"Falling Grace" and the Neapolitan Sixth Chord in Jazz
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- čas přidán 11. 09. 2024
- This lesson can be found in my Killer Jazz Vibes Book!
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What the heck is a "Neapolitan Sixth Chord" anyway?
"Falling Grace" by Steve Swallow is one of the classics... I remember hearing the Gary Burton and Chick Corea recording of this tune back when I was just getting into jazz vibraphone.
I didn't realize how logical the structure of the composition was until my jazz improv class teacher pointed it out (Garry Dial at Manhattan School of Music). Thanks Garry!
I had learned about 'Neapolitan 6th chords' in my classical theory class at Ithaca College before I was at MSM, but hearing a jazz teacher talk about it really helped me understand it - and suddenly everything I learned in the normal theory class made sense.
These compositional devices are things that we can USE in daily music making - they don't have to live on in boring textbooks or lectures about "why so-and-so was great"...
It's something we can practice, just like Blues, Rhythm Changes, or Coltrane Changes. And it's beautiful.
In this video I explain what a Neapolitan 6th chord is, then I analyzed the song 'Falling Grace'.. then I improvised several choruses over the tune on the vibraphone.
I hope you enjoy!
-Tim
"I'm gonna shut up now".....then proceeds to melt my brain with that solo. Loved it haha
Dude channeled his inner Gary Burton for that absolute MAD solo
Came here for the analysis by way of a very cool Pat Metheny interview with Rick Beato. Good job, and you sound great on vibes!
Same here!
I am SO glad you're back!
Hehe - yeah the summer kind of caught up to me.. but more stuff is coming ;)
The Neapolitan can be used in any inversion. All it does is take the II chord in a major key, and lower the root and fifth to make it a bII. In minor keys, all you have to do is lower the root since you already have the lowered fifth in that chord. They're used as predominant chords, but also they're commonly used as pivot chords to modulate between keys.
nice solo Tim - lyrical and plenty of chops! I'm a retired vibes player, got the chance to study with Gary at Berklee in the mid 70s. I posted my humble version of Grace on YT a few years ago. Search on "falling grace ted wolff". Thanks for posting.....enjoyed your analysis too. Clear and insightful.
wow, killer playing, Bro ! Inspiring
Extraordinary solo, man... Bravo!
I've always thought that classical theorists overcomplicate the chord by thinking of it as an augmented sixth chord. Thinking of it as a tritone sub is so much more intuitive.
i spent so long trying to figure out the augmented sixth chord, and i was honestly mad when i realised id been playing them forever on jazz standards.
There is a difference in the fact that the tritone sub is made with chords that always include the 7th while classical harmony is fundamentally made of triads. The iib7 chord has the same guide notes of V7 chord in the sense that the third and the seventh of V7 are the seventh and the third of iib7 chord. The difference is in the bass: in the V7-I progression you reach the note C from G in the tritone substitution from the note Db. That's how this substitution works. In classical music the typical Neapolitan sixth moves on the V chor not on the I. You can listen to this in several songs of neapolitan music even of our days.
Clear and musical explanation of N6. Like a breath of fresh air. 😎
Brilliant - especially the part about using it in daily music making. Music make sense and you put it out beautifully
Excellent breakdown/explanation of these beautiful changes and fantastic soloing. Looking forward to more!
Fantastic explanation, thanks so much 👍🏻
Beautiful solo, us sax players are checking you bag Tim , so make sure you got stuff for us in Bb, thanks
I was wondering about this chord but never bothered to look it up!
Absolutely brilliant! Thank you so much.
Amazing tune and its amazing rendition ! Thank you
Amazing chorus, I really like your videos! So inspiring, Thank you.
You made me like this tune. Thanks
Great video and impressive vibes!
Cool Analysis! I always think that E-7b5...etc. is a #IV-7b5 cadence in Bb. Also, the Abmaj7 relates to the key of G-/Bb the same way as Fmaj7 to G. That always seemed logical to me. But what do I know? Great playing by the way :)
Ah, you’re back. Great 🎼🌹❤️
Thank you very mush!👍👍
Thanks for the knowledge! :-)
Dude, great stuff.
