Extreme jazz fusion reharmonization

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adam neely dirty ... dirty loops dirty loops harmony jazz chord jazz chords explained jazz harmony explained jazz harmony piano jazz reharm jazz theory

...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... :/
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
Ashraf Dahab
Adam I love your videos, and this one in particular. I find myself pulled to the idea of jazzing up non-jazz songs, and I have a song or two that I kinda like to think that I am working on now :D\n\nBut I need help with many harmonic devices, I just can't get them out by ear! So, if you don't mind, can you please do me a favor and record a video, or even reply here, to analyze a song that I like so much, but can't seem to be able to extract the chords out of?!\n\nThe song I am talking about is a cover of the Beatles' \
*J A Z Z*
Ay Lmao
da licc
Balcius Freefall
I loved this one!! Thanks a lot. Well, Takemitsu versioning the Beatles? Not jazzy, but hell he pushed harmony as always. I sometimes hate sophisticated takes on bland songs, I think \
Barry The Bee
So... ya like jazz?
Ben Levin
Bravo! You touched on examples from the entire spectrum of harmony pretty much.
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?! 🔥
Blake Vehrs
Plunge your tri-tones into my jazz box daddy. Reharmonize my quivering staff.
Bobby Hall
This was great!! There were several concepts in there that will keep me very busy. I am a guitarist with minimal amount of composition lessons. This was informative and helped point me in a direction that will hopefully yield some fun and productive results. Do you offer on line composition lessons? It's looks as if you are probably too busy. But it doesn't hurt to ask. I just asked a local professor here in Macon, GA to help me a bit. I don't really compose professionally. It's just a fun hobby to delve into while keeping up with students and gigs. Who knows? Maybe one day composition will be more than that one day. I can see from this video that your open and inventive approach would make learning from you fun.
Bryce Rosenwald
2:05 - sorry man, that belongs to Ed Townsend. That’ll cost you $100000000.
Cankut Bayhan
can anyone explain to me the mystery about that A chord, please...Adam put it forward saying \
Chad Ellis
I have a question about that B7#9 chord shown at 6:42. Given that a sharp nine is the same thing as a minor third, couldn't you also call this chord a B minor/major 7?
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 :)
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!
This is my favorite video by far. I wouldn't mind the least bit if you made a series of reharm videos
Edward Pollei
Enter a name here
*puts subtitles on* 10:35 'this was a cereal 12-tone reharmonization'
Ernest wallace jr
Sometimes this stuff goes over my head but what i do pick up always helps! Thanks for sharing Adam!
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!
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
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.....
Superb concise presentation Sir! When I studied this stuff in college 40 years ago, it was confusing tedious torture. In contrast, your brief well-organized examples from a single simple melody represent each idea clearly without descending into ponderous pedantry. Your use of technology makes each example immediately accessible to those of us who read music, without alienating those who don't. Bits of humor peppered throughout are pleasant welcome surprises. Excellent in every respect!
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! \\,,/
That title doesn't even sound like a real sentence
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?
Why don't you just do what sounds good instead of analysing everything you do?
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!
Michael Stevens
Hey Adam, I really admire how you keep things positive and embrace pop music as source material for your videos as opposed to slamming it for being too simple etc. These reharmonizations really spice things up, but I'm wondering, do pop songs like this bore you as a listener in their original harmonic setting? Sometimes the ultra simple chord progressions in top 40 pop bore me to tears, and it's gotten to the point where certain progressions (like the \
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.
Nuri Karaman
So everyone knows and not worry about the TV series at 1:30? Only me? Serious?
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.
Peter Gray
Perfect explanation of what bothers me about a lot of fusion. So many times, the harmony sounds flaccid It's not that I don't like harmonically complex music. I do. But whatever device a composer or arranger uses must make some sort of statement and evoke some sort of response from the listener. As the functionality of the harmony decreases, the difficulty of creating purposeful sounding music increases. I love the music of Bartok, Stravinsky, even some Webern. As far as jazz fusion, I can dig some Mahavishnu, some of Miles' stuff, some Weather Report, Brecker Brothers (although I'd rather hear Michael Brecker play straight-ahead any day), and plenty more. But so much of it just leaves me flat. As a guitar player, I really want to like Allan Holdsworth's music. His technique and fluidity on the instrument is extremely exciting. The chord progressions, on the other hand, make me feel nothing at all. Just blank and dull. In my opinion, of course.
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.
Randall Stephens
I barely know how to read music, this was way over my head, and I'm pretty tone-deaf on top of all that. I have no idea how youtube took me here, but I still found this video really fascinating and informative.
Rock & Rollin' Nolan
Ya like jazz?
Ryan N
I didn't realize Adam doesn't just like Jazz, but \
wait, A7 is Adom7? not Amaj7?
You're like the Vsauce of music.
Stephen Jones
I didn't think anything could get me to like this song until I heard your 12-tone version.
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.
The Drum Professor
You are now becoming one of my new 'advanced harmony guy cool friends\
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 \
Hey @Adam Neely or anyone else - what software are you using to change the chords over the lyrics like that? I want to do it aswell but where do I look?
look at this fucking nerd
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.
The striking chord changes may be disturbing to the layman's ear.
justin. y
what program are u using?
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
poloy pulvos
Your videos help me sleep at night
rasmus myklebust
the lick :I
yeeeeessss... i mean... jaaaaazzzzzzzz!
teknon my
I can't even read sheet music but I still watched this
shoot I liked all the reharms. great video.
危机主 Weiji Zhu
Gimme that sweet *Jãžż*