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60:
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503:. 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
756:, the pianist on the original 1959 recording. The relative minimalism of his solo on the tune (compared with the density of Coltrane's) is considered by many to be an indication that he was not yet comfortable improvising on such a structure, even given his extensive experience within the jazz idiom. Developing the 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
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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,
317:– 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),
630:
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.
414:. 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, are
344:
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.
87:
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369:
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
507:. (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
110:
591:), 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
295:
that 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
551:
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
390:
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.
311:
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
1069:
772:), 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:
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apart, maintaining the shape and voicing of the chord, at times resolving to the original chord. For example, F7 (F – A – C – E
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1020:
Inside the Score: a detailed analysis of 8 classic jazz ensemble charts by Sammy
Nestico, Thad Jones, and Bob Brookmeyer
398:
One of the most common techniques in jazz reharmonization is the use of substitute chords, through a technique known as
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911:
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447:. For example, a jazz standard using a chord progression of Dm7 – G7 – Cmaj7 could easily be reharmonized to Dm7 – D
764:". In this example from "Countdown" (which is really a "Coltrane changes" version of "Tune Up", the well-known
31:
752:
The harmonic structure of Giant Steps was unfamiliar territory for many jazz musicians at the time, including
904:
The
Everything Music Theory Book: A Complete Guide to Taking Your Understanding of Music to the Next Level
1108:
17:
1438:
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This kind of reharmonization mostly requires alteration of the original melody because of the frequent
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7 chord. Since the tritone is a distinguishing feature of the sound of a dominant 7th chord, a D
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As opposed to the classical approach to tonal harmony, in jazz there are only three functions:
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however handling this dissonance requires a good ear and a deep understanding of harmony.
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7 – Cmaj7, (G7 is replaced with the dominant 7th chord a tritone away, D
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This article is about harmonization in music. For other uses, see
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chord instead of the relative II or its tritone substitution.
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chord mentioned in the previous paragraph may get a preceding
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uses improvised planing on his tune "Chameleon", on his 1973
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Harmony and Theory: A Comprehensive Source for All
Musicians
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7). The new progression has a more contemporary sound, with
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Combining the above techniques, the following progression:
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which may or may not resolve to the original chord: G
683:, who proceeded to compose the groundbreaking tune "
655:", as well as in his own albums of the same period.
1032:Farah Jasmine Griffin and Salim Washington (2008).
1022:. New York: Kendor Music, Inc., 1982. pp. 45 – 109.
474:, for example Dm7 – G7 – Cmaj7 could become Dm7 – D
1070:"Music Theory for Guitar - The Harmonized Scale",
924:Bruce Buckingham; Eric Paschal (October 1, 1997).
601:assumed to be the fifth degree of the momentarily
537:E7 A7 | Bbm7 Eb7 | D7 F7 | Abmaj7 Dbmaj7 | C ||
531:C | Am7 | Dm7 | G7 | C ||
1485:
647:located a tritone apart) in his recordings with
484:sometimes uses this type of substitution in his
834:and therefore, becomes "reharmonization of the
378:was a pioneer of reharmonization, and later on
169:within the scale building the rest of a chord.
142:: "Using chords and melodies together, making
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958:Keith Wyatt; Carl Schroeder (April 1, 1998).
341:– C – E), and a wide array of other options.
183:the root note would become the I major chord,
199:the fifth note the V major chord (or even a
1084:Guitar Chords and Guitar Scales Harmonizing
470:Tritone substitution is also possible with
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354:– F and G was originally harmonized with E
966:. Musicians Institute Press. p. 58.
930:. Musicians Institute Press. p. 48.
306:
27:Chordal accompaniment to a line or melody
687:". The composition features a series of
439:Tritone substitution works very well on
406:is replaced by another dominant chord a
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863:Traditional sub-Saharan African harmony
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287:is the technique of taking an existing
153:can be created by using each note of a
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348:For example, if a melody composed of E
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146:by stacking scale tones as triads".
1038:. Thomas Dunne Books. p. 242.
675:derived from equal division of the
643:uses it extensively (specifically,
424:and F, the seventh and third of a D
196:the fourth note the IV major chord,
193:the third note the iii minor chord,
24:
998:. CA: Sher Music Co. p. 262.
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206:the sixth note the vi minor chord,
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927:Rhythm Guitar: The Complete Guide
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1079: (archived 8 October 2016)
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118:: I, ii, iii, IV, V7, vi, vii.
32:Harmonization (disambiguation)
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1:
1035:Clawing at the Limits of Cool
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436:7 chord may thus replace G7.
402:. In tritone substitution, a
275:the i minor an octave higher.
883:Harmonization of the Chorale
561:) could slide up to become G
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1439:List of chord progressions
1090:. Accessed: 16 April 2019.
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803:reharmonized (Countdown):
220:would be a I major chord.
209:the seventh note the vii
165:and then by taking other
106:Harmonized C major scale
902:Schonbrun, Marc (2006).
