Harmonization - Wikipedia, The Free Encyclopedia
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Two harmonizations of "Yankee Doodle"
One harmonization[1] Play .
Another harmonization Play .
Harmonized C ma jor scale Play : I, ii, iii, IV, V7, vi, viio.
HarmonizationFrom Wikipedia, the f ree encyclopedia
In music, harmonization is the chordal
accompaniment to a line or melody: "Using
chords and melodies together, making
harmony by stacking scale tones astriads".[2]
A harmonized scale can be created by using
each note of a musical scale as a root note
for a chord and then by taking other tones
within the scale building the rest of a
chord.[3]
For example, using an Ionian (major scale)
the root note would become the Imajor chord,the second note the ii minor chord,the third note the iii minor chord,the fourth note the IV major chord,the fifth note the V major chord (or even a dominant 7th),the sixth note the vi minor chord,the seventh note the vii diminishedchord and
the octave would be a I major chord.
Using the minor (aeolian mode) one would have:
i minor,ii diminished,
()III major,iv minor,v minor,
()VI major,
()VII major and
the i minor an octave higher.[4]
Contents
1 Reharmonization
1.1 Reharmonizing a melody
1.2 Jazz reharmonization
1.2.1 Chord substitution
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1.2.2 Planing
1.2.3 Multi-tonic systems
2 See also
3 References
4 External links
Reharmonization
Reharmonization is the technique of taking an existing melodic line and altering the harmony which
accompanies it. Typically, a melody is reharmonized to provide musical interest or variety. Another
common use of reharmonization is to introduce a new section in the music, such as a coda or bridge.
Reharmonizing a melody
A melodic tone can often be harmonized in a variety of different ways. For example, an E might be
harmonized with an E major chord (E – G♯ - B). In this case, the melodic tone is acting as the root of the
chord. That same E might be harmonized with a C major chord (C – E – G), making it the third of the
chord. This concept extends to ninths (E would act as the 9th if harmonized with a Dm7 chord – D – F –
A – C – E), ♯fifths (E would act as ♯5 on an A augmented chord – A - C – E), and a wide array of
other options.
Typically however, reharmonizations involve not just a single melody note, but a melodic line. As a
result, there are often several melodic tones which might occur over a harmony, and all of these must beconsidered when reharmonizing.
For example, if a melody composed of E - F and G was originally harmonized with Emaj7, choosing
D7 as the reharmonization chord might not be the best choice, since each melodic tone would create
semitone or minor 9th dissonance with chord members of the supporting harmony. Experienced
arrangers might decide to use these kinds of highly dissonant chords when reharmonizing, however
handling this dissonance requires a good ear and a deep understanding of harmony.
Jazz reharmonization
In jazz, the term is typically used to refer to the process of reharmonizing some or all of a tune, whereby
an existing melody is refitted with a new chord progression. Jazz musicians often take the melody from a
well-known standard and alter the changes to make the tune sound more contemporary or progressive.
Art Tatum was a pioneer of reharmonization, and later on John Coltrane, Miles Davis and Bill Evans
were among the first to seriously explore its possibilities, and since then the technique has become an
essential tool for the jazz musician and jazz arranger.
Chord substitution
One of the most common techniques in jazz reharmonization is the use of substitute chords, through a
technique known as tritone substitution. In tritone substitution, a dominant chord is replaced by another
dominant chord a tritone above its tonic. This technique is based on the fact that the third and seventh
degrees of a dominant chord are enharmonically the same as the seventh and third degrees of the
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dominant chord a tritone away. For example, B and F, the third and seventh of a G7 chord, are
enharmonic equivalents of C and F, the seventh and third of a D7 chord. Since the tritone is a
distinguishing feature of the sound of a dominant 7th chord,[5] a D7 chord may thus replace G7.
Tritone substitution works very well on standards, because the chord progressions typically utilize the II
– V – I progression and the circle of fifths. For example, a jazz standard using a chord progression of
Dm7 – G7 – Cmaj7 could easily be reharmonized to Dm7 – D7 – Cmaj7, (G7 is replaced with the
dominant 7th chord a tritone away, D
7). The new progression has a more contemporary sound, withchromatic bass motion and smooth voice leading in the upper parts.
Tritone substitution is also possible with major seventh chords, for example Dm7 – G7 – Cmaj7 could
become Dm7 – Dmaj7 – Cmaj7. Thad Jones sometimes uses this type of substitution in his big band
writing.[6]
As opposed to the classical approach to tonal harmony, in jazz there are only three functions: tonic,
subdominant and dominant. Therefore, chords can also be substituted for congruent functions: for
example, the second degree can be substituted for the fourth degree, the tonic can be substituted for the
sixth/third degree and so on. The fourth degree in major may be substituted for a seventh chord to createa "bluesy" sound. In a progression going up a fourth, if the first chord is a minor seventh chord, it can
also be substituted for a seventh chord; a relative second degree can also be added before it to create a ii-
V-I turnaround. (A sole minor seventh or seventh chord can be perceived as a second degree or its
dominant quality substitution, in which case a fifth may follow.) In the same progression, chord qualities
are sometimes flexible: the IImaj7 chord mentioned in the previous paragraph may get a preceding
VImaj7 chord instead of the relative II or its tritone substitution.
