 Hi everyone welcome back so in these four remaining parts in my 10 part reharmonization series we are going to again continue with the song hallelujah which has served us so well with the previous six parts so don't forget to watch part one and part two if you've stumbled on part three just like that through the youtube gods so what we are going to do now is we are going to look at a lot of changes to the chords to make it like really go out of the scale but yet sound very beautiful because it still upholds the strict traditions or laws of of proper a classical and jazz music theory so the first concept I have for you is using secondary dominance and I'm not going to spend an a long time on secondary dominance because I've spent detailed videos theoretically to train your year and your theory and your piano with exercises on secondary dominance so all of this will be linked in the description you can watch that after this part as well so with secondary dominance just to talk about it in a nutshell what what a secondary dominant chord is basically where you're adding a five to the target chord you're adding the five off that target chord and the five is always a perfect fifth major chord perfect fifth major or dominant seventh chord if you can you can do a major going to tonic or you can do a dominant which is a lot more stronger going to the tonic great way to visualize the fives going to ones is use the circle of fifths which is moving in clock in the counterclockwise direction so you have c g d a e b f sharp d flat a flat e flat b flat f c but that's clock right so when you're counting the dominant resolution to the tonic it's going to be c going to f which is counter clockwise f seventh going to b flat b flat seventh going to e flat e flat seventh going to a flat or a flat minor depending on what you want to resolve to a flat major dominant going to d flat major b flat going to f sharp f sharp going to b b going to e e going to a a going to d d going to g g back to c so you see the power of that dominant chord it just makes it work you can keep cycling through a variety of chords so a simple way to use this in a pop ballad song which probably will not have the chords ingrained in the actual song hallelujah is an exception it has one secondary dominant that's why i thought this would be a great song for our lesson so you just proceed every one of the triads you're presented with or even a minor dominant seventh chord also with its perfect fifth dominant seventh chord okay so let me put that into context so i heard there was a secret chord now in between c major and a minor you actually play that secret chord whereas the composer is probably suggesting i heard there was a secret chord so i do like an e seventh there because e is the five of the only challenges the melody should not be compromised i heard there was a so you may want to then alter that chord to make it an e seven sharp nine because the vocal melody will be a g with respect to e that'll be a sharp nine over an e seven so just remember in some cases remember in these in this lesson we are doing all these techniques as an overkill we are pretty much doing it with every chord so you may not like the vibe of i heard there was a secret chord may not be at the beginning of the song so keep it simple in the beginning c major to a minor i heard there was a secret chord that david played and it leaves the lord that i think it works there that david played and it leaves the lord that david played and it leaves the lord so the secondary dominant chord in this case the five of the six because it's the five of the six minor a minor it can motivate your melody to also go in different directions that david played that's a e seven flat nine if i do that embellishment that david played and it leaves the lord or that david played and it leaves the lord you can do that sharp nine thing there played and it leaves the lord i sneaked in a c seven because c seven is going to go to the e f so that david played and it leaves the lord c seven going to f that you don't really care you can even do that that you don't really care for me now the five of the one is g going to c so you don't have to do a dominant chord because g is already a five of the c so whenever you see a g going to c you don't have to bother doing much to the chord but then we also have a concept called tritone sub which i'll talk about shortly in this series itself that you don't really that's a d seventh care for music do yeah nothing needed here up and it goes like this the fourth the fifth that's an e seventh as always going to the a minor the major live f lift d seven going to g king composing and the composer has already put in a secondary dominant there composing e seven going to a minor c seven going to alleluia f that's anyways the five going to one which we call in music theory as the authentic cadence right so that was how you use secondary dominance to embellish the song moving forward we are just going to add one more simple thing into this circular movement instead of doing the five going to one we'll do the two going to the five going to the one so what that means is it's still the cyclic progression in the circle of fifths or the cycle of fourths which is counterclockwise circle of fifths so you're moving in fourths but instead of doing something like you can kind of instead of doing c to f you can do i quite like that so when you see i guess i'll show you with one segment of the song or a couple we'll do it from the baffle king composing baffle king composing alleluia what did i do there alleluia now my target chord is f major it's very important