Tritone substitution is one of those subjects that's so often taught wrong even in some of the most prestigious music colleges....it is so often taught that it is the replacing of the V7 chord with the flat II7 chord....that is an example of tritone substitution but not what it actually is , there are far more variations than just the flat II7.....here's how it works , the V7 chord is driven towards the tonic because of two factors within the chord , the third (making the chord major ) and the 7th ....in the key of C the V7 is G7 (G,B,D,F) and the 3rd and 7th of that chord is B and F .....this is where the tritone comes in because it is the interval between these two notes ( a tritone, even if you invert them ie F,B) and it is this interval (using the F and B ) that we substitute into the new chord.... if we look at the flat II7 example (Db7) we have the notes Db,F,Ab,B and there's that driving tritone of the F and B notes (the Db7 or G7 can be a more complex variation of the chord by using #5, 9 , b9 , b10 , #11 or 13 notes as all these chords will still have the B and F ) HOWEVER the B and F can be substituted into chords other than the flat II7 example ie Abm6 ( Ab, B , Eb , F ) ....Dm6 ( D, F, A, B).... Bm7(b5) [B ,D, F, A ] .... Fm7(b5) [ F, Ab, B, Eb ] .... B7(b5) [ B, D#, F A ].... F7(b5) [F, A, B, Eb ] .... E7(b9) [ E, G#, B, D, F ] ....Bb7(b9) [ Bb, D, F, Ab, B ].....A9+ (A, C#, F, G, B).... Eb9+ (Eb, G, B, Db, F )... and a whole load of dim7 chords ..... these are all tritone substitute chords for G7 , how good they will work depends on the melody notes and preceding chord ie if the melody note is A (probably originally a G7, G7+, G9, G9+, G11, G13 or G13(#11) chord ) a flat II7 chord isn't going to sit too well where any of the above alternatives with an A note will probably serve better
yeeeeessss... i mean... jaaaaazzzzzzzz!
teknon my
I can't even read sheet music but I still watched this