Jazz Guitar Reharmonization for Autumn Leaves

I generate my own arrangement utilizing chord substitution/reharmonization on 3 levels- Diatonic, Modal and Intervallic.
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Instructed by John Rhodes Music / Instruments
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  • Lectures 15
  • Length 37 mins
  • Skill Level All Levels
  • Languages English
  • Includes Lifetime access
    30 day money back guarantee!
    Available on iOS and Android
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About This Course

Published 7/2014 English

Course Description

do you

  • want to take your chord melody style to another level?
  • want to play your own version of jazz standards?
  • want to know more of how chords relate to each other?

and

  • are you tired of playing over simplified fake book arrangements?

then it's time to start your own arrangement/reharmonization

If you like my Reharmonization
and you would like to apply similar skills and vocbulary to your own jazz standards
this course includes all of the custom charts I use and more....

  • the fake book chart
  • chart identifying chord functions of Autumn Leaves within the key
  • chart identifying chord functions of Autumn Leaves outside of the key
  • my reharmonization chart(includes chord windows)
  • video footage of me comparing the original chords with my reharmonization justifications, in 4 bar sections.
  • chord windows,chord possibility charts and text supporting every chord choice in each video.
  • video and charts demonstrating the power of Chord Extensions
  • video demonstration of Diatonic Reharmonization against a II V I progression includes charts for every key.4 pdfs
  • video demonstration of Modal Reharmonization against a II V I progression includes charts for every modal possibility in Major, Harmonic Minor and Melodic Minor scales.40 pdfs
  • video demonstration of Intervallic Reharmonization against a II V I progression includes charts covering chords from any major scale.12 pdfs
  • would you like to know if your analysis is correct? take a quiz and check your results
  • download a jazz standard and compare your analysis with mine
  • keep going till you get it
  • not only will you be able to generate your own classy version of your favorite tunes
  • you'll recognise these substitutes as they appear in other tunes.

What are the requirements?

  • You'll need Adobe to print the pdf's, a computer to view the vids and a desire to play things your own way.
  • Knowledge of altered chords and chord extensions that include 13's.

What am I going to get from this course?

  • By employing the principles of Diatonic, Modal & Intervallic Reharmonization you'll never run out of guitar highway.

What is the target audience?

  • Musicians that want to play their own version of any tune, and are in need of a vocabulary that allows them to achieve it.

What you get with this course?

Not for you? No problem.
30 day money back guarantee.

Forever yours.
Lifetime access.

Learn on the go.
Desktop, iOS and Android.

Get rewarded.
Certificate of completion.

Curriculum

Section 1: Autumn Leaves Reharmonization Performance
01:23

Jazz Guitar Reharmonization is and can be totally mystifying to any musician.Where do you start? Which is the definitive version? Shall I copy my favorite version? etc etc I had the same problems, until I recognised what was happening. Each great player demonstrates his understanding of music by reharmonizing songs in their own unique way.

Does the Chet Atkins version sound like the Joe Pass version? No.

Fake books will supply us with a starting point for most Jazz standards.

Step 1 confirms our understanding of each chord in the progression, with relation to the key.

Step 2 we are left with targeting chords, secondary dominants, II V's outside of the key and bV subs.

Step 3 we apply our vocabulary based on our understanding of chord extensions, chord substitutions, Diatonic Reharmonization, Modal Reharmonization and Intervallic Reharmonization, whilst supporting the melody.

Job done! Lets get started....

section 2 contains justification of each chord shape/substitute with accompanying charts

section 3 contains all of the charts necessary for your own reharmonizations. I have also included videos explaining Diatonic,Modal,Intervallic Reharmonization and chord extensions.

Section 2: Analysis of original chords and reharmonizations applied
01:34

We take a look at the first 4 bars of my reharmonization of Autumn Leaves.

I've used Modal and Intevallic chord substitution.

I identify all possible modal substitutes for chord II(Am7) and chord IV(Cmaj7), and Intervallic substitutes for the V chord(D7).

02:01

We take a look at the next 4 bars of my We take a look at the first 4 bars of my reharmonization of Autumn Leaves.

I've used Modal and Intervallic chord substitution.

I identify all possible modal substitutes for chord II(F#m7b5) and Intervallic substitutes for the V chord(B7) of Em7,and Intervallic subs for E7( V of Am7)

got to section 3 for more on Intervallic/Modal Reharmonization.

