Please do long like 30 min videos on just harmonizing and writing sheets for big bands etc, i love it!

"Jazz is fun, that's what they told me in school." :)

ii-V-fun is my favorite chord progression!

I was questioning my whole life untill the end where the bass part came

*graduates from berklee* So what did you learn? *plays lick*

your music abilities are one thing, but your ability to throw in references and memes is what makes you a true treasure

This whole video I was looking at the Bari part going "it's all wrong tho" and then I realised it's in bass clef.. yay for concert scores

Great lesson! Please do more lessons on harmonizing, big band writing/arranging, etc

As a classically trained person who thinks with a jazz mindset, these simple rules that "break" the rules help me tremendously on a day-to-day basis with sectional part writing. Thanks so much for making it clearer than the books.

This was the first time I ever learned about writing tutti horn sections and now I am a professional big band arranger. Thanks, Adam!

I've calculated that 2% of the time when I try to like a video I accidentally dislike it. Assuming this is close to the norm, any video with a 98% like ratio or higher actually probably has a perfect like ratio. (this video: 2000/12 = 99%+ like ratio) *thumbs up*

8:29 "Pressing play right now!" *We are number one begins*

If you teach composition i would like taking lessons.

Even I, an old lady piano teacher, often learn new things from your wonderful videos. Thanks, Adam! P.S. I wish I could match your facility with SIBELIUS program!

This is so funny and useful at the same time xD

Wow. I learned some stuff. The "Lets ignore this and leave it out" part comes as sort of a revelation.

Diction, mimicry, humor and the stave - and I forget that I barely know English. Dude, you're incredibly cool! Thank!

Wow this is a great video! Arranging anything can be scary if you look at it from a really broad perspective but this really broke it down in a way I could understand

Binged most of your channel a few months ago to start learning harmonies and the idea of chords flew over my head, but with a bit of high school level theory class and jazz improv under my belt, this video and many others on your channel are starting to make much more sense, and have helped me tremendously with composition. The style of video where you turn a musical meme into a legitimate theory and composition lesson that could pass as a college lecture has done more for me inspirationally than any music class I've taken, as the results always sound great. Keep the spice turned up and the chords rootless, thanks a ton!

oh my god thank you so much, I needed this for my jazz assignment and I was struggling with making the soli not sound abysmally dissonant with accidental tritones appearing everywhere due to my severe lack of arranging ability

I can't believe I was searching for a video to help with a minor issue I had on my composition class and Adam Neely saved me

As a sax player this is really cool man I appreciate this

I like watching the clock as he shoots the video in one take and then spends 2 and a half hours editing or doing whatever else before recording the final/intro clip

Love how you end up talking in the key of the note you just play

And people say music theory is pointless🙄

Bummer!! I just arranged some close harmony vocals for an EP the other day. It worked out, but if I saw this earlier... Thanks for sharing your knowledge!

i knew nothing of this when i started . i know a little now . thank you

I don't know why, but this kind of voicing makes me think about a casino.

love you adam i needed this so bad and of course you came in clutch

Thank you. I have just recently ventured into the world of jazz arranging, and this was very helpful.

great explanation! I love your sense of humor indeed , keep on posting videos!!!

sounds like you figured out music.

This is my favourite Neely video! Such usefull content!

omg I'm learning about all these embellishing tones and feel so smart calling out what type it is before you say it.

I'm new to this so excuse me if this sounds uninformed. There is no D in the D7. On beat three, why not have the bari sax play D? Or would that clash with the Eb tenor 1 is playing?

Amazing lesson! I hadn't seen it yet, since I discovered your channel in late 2016. "Cool!"

it sounds like jazz!!

Pls more about the process of harmonizing!

Do more of this stuff! I'm not very good at writing music,and I bet others are in the same boat as me, so this is really fantastic!

You could have use the diminished chord on two occasions here- especially on that g towards the end, i think it would have been better. Another option is a chromatic neighbor to each note of the solution. Overall it's a good demonstration of the "4way close" technique.

Almost 6 years later and the licc is still alive and well.

This is quite helpful Adam thank you for sharing and keep up the great work

Okay but in ii-V-Fun is the fun major or minor?

Great tutorial Adam. Love it. Thank you.

I found it... the place where it began... the video that started it all... the day this channel became Adam Neely and the Lick.

Great.................The college of Adam....thank you......rc

I know this is an old video, but I want to say I appreciate your work

Itd be cool to see this melody employed with other techniques too!

Awesome tutorial, I'll be sure to keep this in mind!

Also, interesting on changing that chord to a minor 6 chord. I find that I have to change the major 7 to a major 6 in the traditional version of "A Christmas Carol" to get it to sound right, also because of that clash. I'm glad to know this is a normal substitution. (The only time it sounds like a Cmaj7 is when I extend it, particularly at the end, where I make it a Cmaj9 for that "jazz chord" ending.)

