Dear Tomo,
I would be interested in a lesson on how to go about harmonizing a melody. Hope this idea will inspire you enough to create a lesson on this topic.
Best Regards,
Jerome Oks
brad ekr
Can't speak for Tomo, but this is a huge subject. Is there any way you could be more specific and narrow it down?
I know I'd like to understand how to add "in between chords", not just triad inversions of the original progression, even though these are extremely effective -- just check out the embellishments on Twinkle Twinkle, especially with the hammer/pull of nearby extensions, like Hendrix. I'm assuming you've seen the "Twinkle Twinkle" videos and are familiar with keys and diatonic chords and the numbering system.
What is the next step you're looking to do? Use substitutions? Change major/minor quality? Use entirely different chords with the same melody? Add colorful Hendrixy double-stops?
Many times the next thing is simply practical application, repetition and copying. Pick a different song, use the same technique and see how it works. Try, 3 Blind Mice, or Row Row Your Boat or Frere Jacques or Happy Birthday.
From what I've seen, there is not a specific section on "functional harmony" or developing "chord melody" arrangements and I think that's intentional. I think everything in these lessons is teaching us to hear things that sound good together, not provide a checklist of rules. Although, sometimes, I'd pointers on what to listen for specifically.
I agree with everything said so far, but I'm no expert so take these words for what there worth.
It seems to be a big subject, but that's exactly why I'd like to see more content for it. I know Tomo has an improv collection and there's overlap to "functional harmony" there. But It seems like those videos provide the foundation and prerequisite knowledge to further explore harmony as opposed to guidance on how to further explore it.
But I wouldn't be surprised if I'm making a fool of myself, because I'm not sure I know what I'm talking about.
I found this video from Barney Kessel eye opening. I promise it's not a random video; totally related to what we're talking about here.
No worries, nothing foolish here at all. The only way to reduce ignorance is to ask questions, not suppress them.
It has been a few years since I've seen this video and it is a chockfull of great advice and packed to the brim for an hour-long course on melody and improvisation. It touches on a quite a few other topics on the forum threads here as well, so I hope people spend the hour with it. And notice how much similar ground is covered to that here at GW. I've also found some of Joe Diorio's videos on creativity interesting, but perhaps a bit more difficult to apply in a practical way.
I still think the "deep dives" here at GW can be found in the song videos and the "form videos" (1625, jazz blues, etc) that Tomo provides; usually there is a video for the chords and harmony and then a separate video that covers the "how and why this works" to create a solo over it. And of course he provides plenty of solos to copy from. A real goldmine of stuff to learn.
It's pretty advanced and goes by at breakneck speeds, but the trick is to recognize unfamiliar territory then go back to the foundations and theory and work on the missing links. It's a lot of work to dig out why something works by analyzing degrees. It took me quite a while to get comfortable, say, using diminished phrases over dominant 7s and major 7 arpeggios over minor 7th chords. But after repeated viewings, it has started to work its way into my fingers--and the "how and why" are at least starting to sink into my brain.
Like the video above, the work is in the repetition and the review and assimilation of the prerequisites until it is second nature.
One very important idea which could be covered in much more detail: that is the idea that there is a "shape" or contour to a melody. For example, in the Barney Kessel video, he emphasizes "pre-hearing" and uses singing or whistling for the initial implementation of a melody, which introduces natural breaks in phrases, to pause for breath. Good melodies have a contour and direction and breaks, as well as all the usual stylistic suspects and embellishments. It kind of gets into individual tastes and may be difficult to present in a meaningful way to every student though.
This entertaining video provides some rules of thumb and examples to get going with regard to shaping melodies. And it may even relate to the original thread topic, harmonizing a melody:
This one is a bit esoteric, but it is also an interesting watch, just to see how others think about it and develop "rules":
Here is Tomo's comment:
"Thanks for subscribing to my Guitar Wisdom. Great topic! I have many ideas for new lessons, so stay tuned!"
I was thinking from a composer/tunesmith standpoint. I create a melody. Now I want to harmonize that melody and it would be nice to know as a starting point what are the most common approaches to harmonizing a melody.
Thank you for replying to my “request”.
Best regards,
Jerome Oks