00:37

B7 and two bars of Em7

Intervallic sub for B7 is F13

Em cliche follows

01:54

F#m7b5 may become F#7 as it is 5 steps higher than B7b5. This is the Secondary Dominant principle. Any chord that appears a 5th higher than the next chord may become a 7 chord.

then this F#7 gets replaced by F#diminished since diminished chords may be built on the 3rd or b5th of any 7 chord.

as the key of the moment may be interpreted as E minor....I've substituted it for a VI ......sounds cool...I think

then we are targeting the next chord, which should be Am7 with E7#9 and E9

00:47

a simple II V I in G gets a twist on the II chord

Don't forget you are supporting the melody

earlier I decided to treat an Em7 as a I chord and substituted it for a VI (Cmaj7)

WELL I 've done the same again with Am7..... it's now Fmaj7

then I used an intervallic sub for D7....Ab7b5

kept the Gmaj7 though

02:14

II V I in E Minor(VI) has been changed for II V targeting G(I) with an F# diminished replacing D7

I replaced Em7(I decided it was the key of the moment) with its VI (Cmaj7) and its III (Gmaj9/B)

D diminished is a sub for G7 V of the next chord.

01:11

C13 and C9 are Modal substitutes. IV of G Major for IV of G Dorian.

F13#11 is an Intervallic sub for B7 (Vof Em)

Em/add9 is a simple extension of Em7(VI of G)

As the key of the moment is Em. I've decided to "change from Minor to Major" said it the wrong way round in the vid lol

Got those 3 reharmonization tricks yet?

master them and you'll never run out of steam. I used to get stuck in bar 2 of every jazz standard I tried.I didn't have enough vocabulary. I audition these 3 systems as I progress through each song.I Hope you find your vocabulary growing. I've given you charts for every possibility/key/chord sub in the next section. You may want to watch me do the next song etc till you get it. cheers

Section 3: Diatonic, Modal & Intervallic Videos and charts.
01:24

Chord Extensions are not substitutes, they are the original chords with scale notes added.

The charts will help you identify the position of every chord within the key of the song and expose those that are not. Once you have the roman numerals in place you can start to experiment with Diatonic,Modal and Intervallic Reharmonization.

05:04

In any Key, I III & VI are interchangeable.this is sub group #1

In any Key, II & IV are interchangeable.this is sub group #2

In any Key, V & VII are interchangeable.this is sub group #3

When these ideas are exploited it's called Diatonic Reharmonization. You are substituting the original chords for chords from the same key/scale.

One amazing feature of this idea is the targeting chords(II's & V's) of each substitute can be used to target chords in that sub group. Am7 D7 should end with Gmaj7 but change that for Em11....wow and C#m7b5 with F#7(II &V of Bm7) followed by Gmaj9

there's even more possibilities when you enter Modal and Intervallic Reharmonization!

07:17

Modal Reharmonization

II V I

Am7 D7 Gmaj7

Gmaj7(I) can be freely substituted for III or VI from any G Mode.

G Ionian

G Dorian

G Phrygian

G Lydian

G Mix

G Aeolian

G Locrian

I

Gmaj7

Gm7

Gm7

Gmaj7

G7

Gm7

Gm7b5

III

Bm7

Bbmaj7

Bb7

Bm7

Bm7b5

Bbmaj7

Bbm7

VI

Em7

Em7b5

Ebmaj7

Em7

Em7

Ebmaj7

Eb7

This is subgroup#1 I III VI are interchangeable

Since EACH I III & VI are interchangeable

their targeting chords (II’s & V’s) are also.

Pick any for Am7

Pick any for a D7

Pick any for a Gmaj7

Am7

D7

Gmaj7

C#m7b5

F#7

Bm7

F#m7b5

B7

Em7

Am7b5

D7+/-

Gm7

Cm7

F7

Bbmaj7

F#m7b5

B7+/-

Em7b5

Am7b5

D7+/-

Gm7

Cm7

F7

Bb7

Fm7

Bb7

Ebmaj7

Am7

D7

G7

C#m7b5

F#7+/-

Bm7b5

F#m7b5

B7+/-

Em7

Am7b5

D7+/-

Gm7

Cm7

F7

Bbmaj7

Fm7

Bb7

Ebmaj7

Am7b5

D7+/-

Gm7b5

Cm7b5

F7

Bbm7

Fm7

Bb7

Eb7

Am7(II) can be freely substituted for IV from any G Mode.

