Walk That Bass

Published on Jun 30, 2017

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For more information check out my website: http://www.thejazzpianosite.com/jazz-…

Video on functionality: https://www.youtube.com/watch?v=Tloy3… Video on Secondary Chords: https://www.youtube.com/watch?v=alDSE… Video on Passing Chords: https://www.youtube.com/watch?v=e7En2… Video on Borrowed Chords: https://www.youtube.com/watch?v=VZVAh…

This Jazz Piano Tutorial is about Analysing a Chord Progression (AKA Harmonic Analysis).

In this lesson I plan to show you how to analyse a chord progression and discuss how you can use this information to improvise. And we are going to use the first half of the Jazz Standard My Romance as our example.

Analysing a chord progression is partially subjective. There are a number of different ways to analyse the same chord progression – so the way I’m going to do it is not the only way you can do it. I’ve got my own personal preferences and biases which I will explain as we go. And unfortunately, learning how to analyse a progression well only comes with practice. There are certain patterns and clichés that you discover only by analysing lots of different Jazz Standards.

When analysing a chord progression, take the following general steps: – Analyse the overall Form of the song; – Analyse the First Level Chord Progression – this looks at each individual chord as a separate, standalone entity; – Analyse the Second Level Chord Progression – this looks at only the structurally important chords and functionality, ignoring immaterial passing chords. But what is ‘important’ and what is ‘unimportant’ is to an extent subjective.

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Music Analysis

David Bennett Thomas
Published on Jun 21, 2012

uy the CD here: iTunes: http://itunes.apple.com/us/album/mile… Amazon: http://www.amazon.com/Miles-Ahead-Dav…


Published on Jul 29, 2011

Choose 720p from below the video window for high definition. http://www.davidbthomas.com Audio performance used with permission from Annette Dimedio.



Published on Jan 11, 2018

Slash chords come up pretty regularly in the comments underneath my piano tutorials, so I thought this first episode in my new Piano Questions Answered series was a good place to explain them. More on piano chords in my book, How To Really Play The Piano: http://www.billspianopages.com/how-to… Slash chords aren’t massively complicated: they’re just a quick way of specifying which bass note should be played under a particular chord. If you see a chord without a slash, it implies that the root is the bass note – i.e., the note that the chord is named after. If a slash is used, it’s usually the third or the fifth of the chord that becomes the bass note (or the seventh in dominant or minor seventh chords, rarely in major sevenths). Specifying bass voicings of chords is useful because of the importance of the bass note in any chord: it’s the single note that above all other (OK, maybe equal with the top note) gives a chord its particular flavour and feeling. Don’t forget to follow me on Facebook: http://fb.me/billhiltonpiano And on Twitter: http://twitter.com/billhilton



00:00 – Theme Group 1, Motif A (Rising Arpeggio)
00:14 – TG1, Motif B (Scalar Passage, with notes in groups of 2)
00:18 – TG1, Motif C (Turn)
00:24 – Counterstatement of TG 1, entering in a surprise E6, the dominant of III
00:37 – Motif B
00:48 – Transition (or an extension of TG 1): Motif A rising in bass, answered by Motif C in RH. Surprisingly substantial.
01:06 – Theme Group 2, Theme 1 (= Motif B!, with Motif C in the LH.) A minor.
01:18 – TG2, Theme 2 (= Motif C, with lengthened 2nd note)
01:26 – TG2, Theme 2, with Motif C now in the deep bass
01:31 – TG2, Theme 3 (Cadential Theme) DEVELOPMENT
03:51 – Motif A, repeated thrice, arriving in F#
04:37 – Transition Theme (Motif A + C), sequentially deployed, rising constantly
04:58 – 22(!) bars of dominant preparation, totally devoid of any thematic allusion. Short recitative (with a little Neapolitan Eb) leads into RECAPITULATION
05:19 – TG1, with 4 bars of recitative attached to each statement of the largo. This section hangs on a Ab, which is transformed
06:43 – into a G# (in enharmonic implied Gb minor!) in a darkly guttural 4 chords. This ushers in a extraordinary modulating section.
06:55 – TG2, in tonic.
07:59 – Theme 1. (Motif A = rising double-dotted 3-note figure)
09:38 – Transition, with stately rising theme. (Motif B = drumroll in bass) 10:55 – Theme 2. At
11:42 Motif B enters, building into dominant minor 9th chord RECAPITULATION 12:08 – Theme 1, with Motif A immediately used as inner voice.
At 13:00 a demisemiquaver accompaniment drifts down the keyboard 13:42 – Transition
14:54 – Theme 2 CODA
15:42 – Motif B, again building into a dominant minor 9th
16:26 – Motif A, rounded-off, in LH then RH
16:45 – Recalling Theme 1
17:19 – A new, 2-bar long 3rd theme enters and is repeated in the middle voice, before the movement ends. MVT III EXPOSITION
18:06 – Theme Group 1, Theme 1. A single motif (Motif A) repeated 16 times in RH. Note codetta with chromatic descending line
18:29 – Transition. Theme 1 in bass, interspersed with arpeggiated figure
18:38 – Theme Group 2, Theme 1, entering with insistent hemiola and 6 bars of dominant harmony
18:55 – TG2, Theme 2
19:05 – TG2, Theme 3 (Cadential Theme) DEVELOPMENT
20:26 – Motif A in dim7 of iv, modulating into A min 20:37 – The bass uses Motif A to climb up a dim7 in D min, then shifts to D min harmony, then shifts into C min by flattening the A and introducing the inversion of Motif A in the RH. Then movement into the dim7 of Bb min
20:54 – Dramatic entrance of inverted A motif in RH, while LH climbs up bass chromatically.
21:06 – TG1 Theme 1, in Bb min
21:12 – Chromatic rising, landing on a dominant 7, suddenly revealed
21:19 – to be a augmented 6th when it resolves into the dominant of D min 21:23 – Dominant preparation begins, oscillating between G min and D min
21:41 – 16 bars of continuous descent to the home dominant RECAPITULATION
21:53 – TG1, Theme 1. The bII in bar 18 becomes the subdominant of Bb, introduction a surprisingly lyrical passage.
22:14 – Transition. Tonal movement around circle of 5ths. G min harmony becomes augmented 6th chord, leading back into
22:34 – D min, TG2. Note how at
23:00 (Theme 3) Beethoven omits the expected high G, since his piano didn’t have the note, and substitutes a really nice repetition of the high D instead. CODA
23:12 – Mimicking the beginning of the development, without forte outbursts 23:21 – for 16 bars(!) we dwell on the dominant, leading to
23:33 – a violent restatement of TG1 Theme 1, with an A pedal in the highest registers 23:54 – The original codetta from Theme 1 is now presented in full. With another familiar tonic-dominant swing the sonata ends.

Published on Dec 26, 2011

Michiel’s live performance video: http://www.youtube.com/watch?v=klZYv-… Choose 720p from below the video window for high definition. http://www.davidbthomas.com




Byron Weigel Music Theory

Orchestral Version

Piano Version  w Score

Harmonic Analysis

Byron Weigel Music Theory

Key are shown above the piano keyboard. D minor is the main key, but the music is sometimes in other, closely-related keys (F Major, Bb Major, A minor, G minor).
Non-Harmonic Tones are colored fuchsia.

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