How To Reharm A 2 5 1

jazzpianoschool... for practice materials.
Once you learn a couple of reharm tools it will completely open up your playing. Not only will you be able to comp differently but you will have more options for improvisation, arranging and solo piano freedom. Check out these reharms for a 2-5-1. Will cover different progressions in the upcoming podcasts.

[@Terryblerwe]

This is SO freakin good!!!!! Been playing piano for 27 years. Still mostly a beginner in Jazz Piano! Am incredibly thankful for quality teachings like this!!! Clear explanations. Solid sounds!! You can't beat it! I appreciate you and a handful of others who are SO GENEROUS to share your work on KZbin! A++ Brenden!!! -- R. Terry

[@jazzpianoschool]

Wow Terry! Thank you so much for the amazing comment. :) Your inspiration, energy and excitement from the video is exactly why we do what we do. So glad you enjoyed it and we look forward to publishing future free content for you! Thanks again!

[@sebbo1496]

straight to the point. awesome! it's so hard to find these "tricks" online when you don't have a teacher. so many videos focus on the very basics or present specific voicings without explaining the concept behind them. when knowing hte concept is what actually opens all the doors...something about teaching a dude how to fish and stuff ;) i personally found that the minor 4 chord and the related dom (in C it would be Fm Bb7) sound awesome but i never was sure, if i could use it until i found out it's the "back door progression". generally there are awesome ways to reharm a 251 by using chords from the parallel minor instead of the 5 or combining the two. i'm not really a full on jazz guy but my approach, now after finding a lot fo the theory behind stuff i used to do, is to do what sounds nice and be sure to be able to describe it to others with theory for when you jam. another cool sound is using the family of 4 dominants (derived from the dim chord inside a 5 chord with a b9) kinda thing. you can boil all of this down to 5 chord with upper extension tensions probably but thinking in these reharm/substitution concepts keeps the mind open i feel and help finding new voicings with inversions and stuff.

[@jazzpianoschool]

Yes yes yes! All true! Thanks for the comment, @seb bo!

[@GarryBurgess]

I have no idea what is meant by the relative 2 minor. I can't find the relative 2 of any chord there that is Ab minor.

[@jazzpianoschool]

Hi Garry, thank you for the comment. Can you link a timestamp to the area of question so we can better assist you? But I would suggest that in general, a relative 2 would refer to the 2 of any 1 - for example: if we are in the key of Gbmajor, the relative 2 minor would be Abminor. Conversely, Abminor is the relative 2 minor of Gbmajor. Hope this clarifies things!

[@GarryBurgess]

@@jazzpianoschool 6:00, you said that you can go to the relative 2 minor of the tritone sub Db7, but then you said it was Abm as the relative 2 of Db7, which doesn't make sense to me.

[@jazzpianoschool]

@Garry: thanks for the clarification! The tritone sub (Db7) is a 5 - so the relative 2 minor would be the 2 that would accompany Db7 in a 2-5 (Abmin7-Db7 is the 2-5). Knowing your 2-5's by heart should be like knowing your multiplication tables (Dmin7-G7, Gmin7-C7, Cmin7-F7, Fmin7-Bb7, Bbmin7-Eb7, Ebmin7-Ab7, Abmin7-Db7, Dbmin7-Gb7, etc). However, if you're not familiar with all the 2's that go with the 5's, the long way to get to it would be to think of what the 1 would be and work from there. You know that a dominant7 will always be the 5 of a given key - so Db7 is the 5, the 1 would be Gb. In the key of Gb, you have Gb(1), Ab(2), Bb(3), Cb(4), Db(5), Eb(6), F(7). So from there you can deduce that the relative 2 minor in the key of Gb (of which Db7 is the 5) is Abminor. Hope this helps!

[@GarryBurgess]

@@jazzpianoschool Thanks, yes it's clear now.

[@southgung]

Sorry...how much is the practice material? Ex) Podcast 83.

[@ammiammi1974]

Thank you so much. Excellent teaching!

[@jazzpianoschool]

Thank you again Ammi, thanks for watching!

[@richardolson8651]

thanks

[@jazzpianoschool]

You're welcome!

[@vicenteandres9702]

4:30 Why not Db lydian dominant?

[@pitullo70]

great lesson...thank yoou

[@jazzpianoschool]

Thank you Michele!

[@Mastagasa20]

Wouldn’t the relative minor of Dflat be A?

[@jazzpianoschool]

Hi Anthony, thanks for the question! The relative minor of Db is Bb. That relative minor is the 6th of the key and the Db major scale is: Db(1), Eb(2), F(3), Gb(4), Ab(5), Bb(6), C(7). Hope this helps!

[@Notmehimorthem]

And here is me thinking blues is I IV V What gives?