when you're doing these two five fillers your target is f major so you ask yourself what is the two five one or the two five of the of f of the f chord or the key of f not the two five of the c scale which is this scale the two five of c would be d going to g going to c which you can also do by the way if it's not there in in the form but in this instance my target chord is f the baffle king composing alleluia now i want to go to f so what's the two five one of f g minor c the two is always minor two minor five dominant going to the one major you can even do two dominant as well it just doesn't sound as colorful or as strong as the two minor going to the five seven going to the land of one major let's do that again the baffle king composing alleluia okay and you may also be getting my drift in the usage or the placement or where i would use two fives so whenever the chord duration is a bit longer that's where you can start making it with this two five embellishment so baffle king composing alleluia now again f is played a bit longer so i can proceed that a minor with a minus two five one and here's the beauty of two fives when you're resolving to a minor chord it's generally recommended to do a two minor seven flat five or a half diminished chord is resolving to the five of that scale and then it goes to the tonic so what's the two five of a minor the minor two five will be b half diminished or b minor seven flat five especially when you want to be on core minor if you want that minor vibe alleluia do that again alleluia you don't want to do alleluia it kind of works the two minor normal minor seven going to dominant to the one kind of works but when you're ending when you're landing on a minor chord i would say try out the two half diminished going to the five dominant latching on to minor because that gives you an entire harmonic minor scale which will be used in that embellishment if you choose to so let me just do baffle king composing alleluia and that should be a good place to use this two five one passing movement okay the baffle king composing e seventh secondary dominant to the a minor gc f f now you could do a two five one in your parent key which is c major oh now you could do that whole norah jones gospel ish ending alleluia you can squeeze in like an a minor d gc don't know why i didn't come there we go that progression very norah jones like very gospel so let's just do that whole thing again using the two five one build-ups the baffle king composing alleluia alleluia alleluia that was about twoing the five and then fiving the one as some people call it let's move on to the last two reharmonization techniques which i have for you right so another way you can kind of strategize your harmony or reharmonization is to basically take a chord like maybe a c major chord and ask yourself what other chords in the c major scale have pretty much the same notes as c major so if you take c major you'll find that an a minor chord has everything c major has except that a so in other words a c major c major chord could just be substituted with an a minor which is anyway what the composer is doing he's toggling between c major and a minor which gives you a very rooted effect because they are both what we call a stonic chord stonic chords will have the one three and five of the scale in them which which is c major for sure c e and g i heard there was or i heard there was so if you want to start the song on a minor chord like an a minor seventh why not i heard there was a secret chord why not you could also substitute c major with another triad which has pretty much all the c major notes in it what is that that's the e minor and to wash out the sound or to make the sound more you know washy as i call it you can make it a seventh extension so don't just play an e minor you can play an e minor seven don't just play an a minor to substitute c major play an a minor seventh because then you will end up obviously playing the c major notes and only the bass will be felt by the audience and the mood of the chord will change but yet it will just perfectly work with the melody so i heard there was okay let's just see how we can fit this i heard there was a secret chord that david played now there that david played there i would use an e minor seventh possibly using this technique that david played and it pleased the lord you could replace a minor with c major you know now moving on that you don't really care for music too yeah now this is interesting you could also think of reharmonizing with your relative minor so that's a quick trick that you don't really replace f major with its relative minor chord which is d minor that you don't really works wash it with the the seven you don't really d minor seven g major what's its relative minor e minor that you don't really care for music do yeah or do yeah that you don't really care zik do yeah so i'm replacing all the major chords there with all their minor relatives now you don't really care for music do yeah a minor okay that david played and it pleased the lord now substituting that you don't really care for music do yeah and when you x when you play the substitutes you don't really care for music do yeah you can extend that with a minor seventh or with their ninths then you don't really care for music too okay so that's basically the concept of common what i'm calling as common tone chords other chords which share common notes at least two with the parent triad and there we go you can substitute that and see how it goes always see how it goes with the way you want to project the song because it's a cover you're changing the cover without