Amazing Grace - Jazz up your hymns

[@curtpiazza1688]

WOW! Great STUFF!

[@hoboken5224]

The old adage Josh "Rome was not built in a day" hang in, we'll get there with you. Thank you for your posting.

[@Ludada101]

More of this please

[@markbonnet2121]

This is a great lesson for someone just coming to grips with with how all this theory hangs together. Please keep up the great work, Josh.

[@infinitypiano9170]

Wonderful! I wish I could do all that on the fly. Some day. Dina from PWJ.

[@joshiharnoldamberpeta3382]

Great lesson thank you 🙏

[@ivorytickler99]

Thank you this was very helpful!

[@RobHaccou]

Man, you are great! Secondary dominants, tri-tone and dim subs, inversions at the right places really let this great song roll. Thank you!

[@JoshWalshMusic]

Thanks for the nice message.

[@57Sauce]

Jazz has always been like amazing magic to me. Watching this was like learning my first trick. Thank you.

[@Nate_Makes_Noise]

Thank you so much for posting this Incredibly well put together and helpful video!

[@jackspurlock9201]

I really appreciate how you break the reharm down into discrete steps. Can’t wait to try this out on my own.

[@jackspurlock9201]

I’ve actually wanted to do a reharm of Let All Mortal Flesh Keep Silence for a while now

[@JoshWalshMusic]

Do it man, and send it to me using the contact form on jazz-library.com. I’d love to see it.

[@francescomanfredi]

Beautifully explained and color coded!

[@lifeismusic9411]

Love this. Gonna have to add it to my practice this week. Thanks for making videos that are understandable to those of us who aren’t quite there yet :)

[@savagetofu1]

Gsus chord on the 7th measure. Thank you, for lifting the 3rd on the G. It made my evening. Rough day. In need of some grace.

[@keithsaundra]

Thank you for sharing your knowledge and explaining it in a way that we can pick up.

[@humblemai2211]

Love you much

[@TreasureHuntingDad]

Amazing! Great work Josh!

[@rheubengreen8612]

i saw the methodist hymnal and said...let's take a look.

[@yannicklambrecht1634]

Love it! Those #9 chords are the best

[@JoshWalshMusic]

I thought it was a bold choice with the major 3 in the melody! Did you catch my altered melody to accommodate it?

[@markw.schumann297]

Today I learned about jazz chords.

[@AmeliaOceanRain]

Ty

[@cameronhughes9707]

Where could I get a book of these hymnals? Love the contour of these melodies

[@ZipplyZane]

I personally prefer to use F7 instead of Fmaj7. It has a more bluesy feel. Though I do like combining the two, using the F7 as a transition chord between the FM7 and C6. You're already getting very bluesy with the #9 chords, so why not throw in a bit more?

[@inert.8440]

Great video! Do you recommend by the way Jeremy Siskind's books?

[@JoshWalshMusic]

100% yes. Jeremy’s book is #1 on my must buy list: jazz-library.com/resources/ In fairness, Jeremy is a friend and my personal piano coach, so I’m extraordinarily biased.

[@humblemai2211]

Please make more tutorial about jazz Bebop Piano...thanks

[@icarus5669]

I've recently advanced from beginner to rookie-ish/intermediate level, and decided that i can manage lvl 3, but i would like to ask if, the thing that u did on lvl 3 such as 2ndary dominants, and others are also applicable for other hymns/songs or can they only be applied on some chord progressions?

[@JoshWalshMusic]

Hey Icarus - I use those secondary dominants and reharmonization in so many places. As long as they work with the melody, you are good to go. As a former church pianist, I used them on virtually every hymn. :-D

[@icarus5669]

@@JoshWalshMusic i love playing hymns especially those hymns that are in the methodist hymnal, as I have just said,i just started piano 3 months ago and im trying to read notes and also play with only chords. If i may ask, do you have the full copy for this music sheet?

[@JoshWalshMusic]

@@icarus5669 if you search google for Hymn Fake Book or an indivisible hymn name followed by “Lead Sheet” you’ll find stuff easily. Those are perfect to try adding 2-5-1 and secondary dominants to.

[@icarus5669]

@@JoshWalshMusic thanj you very much!! I actually have another question here. I can get all my chords and bass walking right, but i cant seem to get this jazzy melody/lead in my treble clef. Can you suggest some practices/methods to use to get those jazzy leads you do in the melody?

[@knusperheld3608]

I didn't quite get the idea behind the secondary dominants.. can someone give an explanation of them rq..?😅

[@JoshWalshMusic]

In its most simple, dominant chord resolved down a fifth. For example, as the V in a V-I. But in some cases you aren’t “aiming” at I. You might be aiming to land on V instead. In that case you can use a dominant chord a fifth above the V chord. Putting this example into the key of C, you may use an D7 chord to take you to G. That’s a secondary dominant. So consider chaining these together. D7 -> G7 -> C. Or go even further with A7 -> D7 -> G7 -> C. (Also called a “turnaround”)

[@knusperheld3608]

@@JoshWalshMusic thank you! Appreciate & love your work