Elementary Jazz Theory: Bring Some Fresh Sounds to Your Music | Jannis Le Wolff | Skillshare

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Elementary Jazz Theory: Bring Some Fresh Sounds to Your Music

teacher avatar Jannis Le Wolff, Drummer, Music Producer, Educator

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 35m)
    • 1. Introduction

      3:08
    • 2. The Very Basics of Music Theory

      13:41
    • 3. Making Chords More Jazzy

      4:55
    • 4. Chord Progressions (2-5-1)

      11:01
    • 5. Making Chords Sound Richer

      11:07
    • 6. Minor Chord Progressions (2 -5 - 1)

      10:33
    • 7. Modality and Scales

      9:24
    • 8. The Power of The Bass

      4:43
    • 9. My Favorite Chord Sounds

      12:37
    • 10. How to Write and Read Chord Symbols

      3:21
    • 11. Harmonizing a Simple Melody in a Jazzy Way

      9:19
    • 12. Outro

      1:15
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About This Class

This course is designed to make you familiar with the basics of Jazz Theory while at the same time giving you tips on how you can use it creatively within your music. The class is practically orientated and will not cover notation and sheet music. Instead, it provides you with some logical understanding of how to create harmonies and chords and specifically aims for showing you sounds that are exciting. 

For who is this class? 

  • total beginners who have no knowledge of music theory and jazz yet - they can spend some more time on the first chapter, which explains the very basics of music theory 
  • musicians and producers who heard about jazzy chords and may use them already but feel like they want to have some better, deeper and logical understanding of it in order to use those sounds and chords more consciously 
  • people with some basic knowledge in music theory - in that case you can skip chapter 1

What will you learn in this class?

  • the very basics of music theory 
  • how to create rich, jazzy chord sounds and textures that can serve as the foundation for a composition or tune
  • how to create exciting chord progressions and how to understand WHY they actually sound good 
  • how to use different types of scales for creating distinctive emotions and sounds
  • how to be creative with those ideas immediately 

What won't you learn in this class?

  • how to improvise/become a soloist
  • how to write those things down on sheet music (you will learn the names of the chords and notes though, and I constantly speak about intervals and scales)
  • everything - I mean it in a way that this class is designed to give you a compressed and coherent introduction to the world of jazz harmony with a focus on practical application. This means that I can't speak about everything or explain everything in detail

Who is this guy? 

My name is Jannis, I'm living in Berlin and I have a Master Degree in Jazz, obtained at different conservatories around Europe (Amsterdam, Copenhagen, Paris).

Until 2019 I was mainly working as a drummer and composer (performing across Europe, winning the Biberach Jazz Composition Price) while nowadays I'm focusing on music production and content creation, for example on Youtube. You can find out more about me under those links:

Anything else I should know about this class?

Well - I can't state often enough that the most important thing is that you try to understand all examples for yourself on some piano/other device that can represent harmony. Listening to somebody talking about music theory is important in order to have the basic understanding and idea, but it's meaningless if you can't make sense of those things for yourself. As with all music, every person has an individual way of making sense of things, and often the real "AHA" moment comes while you are experimenting with those sounds on the piano.

Oh, and one more thing: this is my first online class ever, so please give me some constructive feedback so I can improve the quality for the next class. And drop me any questions in the discussion section - I will always respond to them since I know you may have questions. While I was trying to be as clear as possible there will always be moments that might raise more questions, so don't hesitate to drop those!

Hope you enjoy the class :)

