Reharmonization From Wikipedia, the free encyclopedia

In music, reharmonization refers to 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 be considered when reharmonizing.

For example, if a melody composed of E♭ - F and G was originally harmonized with E♭maj7,

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.

[edit]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.

[edit]Chord substitution

One of the most common techniques in jazz reharmonization is the use of substitute chords,

through a technique known astritone 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 dominant chord a tritone away. For example, B and F, the third

and seventh of a G7 chord, areenharmonic equivalents of C♭ and F, the seventh and third of a D♭

7 chord. Since the tritone is a distinguishing feature of the sound of a dominant 7th chord,[1]

a D♭7

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 - D♭7 - Cmaj7, (G7 is

replaced with the dominant 7th chord a tritone away, D♭7). The new progression has a more

contemporary sound, with chromatic 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 - D♭maj7 - Cmaj7. Thad Jones sometimes uses this type of substitution in

his big band writing.[2]

As opposed to the classical approach to tonal harmony, in jazz there are only three

functions: tonic, subdominant anddominant. 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 create a "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 ♭IImaj7chord 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 | B♭m7 E♭7 | D7 F7 | A♭maj7 D♭maj7 | C ||

[edit]Planing

Planing is a reharmonization technique used by both improvisers and arrangers. It refers to the

technique of 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 G♭7 (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.

[edit]Multi-tonic systems

A concept introduced by Joseph Schillinger and Nicolas Slonimsky, the idea of

multiple tonics derived from equal division of theoctave 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 B♭7 | E♭ | Am7 D7 |

G B♭7 | E♭ F♯7 | B | Fm7 B♭7|

E♭ | Am7 D7 | G | C♯m7 F♯7 |

B | Fm7 B♭7 | E♭ | 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[citation needed]

. 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".[3]

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-I in 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 | B♭ D♭7 | G♭ A7 | D |

This kind of reharmonization mostly requires alteration of the original

melody because of the frequent modulations[citation needed]

and therefore,

becomes "reharmonization of the changes" rather than the classic

concept of re-harmonizing the melody.

multiple tonic systems I think i finally understand what giant steps, and other multiple tonic tunes(such as central

park west) are really meant to be and coltrane blows the way he does over them.

The basic premise:

The name multiple tonic means more than one home base, basically, and implies that these

different home bases are completely equal to one another. Therefore, within a multiple

tonic system, the equivalent cadence chords are also equal. For example: in a two tonic

system of two maj chords a tritone apart such as CMaj7 - F#Maj7, the II chords and V

chords are equivalent. So, D-7 = G#-7 and G7 = C#7. Because of this relative equallity, they

are interchangeable. Check out the possibilities of cadences in a 2 tonic system.

D-7/G7/C

G#-7/C#7/C

D-7/C#7/C

G#-7/G7/C

G#-7/C#7/F#

D-7/G7/F#

G#-7/G7/F#

D-7/C#-7/F#

Now, if we are going to use all these different possibilities, it becomes clear we cannot to

much to the individual chords. This works because each cadence chord belongs directly

and strongly to one of the two equivalent Maj tonalaties. So no sub Vs or altering of the

dominant chords, and the clear each chord is spelled out, the stronger the overall tonality

(both tonalities combined) is. This is where coltranes scale patterns of 1235 and 1b345

come in.

Think of it as a big intervallic house (maybe more like a yurt) made up of two tonalities and

all the rooms made up of each little chord. The walls of each room is made up of the

specific scale pattern intervals played over each chord. So you see, if we are not very

accurate and intervallicaly precise, the walls distort, the rooms scatter and the house falls

down. What a drag. So the reason Coltrane blows so 'stiffly' over the changes is because

these aren't changes, this is a goddam house!

What all this comes down to is the possibility and persuit of a universal key. In just this two

tonic system we already have all the notes in the twelve tone scale and eight different

cadences we can play to get to each tonality. Think of how the possibilities multiply when

we go to a three, four, or five tonic system. What comes out is basically ordered chaos, like

cracking ice.

So. Giant Steps is an unmusical excercise-sounding tune if we play all our bop scales and

substitutions over it, because that is not at all how it is meant to be played. If you put

mashed potatoes in a nice big waffle cone instead of ice cream, it will probably taste like

shit.

This happens to be just about the only thing i've ever learned in a class room that was

worth jack shit. School is inherently anti-artistic and caters to homogenization of

musicians and their music. So i'm getting the hell out and moving to Portland, OR. Does

anybody live there or know of things happening on the scene? Let me know.

Multi-tonic system 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 B♭7 | E♭ | Am7 D7 |

G B♭7 | E♭ F♯7 | B | Fm7 B♭7|

E♭ | Am7 D7 | G | C♯m7 F♯7 |

B | Fm7 B♭7 | E♭ | 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".[1] 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-I in 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 | B♭ D♭7 | G♭ 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.

Outside (jazz) In jazz, side-slipping, sidestepping, or outside playing, is a technique in which,

during improvisation, one plays only the five "'wrong'" non-scale notes for the givenchord and none

of the seven scale or three to four chord tones, given that there are twelve notes in the equal

tempered scale and heptatonic scales are generally used.[1]

In the example on the rhythm changes B section to the right, the (heptatonic) scale for each chord

would be:

E7 - E mixolydian

A7 - A mixolydian

D7 - D mixolydian

G7 - G mixolydian

C - C major

Thus the non-scale notes would be those of the following (pentatonic) scales:

E7 - E♭ major pentatonic

A7 - A♭ major pentatonic

D7 - D♭ major pentatonic

G7 - G♭ major pentatonic

C - G♭ major pentatonic

One technique used for sideslipping is the addition of distant ii-Vrelationships, such as a half-step

above the original ii-V. This increases chromatic tension as it first moves away and then towards the

tonic.[2]

Playing 'outside' is similar to stacking chords to use the chord extensions that 'colour' modern jazz

bebop harmony. Charlie Parker would play 9ths, #11ths, 13ths by playing D7 over C7 for example.

Thus the melody line immediately uses the extended tones of C Mixolydian and creates more

'interesting' solos because of the bigger pallet available. Playing outside/side-slipping and using

these 'super-arpeggios' [D7 over C7] all gives for a more expressive melodic vocabulary, and is how

modern jazz evolved with Bebop.

Bar-line shift

Bar-line shift on rhythm changes B section Play (help·info).

In jazz, a bar-line shift is a technique in which, during improvisation, one plays thechord from

the measure before or after the given chord either intentionally or as an "accident."[1]

Bar-line shifts may be caused by a novice having lost his or her place in the chord progression, but

is most often attributable to: "(1)...harmonic generalization, as in the case of playing a IIø to V7 (+5,

+9) progression [ II-V-I turnaround] as only a V7 (+5, +9); or (2) the player wanted to play the

previous chord (though it has already transpired), but was either pausing momentarily (as in taking

a breath), and decides to adopt the 'better later than never' attitude."[1]

An example of a "very

intentional" bar-line shift may be found on Cannonball Adderley's solo on "So What," "in which he

deliberately enters and exits the bridge early, causing considerable tension, since the chord of the A

section (D-) is one-half step lower than the chord of the bridge (E♭-)."[1]

Bar-line shift's effect on metric accent:first two lines vs. second two lines Play (help·info).

Outside of jazz a barline shift may be less than a bar, causing a change in themetric accent of

the melody and its cadence.[2]