 Hi guys, welcome back to part two. So in part one, just to quickly recap, we looked at three ways to make Hallelujah, the song of interest right now, a lot more interesting, sophisticated and all that. We used ad codes, suspended codes, the first option, then we looked at code extensions, making it sound very jazzy. And then to cap off part one, we looked at these passing slash codes as I'm calling it. So if you stumbled on to part two, don't forget to watch part one, where you could watch the series in any order, I think, but it'll be nice to start from part one, because in part one, I also look at the simple chords, the basic triad version of playing Hallelujah. So moving forward, the first variation I have for you in this part would be to add what I call as a plagal cadence or what we all call as a plagal cadence, wherever you see fit, wherever you feel it adds a vibe. So if you take the starting, I heard there was a secret chord that David played and it pleased the Lord. So a plagal cadence is nothing but a passing fourth chord or a fourth chord going to one. So if this is your C major, the plagal of C, you ask yourself what is the four of C, what is the perfect fourth of C? The answer is F. So I heard there was a secret chord. So you can use F major as a passing chord. I heard there was, I heard there was, but then you may need to change the melody. So instead of that, you could replace C major in the beginning with an F slash C, which is the plagal in any case. I heard there was, I heard there was. It's also a very gospel way or a gospel embellishment for a song. I heard there was a secret chord. So it's ideal I think to replace or to remove the C major chord, bring it in later at the next beat or the next available beat, but start with the plagal of C, which is F. I heard there was and why I say plagal of C is because you're still maintaining a C bass. The chord would be called F over C. I heard there was a secret chord that David played and it pleased. Why don't I do a plagal of A minor? Yes, you can do plagals on all the major and the minor chords. What's the four of A minor? D is the perfect fourth. So David played and it pleased the Lord, pleased the Lord. You can sing the original melody or that David played and it pleased the Lord. If you want to like change the tune, David played and it pleased the Lord or stick to wherever you are. Now on F. So you get into Elton John territory as I call it, which is your four major with its perfect fourth major on the bass with the bass as the F. You don't really care for music, even more Elton John territory. You don't really care for music, do you? I used it everywhere, you know. So it makes it very gospel and yeah, it makes it very also British rock and pop. A lot of British artists do that plagal passing chord thing, especially in ballads because the chords take their time in ballads. So that you don't really, that's B flat over F. You don't really care for music, C over G, do you? Worked quite well I think. Well it goes like this, the fourth, the fifth. It's a bit annoying to do it when the chords change very fast as I mentioned earlier, so you can leave that. D minor over A and then A minor. You can do it pretty much everywhere. I don't think it'll sound good on the dominant chord, but that's an acquired taste I guess. May not be. I love it at the end. So that's about the plagal cadence, which you can use pretty much in any song. We've used Hallelujah and this example as a reference. So moving on, I have another, so moving on to the next way to make chords a lot more juicy. So in music theory, we call this topic as borrowed chords. So a borrowed chord is nothing but a chord which you can borrow or you could even say steal from another scale. Like you want to take a chord from the minor scale and bring it into the major scale. So if you harmonize C minor, you'll get the diatonic triads as C minor, D diminished, E flat major, which is the 3 flat major, F minor, which is the 4 minor, G minor, which is the 5 minor, A flat major, which is the 6 flat major, B flat major, which is the 7 flat major. Those are the 7 diatonic triads of C minor. So what you do with borrowed chords is you figure out at which point in your song, can you like steal from the minor, from the parallel minor, not the relative minor, that's a different concept. So you're taking a chord from the parallel minor scale, in this case the C natural minor because our song is being presented in the C major scale. So you take the chord from the C natural minor and either use it in between the chords of the song or use it to replace or substitute existing chords of the song. So a good example to present this would be at the end of the song where I think it works quite well. So there, let's just see what we could do. So what did I borrow there? I borrowed an F minor. Of course my melody is a D, so you could consider this overall projection as an F minor 6th. So it's a standard ending. It works perfectly, so that's any way plagal, it's a 4 going to 1. You can get a bit more drastic, like you can do. So what did