Jannis 

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Jannis Le Wolff

Drummer, Music Producer, Educator

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Transcripts

1. Introduction: Hey everybody, and thanks so much for joining me at this class. So my name is Yanis and I'm a musician and producer who also got a master's degree in jazz. So there's actually means that I went through this whole classical academic way of learning jazz harmony. And what I think it was a very good education. I just remember being kind of confused and frustrated at times because teaching music theory is some super sensitive subject. And if you have just the wrong teacher, it can really keep you from finding some healthy connection to it. And it's like with any type of music creation, everybody has their own individual way of making sense of things. Let's just way I decided to make this course because I think it can offer you some healthy mixture of theoretical knowledge and more importantly, practical tips on how to use jazz harmony creatively. So you'll learn the most important card types and also chord progressions and scales. And all of this in a way that can be quickly applied to your own creative process. And even if you're like some total beginner, you can perfectly take this class because in the first chapter is going to explain the very, very basics of music theory from scratch. And you can also benefit from the fact that this course is online because it means you can repeat every section just as many times as you want. Be aware though that due to the very practical approach, there can't be too specific on every subject and can't explain everything in detail because there's also a reason for those music theory books being extremely thick and intimidating. And more importantly, you should definitely invest some time at the piano or if in front of your door to dive into the sounds you resonate with the most. Because realizing things for yourself is always a better practice than just listening to, for example, me talking. And I see myself as a person that can give you some sort of hints and paths. And what's even more important is that you should not take everything for granted because music is just subjective and that's really the beauty of it. And if I say, this chord sounds nice, you may say No, actually, I don't like it and that's just the way it is. Just always trust your ears and never try to force yourself to like anything. Just proceed and see what you resonate with. And one more practical remark before it finally going to start. So I'm going to demonstrate those examples on the piano. And you'll also see some mini grid has some further indications and also some note names, sometimes as pKa for right-hand and left-hand, and it doesn't mean this is piano specific. Right-hand usually means the cart and harmony. So you can apply this to the instrument that plays any sort of hominins at your music. The left-hand, which just means space, and you can apply it to the instrument that it's actually providing base within your music. And well, showing you how you can actually name those cards and noise not so scales are completely leave out the sheet music part n notation part out of this video because I don't think it really helps for this rather practical approach. Sounds good so far. Let's get right into it. 2. The Very Basics of Music Theory: So this chapter is going to give you an overview about music theory basics. And I mean, the very, very basic, because of the chapter is really designed for very beginners who think they have absolutely no idea about music theory yet. And if words like major scale, intervals or card sound familiar to you, you may jump to Chapter 2 already. Although watching this chapter kind of makes sure we're on the same track regarding the terminology. So in music, we need tonality in order to define what kind of nodes actually works with each other and which don't. And therefore uses scale that serves as our foundation and also orientation. While that tons of different scales, the major scale is the most used and common scale. If we pick the tonality of C, for example, which is this note, we can perfectly play a major scale and the keyboard by only pressing the white keys. And let's just do that. This is our C major scale. And just for those of you who are not familiar with the names of the individual notes. I'm just going to tell you real quick. So this is our C. Then we have E, F, G, a, B, C. The scale is defined by a certain row of intervals. An interval is the term we use to describe the space between two notes. And within our scale of C, we have seven steps and intervals in total. And you can actually use the number system to give this some logic because the names are strongly connected to this numeral system because the step from the first note to the second node is called a second. Then from the first to the third node, you have a third. Then the next one is a fourth. Then we have a fifth, sixth, seventh. And if you play the same note, but like one low C and one high C, you call this some Octave. Together. You may realize though that while the second and the third have the same distance like this one. This one, because they have a black key in between. The third and the fourth note don't have this black key in between. And for understanding that we need to look at the more refined intervals covering all 12 notes within the range of two Cs. So this is our range. And if we play every possible note within the range of C, we have a chromatic scale. So chromatin is always used for just all nodes are possible. And third, chromatic scale would look like this. And within this chromatic scale, there's a name for every possible interval. So we have like 12 of them in total. And don't worry, you have to memorize like all of those names immediately. You can just get back to this chapter if you feel confused at some point, are just find some lists with those intervals because you can find them easily by just looking on Wikipedia. We now don't just have a second, but we have a minor second, which is just this half step. And we have a major second, which basically means two-step. So you always count per node like 1, 2, have a minor third, three steps, and the major third is far steps. Then we have fourth, and here we just have the fourth. There's no minor or major forth. Then we have a tritone. This one is a bit of art and also the most dissonant interval. So this is an endless kind of the opposite of harmonic, just as a little information. And again, the fifth doesn't have like a minor or major fifth. And then we have a minor sixth year. We actually had 12345678 steps. Then we have a major sixth, nine steps, minor seventh, ten steps, and a major seventh. And if we play 12 steps, we have our octave again. So you can build those intervals independently from any tonality by just counting the individual steps. So say you play this note and want to play a minor third and you know it's three steps, 1, 2, 3, okay? You have your minor third and that works everywhere. Like if you want to have some minor third starting from this node, we have like 1, 2, 3, same interval. But if we go back to our CT scan now we can actually analyze what kind of intervals there are within this harmonic scale. Because you see we start with two major seconds. And then here we have a minor second before we have three major seconds again and another minus second. And with this formula, you can build a major scale from any node. So let's say you want to start here and you know, okay, a whole step. So jump over this note and this one. Another major seconds. So not play this one, but this one. Now it's the half-step. So it's this one. Again. A whole step. Whole step, whole step. And in the end, the half-step end. We're at our root node again. And at this point it's also a good idea to take a look at midi grid, which is what you usually have an any type of doll, which means digital audio workstation. And as opposed to many of you work with this already, where you can just draw a nodes and let's have a look at it because you also see it here on the left side of my screen already. Because I give you this as some additional view. And within this mini grid, you can just draw those notes and steps in a more symmetrical way. So let's just do this quickly. So let's say you want to start at C. You can draw this note here. And then you can just do the same principle, but you don't really have to think of the black or white keys so much because you're still see them on the left side. But there's the same kind of visual feedback that you get for the space between them, which makes it a bit more easier. And especially if you move towards other tonalities, you save yourself from getting really confused by a black and white keys. So again, same principle here, we have to leave one out and The whole step, another whole step. Here we have a half-step, so we go to the next note, again, a whole, whole, whole, and in the end we have our half step and then we can actually listen to it. If it actually makes sense. This was really fast, but you could hear it. It's good bit slow. And this way you're also more flexible to check some different tonalities. So it's if you're composing melody are some cards that can just perfectly drag it around here without again, reorganizing yourself by just counting steps and what kind of keys you have to press unless you're very skilled piano player already. But for those of you who are not as experienced, it's actually nice to use the midi grid. So to sometimes just quickly changed to tonality. If you realize that something that you composed just doesn't work so well in your original ideas tonality. So now that you understand intervals, we can actually start to build cards, which is basically the sound of various notes played simultaneously. And cards are usually built out of thirds. And you remember we have a minor third and a major third. So if we want to create a cart based on the note of C, for