One thing that's important. Chords by themselves are cool, but when you reharmonize, melody is king and will limit/open up what you can do. Without melody, there is no harmony :)
Rick, what you have done here is nothing short of phenomenal. You have made an amazing contribution to online learning. For those seeking to brush up on theory, expand knowledge, and gain insight, your channel is an invaluable resource. Thank you.
You just changed my life! I am always looking for ways to expand from the basic chords/progressions and this was great! I literally stopped the video and took notes. Will be buying the book soon.
Have a lot of this under my fingers from playing in a big band, but it's nice to finally understand the 'why' of what's going on! Fantastic lesson, Rick.
Man your videos are awesome. Thanks for share this on youtube. It's really nice to see cool and advance theory to warm up before to compose a tune jaja. Greetings from Chile!
unfortunately yes, this is v basic stuff, but it's what all the hard stuff is then built off, I learned it ages ago, but he always explains things in a way I get something new out of it in revision. Spend a few weeks learning all this in one key and it'll all start clicking pretty quick, then start learning the chord progressions in every key.
Rick, it is so cool the way that you provide a synopsis WITH details on theory. I think that your use of arpeggiations through the chords demonstrate the hard work you've done to APPLY the theory. I don't know anywhere else I've been on the web to get such thorough education. I would ASSUME that when you're cycling through these arpeggios, you MAY be drawing from some patterns. I would appreciate if you would teach your approach to view say a standard cycle of 5ths with arpeggios. And in conclusion, how are there not 8,600 comments of thank you offerings at the least! I greatly appreciate you.. I have purchased the Beato book as well.
You should do an advanced reharm concepts video next, would like to know your approach to such concepts as constant structure ,modal plateaus, reharmonization by bassline and non functional harmony in general.
Great basic overview Rick, that guitar actually suits you most as you do kind of look like a flamenco guitarist! If only your valuable lesson videos had the same interest as the song series. Keep doing what you do anyway and hopefully we'll get these die hard rock fans interested in jazz!
Thanks for another great lesson Rick! I didnt read the chat, but i would suggest Carol to read some of the questions during the livestream to you in the end of the video. I know she said "someone" already answered the questions in the chat, but who knows if what some random guy write there is right or not. Sure, they might be right, but it would be better if you could confirm it. Also it could help those who doesn't read the chat. Thanks!
The questions were answered pretty good, by people Rick knew in the chat, & many were somewhat off topic from basic re harmonization, but I know what you mean, it would be nice if He gave an answer to a couple of questions, which were about a particularly confusing aspect of the video, etc.,
Dylan....Rick you create a monster lol😅.Seriously you and your son is so talented humble persons.And your videos are amazing for improving our theoric knowledge.🤘👉👍
I'm a rock player, so i think maybe i'll understand what you're doing if i turn it up louder, haha. Very happy that the live stream is available for later playback =so I can take it painfully slow. Seriously though, I get a lot out of your channel, only wish I had found it sooner.
Great work. You may have pointed this out in other vids or later in this one but don't you have to omit some notes in the chords i.e. the roots or 5ths?
Re: reharmonization. What's the point of thinking of different chords using the different modes? They all have the same exact notes, why not think of everything just in C major?
The way I see it is modes are a certain perspective on a set of ideas. If you hold out a low E and play a c major scale, you’ll get a much darker and scarier sound than C major.
I was glancing at the chat during the video, and saw someone asking "how do you make chord progressions" in different modes. Is it just me, or there's a whole generation of musicians who believe you should follow precise recipes on making music? That is, if you want to go into a new mode, instead of investigating it through intuition and improvisation, you should expect there to be a pre-compiled set of rules for how to write in it. Jesus, people! Trust your instinct a little more! That's why I believe Samuel Andreyev once gave one of the best answers when asked "how" he wrote his music: "Pencil, paper and a lot of hard work."
In my experience, the “rules” are more just labels for certain things that occur in music, which is useful for pulling up that information in a moments notice, or when composing!
Bryan Maspono Didn't actually check, but I did cover Delfino Plaza from Mario Sunshine in my guitar duo this semester. The reason it sounds similar is because Delfino Plaza is basically the A section of Rhythm Changes. I actually implemented the diminished chordal run-up while comping the tune. The brilliance of Delfino Plaza is in the way it takes a simple melody and infixes so much color to it by using interesting albeit basic jazz harmonization techniques. Nice ear!
ok great but lets say we have 2 bars of G7 which is a bit boring, the question is why did the composer make it like that? surely there must be cases where a few bars of one chord should be left alone!
Sono un compositore italiano. Tutto questo è ingegneria. Possiamo riassumere e sintetizzare, ma se non sei creativo e non sai ascoltare tutto diventa orribile facendo così. Il Jazz per esempio e così la pop music sono solo,manifestazione tecnica. Cocteau Twins, de ad cane dance, the cure, Marillion, Genesis p, Radiohead e così via insegnano che ci vuole altro che ingegneria dell'armonia. W chi crea senza seguire regole ma ascoltando...
I partly agree with this. I mean, I do think these techniques are useful and interesting to learn, but it's wearisome when technique is placed ahead of expression. In general, I find that this kind of "engineering" works best when you don't even notice it. Mind you, I don't think Rick ever said or insinuated that music should be technically advanced for its own sake, so it's unfair to criticise him for that. But I do notice a trend among RU-vid folks who seem to think music is a purely technical thing. Or maybe that's just me.
Everything is a basic music concept if you pose it like that, 12 tone music is just playing multiple diatonic songs but a little faster, polyrhythms are like when a car horn is honking and a baby is also crying at the same time
