Reharmonization Techniques in Music
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ScribdTranslationsReharmonization Techniques in Music
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ScribdTranslationsReharmonization
Reharmonization consists of modifying the original chords of a melody through
of certain rules and concepts, aiming for variation and originality.
The possibilities and tools for reharmonization are quite varied,
which can lead music to a great complexity, in addition to generating interest.
Several musical genres have used and still use this tool, however it was
The Jazz who contributed the most to the deepening of the subject.
Names like Miles Davis, Bill Evans, Oscar Peterson, John Coltrane, Duke
Ellington, Joe Pass, were some of the great reharmonizers...
Usually well-known melodies, whose harmonies are already
widely felt and expected, are the most used for working on reharmonization.
The mastery of re-harmonization is one of the main skills of a good
arranger.
It is part of your profession to recognize the 'harmonic intention' contained in the music.
of their clients, who often may have a rather simple harmony. After
by examining the original chords, the arranger seeks to create a new harmonic "dressing".
about the initial melody with the aim of improving and enriching the composition, however always
according to the taste and approval of the contractor.
Furthermore, it is always important to consider the melody when seeking
re-harmonization.
Harmonic Functions
The harmonic functions are three: Tonic, Dominant and Subdominant.
Dominant (D) Tonic (T) Subdominant (Sd)
V (VII) I (VI, III) IV (II)
Tension Rest Movement
2. Cadences
The cadences are the paths with which harmonic functions relate.
2.a - Authentic Cadence (Dè
It is the most important, as a musical paragraph point. It is when the dominant chord resolves.
in the tonic, both in fundamental state.
Examples:
G - C or G7 - C
V I V7 I
in a minor way:
G - Cm or G7 – Cm
I V V7 I
2.b - Imperfect Cadence
Dominant that resolves on the tonic but with inverted chords, which weakens the
cadence.
G/B - C
G7/D - C
G7/D – C/E
in lesser mode:
G/B - Cm
G7/D - Cm
G7/D - Cm/Eb
We have the variant of this cadence when using the VII instead of the V:
Bø - C
VII – I
2.c - Complete Cadence Sdè Dè T
Tradition led the original cadence (V—I) to be preceded by the subdominant function.
F G7 C you Dm7 G7 C
IV V I or II V I
Our good old II V I is a complete cadence
Now compare the major mode with the minor mode:
Dm7 G7 C Do G7 Cm
II V I II V I
greater minor
A more enhanced version:
Dm7 G7/13 Cmaj7(9) Dm7(b5) G7/b13 Cm7(9)
II V I II V I
greater minor
2.d - Dominant Cadence
Also called half cadence, it is when it ends on the dominant, preceded by
any degree.
Most commonly used forms:
C G7
Iè V
I am G7
VIè V
Dm G7
IIè V
2.e - Interrupted or deceptive
When the dominant is followed by any degree that is not the tonic, creating an effect
surprise.
G7 F
Vè IV
G7 I am
Vè VI
It is possible for the dominant to land on a chord of a harmonic field.
different from the original, potentially characterizing a modulation.
mod.è Larger Foot
G7 Ab Fm Eb7 Ab
Vè I VI V I
2.f - Plagal Cadence
It is when the subdominant resolves directly to the tonic, without passing through the dominant.
Dm C
IIè I
or
F C
IVè I
3. Modulations
There is modulation when the tonal center of the music changes, that is, when the
the tone temporarily becomes different from the original. See:
C major Re Major |
C Am7 Dm7 A7 D In A7 etc.
I VI II V I II V
(V/II)
pivot chord
The modulation occurs through a Pivot Chord, which can be reinterpreted as
belonging to the Departure Region and the Arrival Region
Regions of the modulations
The degrees of the diatonic scale are named: Tonic, Supertonic, Mediant,
Subdominant, Dominant, Superdominant or Submediant and Sensitive, from I to VII degrees,
respectively.
The modulations are organized into harmonic sectors that relate to the nomenclature.
of the degrees of the diatonic scale.