example. So let's press it. We add a third, which is the E. Now we're speaking about the intervals within the tonality again. And another third, which is the GI. And here we have a nice, beautiful sounding cart. And this type of card is called the major card because it consists of a major third and then a minor third. Let's have a look at what happens if we do the same based on the note of t, still with tones of the C major scale. Because we have a third would be F, and another third would be a. Sounds like this. And here it's actually the other way around that first we have a minor third, and then the major third. And this has some huge impact on the sound because what this first quad was called a major, this cart is now called minor. And those are the main cart or harmonic types that you have in music theory that have a huge impact on what kind of emotion you can express. And within this key of C, you have a couple of major chords, like if you built this cod with the principal we just used on C, we have a major card here. Then you have a major cart based on the note of f, and also one based on the normal gene. Well, you have minor carts on D, E and A and there's one more card here, which is different and I'll speak about it later because this one's a bit more complicated. And by already knowing the intervals, you can start building cards independently from tonality. But just knowing, okay, if I wanted to build a card on, let's say this node, you have to count the steps again. And if you want to have it major, you have to have neutral, have a major third first, so you're going 1234 major third. And then three steps, 123. And you have your perfect major card based on the node of B. And if you just want to change it to minor, everything you need to change. Is this in the middle of this node in the middle, because now you have to turn around the major third, minor third relation to first the minor third, and then the major third. And you have this other color. And this change already has some nice little chord progression that I kind of enjoy because it changes the emotion and sounds kinda pleasant. So before we go to the next chapter, just a few more things that are really handy to know in order to understand the following chapters. So if the cart symbol says capital D, It means it's a D major chord. And if it says something like d MIN, DM, Dm I sometimes also d minus R, even sometimes a small letter. It means that you need to play a minor chord. And by moving out of the tonality of C, you will actually start facing black keys and notes with sharps or flats. While I don't want to go too deep into notation topic, just be known that the sharp just means that you go a half step up from the node that is supposed to be played. So if you see, for example, G-sharp, you know, you have to play a gene. But because it has a sharp, you have to go a half step up, which means you have to play this note, which is then G-sharp. And this counts for all those nodes. That if you have a C with a Sharpie of C-sharp, D with a sharp would be D-sharp, F with a sharp, F sharp, G sharp, and a width, a shop would be a sharp. And you also have flats, which means the same, but just that you go a half step down. So if you have, for example, D flat, that means you go down to this node and this is your flat. And same goes for E, which becomes E-flat, G, which becomes G-flat, a which becomes a flat, and B which becomes B-flat. There's a certain logic to at what time you give which name to those specific notes. But for now, this is actually everything you need to know in order to get started. So now you know the basics of music theory and just remember that you can always go back to this chapter if you just forgot the meaning of a word on needs some refreshment. And there's absolutely no shame of going back to the basics over and over because you also need to build some sort of routine towards music theory. And repetition is just the best practice to actually build up this routine. And in the next chapter now we're actually going to look at what makes those cards more jazzy. 3. Making Chords More Jazzy: So while looking at a jazz scar, you see lots of cards with a seven. And why we were only using three notes for our major and minor cards in this first chapter. The trick is now to add another third on top of it in order to make it sound more jazzy. So let's go back to our C major chord. After adding E and G, we now add B, which is an additional major third, which sounds like this. All of a sudden are caught, gets more tension in some immediate jazzy feel. It's actually do the same with D minor. So this is our D minor chord. And now with seven. Also a little richer, a little jazz here. And let's do the same with our GI card, because here we have our g. And if we put a seven year, again, some other type of sound, but also interesting and new. But how can we put some structure to it? So in C, we had a card that is called Major seven because in addition to the major Cloud, we add this interval of a major seventh. And this is the relation to the root node because the B is the major seven, C. And so this gets edit to the overall card. Indeed. We have a car type called D minor seven because we have a minor cart and irregular seven because if you say seven, it means a minor seventh and C is a minor seventh to D. If we go to E, it's exactly the same that we had with D. And if we go to F, it's exactly the same we had with C because we have a major caught with some major seventh. An exemption comes now with G because you see we have some major card. But in, instead of having the major seventh which would be here, but it's not part of our C-scale. We have a minor seventh, and this type of card is called a dominant seventh chord. And I will speak about it later, especially in the chord progressions chapter, because it has a very specific function. And a is again the same as D and E, like a minor seventh chord. And then we have this card based on B, which I will speak about later because it's also kind of specific and just doesn't make sense to speak about right now. So you see, if you see a seven indicated that a cart symbol, it always means minor seventh. And if you see a major seventh, it always means major seventh. And this counts all the time. And the nice thing about those card types is that you can have some fun with them already without thinking too much of harmonic relations, which will of course do in the following chapter. But for now, let's go to our mini grid for a second and draw in the C major seventh chord. So we draw in a C and E, a G, and a beam. And now since we have some scripts already, I'm going to copy this card to all four, all four positions of this midi clip. And now I just randomly transpose them to a different position for every time, but the court structure remains the same. And just listen what happens in heart sounds, sounds super jazzy, but it works somehow. And this is the nice thing about those kind of major seventh chords, for example, that you can just use them how ever you want. And you can really experiment with this and come up with some interesting chord progressions. Although those types of chord progressions make it kind of hard to find good melodies. But this has been used also in techno music a lot, especially in those early Detroit techno things. And so it's really worth experimenting with. So now, you know the Content-Type that can immediately add some jazzy feel to those basic triads. And again, you're really invited to take some time exploring those sounds at the piano and also try to arrange those costs for different types of instruments. And as you saw, you can already come up with some fun chord progressions by this kind of random approach. But there are actually some more systematic ways on building chord progressions as well. And we're actually going to look at them in the next chapter. 4. Chord Progressions (2-5-1): So if we have a succession of cards, we call it a chord progression. And the most famous cop progression in jazz is the 251 progression. You can really see it all over the place and jazz compositions. And those numbers stand for the position of the cart within the scale. So if we now would put a number under each position of the C major scale to 51 actually translates to D, G, and C. And let's just now play those cards in this specific order in their seventh chord versions, replay D minor seven, G7, and C major 7. And it has definitely immediately this kind of jazzy touch that you're maybe looking far. And the nice thing with this 251 progression is that no matter where you go, Those kind of 25 one sequences can always be combined in all possible ways. Let's open our mini grid for this again. And drawing those nodes exactly the way I just played them. So we have a D minor seventh chord. Then we have G7, and we have C major 7. And now we're going to duplicate the clip twice because we want to have this progression on again for different positions and it's randomized again. So let's try this one. Kind of works everywhere. Of course it sounds really January. But there's a certain logic and drive to it. And of course, I could also play this now, but I'm just showing you how you can create ideas with just knowing this progression already and being not distracted by thinking too much. Is it not black or white key? But just get some ideas going. That's where the Midea greatest, really great for. So the main reason for the fact that this type of sequence, our sounds kind of logical and can be combined in many ways, is the fifth step of the scale. In this case it's g, which is this dominant seventh chord. I was also mentioning earlier already that this one has a specific harmonic role. As I said, it's called the dominant. And this cart ultimately leads to the root note. So in C, we have C major chord. And then this kind of g card naturally resolves to see. And no matter where we are, if you play a dominant cart, it always sounds logical if you go to the major card that is a