So let's get into sus chords, cadential 6/4 a little bit and we're gonna kill two birds with
one stone as far as those two concepts and then we'll get into like jazz voicings and
inversions after that. So we're gonna rewind back to the pickup measure of our arrangement
for a second to do some of this stuff and the very beginning of the song our melody goes...
A, Bb, C, D and the cord underneath that is the five chord of the key we're playing -- it's the F --
before ultimately resolving back to the one. So what we have with this melody... and this chord... is this... this
tension the third of the chord clashing with the Bb that's in the melody that b9 has a
little bit of dissonance to it that I want to get rid of. So what I'm gonna do to do that is
create a sus chord on the left hand so instead of playing F -- F, A ,C -- I'm gonna play F sus -- F, Bb, C -- so now...
the sus and the melody are one of the same they'll both be
flat, so their octaves are one another now instead of that fb9 alright...
I could still go to the F chord right after that and then eventually and then eventually the one chord
after that. All right so we're gonna change that F to an F7. So that's right on the downbeat... and on
the fourth beat we're gonna go to the five chord that we had originally and then boom back to one...
So just like a quick note on cadential 6/4 like this sus chord to the five or this F sus
to F, back to Bb, technically not like a legitimate cadential 6/4 it has a lot
of the same qualities and characteristics of a cadential 6/4... were you have the one over the five the
one chord over the root of fifth, to the fifth, back to the one. Alright so we're calling a calling it a cadential 6-4,
it's technically not, but it functions as such because of all the overlap that F sus has with
Bb so just know that we've kind of playing a little loose with the terms a little bit but
having said that let's get into some slash chords and inversions. So there we have the use of a sus
chord to better reflect the melody and to also create attention release sort of resolution.
What are some other chords we might have been able to use to help make that Bb less dissonant with
our harmony? We can look at the primary chords we're dealing with -- Eb, F and Bb -- and see
that, I don't know, in the Eb chord that has a Bb in it, right, it's the fifth of the chord and if
I proceed the F with that I have this really cool like we've talked about it over and over again
clockwise movement around the map and I get IV-V-I. We could have very easily gone from F to
Eb -- the IV chord -- over to F and then back to Bb. We could've just gone IV-V-I all right.
The use of the sus chord works for the reason that the Bb is in the melody, therefore so does the use of
Eb -- so does the use of the four chord -- So if I want to throw in that four chord right there, let
me do that. Now we have Eb, F, Bb right. But now that we've done this Eb chord, for the sake
of meshing better with the melody, we really don't need the sus chord at the beginning anymore it would
actually kind of... I don't know it doesn't sound weird but it's not necessary anymore. So you could keep it there
if you want I'm gonna get rid of it. It's like I said, arranging or harmony is completely up to you
how you want to do it is up to you just consider the melody as much as you can and these rules and
guidelines are completely flexible alright. So just go with your instincts or what your
ear or what you want or what the purpose of your arrangement is or what mood you're trying to set.
So keep the sus chord if you want, I'm getting rid of it alright. So now we have F, Eb, F, Bb typical primary
chord sequence as an introduction into the song. Just I-IV-V-I, all right. So now that we have
this new like harmonization of the pickup measure, this new interpretation of what's going on, let's
take it one step further and see if we can do anything to the bass to make it a bit more fluid
or melodic or have it jive more with what's going on in the melody or give it more stepwise movement
as opposed to just you know the step, step, and the fourth which is good those are the intervals
we want when we're looking at the baseline right steps in fourths or steps in fifths we've talked
about that over and over again. But if we make the Ebs an inversion or a slash chord and we do
the same thing to the F, we can kind of melodically in the bass move to our Bb we can do this...
(G, A, Bb)
If I go with a first inversion Eb chord and a first inversion F chord I've got
this really cool movement now in the bass that also parallels the melody. So this is
what we're gonna do to be able to do that it looks like we've done before if I said
first inversion I want the third as the base, we go with the triangle, put that in there, so now
it's Eb over G, all right. I love the use of slash chords, I think they're a really cool way of
reharmonization what you're doing and it's a subtle change we talked about subtleties and
details, and it's this one little subtle thing that you can do that completely reshapes
the harmony, even though you're not really doing anything harmonically right you're
not changing the notes you're just putting them somewhere else. It's a really cool effect that
will go a long way and there's lots of popular examples of slash chords. So now with our slash
chords in effect, or our inversions, however you want to call them, it's gonna sound like this...
So now to add some color or extra tones or richness to the harmony, turn the jazz voicing
button on and Mapping Tonal Harmony will consider the chord scale that the chord we have in there
is born from so some of the extension tones that you're gonna hear Mapping Tonal Harmony lean on
are gonna be like add 9s and dominant sevens and major sevens. For example: with the Eb chord
there's the 9 in there, there's the F present. With the F7 it went for the
dominant , it added the Eb and on the Bb chord the A shows up to give us Bb major7.
That's going to give us this new arrangement... So there's our new and improved introduction with our
jazz chords and our slash chords and all the stuff we talked about. Really cool sounding right?!!!
So with our next video we're gonna use a little bonus video a technique we didn't really mention
before called "line cliches." So definitely come on back and check that out because that's gonna be
really awesome. Hope you guys enjoyed this video. If you've been learning from anything that we've
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