I thought it may be helpful to not only identify the extended chords I used, but also to show the color notes in red for the Basic Extended Chord Arrangement and the Improvisation for All the Things You Are.
The color notes shown are 7ths, 9ths, and in some cases11ths, and 13ths. The few notes you see in red are the color notes that add tension, dissonance, and a unique jazz sound. If you compare this with the basic left hand accompaniment in the previous post, you can see how a few well-voiced color notes really make a difference. It is interesting to note that in many cases the colored note is also the melody note.
Below is the basic extended chord arrangement with the color notes of the extended chords shown in red.
I've also shown the colored notes on my improvisation of All the Things You Are. If you take away or eliminate the colored notes you lose cohesiveness in the hook. Something just feels missing. Here again, you can see how it only takes a few color notes to make a big difference.
In some cases I have made it more complicated by trying to identify a chord, where the notes are really simply passing tones or neighbor tones.
Here is my improvisation with the color notes of the extended chords or phrases shown in red.
For the Jazz Tune All the Things You Are by Jerome Kern
For this challenge, I tried arranging from a lead sheet in two different ways:
1) In the Quick Improvisation . . .
Initially and almost immediately, I developed a hook in the left hand and repeated the arpeggiated hook throughout the piece in the chords found on the lead sheet. This was a rough improvisation, but it provided structure for the arrangement.
2) The Steps Used in Working Out the Arrangement from the Lessons in Harmony . . .
I wanted to see what would happen if I arranged the piece using what I have learned from the lessons in harmony. So I played as simply and accurately as I could.
Finally I compared the improvisation with the basic extended chords accompaniment. I was surprised to find that I had instinctively added not only 7ths, but 9ths, 11ths and 13ths to my improvisation. I'm not sure I could have created this improvisation without some understanding of harmony.
Fueled with this information I spent some time perfecting, among other things, the voicing and voice leading of my improvised accompaniment.
Anyway, I provide the lead sheet; both the basic left hand accompaniment and the basic extended chords accompaniment; and finally the improvisation, which was actually my first effort cleaned up.
THE LEAD SHEET
BASIC LEFT HAND ACCOMPANIMENT
I played a very basic left hand accompaniment using the chords given on the lead sheet-probably something anyone could do. Here it is.
BASIC EXTENDED CHORDS ACCOMPANIMENT
Next, I added 7ths and a few extended chords anywhere I could. If it sounded good I added it. Here it is.
NOW, BACK TO MY ORIGINAL IMPROVISATION AFTER CLEANING IT UP A BIT
Initially I felt the wistful mood of the piece and heard a simple phrase in my head then played it. I added this phrase as a hook in the form of an arpeggio in the introduction and brought that theme back throughout the piece. I got the idea down fairly quickly and recorded it on Logic, then printed it. Logic does a poor job of notating, but I took that copy from Logic and with a pencil at the piano corrected and rewrote the score in readable notation. From the corrected hard copy I entered the notes in Musescore and began the editing process- that is fixing all the little things that made it awkward to play. Where I hadn't already, I spread out the notes and got rid of doubled up notes with a few exceptions like melody notes, and the parallel octaves in measure 18.
Shown below is the final product.
The seven tones of the diatonic scale are the building blocks for creating melody and harmony. Chords in diatonic harmony are generated from the major and minor scales by constructing triads on each of the diatonic scale degrees.
Diatonic means any note or chord that is within the scale. Passing tones are many times not diatonic, but we play them, and sometimes we pass through non-diatonic chords to get to the next diatonic chord.
In the introduction of Lessons in Harmony, I introduce the diatonic scale in the key of C. There are major and secondary chords. The major chords are: I and IV, V; and secondary chords are: minor ii, iii, and vi, and one diminished chord- vii dim.
When it comes to music books, my wife is no minimalist. We can pull out any number of theory books. So I've had a few to choose from, but these have helped me the most . . .
Chords in hymns are mostly major or minor triads with some inversions to make the parts easier to sing. As a pianist, knowing and playing simple triads is not enough. To play rich, interesting chords consider altered chords. In the example below we move from a I chord to a triad with an added sixth interval. This would be a C6 or I6 (not to be confused with a first inversion). It is a C6 because we play the C triad (C,E,G or I, iii, V) and add the vi of the scale. But the chord is all scrunched up.