annihilating it so you have to see what works best for you okay i like to leave you the one final tip which is a little bit more chaotic or what some people call as advanced we call it tritone substitution and then i'd also like to sneak in some diminished chord usage let's move forward right so with tritone substitutions what you tend to do is if you find a dominant chord in the song what you do is what you have the opportunity or the possibility of doing is you could play that dominant chord a tritone away so let's say a good moment for using it would be now you don't really care for music to here sounds a bit too normal or folk like so but you don't really care for music do you so that made it very weird so but yet it kind of worked didn't it so there you don't really care for music to here so first of all g is a dominant chord so if you're substituting with a tritone the chord has to be a dominant seven that's a one three five seven flat so now you can substitute it with a tritone what's a tritone of g or the tritone of pretty much anything it's a perfect fifth minus one or perfect fourth plus one so G's tritone is D flat I suggest you remember these core intervals tritones perfect fourths perfect fifths very important when you're visualizing and reharmonizing so if you do you don't really care for music so now you replace the G seventh chord with a D flat seventh chord or a C sharp dominant seventh chord now here's the thing now sounds a bit unstable with the melody it works perfectly with the melody without the melody right it works I think it's like also the jailhouse rock song chord progression which Elvis uses so how do we make this work you don't really care for you you could kind of alter some of those notes you don't really care for music you could remove that A flat and play a G you don't really care for music I think that works well I quite like that if you do the original you don't really care for music normal you don't really care for music a bit too sudden so you don't really care for music so what did I do there it's a D flat seventh chord with a flat five why did I flatten the five so that I can bring in a G here from you which is in the melody goes on so that's where you could I guess add a tritone sub and another nice thing you can also especially when you precede a minor chord is you could add a diminished seventh chord so diminished seventh let's say you want to use it before any old A minor there are a lot of A minors in this song right okay so what did I do there that's a diminished chord so diminished chord is just a stack of minor thirds or a diminished chord with a diminished seventh we've done a video on diminished chords to check that out for the proper detail of it hallelujah so that diminished chord would also work if you want something a little bit more serious hallelujah let's see if it can precede the tonic hallelujah is perfectly there because it's almost like a G seventh flat nine which is a dominant going to the tonic you're not playing the G but you could play the G hallelujah so that a G sharp diminished seventh is also the same as B diminished seventh D diminished seventh F diminished seventh is a very easy chord come to think of it so at the last substitution stages I've talked about tritone substitution and now using diminished chords okay so let's just summarize all the different techniques which we've used to reharmonize the song hallelujah which can then be used for pretty much any song you're working on right guys so we first in the part one if you remember don't forget to watch part one we looked at adding add two two sus four add six and so on and so forth then we could suspend it then we looked at extension chords which are basically the jazzy things like sevens skipping playing another triad and forming a sophisticated ninth or eleventh then we also looked at passing slash chords which are major chords with a different note different bass note like for example very brave sound as we found out and then in part two we looked at our plagal cadence very elton john like very gospel like then we also looked at using borrowed chords where you could end the song hallelujah in this discussion we talked about borrowing borrowing from the minor scale then we also looked at these climb ups and climb downs with respect to the bass note goes like this the fourth the fifth the minor fourth and the major lift things like that then in this particular series we started with our usage of secondary dominant chords which are fives going to ones then we expanded on that by doing two fives going to ones doing the five and fiving the one then we looked at finding other chords which share notes in common with the current chord you're dealing with and last but not least we looked at a few advanced jazz techniques which are basically tritone substitution which is substituting the dominant just works primarily on the five chord or the dominant chord and we looked at bass and then we looked at diminished chords which also kind of substitute the fives if you think about it right guys so that was a lot packaged into one lesson series these were three parts make sure you watch the videos again if you have any doubts and look at the links where I've shared relevant topics which you can branch off into there are videos on secondary dominance using popular songs so i've tried to explain all of this all of these chapters either using something i've composed or using a song you will definitely know so do stay tuned to our youtube channel for regular updates and it makes more sense to hit that subscribe 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