fifth below. So exam for example, let's play E-flat seven. Because E-flat seven ones. A major seven, like a fifth below. Or if we play F-sharp seven. This one has the urge to go to be major 7. Again, fifth below. Let's do one more like E7 and go to a major seven. And so the dominant is already enough already for creating this type of effect. But together with a two, it just sounds a bit smoother. And this way, you can actually modulate the tonality very easily and just move away from your first kind of tonality in basically no time. And this is something that happens, ingests a lot, that you temporarily move out of your actual tonality in this way kind of enrich the harmonic landscape. So while those cards sounds kind of cool, you may think now that it seems to little bulky to move around those cards and those kind of jumpy structures. And you're totally right, and that's why I want to show you how you can make those chord progressions sanded. It is smoother. So within a card, there are a few nodes that are really crucial for the sound and feeling of that specific cart. One of them is of course, the root node and we're going to use D minor seven now for this example. So the root note of D minor seven is D. And what we also need is the third, because it's defining that this card is minor. And the seventh, which defines that it's a minor seventh chord. And the fifth is actually not as important. It makes the sound fuller. Are called also survives without the fifth. It's not like one of the essential tones. And what happens some jazz often in those voicings is that you put the base, not actually true the base register. So I'm going to play it here and play the seven and the third and the right-hand or some instrument, whatever place the voicing. And now you can think of what are the important tones? What are the important notes of G, dominant seven? Because you have the F, which is the seventh, and we're holding it already. And the C is already a neighbor of B, which is the third of the G dominant seventh chords. So you can perfectly just move here in some very smooth way without moving your hand around too much. And also if you compose this with an immediate grid, it's nice to think about actually voice leading and having rather shorter steps then some super jumping movement. No matter for what kind of instrument or sound you create those carts. And if we were now in G dominant seven, we can perfectly moved to the C major 7 by just moving the F to the IEP because the B is already are major seven. And the only thing that remains GMP's to base while those carts not change really smoothly. But for the base, that actually sounds kind of pleasant to have it move around in those fifth. And this is. Partly due to something called the Circle of Fifths, which amongst other things, means that if you move through cards and fifth downwards, you can actually move smoothly through different tonalities. And if you look at those 251 progressions, you can see that this is actually happening, goes occurred. Now, play a D here that you see if I go down to D, It's actually 5th. And going down to C again is a fifth. And if C would now be my new start, let's say C is the tool, then the next five would be F. And so if you were just always move down, you would just move down in fifth of the time. And actually I'm going to give you one example of how you can move smoothly through different 251 progressions. Because if we again play the one we had, like DGPC, if I now change this C Cart two minor seven, which just means moving those two naughts my right-hand, like step-down. And again, using the same progression, we just did the same thing. And now B-flat major. And now if we change B flat major 7 again, two minor seven. You can continue doing this over and over. And it kind of makes sense because there's movement in fifth has some very strong character to itself that just continues creating this kind of forward moving feeling. But I'm also going to show you directly a trick for having the base moves a little smoother as well. Because within those 251 progressions, instead of playing the root note of the dominant and your left or left hand or base. However you arrange this, you can replace it with the node which is a tritone apart are in-between the two and the one, which in this case would be D-flat. So if you check this oh, I'm sorry. So this is how we had it. Now I'm going to play D flat instead of G. Interesting. Little more tense and dramatic, but it kind of works. And why is that? It's so weird to actually play a tritone apart in the base. Shouldn't this be totally dissonant? Actually, if you look at those two carts, G7 and the flat 7, you can play the exact same notes in the right-hand. Because the only thing that changes is instead of a G7, you have F being the seventh and B being the third, D flat, F as the third and the seventh. But they still have the same function. And this is some interesting concept that you can always replace your dominance with basically the other dominant seventh chord, which is a tritone apart. And it goes by the really intimidating name tritone substituted. If there's this too much, just don't worry, you can get back to it later in amounts are going to speak about it later. But actually, it's just one note that you change. And that can sometimes make your life a little more easier if you're looking for some baseline with more like shorter steps instead of all those 5th. And it's just a great tool to actually already know. So now you've learned what a 251 progression actually is and where it comes from, an Amazon how to build the cards in some kind of smooth gray and how to avoid this kind of jumping around. And just wanted to point out once more that the 37 are really the most crucial notes here because those are the ones that can move chromatically from one card to the other one. And you really want to use this in order to keep those movements really smooth. And now we kind of strip down the carts to their most essential version. And in the next chapter we're going to add some more colors to them. Again. 5. Making Chords Sound Richer: So after adding the seventh to the cards, we can now actually add even more nodes to the cart by sticking to the structure of stacking up thirds. And here, the miner will actually serve as our card for demonstration purposes. So, so far we had D, F, a, and C as our D minor seventh chord. And the next third that we could add would actually be the IEP. Which sounds actually super cool. And it's called the ninth. And you can do the same again by adding another third, which would be the G. It's called the 11th, and also has some very interesting sound. And you also have another third you can add. And after that, you actually move through all possible nodes within the tonality, which is the 13th, be, if you put it altogether, you have a super jazzy card just through stacking up thirds. So why is this called ninth, 11th, 13th, rather than 24 or six? Well, it's connected to the stacking up thirds type of approach. If you call a card D minor to it's kind of difficult to indicate for seven should be played or not. And the same with D minor Pharm. D minor six actually exists. And this is because six is the number. Six is higher than the fifth. Because if you put a chord symbol that already indicates like three nodes that have the range of a fifth, like a major chord. Here, this minor chord as the range from Detroit. But if you're starting to feel really confused now, but please don't worry, this goes into a very confusing territory of endless description of chord progressions. And those can, at some point get really tiring. Instead of torturing you with it, I am actually going to show you which option tones. That's how you call them. Usually go well with which type of card. And there will also be a last. And there will also be a later chapter called a simple guide to reading caught symbols, which will give you some tips on how to read cards in a logical way, if you need to play them from a scar, are in some similar situation. So in a 251 progression, the minor seventh chord often sounds really good with them ninth. So you saw this already. So let's type of sound. And also the 11 works and is often worth a try. But sometimes you also figured out that it's distracting, especially if you play longer chord progressions. It sounds really good as a color by its own map because I can just stay here. And it's a very nice feeling. And the same counts for B, which is a little more tricky even because it can sound kind of dissonant. Sounds like it wants to go to the sea. And it's a matter of use and we'll actually have a closer look at this specific mode and note later in the module section on major seventh chords, the nine odd, so often sounds really nice. I resist the basic C major seven chord and I would add the ninth. And also the 13. Works quite nicely. And you never want to use like some perfect fourth in this case the 11th, because it sounds really awful. Isn't really some distracting note. The one that often sounds cool is actually the sharp 11, then just the 11th step higher. And this is another type of mode and will be covered later also in the modal section and the section where I speak about my favorite colors. For dominant seventh chords. Again, the nine and 13 are really good choice. So if I, for example, have my G 7th card and at some ninth, sounds kinda cool. Same goes for the 13. Makes the sound discard sounds really exciting and also sound like it wants to go somewhere and builds up tension, which is great for dominance because they are actually supposed to build tension. Before you go back to your basic card hand up. Just didn't try it, but just for making the point more obvious. And the 11 actually sometimes can work, but it's a difficult one because you see, it's like just building a minor second to your third, which is always a dangerous kind of tension that can happen. Again, it sounds like it wants to go here. But if you put it into some closed