How to Reharmonize a Melody in REAL TIME

Today I'm covering one of the most sought-after skills an aspiring jazz pianist can have: how to reharmonize any melody on the spot. The ability to do so can completely open up your sound and expand your creativity over any tune you find yourself playing.

This exercise should help you to really hear alternate harmony at a more advanced level; I am also going to show you how to take a single melody note and find nearly endless harmonic options to play underneath. In other words, you'll leave today's video having the tools to create a unique chord progression under just one note.

To begin this exercise, you're going to want to choose one single melody note which is going to become the top note for all of our voicings. I've chosen F here, but I encourage you to try many different notes in your practice. Underneath this top melody note, we are simply going to move our bass note up chromatically, trying different options to harmonize with the melody. Once you have these two outer voices covered, we will fill in the space between with different chords. Continue moving the bass note up, and test your knowledge of what chords work with the two outer notes that you have playing together. As you go on, you'll being to see how our top melody note begins to take on different roles in each of the chords you create - from the root note, to the major seventh, a minor third, a sharp eleven, and so on.

The exercise doesn't have to stop there! Try some variations in the left hand changes - can you complete the same exercise, but moving up in whole steps instead of half steps? What about moving the bass note up in major thirds? These are all great ways to continue challenging yourself to come up with new chords and progressions beneath the same melody note.

For a more in-depth tutorial on how to implement this concept into your practice, check out this video:

7 MORE Sick Runs & Arpeggios Every Jazz Pianist Should Learn

In today's post, I want to take one of me previous video topics one step further by outlining seven more modern jazz piano runs and arpeggios. These selections come from my PDF bundle "20 Sick Modern Jazz Piano Licks" which you can find here for downloadable versions of these licks.

In this video, I'm going to highlight a few more of my favorite examples from this collection. These licks really focus on expanding your right-hand modern jazz vocabulary while also providing some great left-hand voicings and progressions to follow.

You might be asking yourself: What makes a lick modern? In my definition, these licks are going to include more intervallic structures as well as dissonance formulas (formulaic ways to play "out"). I really like to break these licks down into small building blocks so that you can not only learn the vocabulary, but understand why these patterns work. That way, you are more equipped to implement the theory and structures rather than simply reuse and duplicate these exact licks each time you play.

Check out the full video below to learn all seven of these licks:

Learn This Killer Samba & Bossa Nova Technique for Jazz Piano

Have you ever listened to bossa nova or samba tunes and wondered how to achieve that sound in your own playing?

I'm going to explain to you a technique that will immediately improve your ability to employ these feels in your own solo piano playing. This is a technique that I personally use all the time whenever I am playing a bossa or samba tune without a band.

There are a few different pieces to learning this concept:

1. First, you'll want to solidify your left hand feel. I'm starting by alternating between two maj7 chords one half step apart (Fmaj7 to Gbmaj7). You can play this pattern in intervals of fifths or major sevenths, and the rhythm is explained in the following video.

2. Secondly, you'll want to focus on the right hand pattern. This can be a bit trickier, so let's split our hand into two parts: the bottom three fingers (1, 2, 3) will be playing chords, while the top two fingers (4, 5) play melody notes. To practice this, try leaving out the chord fingers and playing a melody on top of your left hand pattern.

3. Now, it's time to add in the middle chordal piece to this pattern. Essentially, what you want to do here is fill in some more of the chord tones depending on what notes your left hand is playing, and intersperse them with the bass line so that you achieve some syncopated rhythms. Feel free to get creative here!

I highly recommend you practice this technique with a metronome and slowly build up your tempo and control until both hands feel comfortable playing with each other.

Once you have a good grasp on the pattern with only two chords, try arranging one of your favorite bossa tunes in this style: keeping the melody in your upper fingers, comping with your inner right fingers, and keeping that bass groove in the left hand.

This is a really useful rhythmic pattern that you can apply to a lot of tunes, and is especially helpful to know when you are playing solo piano.

For a more in-depth tutorial on this technique, check out this video: