LANGUAGE

MUSICAL 3

Reharmonization
 Reharmonization
Harmonic Tensions: Forbidden Notes
The use of harmonic tensions (9, 11, 13) allows us to expand the sound spectrum of each chord.
to give a "special color" to harmony in general within a repertoire.
Depending on the context, we will encounter some 'rules' related to dissonances or
conflicts (at the auditory level) that can generate some tensions. This implies that there are 'Notes
"not allowed" (NNP) within some chords.
This mainly applies when we work in modal harmony, applying modal scales in
improvisation, but we can also consider some within tonal harmony:

Type of Notes No Conflict

chord Allowed
Major 11th chord (natural or 2 minor b13
mayor (simple o Example
composed)
between the 3rd and
11th
BbMaj79/D
Minor b13 chord Change the
chord
 Reharmonization
Harmonic Tensions: Forbidden Notes
Another case that, while not strict, is the use of the 11th alongside the 5th, in the
semi-diminished chord, due to the minor second that is produced.
A
Example 2m

If you want to use this tension in a m7b5 chord, it is suggested to leave it in the
melodic line. In "Stellaby Starlight" (among others) we can see an example:

Voicing

1
1
ii V7b9 ii V7
 Reharmonization
Harmonic Tensions: Forbidden Notes
Diminished chord: The use of tensions in this type of chord requires a
more careful treatment, as it generates some conflicts.
Tension Conflict
111 -2m with the 5th (optional)
2b9 -b9 with F

3b13 It transforms into a chord

of V (in investment).

Example 1 Example 2 Example 3

b13
2m 2m

Bb79/D
 Reharmonization
Harmonic Tensions: Forbidden Notes
At the moment of building chords, considering the distribution of notes to be
played, for example, on piano, we must mainly consider the notes
guides for each species and based on them, decide which to omit and replace with
the tensions we want to incorporate.

Species Guide note

1 Mayor y menor 7 -3era y 7ma According to the guiding notes, it is suggested:
2 Semidiminished and -5th
increased Species Replacement
1 Greater and lesser 7 The Fundamental for the 9th
-5th by the 13th
2Semidisminuido and -3rd by the 11th (in case
increased (less used) to decide to add 11na)
 Reharmonization
Substitution (replacements) of chords
At the time of reharmonization, we can substitute or replace some chords.
One way to understand it is that some chords contain within themselves
"parts" of others. That is to say, they are chords with common notes. This allows that in
a certain tonality, we can replace certain degrees with others with
those who share notes and sound good.
Example
Degrees Replacement

I III - VI
II IV

V VII
 Reharmonization
Use of investments
One way to enrich harmony is
using investments in order to generate a
interesting melodic movement in the bass.

In some cases, they are used as a way

of note pedal, the same note in the
bass, varying only the chords.

Example
 Re-harmonization
Use of investments

Example 2

In this case, the investments are used

to create a bass line
chromatic.
 Reharmonization
Substitution (replacements) of chords: Modal Exchange
In the modal exchange, we can use functions that correspond to its
parallel key or also, its relative minor.
This is very common in the case of the natural minor mode, since
we will find music that combines degrees of the natural minor mode with the
harmonic minor scale. The most common: V7. The dominant function of the 5th
The degree is key in the tonality.

D Major 7 Em7b5 A7 D Major 7

I ii (int modal) V I

Dm7 Em7b5 A7 Dm7

I (m not) ii V (m arm) I
 Reharmonization
Transitory functions: Secondary dominants
The use of transitional functions allows us, along with replacing, to add.
new chords.
We can place its dominant before certain chords, as well as its
7th grade (less frequent)
The usual practice is to prioritize the transitional function and then resolve to the chord of which
it's your V, but as we have seen in some examples, in modern harmony
it's not always like that.

Secondary dominants:
Cmaj7 Dm7 Em7 Fmaj7 G(7) Am7 Bm7b5
G7 A7 B7 C7 D7 E7
V V/ii V/iii V/IV V/V V/vi
 Reharmonization
Tritone or dominant substitute
A frequent tool in modern harmony is the use of dominants.
substitutes.
This chord with a dominant function, also known as "substitute of
tritone, we can place it before (or directly replace) a chord of
dominant. It is located a tritone away from the fundamental of the V that we aim for.
substitute.
Example G7 Db7
Key: C
Tritone of distance

A simple way to understand it is to see it as the IIb7 of the key.

in which it is replacing (substituting) its dominant.
Simple form: Db7=IIb7 of C
 Reharmonization
Substitute of tritone or dominant
It is also interesting the use of the tritone substitute, along with transitional functions.
(secondary dominants).
Just as we can transpose or substitute a V7 with its tritone substitute,
we can do it with the V/V.

Tritone of distance
Example Simple form:
Ab7=IIb7 of G
Key: C

D7 Ab7
We can also find tritone substitutes for dominant chords of other degrees.
from the scale, but they are much less frequent.
 Re-harmonization
Tritone or dominant substitute

Example
iii Sust V/ii ii Sust/V

I
Reharmonization
Substituto of tritone or dominant

Why is it called tritone substitute?

Porque las notas que componen el tritono del acorde de V7, se invierten
within the new dominant chord. This means that each
dominant chord, has its substitute, based on its tritone:
B-F F-Cb
(C enharmonic)
Tritone Tritone
of B)

G7 Db7
E-Bb A#-E A# enharmonic Remember the
Tritone Tritone of Bb) ammonium of
chord
decreased
Reharmonization
Enharmonically of the diminished chord
 Reharmonization
Tritone or dominant substitute

Tonality: Examples:
D D Major 7 em7 A7 D Major 7

I ii V I
D Major 7 em7 E7 A7 D Major 7
I ii V/V V I
D Major 7 em7 Eb7 D Major 7
I ii Sust/V I
DMaj7 em7 Bb7 E7 A7 D major 7
I ii Sust of V/V V/V V I

D Major 7 em7 Bb7 A7 D Major 7

I ii Sust of V/V V I
Re-harmonization
Substitute for tritone or dominant

Activity
 Sust (from
V/VI VI tritone) of V/II

9
II V/II V/V V/V
Functions
transitory

V
9
Sust
V/III III V/II II V/V
V

b9

Temporary functions
 Activity
evaluated

Delivery date:
16 de Noviembre (hasta las 13:00)
Instructions

In pairs, you must re-harmonize the assigned repertoire, using the

elements addressed in the class and what you have learned up to your level of studies
in the race.
You must write your rearrangement in some music notation software.
(build each chord and then notate in American key), and then, with
that basic harmony, playing the melodic line on your instrument.
Record and send. Logically, the score of your re-harmonization must
be part of the shipment.
Explanatory interview. A schedule will be assigned by couple to explain their
reharmonization.
 Instructions
Minimum requirements
Incorporate harmonic tensions in at least 5 chords (in addition to those that may contain the
original harmony). Attentive to the NNP. It may also modify some existing tension.
Consider that the harmony must be written with piano performance in mind. Distribute and
generate the voicing considering the guide notes when replacing notes of the chord
for tensions.
Use investments to enrich the bass line.
Replace and/or incorporate chords. At least 2:
Tritone substitutes (or substitute dominants) of the V or secondary V.
Secondary dominants (transitory functions)
Modal exchange.
Investments
sus4 chords
Variations (of interpretation) in the melody. It can incorporate, extend the duration, apply
articulations, ornaments, etc. in the melodic line.
Remember that you will be sure to harmonize and your version of the given repertoire. You have great freedom in your
execution and interpretation. Use your creativity.