G Ionian

G Dorian

G Phrygian

G Lydian

G Mix

G Aeolian

G Locrian

Am7

Am7

Abmaj7

A7

Am7

Am7b5

Abmaj7

Cmaj7

C7

Cm7

C#m7b5

Cmaj7

Cm7

Cm7

This is subgroup#2 II & IV are interchangeable

D7(V) can be freely substituted for VII from any G Mode.

G Ionian

G Dorian

G Phrygian

G Lydian

G Mix

G Aeolian

G Locrian

D7

Dm7

Dm7b5

Dmaj7

Dm7

Dm7

Dbmaj7

F#m7b5

Fmaj7

Fm7

F#m7

Fmaj7

F7

Fm7

This is subgroup#3 V & VII are interchangeable

This is an example of Modal Reharmonization in Major Scales only. The charts supplied explore Harmonic & Melodic Minors also.

Lets explore Intervallic Reharmonization next

08:22

Intervallic Reharmonization

II V I

Am7 D7 Gmaj7

Any chord can be substituted for a chord occupying the same position in a major scale intervallically positioned with the original key.

Intervallic Scales:-

G Db G

Gmaj7

Am7

Bm7

Cma7

D7

Em7

F#m7b5

Dbmaj7

Ebm7

Fm7

Gbmaj7

Ab7

Bbm7

Cm7b5

One possibility:- Am9 Ab13 Dbmaj9 instead of Am7 D7 Gmaj7

G B Eb G

Gmaj7

Am7

Bm7

Cma7

D7

Em7

F#m7b5

Bmaj7

C#m7

D#m7

Ema7

F#7

G#m7

A#m7b5

Ebmaj7

Fm7

Gm7

Abma7

Bb7

Cm7

Dm7b5

One possibility:- Am9 Bb13 Bmaj9 instead of Am7 D7 Gmaj7

G Bb Db E G

Gmaj7

Am7

Bm7

Cma7

D7

Em7

F#m7b5

Bbmaj7

Cm7

Dm7

Ebma7

F7

Gm7

Am7b5

Dbmaj7

Ebm7

Fm7

Gbmaj7

Ab7

Bbm7

Cm7b5

Emaj7

F#m7

G#m7

Ama7

B7

C#m7

D#m7b5

One possibility:- Cm9 Ab13 Emaj9 instead of Am7 D7 Gmaj7

G A B C# D# F

Gmaj7

Am7

Bm7

Cma7

D7

Em7

F#m7b5

Amaj7

Bm7

C#m7

Dma7

E7

F#m7

G#m7b5

Bmaj7

C#m7

D#m7

Ema7

F#7

G#m7

A#m7b5

Dbmaj7

Ebm7

Fm7

Gbmaj7

Ab7

Bbm7

Cm7b5

Ebmaj7

Fm7

Gm7

Abma7

Bb7

Cm7

Dm7b5

Fmaj7

Gm7

Am7

Bbma7

C7

Dm7

Em7b5

One possibility:- C#m9 Ab13 Fmaj9 instead of Am7 D7 Gmaj7

Charts for every key are available for you to download.

Section 4: Quiz Time
1 page
  • Identify the chords and their position in the parent key.
  • Identify the function of the chords that are outside of the parent key
  • compare your results with mine #1A & #2A
1 page
  • Identify the chords and their position in the parent key.
  • Identify the function of the chords that are outside of the parent key
  • compare your results with mine #1a & #2a
1 page
  • Identify the chords and their position in the parent key.
  • Identify the function of the chords that are outside of the parent key
  • compare your results with mine #1 & #2

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Instructor Biography

John Rhodes, guitar/bass educator

transcriber/analyst/performer of thousands of tunes of all genres.
educator of guitar/bass since 1979.

performer, side man, arranger, band leader, guitarist, bass player in many types of bands from duos to big bands from 1964.

Collaborator on KOMPOZ

Studied privately in New York and London

Still active locally with several local bands, one to one tuition and schools etc, and solo as BossaNovaGuitar.

Author of Rock Solid Pentatonics, Easy Blues, 5 Golden Rules of Bass ebooks

Kingofchords

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