I do there? I did. So that was a 6 flat major. That's A flat major, 6 flat, going to B flat and ending on a C major, not C minor. I call this the epic cadence, at least that's what we call it in our classes. So that's 6 flat, 7 flat resolving to the 1. We have an entire detailed set of lessons on cadences alone where I talk about the theory. You need to check that out and also consider a course at Nathaniel where this will be done in a very structured manner. So I just thought I'll show you the borrowed chord concepts at the end because I think it works really well for the ending of Hallelujah. Let's just do it in context. Coming up now. You could even stick to the same tune. Or you can use the chord tones to kind of change your vocal line. Or if you're playing it on the piano, change your tune a little bit. Which I think is fine considering that there are thousands of covers of this song in any case. You can make it a bit bluesy at the end. So that's how you can use borrowed chords. So far we've talked about the plagal cadence embellishment. Now I've talked about borrowed chords where you get stuff from the minor. So I have one more strategy to add more color in the harmony department to a song. It's what I call, what pretty much all of us call as bass walk-ups or climb-ups or bass walk-downs or climb-downs. So what happens is you have a chord C and you look at the bass of the chord, it's C. And your next chord is A minor. So you can either go... You can kind of drop that chromatically. And every chromatic drop or every diatonic linear drop... You can harmonize that with a chord. So this could actually end up being a passing chord. But you could also do quicker movements. Like I heard there was a secret chord. Or there was a secret chord. So that will work fine. So you can do even C, F, G, A. Just figure out whether you want to climb up to the A or the target or whether you want to go down. So your C and A are like pillars. So you do C, F, G, A. Or C, G, G sharp A. That also works. C, D, G, A. So then in the right hand you could try add it. What's a triad which has B, G major. G major has G in it. So I heard there was a secret chord. Maybe an overkill but that's the whole point of this series too. To kind of demonstrate it as best as possible with every section of the song. I heard there was a secret chord. Or I heard there was a secret chord. I love that. I C, F, G, A. That David played a lot. You could do both. C, B, G, A. Or C, F, G, A. Both work. I heard there was a secret chord. And the David played and it pleased the Lord. And then you can do like a... You can do a country style of going from C to F. A common thing people do is play C major. Keep the C ringing on the top so the audience doesn't get confused. Oh there are so many chords in the middle. Oh you Pum, pum, pum, pum Sometimes in, sometimes in our lives The song Lean on Me pretty much has that ingrained. So Oh you don't You do like that. Oh you don't Really care for music You don't really care for music You don't F up to G is very very small. You just have F and you have an F sharp. So I would do that you don't Care for music You can do F, B, A, G. I think that's really cool. Let's just revise that again. I heard there was a secret chord. I'm singing the bass. That David played and it pleased F, G, A. Plays the Lord and you Lord and you Don't care, we care for you So Pum, pum, pum, pum You don't really care for music Do ya, da, da, da You can keep doing that. Do ya, da, da, da, da, da And then goes like this The fourth, fourth, the fifth Ba-ba-ba-ba-ba You can do like an E, F sharp, G sharp, A On the E seventh chord Fifth minor four Oh the major lift Oh the major lift That's climbing from C to F So you get the drift I hope Hallelujah You can do things like that Hallelujah Hallelujah You can like really overdo it with that technique. So this is basically bass climb ups and climb downs. The concept is figure out the bass. It's all about that bass and you have to identify from one chord root to the next chord root. How are you climbing? Are you climbing the first place? If you are, are you going to climb upstairs or are you going to climb downstairs? How do you want to climb upstairs? You want to go diatonically, you want to go chromatically, you want to go zigzag climbing if that word even exists and so on and so forth. The possibilities are endless. So we have a few more techniques which are going to make your music even more sophisticated. The further techniques also will have a lot more music theory. The circle of fifths comes into the forefront of the next few reharmonization techniques I'm going to deal with. So do stay tuned. Hope you enjoyed part one and part two and don't miss part three. That will cap off 10 exciting ways to reharmonize songs which I think will help you greatly as you play through songs at any skill level on any instrument. So again, this is Jason Zach from Nathaniel. Do consider hitting that bell. Hit the subscribe if you haven't already. Give the video a like, share, comment. Let us know what you thought and let's move forward.