voicing, which is the name form, playing a chord with notes kind of closer to each other than only thirds can kind of create some interesting sounds. So this one is rough, unmyelinated philosophy covered in the Mixolydian mode I will speak about later. You see this. Just try to keep some system and refer to stuff that happens later. Of course, you're also welcome to jump there already. But it makes more sense to get those basics first. So for now, let's actually see how we can add those option tones to our chord progression with this type of voicing we just built in the previous chapter because we had our D minor 7 voicing. And now we could add some II, for example, here or here. And there's some general roof of voicings that the first node of the voicing, so after the bass note, should be either the three other seven in most cases. And you could actually see that here. This sounds a bit muffled year than the open sound of this type of voicing. And so we put it on top also for those music theory, logic, reasons and following it. Of course, you have to experiment because with all those rules, there are always exceptions in situations where artifice hadn't, those things can sound really cool. But this is some January rule, especially for building carts that is really useful. And so we have this card here. And if we now add the fifth again, you see that we basically have some F major seven voicing with a D in the base. Really rich and wide. And so this type of voicing is just really great for minor seventh chords. And you can always make it tighter by actually moving the F and a up here. And now I have the C, which is the seven, is the lowest note in this way you have a tighter voicing, which is sometimes something you prefer because here you have this tension from those two minor seconds being close to each other. And this is just a matter of taste. And sometimes we can just move around voicings to see where you're like at most. And if we now look at our next quad, we can perfectly change this voicing to G7 voicing. Because now the a actually becomes the ninth of the G7 and the e becomes the 13th. And some super nice voicing. I always enjoyed a lot because it has this tension I mentioned. And perfectly resolves to deem C major seventh chord. Or we can perfectly at a nine if we wanted to. It also, instead of going to the fifth year, actually play, keep playing the a. It's a bit more dense. And also far a little alternative to going to a C major seventh cart plus nine here is to play a C6 card because this is actually the one where we're speaking about court names earlier. The one that made sense because if you see a sixth chord, that means you still have your triad plus a sixth. And this can actually help to make some card sound more like going back to its home base or being the tonality because of federated here. I'm going to play out so the root note on top, because this really helps with carts, really sounds like our song is over now. Has this kind of final, given this final future music. So this is something you can keep in mind if you really want to establish some real finished and not just have some major seventh chord in-between before modulating again. This is a sound you could reach out for it. So when did it the thing I want to show you that can bring up some interesting compositional ideas is to just not resolve your 25 to the one. Because if I make this as some type of Latin for some move off here. But you can also drag those around in a very nice way. Like if I were to, for example, do this the more like acid, jazzy type of field or would also work really well with some type of trauma groove. And you can hear this type of chord progressions in this type of music a lot. So now we've created some rich cards that sound smooth and jazzy. But you may ask yourself why I didn't call those cards now G 13, D minor nine or something similar. Well, I will later actually in Chapter 9 and give you some specific instructions on how to write and read chord symbols. But the general thing is the seventh chord is just seen as the essential foundation of the cart like we headed out. So in Chapter 3 and those option tones are more like some extra on top that also gives some space of interpretation for the person who was actually playing those courts. Because in jazz, improvise card sounds. Sometimes though composers will be more specific and also tell you exactly how they want a specific cards to sound black. So you see something like C3PO 1809 or does something similar. But as I said, I don't want to go too deep into this subject right now because I think it's not primarily why you are here. And as I mentioned in Chapter 9, there will be some clarification on how to efficiently write and read cards symbols. And for now, let's just move on to 251 progressions within the minor tonality. 6. Minor Chord Progressions (2 -5 - 1): So after having learned the two 51 and major, I now want to show you how the whole thing works in minor. And it's really some different type of sound. And I would call it way more melancholic and dramatic. And it's also a little trickier than the major version. So if it's already getting late and you're almost falling asleep and thinking and yeah, just one more chapter. And just really recommended to save it for tomorrow or a day where you're just few more focused. And before we dive into it, we also have to take one quick look at the actual definition of a minor scale. So the minor scale has the same notes as a major scale, but it's played from the sixth position of this major scale. So in C, the sixth position is a, and let's just try to play the notes of the C-Major scale, starting from the a. This, the natural minor scale. And it's kind of cheating to always just think of a major scale and starting to play it from a different place. So that's again, also look at the exact intervals that actually define the minor scale. So we started with a major second, but already at the next step, we have a minor second. Then to my major seconds. Again, the minor second already. And to my major seconds. So it's way different from the major scale, although it's somehow connected. And the most important difference is this minor third in the beginning, because this really defines the whole character of a scale, no matter what actually follows. Because it's a huge difference if you start like this. Or if you start in major. Because this node would be the major third, and then we would be an, a major. So if we now lay out the notes of some a minor scale and put numbers on the bottom again, we can see with what kind of chord progressions will come up if we apply our 25 one concept again, our twos Actually now that weird card that I always left out while showing you other carts, and this card is actually called diminished seven. And diminished means that it's a combination of two minor thirds. So you have f, which is a kind of dissonant sound. But some minor seventh as well. This caught, yeah, it's called like minor seven, B5 or half-diminished. There's also a full diminished card where you have actually only minor thirds. That means instead of the minor seventh, you actually have some even lower seventh, which you could also call it like a major sixth. But this is now the notation topic. I don't want to go too much into. Just know that if you stack up three minor thirds, you have a fully diminished sowed. They're just continues over the whole keyboard because after three minor thirds you end up at the first node. Again, it's a very dramatic sound that is worth trying out if you wanted to create some strong dissonance, but also kind of tension. And yeah, that's just a short introduction to the sound of diminished cards. From this diminished chord, we would now go to some E minor seven chord. But here's already our next exemption waiting. Because in classical harmony, where you're basically working with three nodes PER cards, the dominant in minor temporarily gets a major third in order to enhance the tension before it finally leads back to the tonic. And if this sounds really confusing, Let's just look at it on the keyboard. Because let's just play some a minor card. And I'm gonna do it with a bass note and just to try it again in the right-hand. This is a minor. Never would go to E minor now and I'm going to pick a voicing the disclose. They work well with each other. But this just doesn't sound like a dominant and doesn't have this dramatic touch. So let's actually change the minor third in G, E minor, which is G to G sharp, and see what happens. This actually starts sounding like a dominant. And this is what happens now in our 251 progression. And let's do it already in the type of voicing technique that we used. So we have some B and the base, and we have the seventh and the third. And actually this time also definitely need the fifth because it's flat 5, which means it's a very charismatic note of this card. Otherwise, this could some regular minor seventh chord. This is like the dramatic sound we want to have. And now we actually go to E7 and move our a to G sharp. And now I'm actually going to leave the F pressed because it sounds tense, but you can perfectly resolved now to a minor 7 through it again. So why does this f actually sound good? Because I've shown you that for dominance. The regular ninth sounds kind of cool, but here, what would happen would be this type of sound that now actually leads to major again like this. This would actually work, but to go to minor from it, sounds a bit jumpy and not as dramatic a logical. And this type of tone is called the flat nine. That in minor can really bring out some drama. It's not always working in. So really aggressive, but it's sometimes worth a try if you're aiming for some dramatic effect and you cannot. So this ends up some topic called alterations, which means that the dominant has not the regular 9, 11, 13th, 13th, but some altered versions of it. And I'll speak about it later in the colors I really liked chapter. But for now, let's