Chords for 7 "Dope" ways to Harmonise a Major scale tutorial/ exercises

[C] _ _ _ _ _ _ [E] _ _
_ [F] _ _ _ [G] _ _ _ [C] _
_ _ [A] _ _ _ [E] _ [Bm] _ [F] _
_ [F#] Hi!
In this [B] video, we are going to [Gm] look at 7 ways to [G] harmonize the notes of [D] the major scale.
_ The theory behind most of these harmonizations [C] was covered in a previous video,
the link for which is in the top right hand corner. _ _ _ _
Number 1, the 1, 4, 5 basic, if you like, harmonization.
_ _ [G] _ _ [C] _
_ _ [F] _ _ [C] _ _ [F] _ _
[G] _ _ [C] _ _ _ _ _ [G] _
_ [F] _ _ [C] _ _ _ [F] _ _
[C] _ _ [G] _ _ _ [C] _ _ _
So that was the basic harmonization, just using chords 1, 4 and 5.
[G#m] _ _ _
It is a shame the 4 [G#] chord is labelled academically as the subdominant,
a term that implies it is below or subservient to another chord.
This writer believes it deserves a unique [C] name of its own. _ _
Harmonization 2, 1, 4 and 5 chords with added dominance.
_ _ [G] _ _ [C] _ _
_ [F] _ _ [C] _ _ [D] _ _ [G] _
_ _ [C] _ _ _ _ [G] _ _
[F] _ _ _ [C] _ _ [F] _ _ [D] _
_ _ [G] _ _ _ [C] _ _ _
_ _ _ This [G] harmonization is colored slightly by the addition of the G7, the 5, 7,
the D7, [F#] the 2, 7, also known as the secondary dominant,
and the [C] C7 chord, the 1, 7.
Nothing fancy here, but the D7 with its non-diatonic [B] third, F sharp,
adds [D] a nice lift to the proceedings,
whilst the C7 with its [A#] flat 7, B [C] flat, increases the tension slightly. _ _
Harmonization 3, contrary motion. _ _ _ _
[G] _ _ [C] _ _ [F] _ [G#] _ [C] _ _
_ [F#] _ _ [B] _ _ [C] _ _ _
_ [G] _ _ _ [D#] _ _ [C] _ _
[F] _ _ [F#] _ _ _ [G] _ _ [C] _
_ _ _ _ _ _ _ _
_ This contrary motion harmonization is especially pleasing,
as the [Bm] lower line [E] follows the chromatic [F] scale [Fm] whilst the [G] major scale [F#m] ascends.
_ [F] This [E] chromatic lower line introduces the [Fm] sublime 4 minor into the mix,
such an important related [C] non-diatonic chord
that includes the emotional flat [E] 6 of [F] C [C] major, [Fm] A flat.
_ _ [C] The PDF of these harmonizations in 12 keys is available at jazzduets.com
with the written piano voicings for anyone interested.
_ Harmonization 4, contrary motion, version 2. _ _
[G] _ _ _ [C] _ _ [F] _ [G#] _ [C] _
_ [F#] _ _ _ [G] _ _ [C] _ _
_ _ [E] _ _ [Am] _ _ _ [Gm] _
_ [F] _ _ [F#] _ _ [G] _ _ _
[C] _ _ _ _ _ _ _ _
[B] This is the same as the previous example, except on the descent.
The B natural is harmonized [E] with an E7, the [Am] dominant of A minor,
which is followed by a [C] C7, the 1, 7 chord that leads so [F] powerfully to chord 4, F major.
[C] _ _
Harmonization 5, Stevie Wonder.
_ _ [D] _
_ _ [A] _ _ [F] _ _ [C] _ _
[A] _ _ [B] _ _ _ [F] _ _ [C] _
_ [G] _ _ [D] _ _ _ [A] _ _
[F] _ _ [D] _ _ _ _ _ [C] _
_ _ _ _ _ I call this the Stevie Wonder harmonization,
as I heard this beautiful chord movement from C [D] to E11 in [E] Stevie's [F] tune,
It's You, featuring Dionne Warwick.
[C] I look inside like a crystal ball [E] of desire. _
[Bm] _ _ _ [F] _ _ [B] And on the descent, the chords are pretty much identical to You Are The Sunshine Of My Life.
You are the [E] ember [F#] _ _ [D#] _
_ _ _ [G#] _ [F] _ _ [C#m] _ _
_ _ in [B] my heart. _
_ _ _ Harmonization 6, Someday My Prince Will Come.
[C] _ _ [E] _ _ [F] _
_ [G] _ _ _ [C] _ _ [A] _ _
[G#] _ _ [F] _ _ _ [F#] _ _ [B] _
_ [G] _ _ _ _ [D] _ _ _
_ _ _ _ _ [C] _ _ _
_ _ _ _ _ The ascending chords here are borrowed from Someday My Prince Will Come.
[F#] _ _ [F] _ _ [G] _ _ _ _
_ _ _ _ [F] _ _ _ _
_ _ The melody note colours produced here, whilst ascending, are quite lush.
We hear the major 7th on the F major 7th,
[G] and the sharpened 5th on the A7, and the [C] 11th on the D minor.
_ On the descent, the chords are very close to Mendelssohn's Wedding March.
[Am] _ [B] _ _
[Em] _ [Dm] _ [G] _ _ _ [C] _ _ _
_ Harmonization 7, Pedal Harmony.
This _ [D] _ _ [C] _ _ [Fm] _ _
[C] _ _ _ _ _ [D] _ _ [C] _
_ _ _ _ [D] _ _ [F] _ [C] _
_ _ [Fm] _ _ [C] _ _ _ [D] _
_ _ [C] _ _ _ _ _ _
_ is interesting, as the pedal kind of glues the chords together,
that perhaps otherwise might sound _ unhomogenous.
[D] The B diminished 7 can be thought of as [G] a substitute for G7b9,
and the F sharp minor [F#] 7b5, the sharp 4 minor 7b5, _
can be thought of as a substitution [D] for D7, the secondary dominant [G] of G7.
I _
_ _ _ [C] _ _ [D] do hope you found watching the [A] video a [F] profitable use of your time.
[C] Please remember to [A] like, subscribe [B] and share,
if you would [F] like to see more similar [C] content,
as this [G] nourishes the Jazz Duets [D] channel.
Thanks for [A] watching!
_ _ [F] _ _ _ _ _ _ [D] _ _ _ [C] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _