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by the end of this series you're going
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to understand how Jazz Harmony works how
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to use dionic substitutions secondary
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dominance sub fives motal interchange
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and all the they try to teach you
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at Berkeley for four years so bear with
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me we are going to explore Twinkle
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Twinkle Little
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Star so before we start we got to take a
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look at how we analyze music and really
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break down some basic concepts the first
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thing we're going to do is understand
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the four levels that we can analyze
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music with the first resolution which is
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really the lowest one in a lot of ways
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is note name people constantly ask me do
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you think about note names or intervals
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when you play that's like asking a
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handyman do you use hammers or power
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drills the answer is it really depends
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on the job right so what are note names
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good for here is what analyzing twinkle
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twinkle with note names looks like
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everything's going to be in the key of C
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I have c c g g a a g f f e e d d c and
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in the bottom it's c c c c f f c f f c c
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g
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GC now note name resolution thinking is
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great for reading and in writing music
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it cuts off all the fat that you don't
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need and then let's say that you're
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somebody who can read I know that that
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sounds like a mythical creature for
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guitar players but some pianists can
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actually read and some guitar players
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can too so you see a soprano line and a
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bass line and you can just put them
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together based on Note name and the
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reader does not get any of the
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information about what the music is the
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intervals all of the harmonic analysis
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great musicians can make maybe
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understand it on the fly but the way of
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preserving the music the way of writing
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the music doesn't compact any of the
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information into the system of thinking
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so you are just explaining to the reader
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The rhythms and the notes and nothing
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else there's no more information in that
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system right so note names is just about
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getting somebody to perform your music
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just to shoot it into somebody else's
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body the next level of analysis where
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most guitar players and musicians find
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themselves is called intervalic but
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inside intervalic thinking there are two
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ways to go about it way number one is
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called tonal analysis way number two is
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called modal analysis let's take a look
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at tonal analysis first tonal analysis
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means that we measure everything to the
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key center now this is something we all
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know how to do when it comes to the Bas
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meaning we name the base one one one one
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4 4 1 4 4 1 1 55 1 now we're going to do
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the same thing to the melody the melody
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now is going to be one one five five 6
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six five 4 4 3 3 2 2 1 if you don't
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understand interval that's something
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you're going to have to study here's a
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crash course 1 flat 2 2 flat 3 3 4 Sharp
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4 5 sharp 56 flat 771 now tonal analysis
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of Melody is super useful when you're
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composing when you're improvising you
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tend to think more modally let's see
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what a modal analysis of the melody
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would be the first thing to understand
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about modal analysis is that you never
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analyze the base modally why well modal
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means that one keeps changing as the
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Basse notes changed so think about what
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that means in the context of the song
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that we are given twinkle twinkle the
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first four notes are one 1 five five of
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that c then we go to this note that is
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the six of the scale but as the base
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note moves to F that's the third of this
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F then it goes back to the five of C the
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one of f the one of the four chord the
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three of the one chord c the five of G
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and then the one of the one chord that's
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confusing who would think Mally you
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might ask yourself well we all do there
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are tasks that are easier to perform
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that way like if I say put nines on the
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chords meaning the second degree it's
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way easier to say put nines on all the
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chords where I have C9 F9 and G9 instead
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of saying put the two on the one chord
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put the five on the four chord put the
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six on the five chord explaining it
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tonally or play an F major arpeggio in C
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you wouldn't think play the fourth the
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six the root and the third you would
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just say Play 1 3 5 7 starting from F in
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the key of C also if you ever read a
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chord chart 100 % of the way that we
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write chord symbols is modal people
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always say oh you don't use modes in
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jazz people have always used modality as
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a system in jazz if I tell you E7 what
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is E7 that seven the chord symbol means
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135 flat 7 when you see a dominant 7
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chord symbol that's what it always means
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it's like an algebra drill where x
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equals the letter name meaning if if e
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is 1 find 135 flat 7 C major 7 is
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1357 if C equals 1 find the three five
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and 7 dsharp Minor 7 flat 5 means 1 flat
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3 flat 5 flat 7 with one equaling D
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sharp so it's a modal system that treats
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that temporary root as one and tells you
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to find things which is super useful
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when you're playing over changes now now
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the disadvantage of the modal system is
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that it makes the base notes nonflexible
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meaning the moment you switch base note
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you switch your analysis for instance if
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I play a D Minor instead of the F in the
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harmony now it's the fifth of that D
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Minor so it changes the way I analyze
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the relationship between Melody and
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Harmony now keep in mind you never ever
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ever analyze the base mode