look at it again, recursive play this card. And if you go now to the next one, like you have the flat nine on top. You can also play this note, which again is the minor third of E. Well, we actually played a major third. Also, this note increases some tension. This one is called sharp nine, which might confuse you a lot now. And I can totally understand this because there's just a lot of lot of information, but it's some other type of alteration that sometimes can make histamine and even more dramatic. And again, sometimes it works, sometimes it doesn't. In this classical 251 progression, it actually does. And there's even one more That sounds Nice, which is the flat 13, because here you see the C would be in relation to E minor sixth. So in this case, a flat 13. And if we put our voicing for the B minor seven flat five card a little higher, so we have the a on top. Let's see. Now we go to our G-sharp here would be put a c on top. This is the type of progression that really works. And so this C and F, they still have odd. So the relation to the main tenacity, because they are part of this a minor scale, but because of this temporary change to E major, those have more tension. But still the relation to the tonality. And this is what makes it kind of interesting. But also, you need to be careful with it because you can't say every time I played dominant can just pay those alterations. There are situations where they sound awful and it's just some color you have to keep in mind that you can try to use it. Also, if you're just composing, don't know if you're even in any tonality and just have them in mind as some options. But in this classic 25 one minor progression, they really make sense. So now you've actually learned the very most important chord progressions in jazz music. Well done. But again, take some time to play around with them and also pay really close attention to those sounds that you actually like a lot. Because for me, for example, it was always happening that during exploring those chord progressions at the piano, I would just accidentally stumbled upon some color that are really like and just eventually start building some composition out of it. In the next chapters though, I wanted to show you some alternative techniques for creating jazzy harmonies and also textures. And they might seem a little more contemporary to you. 7. Modality and Scales: So instead of focusing on Cloud progressions in some more classic manner, we will now actually have a look at some alternative techniques for creating harmonies and actually more even textures. And they might sound a little more contemporary to you. The first one of those is based on modal jazz. And modal jazz really became popular by mass Davis Kind of Blue Record. And it mainly means that a certain tonal color is pointed out rather than a specific tonality through rapid climate changes and dominance. And it's a very good moment to look at the scales that we can actually use for this. Because you remember that I said how the minor scale is the major scale but played from a different position. If we apply this same concept, it means we have five positions left. Those are called Church monsoon. We will just have a look at them. So the first scale of those other ones that I wanted to show you, it's called Dorian. And it's actually at the second step of the C major scale. So if we take the same notes, only the white keys on the keyboard, we have to start playing on d. So we get our Dorian scale. That sounds like this. So it's kind of like a minor scale. But we're first major sixth, which is also the charismatic note of it. And when I was showing you earlier that another nine sons nice as an option that you live in. And also the 13, but it's a bit more difficult because the 13 has to fit. Because sometimes if you play soundproof, have fun progression. This not as too distracting, but in Dorian. And if you look at some more modal type of composition starts, you really dive into the sound of this specific scale and cart, and it becomes extremely charismatic. So for example, if I just laid on some domain or a cart and really tried to emphasize this b. So the major 13 concerned extremely atmospheric. And what often happens in those model compositions now asked that you at some point shift to another Dorian scale. So let's say from D minor, we go to C minor and let's see how the science and just play some random melody. And it was specifically pointing out this kind of major 13th or so in C, this would be AB. And I just like this sounds a lot. And if you're looking for just some calm atmosphere, but really atmospheric, really Try Dorian and especially play with this kind of 13. Another mode is Phrygian, which you can build from the third note of the major scale. In this case it's E. And it has a very specific beginning because you have a minor second in the beginning. And this can sometimes at some Oriental flavor to your sound. But there's some voicing that brings it out a lot. Did a 3D languages. If you play it in the base and the base, and then you put some F major seven card on top. It's full of tension. It's really perfect also for intros that just have to set some atmospheres on kind of like they're looking for direction. And you hear it a lot in like Jess recordings that songs would actually start with this type of voicing to kind of set up this promising but also mysterious atmosphere, some super cool card. The next one is Lydian, and I also mentioned it a couple of times already. Louis, and it's like the major scale, but you don't play the perfect fall off. But actually some augmented fourth, which is like the tri-tone. But in this specific type of scale, your quality augmented fourth, sometimes the same note has different names and this is something for some other tutorial actually when it comes to deep music theory and notation. But for the practical purposes, just take it as it is for now. And I'm just going to show you the Lydian scale in F because that's where we would start if we still use the C major tons. This one is the specific node. So if we play some F major seven chord, you can again bring this node out, especially when you descend. It's very pleasant feeling, extremely atmospheric and used a lot also in leg, some cinematic film composing. And so there was some trick of Twin Peaks has this element and that speaker, but it also later in my favorite type of voicings and cart section. Then if you start on the fifth step of this major scale, you have Mixolydian, which sounds like this. And this one fits perfectly the dominant seventh car. So if we play our voicing and has some very energetic style because it has this minor seventh, which is kind of connected to the type of harmony and melodic content you often find in blues. So it also creates some kind of nice atmosphere. And the thing you can change in your card is actually to replace the third with the fourth. So you play C instead of B. In this case. This type of card is called sus4 and means you just replace the third By the fourth. And this creates some suspension and we'll also speak about it later in my favorite card section. And so this is also a son of Mixolydian and also very enjoyable and a little more energetic, bit less melancholic, a little less pensive. Then we have the sixth step with just the minor mode, and it's called eolian in church mode language. And the one at our weird diminished chord is called Locrian. And again, this one is kind of difficult in terms of establishing some atmosphere for itself within the scale, like it's possible with Dorian, Lydian, Mixolydian. This one is just not as stable as some color for itself because it really sounds like it just happens within a chord progression or a harmony. Can work, but yeah, I like those other colors more. So now you've got some idea of those church modes and also the general power of scales. And as you saw, each one of them has some very distinctive character. If used wisely, you can build some very atmospheric composition just out of them. And again, you could try to apply the 25 one system. But honestly this becomes a little complicated and also extends to the frame I wanted to deal with within this video. And so in the next chapter, I'm just going to show you some other type of approach that is kind of easy to understand and can also bring up very surprising and inspiring ideas. 8. The Power of The Bass: So the base has a huge impact on the sound and also character of a card. And in this chapter I want to show you two techniques that feature the base and show you how easily you can emotionally, emotionally change music by just a smart use of the base. A very interesting concept is to use the same note in the bass over a longer period, but to change actually the card that is on top of it. Meanwhile, there's, for example, some jazz standard called on Green Dolphin Street, where you see different cards changing over the same note, equaling several modes that keep changing. The bass note stays, see all the time, and it starts with just some C triad, Major triad. Then it goes to C minor seven and it goes to d. So this is the kind of Lydian sound. Then we have D flat, which would be C phrygian, and we go back to C major once more. And this can create a lot of tension. And you can really experiment with this. I mean, you can try the cuts off the Gale, but sometimes you also come up with interesting ideas by just trying it randomly. So you have, of course, the c cartilage is gone the other direction this time like this one often called sounds really nice. Note of tension. And there's so many cards that you can actually find that fit. Weird but still like interesting. And it's wise to always use triumphs and the right-hand because three notes as to kinda flexible if you use faun notes, it can be a bit more difficult to find some that fit, although it's still very possible. But because we have some different tone and the base, you kind of have a cart with like four different notes if you have a triad