Hi Adam, Great video! I love this kind of stuff, and would like to learn more about this kind of harmonization, specifically as applied to a larger section of a tune for a sax soli; for example Thad Jones' "Three and One," or Jerome Richardson's "Groove Merchant." If one were to carry out this process for a longer section, should the same principles be applied? Does the bari always double the melody of the lead alto? Any other fine-tuning kinds of things such as keeping the smaller intervals such as 2nds between the altos out of the equation? Is it a coincidence that both of the examples I mentioned use a soprano as the top voice rather than alto, or is that more of a stylistic choice that the composers wanted the color of soprano instead of alto? I have a feeling this is the kind of thing that I would just need to dive into and learn as I go along, but I'd love to get your input for how the process should work for a longer section in the context of an actual arrangement for a big band, rather than simply an exercise like you've demonstrated here.

I like this kind of gameplay

This is actually a big help. Thanks!!!

You can also play diminished chords for passing tones and not worry about what the relationship is to the next note.

Good stuff. I'd love to see more.

thank you this is amazingly usefull i greatly appreciate it!!

Great video! Thanks.

This is jazzing magic.

Thank you for this great lesson.

Excellent!

This was extremely helpful and concise. Also, “2five… Fun“LOL

Now I really do know I know nothing.... Love it!

I could actually follow that. Nice.

Nice video, I've never heard that lick as a major 251 though. Maybe it would've worked out a little better as a minor 251 or 151 in A.

Can you do a video on this sort of thing, but for trumpets?

The lick in the intro killed me

This is the exact thought process when voicing chords in a sax soli!

Cool , you are logical and a great teacher

Bro u r awesome i wis i had a fren like u who is professional

Great channel!!!

amazing. it takes you less than 10 minutes to compose this...it'd take me 10 minutes just to transcribe it on the computer.

Go on, push it to 5 voices! :D

And if this were the end of a passage, I might take the last two notes for the bari and double the bass... so A B C D B -> D -> G (down from B to D, then down from D to G). Now that's saxy phatness! The only thing I might've written differently is the labeling of the Am7 to actually be Am6. The chord really only has one instance of the 7, but three of the 6. Sure it can be considered natural chord tension or even a 13 for a technical interpretation, but I'd rather just make it the Am6 in this case. If I were providing the chords for a comp, I'd probably also mark the D7 as D13(b9) and the Gmaj7 as Gmaj9 (personally), but I'm ok with them being what they are for simplicity.

this is great!

The melody is from 'the lick' video.

great video!

Great tutorial!

I should have expected the licc being brought up just a few seconds in the video 😂

the intro😂😂😂

Unless u specifically want the notes to be 1 8ve lower I usually put bari sax in the bottom of the staff when I can (it's a nicer sound and for bari is easier). And the red notes aren't very hard for experienced players

Now that’s jazz

Anyone got a link to that "jazz" vocal effect

hi, given the ii-V-I harmonization of the lick, I'd consider the loads of F#s on the ii chord as sort of distracting from the main voice-leading from ii to V, which is G (on ii) to F# (on V). Also, the nice b9 on the V chord (Eb) - as well as the 3 (F#) - are all too soon 'whiped away' by the following chord (on beat 4), which contains the 4 (G) and the 9 (E) again. Suggestion: I'd rather voice the A and C notes on the Am7 as Am7 (not 6), the B and D notes as G#o7 (to further avoid the F#). For the V chord, I'd see the melody notes B and G together as part of a D7sus4 to which I'd add a b9 for both voicings. In doing so, the main voice-leading (G to F#) will occur on resolving to the I chord only (which is perfectly fine). Here are the block chords note by note (from top to bottom): A-G-E-C-A / B-G#-F-D-B / C-A-G-E-C / D-B-G#-F-D / B-G-Eb-C-B / G-Eb-C-A-G / A-F#-D-B-A

1:34 message from Justina :3 ... Great voice :)

awesome video

OMG. You were young.

Awesome!

this was cool and different but still interesting

I’m a little late. But you can just read alto parts as bass clef. Or go up a minor third. That’s how I prefer to do it.

More videos of jazz arranging please!

other possibilities exist, like diminshed approach (F natural for the tenor instead of F#.) Beat four could be called a diatonic approach for all voices.

transposing instruments? is it like how when us metallers drop tune our guitars to C but still refer to our power chord fret positions as if it were still tuned to standard? so the first fret of the E string is usually F, when we are dropped to silly tunings we still call that fretting position F just to make it easier? so the lowest note of a transposing instrument could be thought of as a standard tuned guitar's open E, then the very next an F... ect, is that what that is all about?

great video...itll really help me if you do an example with trumpet,alto,tenor,trombone!!

Thanks for the lesson! Personally, I would've also liked to see how it would look for the players (instead of concert pitch) at the end. Do you consider making a lick practical for the instruments that actually play them or are you only focusing on the sound you want to hear?

3:38 basically, the tenor player is going to have to articulate that E amongst the whole thing, and it's not really fun for the tenor player. I may just be lazy with my articulation, but thanks for understanding.

I love you thank you

Noticed that there are'nt any Metric modulation markings, how does Sibelius know that it should play with a swing feel? Because that swing feel is what make it ultimately sound like Jazz

2nd eighth note works better as an F natural in Tenor 1, so it becomes G# dim 7th to Ami7

Scoring in concert pitch makes my instrumentation hurt.... also I hate that b9 because it cannot be maintained thru due to the #2 that would result in the A2 part. It's just a bit jarring. Other than that, this is exactly how I write for saxes and great job!

Please do more of these videos!like piano harmonizing for a big band!