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modally meaning it's never one one one
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one one one one one one one one one one
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one that's a system that is
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because it packs no information in it
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what I do in jazz most of the time as an
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improviser is analyze the base motion
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tonally while analyzing the suprano
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motion the solo itself modally to
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understand it over the changes but a
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compos oser tends to analyze everything
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tonally to where he can control the
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Harmony and change it now let's talk
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about harmonic analysis what we're going
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to do now is take a look at the first
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level of Harmony called dionic Harmony
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the concept comes from stacking thirds
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if I stack thirds in my scale I get
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seven sounds most of you know this and
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the rest of you who don't are basic
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what's wrong with you learn some
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Harmony the one is C major 7 the 2 minor
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is D Minor 7 3 chord is E minor 7 four
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chord IS F major 7 five chord is G7
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dominant then I have the sixth chord a
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minor 7 and finally the seven chord B
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half diminished Minor 7 flat 5 I'm going
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to lump them into three groups tonic
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subdominant and dominant tonic means
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home C major and a minor it's relative
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minor the second group is called
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subdominant it means distancing think
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about like going to the store going
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somewhere else D Minor the two minor
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chord and F major
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7 they're interchangeable then finally I
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have my dominant side of the scale the
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G7 and the B half diminished also
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interchangeable think about those like a
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phone call hey come home to C or a minor
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[Music]
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okay now let's take a look at twinkle
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twinkle again and analyze it
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harmonically just with the original I
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have
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[Music]
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tonic
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subdominant
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tonic
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subdominant
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tonic
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dominant
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tonic all right now with dionic
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substitutions without without thinking I
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know I can switch tonic for Tonic
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subdominant for subdominant and dominant
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for dominant so now the harmony is going
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to change to be
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[Music]
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[Music]
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this now that worked but in what sense a
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twinkle twinkle connoisseur is going to
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notice that that felt different
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right the harmony has a way of coloring
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the melody it has a relationship with it
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what we did is we changed the harmonic
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structure underneath but we kept its
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function meaning it still felt like home
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but now it's sad
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home it still felt like distancing but
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now it's sad distancing the
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subdominant it still felt like a phone
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call to go home with the G but now
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it's a dark marker phone
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call there's one chord I didn't talk
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about that's dionic which is E minor the
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three minor chord of the key now you can
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use it as tonic or as dominant in
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classical music they call it the median
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chord so it can replace either C or a
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minor or G or B half diminished but you
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can't use it if C or F the notes are in
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the melody meaning the one or four of
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the scale or if you're thinking modally
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the flat two or flat six of E minor so
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[Music]
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these but the second note of the melody
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when it was tonic was G so I can use E
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minor there let's hear it so C
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[Music]
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[Music]
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right different take on that Harmony I
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used E minor in place of the G and I
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used it in place of the C meaning as a
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tonic function and as a dominant
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function in that specific tune now you
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can like it you cannot like it but it's
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an option and this is how you use
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substitutions now there's one more topic
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we're going to cover in this video which
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is the beginning of jazz Harmony what
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Jazz composers said is well we don't
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really like the concept of subdominant
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it's too churchy instead of that we're
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going to keep turning the music around
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we're going to use cadences so whenever
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the music goes to four instead of that
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we can use what's called a
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two5 now where does the music go to four
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and twinkle twinkle here's the first
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place so in place of that motion to F I
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can use a motion to d g check this
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[Music]
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out let's hear that with four
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chords goes to F
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[Music]
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again so now I changed my Harmony to 1
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251 in place of the F then two five back
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to one in place of the F again and then
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I have that g 251 again so my Harmony is
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twinkle twinkle little star how I wonder
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what you are using nothing but
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251 so this ability to use two5 ons
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again and again is very very essential
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to really understand Jazz Harmony in
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what it does you're constantly taking
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out subdominant functions that exist in
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simpler kinds of music and church music
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and replacing them with cadences again
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and again and again all righty here's
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your homework here are a few versions to
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learn for Twinkle Twinkle
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[Music]
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[Music]
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[Music]
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in the next episode we're going to cover
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secondary dominance you don't want to
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miss it it's going to sound something
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like this
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[Music]
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[Music]
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I
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[Applause]
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oh
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[Music]