Combining the above techniques, the following progression:
C | Am7 | Dm7 | G7 | C ||
can turn into
E7 A7 | Bbm7 Eb7 | D7 F7 | Abmaj7 Dbmaj7 | C ||
Planing
Planing is a reharmonization technique used by both improvisers and arrangers. It refers to the techniqueof sliding a chord (or chord tone) up or down, either chromatically or a tritone apart, maintaining the
shape and voicing of the chord, at times resolving to the original chord. For example, F7 (F – A – C –
E) could slide up to become G7 (G - B - D - F), thus "planing" each note up a semitone. The
planed chords can be further embellished: for example, if a D major is planed down a semitone, a minor
seventh can be added to the resulting chord, C♯; as a dominant chord assumed to be the fifth degree of
the momentarily tonicized F♯ major, it can have a second degree added to it, thus creating an incomplete
ii-V-I turnaround which may or may not resolve to the original chord: G♯m7 C♯7 | (D)
Planing is often used by jazz arrangers to reharmonize melodic passing tones which, if voiced as a
vertical sonority, might clash with the prevailing harmony in the progression. As well, a number of improvisers have used planing effectively, typically as part of a progression. Herbie Hancock uses
improvised planing on his tune "Chameleon", on his 1973 Head Hunters record; McCoy Tyner uses it
extensively (specifically, pentatonic scales located a tritone apart) in his recordings with John Coltrane,
most notably "A Love Supreme", as well as in his own albums of the same period.
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Multi-tonic systems
A concept introduced by Joseph Schillinger and Nicolas Slonimsky, the idea of multiple tonics derived
from equal division of the octave appealed to John Coltrane, who proceeded to compose the
groundbreaking tune "Giant Steps". The composition features a series of dominant chords and ii-V-I
turnarounds resolving to three tonalities built on the B augmented triad (the three-tonic system):
B D7 | G Bb7 | Eb | Am7 D7 |G Bb7 | Eb F#7 | B | Fm7 Bb7 |Eb | Am7 D7 | G | C#m7 F#7 |B | Fm7 Bb7 | Eb | C#m7 F#7 || (B)
This concept was very innovative for the jazz world, to the point that Tommy Flanagan was unable to
properly improvise on the original "Giant Steps" recording. Developing this technique further, Coltrane
started utilizing the three-tonic system (and later, the four-tonic system as well, which is based on tonics
derived from a diminished seventh chord) as a reharmonization tool, which has ultimately become
known as "Coltrane changes".[7] In this example from "Countdown" (which is really a "Coltrane
changes" version of "Tune Up", the well-known jazz standard composed by Miles Davis), the long ii-V-Iin the key of D major is laced with V-I progressions that resolve to the three tonics of the D augmented
triad:
original (Tune Up):
Em7 | A7 | D | D |
reharmonized (Countdown):
Em7 F7 | Bb Db7 | Gb A7 | D |
This kind of reharmonization mostly requires alteration of the original melody because of the frequent
modulations and therefore, becomes "reharmonization of the changes" rather than the classic concept of
re-harmonizing the melody.
See also
Chord progressionHarmonic rhythmTraditional sub-Saharan African harmony
References
1. Porter, Steven (1987). Harmonization of the Chorale, p.9. ISBN 0-935016-80-5.
2. Schonbrun, Marc (2006). The Everything Music Theory Book: A Complete Guide to Taking Your
Understanding of Music to the Next Level , p.257. ISBN 1-59337-652-9.
3. Bruce Buckingham; Eric Paschal (October 1, 1997). Rhythm Guitar: The Complete Guide. Musicians
Institute Press. p. 48. ISBN 978-0-7935-8184-9. Retrieved 19 July 2010.4. Keith Wyatt; Carl Schroeder (April 1, 1998). "11". Harmony and Theory: A Comprehensive Source for All
Musicians. Musicians Institute Press. p. 58. ISBN 978-0-7935-7991-4. Retrieved 19 July 2010.
5. Levine, Mark (1995). The Jazz Theory Book . CA: Sher Music Co. p. 262. ISBN 1-883217-04-0.
6. Wright, Rayburn. Inside the Score: a detailed analysis of 8 classic jazz ensemble charts by Sammy Nestico,
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Thad Jones, and Bob Brookmeyer . New York: Kendor Music, Inc., 1982. pp. 45 – 109.
7. Farah Jasmine Griffin and Salim Washington (2008). Clawing at the Limits of Cool . Thomas Dunne Books.
p. 242. ISBN 0-312-32785-4. Retrieved Jul 16, 2009.
External links
http://www.torvund.net/guitar//index.php?page=Th_harmscale
http://guitarsecrets.com/harmonizing.htm
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Categories: Harmony Musical scales
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