Thanks! Man - I hope you are well! It's been awhile :)
i really waited your videos
I have always liked this song. So that’s 7keys in just 24 bars. How do you decide when it’s a key change versus just a non-diatonic passing chord while staying in the same key? Like maybe all of the first 8 bars are in G minor and all of bars 15 - 24 are in Bb major? When you improvise over it, are you thinking in terms of key changes? I think I’d be hopelessly confused.
The first thing I look at is the melody since the chords have to involve the melody, then voice the chords theory wise. All the suggestions here resolve a certain solution according to the sources but the melody will not steer you wrong.. Each note has a connection to the next..
Garry is the best
The Egmatic scales are Harmonic min b2, Melodic min b2 and Double harmonic minor.
The first inversion...helps you CYCLE DOWN to the 4th.
A Harmonic minor b2 = Bb Major
Bb lydian (IV) F major
Bb Ion ( I) B Major
Bb mix (V) Eb Major
Db Iydian Ab Major
Db ion Db Major
Db mix F#/Gb Major
if you play A harmonic min b2...it's simply turn it into an AUGMENTED
which is Symmetrical
G min A dim Bb aug
You can also look at it like this....
Harmonic min b2 = PHRYGIAN with a LEADING TONE.
It'll help you see the A as Phrygian to D min/F MAJOR
You now can play the A phrygian dominant into D min
You can also play it as Bb diminished
Bb lydian #2 to D Harmonic min
Bb lydian b3 to F Harmonic MAJOR
you can also play Bb7 C7 into F min ( melodic min) to get you to F minor
or you can see it as....Bb dorian #4 C7 phrygian dominant into F Minor
You can also play A lydian b3 ( E Harmonic MAJOR)
It'll help play B7 into E Maj7 or E min
B7 into E Major.....or G# phrygian b4 into C# min
C# min/ E Major.......C# harmonic b2....Play D7 E7 into A min again
The Harmonic min b2 is also just the Dorian b2 with a leading tone Leading Tone...
Lets say you start from A min....play B dim C Maj...C# dim into D minor
( Melodic min = Dorian with a Leading tone) D Harmonic min b2 or Melodic min b2
Hopefully you'll also see D dorian b2 = C Melodic minor
You can play F7 G7 into C Minor
or A dim B dim into C Minor...
You can do it from the A min...as A melodic min...ect
B dorian b2...
instead of play G# into A min......( A harmonic min...ect)
just play G# dim Bb dim into B min ( G# dim A# dim into B min)
D MAJOR/B min...
Then just the see the C Maj7 of B harmonic min b2 to C MAJOR/A min
You basically CIRCLE Up to D MAJOR...then cycle back down again.
The 4th...( twice)
You can also play into D MAJOR or D minor......as C MAJOR or C minor
I'm going to double back and read this tome at a later time....@@@@@ At first glance it looks like it could be interesting.
@@FedericoGPena If you sing...it'll make more sence...or
you be more familar..when that chord gets INSERTED
as a sort of CADENCE, phrasing or turn around
. when playing a COMPLETE song.
Free birds is in G MAJOR/E min........the F Maj is the N6 to E min
Day in a life.....G Major/Emin............The F Maj
Babe I love your way G Maj/Emin.....the F7 ( lyd #6 as 1, 3,5, #6)
Wild Horse......G MAJOR/Emin.........the F MAJ
2 out of 3 aint Bad.....A MAJOR/F# min.....the G MAJOR is N6
sometimes..I'll sub the D min with B dim
The D min is lydian b3 or lyd #2
The B dim ( 2, 4, b6, 7....chord degree) are all possible full dim
weather you play A harmonic MAJOR or F# Harmonic min
Boys are back in town...A MAJOR....there's a D min7 for cadance
or the IV as iv ( min)
Comfortly NUMB....is in D MAJOR/B min....the C Maj is the N6
Heaven by Bryan Adams...C MAJOR/A min...the Bb Maj is the N6
what a wonderful world...F MAJOR/D min
it'll play A7 into D min....then Db Maj....to G min C7 into F MAJOR
Moon River...is in F MAJOR/D min
The second time you sing it...
it's play A7 into D min... then A min7....then Bb min ( lyd b3/lyd#2)
It'll also sub the ii ( G min ( dorian) to G Maj ( lyd dominant)
Best of my Love is in C Major/Amin
it'll play F min Ab Maj.......during the bridge.