3.a - Sector 1
Tonic and neighboring tones Relatives
Tonalidade Region Tone Region
C Major Tonic A minor Tonic relation
G Major Dominant A minor relation of the Dominant
G Major Subdominant D minor relation of the Subdominant
3.b - Sector 2
Higher Relatives Relatives
Tone Region Tonalidade Region
A Major Subordinate Greater F# minor report of the Submediary M
My Greatest Through Greater D minor Report from Mediante M
Greater King Major Supertonic If minor report of Supertônica M
3.c - Sector 3
Homonyms Relatives
Tone Region Tone Region
D minor Minor tonic Mib Major relative of the minor tonic
G minor Minor dominant Greater Brother relation of the Dominant m.
F minor minor subdominant Greater Foot relation of the subdomain m.
3.d - Sector 4
Distant tones Relatives
Tone Region Tone Region
F# Major Dominant of the Sensitive D minor Sensitive Dom. report
Major Scale Napolitana B minor relat. of the Neapolitan
If Greater Sensitive Minor Sun relationship of the Sensitive
4. Rearmonization
The first thing we should keep in mind when it comes to reharmonization is the context.
It is necessary to respect the melody and keep in mind that not all reharmonizations will be good.
winds. Sometimes, they can be considered as simple demonstrations of
eccentricity.
The main thing is not to change the music too much. Just like pure technique, the
Reharmonization should serve a greater purpose.
Some re-harmonization techniques
4.1 - Maintaining the same Harmonic Functions
4.1.a - Inverter Chords
Use chords in 1st, 2nd, and 3rd inversion, instead of only in root position.
Original Harmony:
C G F In E7 Am
Reharmonized:
C G/B F/A Em/G E7/G# Am
4.1.b - Use other chords of the same function
As long as there is no clash with the melody, we can replace the chord degree with another one.
same functional area.
Original Harmony:
C F G C Dm C
T Sd D T Sd T
Reharmonized:
C Dm Bø Em F Am
T Sd D T Sd T
4.2 - Insert preparing chords
As long as there is no clash with the melody, it is possible to prepare for the chords.
Given the chorded melody:
4.2.a - Insert Dominants (V) and Diminished (V)o) with dominant function:
4.2.b - Insert II credential:
4.2.c - insert the Substitute of the Dominant (SubV7)
4.2.d - Insert IIm SubV7:
Here the Substitute of the Dominant is preceded by the IIm from where it moves.
Example:
Dm7 Db7 C
IIm SubV I
Dm is the II7 of the resolution, that is, of Do.
The tip is to notice the chromatic movement of the chords.
4.2.e - Insert [IIm V7] Substitute:
In this case, we insert the IIm which is 4J above the SubV7, forming an IIm V7
which seems to suggest a path, but suddenly gives up and falls into another resolution.
Note that the tritone present in G7 is the same as that in Db7:
Starting from this kinship originated by the same tritone, we simply use the
II7 V7 of Gb, which is the key that the SubV7 (Db7) wants to resolve to. However, in a
sudden change of direction, the resolution falls on C major.
Look:
4.3 - Changing the harmonic functions
From now on, the only point of cohesion between the original harmony and the reharmonization will be
the note of the melody, on which the chord rests.
The chord should have in its forming notes, at least one that is the same as the note of the melody.
Taking into account the number of chord categories, inversions, the options for
Reharmonization will be numerous, so the ear must judge the best result.
4.3.a - Use only diatonic chords (from the harmonic field):
The melodic notes must be 1, 3, 5, 6, or 7 of each new chord added.
I VI III IV II VII IV I
4.3.b - Using modal or chromatic borrowed chords:
The melodic notes must be 1st, 3rd, 5th, 6th, or 7th of each new chord added.
4.3.c - Using modal or chromatic borrowed chords:
In addition to the chord notes, now the melodic notes can be tensions such as 9, 13, 11,
natural or altered.
Obviously, the chords must be presented with these tensions.
5 - Interesting examples of reharmonizations
Leave (Baden Powell)
Original version
Rearranged version
5.b - The Girl from Ipanema (Tom Jobim/Vinícius)
Original version
Rearranged version