here into different base node. So that's the idea behind it and it's super fun to try those out. And I will show you a few of those that everyday like oscillator in the my favorite color section. You can also do the same thing just the other way around by picking a simple card and your right-hand and trying to find bass notes that let this cart sound different and moving. So for example, let's say in our right-hand would just stick to our cart that you've heard by now a quite a few times. And let's just try different bass notes. Okay, nice. Sometimes descending baselines work really well. This one is a bit more tense. So nice. And you can come up with very nice figures are somewhat contemporary sounding. And again, just experiment. But this composition approaches us a bit more easy because you can just leave the cart as it is. And the only thing we need to worry about is fanbase notes that actually fit with this card. And once you've fallen far, you have some nice kind of moving caught aggression, although you'd play the same caught all the time, that can be the foundation for some other new composition. And if you want to write this down as a caught symbol, he basically just named the cart of your right hand. So in this case, like C major, and if D should be in the base, you make a slash. And then you put the deep. And then if you would tell some person which card to play, you would say it's a C over D. And as simple as that. So this composition approaches answer really beginner friendly because you can really focus on just changing one element at a time. Sometimes it can be kind of overwhelming to have to deal with too many things that could possibly change at the same time in this type of restriction is not only easier, but can also really create some exciting harmonies. And I mentioned already that there are a few that I specifically like and those I will actually show it to you in the next chapter. 9. My Favorite Chord Sounds: So this chapter is going to be the one most influenced by my personal taste, but they're just a few voicings and sounds I always reach out far and generally faint, really stimulating. So I think they can also be inspiring for you. Some of them I roughly mentioned already, but this is going to be just some more composed selection of those I really like. So the first caught I wanted to show you is some card we already had, but just the simple major seventh cart, plus a minor third in the bass, which would be the minor ninth voicing of just some minor seventh chord. It's just perfect for also getting started sitting up a vibe and it's odd, so really suited for just being dragged around freely. And so it creates this kind of acid, jazzy vibe. Really fun. And always great to use, always great sounding on. So for urine arrangement for some other types of instruments, just a super nice voicing. The next one is the seventh has fought type that I also mentioned a couple of times already also by replacing the third of a dominant seventh chord with the fourth. And there's a great voicing that you can use. Again, I'm going to have a major seventh chord in my right hand. And now I actually look for the second note of that cart of the scale that would belong to that card. So if it's an F-major seventh chord, the second note of the scale would be gene, and this one I put into the base. This type of voicing creates a lot of suspense and it's really enjoyable. And again, perfect for being dragged around. Immediately sound super jazzy, really atmospheric. And there's one famous example for this type of cart in the sun maiden voyage by Herbie Hancock. And it's really the sound and I always just enjoy starting noodling around with it. And eventually I'll come up with a nice chord progression. The next one is kind of connected to this Lydian sound, which is just to try it and it's this time, use D major. And to put minor seventh in the bass. So this would be a seed. There is suspense for an ulcer results perfectly to then secret. Perfectly derived from this Lydian scale. And you can also just drag around a lot smaller because it's really beautiful and has this kind of open landscape type of sound. And Using triads far it works really, really nicely and smoothly and not so brings out this kind of sharp 11th sound, augmented 11th sound in a very pleasant way. Then there's one type of card that I call the Steely Dan caught because it really reminds me of the music of Steely Dan. And there are two different ways of building it. One would be to think of some major 9, but leaving out the third type of course, cart. So let's say f is our note, our root node. And if we want to replace a major 9 cart, we would play those tones, but we leave out the a so we don't have the third sounds like this. Some very nice open card with a lot of suspense. And again, perfectly for being direct around. And as I said, you're really not instilling dance music. You can also build it in a different way by just playing a try it. Next. Let's pick another tonality like P flag. And then you check at the B-flat scale, what would be the fourth note, which would be 1, 2, 3, 4 would be E-flat. And this one you put in the base, you have the same effect and this way you cannot submit those. And I just like them a lot. Also have this kind of fusion character if you're familiar with the type of music. The next one is called dominant 7, sharp 11. It's kind of close to Lydian, but sounds more aggressive because it doesn't have the major seventh, but the minor seventh eighth grade voicing is to just put the major nodes of the card and to the left hand and play a D major triad on the right-hand. Kind of dissonant, but I enjoy this 100. So for example, sounds kind of miss Chivas, but cool, odd way and I like experimenting with the sound. And this is also the type of sound that you can use for this type of tritone substituted there was mentioning earlier, because it resolves perfectly to the major seventh chord, just a minor second below. If I resolve this one, just see 7 sharp 11 to be major 7 makes perfect sense. And this is actually a type of chord progression that you can hear in some R&B music. And some famous example would be the song, I can't help it by Michael Jackson from the off the wall record. Well, diverse actually starts with exactly this type of chord progression. Then I want to speak a bit more about those dominant alterations because we were crossing them in the minor 251 progressions. And there are a couple of voicings that Some kind of cool if you put, if you just find the right spot for them. So let's again use C7 is our foundation. This is our C7 chord. And you already saw that if you play a D major triad, it's kinda cool sound. And now you can actually play an, a flat major triad, which are those three notes. And I'm going to put the c on top. Very tense and aggressive, but also energetic. And it has this sharp nine that I was mentioning earlier, that Assad. So giving it some bluesy touches, you cannot. So here this type of voicing and some Jimi Hendrix guitar playing for example. And you also have this flat 13. So it's like a sharp, sharp 9 flat 13 type voicing. It perfectly resolves to actually minor courts like now it would resolve perfectly to F-minor. Then instead of a flat major, you can also play a major which gives a regular 13 and flat nine, and also sounds kind of a bit classier. Perfectly resolves to some major cart. Nice color as well. And the maybe most aggressive one is to play the trial a tritone apart from the root node. So you have seven, and now you replace them. F sharp major triad. It's really dissonant. But still to some amount that sometimes if you want to go far some dissonant type of card, it's actually worth a try. And I enjoyed this Sunday lot, but it's difficult to find the right spot for it. Another nice color is the augmented color, and you can play it both as a COD or escape because we had diminished, which means only two minor thirds. But it can actually also stack two major thirds on top of each other. And if we do this in C, we have this type of cart fills out the Oct4 ready because the next major third would be C again. And you can also perfectly uses this as a dominant for f in this case, for example. And there are also some famous usages of it, like There's also the augmented scale. But you can hear a lot in the music of Thelonious Monk, for example, and also in some more popular ways. For example, in the song year the sunshine of my life from Stevie Wonder, I think it goes something like and goes back to f. So some more popular example end, it's always worth a try if you want, you have some very aggressive sounding, also dissonance sounding, tension. That, but again then has a stronger effect if it resolves to something more beautiful, switch something you can actually play with within your compositions. Then there are also voicings of stacked fourths that are really amazing, no matter which instrument do you actually use for it, let's actually pick Default, our root node. And now we just add for snack perfect fourths like g and f. So I'm very open sounding card. Again. Like some DCIS card. You can perfectly again, just move it around. So those chromatic changes, some really cool with this type of voicing. And some famous example would be the music of the piano player McCoy Tyner and especially his collaborations with John Coltrane and also the drummer Elvin Jones. He has the super energetic style of piano playing and you can hear those voicings, they're all over the place. And a last type of card I want to show you is the minor major seventh chord, which is basically a minor triad like C minor for example. And then you put a major seventh on top. Really dissonant, but that's a really dramatic. Sounds great with a nine as well. Sounds right? If you place a G triad here on top. So great if you want to create some more spooky atmosphere on so some, something really much Chivas. So reform spelling, seeing mischievous in the weird way. But this is definitely the sound creates and also a great color just by itself. So now you've got some more colors that would allow some similar approach as those model examples. And I just recommend to dive into those that really spoke to you and just tried to make something out of them within the style of your music creation. And in the next chapter, I will give you this kind of systematic approach on how to write and read constant was before. I'll actually show you some practical examples on how you can harmonize the melody in a jazzy way. In the last chapter. 