Chords and Chord Progressions 301

Class 2.1 - Again we go back to chord extraction from a natural minor scale, but this time extracing 7th chords so that we can add color to our previous progressions that are based out of this commonly used scale.  From neo-soul, to rnb, to jazz and many other genres, this scale offers some fantastic chord options used in some of the hippest genres.

Class 2.2 - Let's next develop your understanding of 7th chords availeble in the harmonic minor scale.  This scale opens up the classic ii min7-flat5 - V7 - i chord progression used in jazz and latin music, but also offers some extra diminished options when compared with the natural minor scale.

Class 2.3 - Now we're on to the melodic/jazz minor.  This scale has some very unique harmonic opportunities, such as: two minor chords beside eachother, two major chords beside each other, AND two diminished chords beside each other.  Separately this is not so unique, but to find all three of these options in one scale makes for some fun harmonic options to explore.  We will first explore the basic triad extraction from the melodic minor, followed by the 7th chord extraction.

Bands like Radiohead, Muse, and many others use a special harmonic technique called parallel of borrowed harmony.  In short, if we're in a major key we can lend chords from the parallel minor key to create chords progressions that twist and turn, and keep the listener guessing in a way that still makes sense to the ears.

Rootless voicings are used amongst jazz pianists of all levels.  They take your 7th chords and adjust them in a way that offers extra jazz flavor, and helps instantly take your jazz harmonic playing to the next level.  While these chords sound great in jazz, they are also used a lot in soul, rnb, hip hop and even house music!

Let's now discover how jazz pianists are masters of spreading out their voicings between the hands.  This harmonic device isn't just for jazz pianists, as it's also great for horn and string arrangers. 

A classic variation of the V7 chord, this V7sus4 chord is great for adding prolonged tension to your progressions.  Of course, you can use it on it's own, and it's found in a plethora of genres ranging from classical, to jazz, among many others.

Adding color to your chords will be more important as you progress as a musician.  Within our harmonic language, we should know what a 7, 9, 11 and 13 are, how they can be altered and how they color our chords.  Again, this harmonic device is often used in jazz, but is often found in musical theatre scores, classical music, rnb, hip hop, soul, among many other styles.
Think of these as topping on your birthday cake.  Some toppings you'll like more, others will be MUST HAVE toppings, and others you may be impartial to but understand how they "taste".  Now, translate that to flavor or color you can add to your chords, and over time you'll be able to clearly choose which "toppings" you want on your chords.

It's about time we started to talk about modes, and their chord extraction.   What is a mode?  Do they offer unique chords not found in the major and minor scales we've covered?  These are questions that will be answered in this class.
While jazz harmony is a super dense topic, this class offers a glimpse into the world of modal chord extraction.

Think of this class as a hodge podge of material.  The overarching theme, however, is chord progressions/alterations that give the impression of moving higher or lower.  A lot of regular chord progressions will move back and forth from higher chords, to lower chords, and so on.  But it's important to know some progressions that have the feeling of moving in one direction, especially if you're a composer.  Looking for something triumphant and uplifting, use an ascending progression.  Looking to take someone down into the rabbit hole in a magical film scene, use a descending progression.  Of course these progressions don't have to be used to obviously, and you can take what you want out of them and apply them as you see fit.

Not all chord progressions need to start on the I or i chord.  In fact, as you develop your understanding of chord progressions, you may prefer to start off of the I/i chord.  This class gives you a simple way of variating your known progressions to get the most out of them while applying this "off the I/i" concept.