Show me the way by Frampton..
is in D Major/Bmin..
D maj....D maj7...B min then,...( Bb Maj.....C Maj)
LoLa...by the Kinks
It's in E Major/C# min.......the C Maj D Maj....( inserted)
it'll also sub the ii chord ( F# min) to F# Maj
Just between you and me by april whine.
G Maj/E min.........the Eb Maj chord.
(for cadance...)
Eb Maj....D Maj B min A min
You can also sub or insert it after the MAJOR/s tonic
D min.....G7 into C MAJOR
Db Maj G7 into C MAJOR
This dosnt happen much...but it's still cool.
Cant find my way home...by Clapton
I play it in standard tuning.
D MAJOR/B min..
Im simply doing to hook a Finger on the D note ( B string)
walk into the C Maj...diad...
The descend CHROMATICALLY on the A string.
C, B, Bb A.....( the C and Bb are the b7 and b6 to D)
but it'll do this.....F MAJ.....G MAJ....D MAJ
the F Maj gets INSERTED..between the ii and iii chord as reference.
It'll makes sence if you play the IV into I cadence...( it's weaker than V into I)
That Inserted a Major chord between the ii and iii chord degree.
or LONGER By Dan Fogerberge
It's in G MAJOR/Emin......
during the BRIDGE.....it''ll play Eb Maj....Db Maj...Ab Maj
as V. IV, I.......the Ab as N6 to Ab Maj's tonic ( as refernece)
using the Ab Maj7 as a reference pivot chord...
The Bb Maj INSERTED between....the ii and iii (will make sence)
Bb Maj into the A min chord.
if you use the N6 as Bb7....into Eb MAJOR/C min....
the Ab Maj7.....Bb Maj....C MAJor...will makes sence
PARALLEL C MAJOR/C min
or you can do this...
A min Bb7 into Eb min.....Play the E7 as the N6 to Eb min into A min
A min Bb7 into Eb MAJ E7 as N6 after Eb MAJOR's tonic
or A min Bb7 into Eb MAJ E dim into F min Ab Maj7 G7 into C MAJOR
or A min Bb7 C7 into F min Ab Maj7 G7 into C MAJOR
or C# min D dim E dim into F min Ab Maj7 G7 into C MAJOR
@@oneeyemonster3262 I just meant that I didn't have a chance to really check out what you were talking about, but wanted to leave you a comment right quick. I'm about to post a comment to this thread with a cool sub that I play a lot on this tune (every other chorus).
@@FedericoGPena when you get a change....i didnt attend a librtard college...so I aint racist..you could also play A min Bb dim C dim C# min D maj E7 into A min
@@oneeyemonster3262 Sounds right...I'll put my hands on it and get back to you.
Db/F is just an altered dominant (G7b9b5).
Depending on the context, it could be.. Db/G would be more clear cut - either Altered Dominant or Octatonic.
@@TimCollinsVibes "You don't need the root", as my friend Pat Metheny always says. Any chord functioning in that capacity (Dominant 7th) type whatever you call it,(A chord wanting to resolve) is in fact just an altered dominant 7th. There are many names that's true as well as many places for it to resolve to. That said, it is up to the composer to give it a name and a function. In the case of Steve (whom I know personally) he even had Mick Goodrick tell him the chord in bar 8 was NOT a C major 7, but a C 7, which we know now as a C/E which resolves to F maj7.
Could you do a video going through your mallet collection
Actually that's a good idea - I have drawers full of mallets...
❤🎶🎵❤🔝🥇
beautiful playing but why make the fart sound?
Performance note...
dead note = smack the pipes of your tubes realy fucking hard instead of the bars.
You saw it!