JAZZ REHARMONIZATION PDF

Shakalrajas Many composers gain their lives doing this. The well conceived drills will clamp these harmonic techniques firmly to every student, and the many musical reharmonizatipn put together the musical jigsaw. Berklee Contemporary Music Notation. Get the Berklee Press Catalog!

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Chord substitutions. But we still want this to sound a quite Gospel-ly, so we will adhere to the same rules as previously — we will use close position chords, use parallel motion, and make sure we pick chords and inversions such that the melody note is on top. All these techniques will keep us true to the general Gospel style but still have it sound quite Jazzy.

Bar 3: We resolve to the FMaj7 — creating a little delayed secondary dominant. We then play a Cdim7 which is another diminished passing chord that takes us to a C. Bar 4: We then play the little pickup and… Bar 5: Jump to a C chord an inversion higher. From the C chord, instead of using our usual couple chord of Dm to harmonise the little triplet run, we jump up to an FMaj7 so that the melody is the 7th of the chord, then just walk it down to an Em7 and Dm7.

Bar 6: Here we use a Gdim7 which is another diminished passing chord leading us to a G chord. Bar 7: We then add in its couple chord of Am to create a bit of movement. Now this creates a bit of tension, which we then very quickly resolve by moving back to the C chord. Bar 9: Then we play our little couple chords again of C and Dm. Bar This time, instead of moving to the C7, we tritone substitute it and move to the F 7. And the Ddim7 is itself a diminished substitution of a G7 chord, acting as a kind of rootless G7b9, which then resolves to the C in the next bar.

Bar Next, we play an Am chord instead of the original C, which is just another median note substitution. And again, we pick a few chords that fit the descending triplet melody, in this case an Am7, G7 and F dim7. Bar Before hitting a Dm7, with the melody being a 9th over the chord, which sounds nice and jazzy.

This is followed by a G13 voiced as a rootless chords. And so that created a simple little ii-V7-I in C at the end there to resolve the song. And that is it. I hope you have found that somewhat interesting and enlightening. And hopefully it shed some light on a few Gospel piano techniques you can use in your own playing.

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