758:diminished seventh chord
663:A concept introduced by
881:Porter, Steven (1987).
671:, the idea of multiple
463:bass motion and smooth
323:fifths (E would act as
186:the second note the ii
40:Two harmonizations of "
307:Reharmonizing a melody
171:For example, using an
119:
83:Another harmonization
1199:Techniques and styles
994:Levine, Mark (1995).
105:
996:The Jazz Theory Book
472:major seventh chords
467:in the upper parts.
400:tritone substitution
365:Jazz reharmonization
1133:Musical instruments
776:original (Tune Up):
695:resolving to three
659:Multi-tonic systems
335:augmented chord – A
1072:Torvund.net/Guitar
858:Rule of the octave
693:ii-V-I turnarounds
665:Joseph Schillinger
394:Chord substitution
232:) one would have:
120:
57:One harmonization
1481:
1480:
1414:Chord progression
1344:
1343:
1088:GuitarSecrets.com
1045:978-0-312-32785-9
1018:Wright, Rayburn.
973:978-0-7935-7991-4
937:978-0-7935-8184-9
848:Chord progression
669:Nicolas Slonimsky
645:pentatonic scales
613:ii-V-I turnaround
505:ii–V–I turnaround
291:and altering the
16:(Redirected from
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745:| C#m7 F#7 || (
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599:dominant chord
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766:jazz standard
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741:| E#m7 A#7 |
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737:| C#m7 F#7 |
736:
733:| Am7 D7 |
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729:| Fm7 Bb7 |
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717:| Am7 D7 |
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1049:. Retrieved
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201:dominant 7th
150:
148:
127:
121:
1316:Backup band
1241:Power chord
1146:Double bass
832:modulations
770:Miles Davis
685:Giant Steps
641:McCoy Tyner
497:subdominant
384:Miles Davis
248:)III major,
188:minor chord
177:major scale
18:Harmonizing
1488:Categories
1399:Banjo roll
1263:Figuration
1216:Banjo roll
1181:Pipe organ
869:References
697:tonalities
482:Thad Jones
416:enharmonic
410:above its
388:Bill Evans
263:)VI major,
224:Using the
1419:Four-part
1326:Orchestra
1283:Obbligato
906:, p.257.
603:tonicized
488:writing.
461:chromatic
441:standards
376:Art Tatum
329:5 on an A
251:iv minor,
159:root note
1454:Sequence
1288:Ostinato
1221:Bassline
1211:Arpeggio
1151:Drum kit
842:See also
639:record;
627:7 | (D)
624:♯
618:♯
608:♯
594:♯
588:♭
582:♭
576:♭
570:♭
564:♭
558:♭
520:♭
511:♭
501:dominant
486:big band
477:♭
456:♭
450:♭
433:♭
427:♭
421:♭
372:standard
357:♭
351:♭
338:♭
332:♭
326:♯
320:♯
314:♯
269:♭
260:♭
254:v minor,
245:♭
236:i minor,
1494:Harmony
1404:Cadence
1378:Harmony
1248:Comping
1075:at the
1051:Jul 16,
979:19 July
943:19 July
885:, p.9.
836:changes
597:; as a
553:tritone
541:Planing
408:tritone
293:harmony
144:harmony
1273:Groove
1042:
1002:
970:
934:
910:
889:
814:Db7 |
725:Gb7 |
721:Bb7 |
713:Bb7 |
709:D7 |
677:octave
673:tonics
523:VImaj7
514:IImaj7
301:bridge
218:octave
173:Ionian
161:for a
140:melody
1449:Pitch
1409:Chord
1258:Drone
1231:Chord
1176:Piano
810:F7 |
493:tonic
412:tonic
226:minor
167:tones
163:chord
157:as a
134:to a
124:music
1444:Note
1298:Vamp
1293:Riff
1268:Fill
1053:2009
1040:ISBN
1000:ISBN
981:2010
968:ISBN
960:"11"
945:2010
932:ISBN
908:ISBN
887:ISBN
691:and
667:and
621:m7 C
567:7 (G
499:and
386:and
297:coda
216:the
136:line
112:Play
89:Play
63:Play
1086:",
808:Em7
781:Em7
585:- F
579:- D
573:- B
299:or
213:and
138:or
122:In
1490::
962:.
827:|
821:|
819:A7
816:Gb
812:Bb
799:|
793:|
787:|
785:A7
783:|
749:)
743:D#
731:Eb
727:Cb
723:Eb
715:Eb
495:,
382:,
303:.
203:),
179:)
149:A
126:,
1370:e
1363:t
1356:v
1117:e
1110:t
1103:v
1082:"
1055:.
1008:.
983:.
947:.
914:.
893:.
824:D
796:D
790:D
747:B
739:B
735:G
719:G
711:G
707:B
605:F
266:(
257:(
242:(
228:(
190:,
175:(
95:.
69:.
44:"
34:.
20:)
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