10. How to Write and Read Chord Symbols: So in this last informative chapter, I want to give you some quick overview of all possible cards that we had so far or that you can come across in like some scars or taps. So let's pick D is our root node. Generally, the letter you see is the root node and it also means you need to play the fifth. Then it will be defined whether your card is major or minor. Major is indicated through just the capital letter while miners indicated through something like d MIN, dM, dM, dy minus, or sometimes even a small letter. Now, fourth node can be indicated. Here. You need to keep the following routes in mind. And also remember that all intervals are always in relation to the root node of the cart. So if you see a six, it means you have to add a major sixth. Otherwise it would be indicated as a flat 6. If you see a seven, it means you need to add a minor seven. Otherwise it will be indicated as a major seven. If you see a nine means you need to add a major ninth, and otherwise it would be indicated as a flat nine or a sharp 9. 11 means a perfect 11, or you could also think of a fourth, and otherwise it would be indicated as a sharp 11. Flat five means that no perfect five is included in the card. So you replace the regular 5 through the flat. 513 means you have to add a major 13, and otherwise it would be indicated as a flat 13. And it's like the same tone as with the sixth. Sometimes you may come across something like a sharp five, which is the same tone as the flat 13. Augmented cards like two major thirds, are indicated as surplus or some OG. Fully diminished chords like three minor thirds, are indicated as dim or also just some circle. Diminished seventh chords are indicated as minor 7 flat 5. This kind of circle with a slash through them are dim seven. Sus far means that the third of the card is replaced through a perfect fourth. If another base note than the root node should be played, there will be a slash behind the cart followed by the required bass note. If a card is called 9, 11, or 13, it includes the seven unless it says something like no seven. An alternative way of naming cards would be to add something like add nine or 11 because means that the option is added to the basic triad only, not including the seventh. You can always try to add additional option tones, but always make sure that you check if they actually fit. And also remember that those card names never relate to any scale. So if you see a card like C7 in a C major tonality, you don't think, okay, if it's the seven, it has to be a major seven, then it still means that you have to play a minor seventh, although you are in the C major tonality. 11. Harmonizing a Simple Melody in a Jazzy Way: All right, So now it was really bombarding you with information and white. It's always great to know things and think they are kind of useless if you don't try to find a way of making them work for yourself. And that's why I wanted to give you some practical example of just adding jazzy cards to a melody. So because the melody is really simple, I was trying to find a chord progression that really brings out the tonality. And I did this by using some 251 progressions because modal composition techniques would be a little more difficult because I've shown you that you have like one scale and then eventually you would transpose it, which would definitely just also transposed the melody. And this would actually add material to our melody. And it's not like this simple thing from the beginning. And so it wasn't that difficult. And also, you'd often come up with those chord progressions and modal compositions first, and I've shown you already a couple of tricks on how you can do that. So here I have some melody that are composed and it's really simple. It's just listened to it. And this melody is in the key of F major, has all those notes. Or it could also be D-minor, of course. And just make sure to kind of find out in which key or melody is. Just analyze the notes and then try to see what kind of scale fit. So you can also try to just find the bass note that fits this type of melody. And here it's clearly F. So we're in F, and now thinking we're in F, Let's just try to start this whole melody with a 25 one in F major. So we have to start with G minor seven. And it's actually a nice start because we start with the ninth. That always sounds really beautiful and we can use this type of voicing that I said usually works really nicely. Then we go to C7, which also works nicely. And then we resolve it to F major 7, which also works nicely. And then here I went to B7 sharp 11, which has several reasons. One could be that afterwards, I wanted to go to be major 7, which is the fourth grade of the F-major scale. So we're still within autumn tonality, and I'm just approaching it with this tritone substitute instead of playing some F7 chord, which would also be possible. But also what I like to do when composing is to specifically check for those moments where I want some tension. If some certain color of those alteration courts works because here. I have some clear 251 progression, which is nice. And actually now as the fourth card, I want to have some tension that keeps the whole thing moving. So I see, Okay, I play an F. F would be the sharp 11 at some be seventh chord. So let's just see if it works. And sometimes you do this and it just doesn't work, but it's always worth a try. And here, it's just perfect, really smooth. And then you can perfectly continue at b-flat major seven. And here you can now use the E diminished caught. And when true. And then go to A7, which is all within the tonality still. I mean, this is now a 25 one and minor. So we would be in D minor, then we could go to D minor. But again here, I also like to keep the tension by not going to D-minor about going to another dummy node, which again, I'm going to try the one that has the, would be the sharp 11 chord of the d, which is a flat. And just sounds really nice, is just one small from the beginning. When I was a bit harsh to grab, I'm gonna go to A7. Instead of going to D, we go to a flat 7 sharp 11. And it perfectly again, because it's the chromatic approach that leads back from a flat to G, where we are at R2. Again, for our 251 progression, it's too small. And so we go again to G minor seven. Here we have an F and the melody and this would clash. Could work, but it crashes a bit with E of the C7. So what I do, I just replaced the ether and F, Sorry, Play assess card. And it works fine and we can perfectly resolved the SAS code also to F major seven. And again, here, this is the highest note of the melody and that's also always worth to see if you can point it out by some melodramatic cart. And again, I want to try the sharp 11 on B flat because E would be the sharp 11 of B-flat. And again, it works in this wasn't planned, to be honest, I mean, I can post this before, but I composed the melody without the cards, and I was really happy to find that the sharp 11 fifths so often. And it's just some beautiful sound. And then you can just go To actually a minor. Like you're just resolve it chromatically again. D7, like a 25 one. Because then it's a 25 to actually G minor, which is again, are two of the tonality. And we have, again, I'm going to play a cis cart because it's the F and the melody. And we land at CNN one this time I'm actually going to play this sixth cart. And this would be some traditional typeof cart setting. I'm just going to play it once more kind of slowly and tell you those cards because I know that it's always a bit difficult to quickly get into how I actually was creating this thing. So again, the melody, I'm actually going to play the part of the melody a bit more. Major 7, 7 sharp 11 and B flat major seven, half-diminished with a seven, sorry, A7. And a flat, sharp 11, flat 7 sharp 11. And again, G minor seven. C seven SAS far. F major seven. And B flat 7 sharp 11. A minor seven. D7, G minor seven, C7, sus far, and F6. To be difficult to talk while doing this. So, sorry if it sounds a bit stumbling bad. I just, it's more important that you realize the harmonic aspect rather than hearing this into perfect version. And yes, that would be the traditional approach. 12. Outro: So, thanks so much for being with me during this course. I just really hope that I could make the mystery of jazz harmony a little more coherent and hopefully fun for you. And I hope you feel excited now to try out some of those sounds that I was showing to you. This was actually the first longer online course that I ever created, which is why you are more than welcome to drop me any kind of feedback. So it can also improve the quality of those classes for the next one. I also make weekly content for YouTube, though it's more focused on the production side of music. And you're also more than welcome to take a look at my YouTube channel and see if there's any interesting stuff for you as well. Headed for that, you can also find me on Instagram and also on my website where you cannot. So just directly contact me if you're interested in having some private lessons, for example, for music theory, composition or some music production. And actually drums because I've been a drummer for more than 20 years and both just playing and performing. And this has been my main instrument forever. However, I wish you lots of inspiration with your music and happy creating. And just really hope to catch you some other time soon in the future. Bye.