Reharmonization

Reharmonization is the process of modifying the original harmony of a song while keeping the melody intact. There are various techniques that can be applied to reharmonize a song, each offering a new perspective and sound. The melody acts as a guiding line, determining the "boundaries" of the reharmonization. It is crucial that any modifications to the harmony are tested to ensure they fit well with the melody, preserving the essence of the original song.

Reharmonizing with Tetrads

The first and simplest technique of reharmonization is to replace triads (three-note chords) with tetrads (four-note chords). Tetrads, such as seventh chords, add an extra layer of complexity and richness to the harmony.

Instead of:

we can use:

Reharmonizing with Tension Notes

Another simple and effective technique is to add tension notes to the chords. These notes, such as the ninth, eleventh, and thirteenth, create a sense of movement and emotion, enriching the sound without altering the basic structure of the chord.

Instead of:

We can use:

Reharmonizing with Different Voicings

A chord can be constructed in various different ways, known as "voicings." Changing the position of the notes within the chord, especially the highest note (the "top"), can result in new and interesting sounds. This technique allows exploring different timbres and textures without altering the harmonic function of the chord.

Change the position of the notes in:

Reharmonizing with Chord Inversions

Using different inversions of a chord (1st, 2nd, and 3rd inversions) can bring surprising results, especially when combined with interesting bass lines. Inversions change the lowest note of the chord, altering its sound and creating new melodic possibilities.

Use inversions such as:

Reharmonizing with Inner Lines

Inner lines are chromatic movements of notes within a chord, functioning as a counterpoint. These lines can be applied to any type of chord (major, minor, etc.), creating a sense of continuity and fluidity. For example, starting from the major 8th of an Em chord, we can descend chromatically to the major 6th:

Try applying inner lines from other notes, such as the 13th, 11th, 9th, and 5th, to explore different harmonic textures.

Reharmonizing by Chromatic Approach

Chromatic approach uses the chromatic movement of the bass to reach the target chord, employing chords that do not belong to the harmonic field. This can happen with chords of the same structure or different structures, creating smooth and unexpected transitions.

Use chromatic chords and bass lines like:

Reharmonizing by Secondary Dominant

The secondary dominant is a chord that has a dominant function over another chord that is not the tonic of the song. For example, in the key of C major, we can use A7 (secondary dominant) to prepare Dm. This technique expands the harmonic field, allowing for richer and more varied harmonic preparations.

Prepare Dm with A7, resulting in:

Reharmonizing by Substitute Dominant

A substitute dominant, or subV7, is a chord that replaces the original dominant using the tritone. For example, in the key of C major, we can replace G7 with Db7, as both have the tritone B-F. This substitution creates an unusual and sophisticated sound.

Replace G7 with Db7, resulting in:

Instead of:

Reharmonizing by Extended Dominant

Extended dominants are chords that prepare other dominants, creating a chain of resolutions. In the key of C major, for example, we can have the progression:

Adding extended dominants allows for longer and more elaborate progressions, enriching the harmony of the song.

Reharmonizing by Modal Borrowing

Modal borrowing chords are chords that belong to a different key. For example, in the key of C major, we can borrow chords from C minor or from the Greek modes. This technique adds color and diversity to the harmony, exploring sounds outside the traditional harmonic field.

In the key of C major, use borrowed chords from another mode:

Reharmonizing by Auxiliary Dominant

The auxiliary dominant prepares a modal borrowing chord. For example, in the key of C major, we can use Eb7 to prepare Abmaj7 (a borrowed chord from C minor). This preparation creates smooth and coherent transitions between different keys.

Reharmonizing by Substitution of Chords with the Same Harmonic Function

Each degree of the harmonic field has a harmonic function (tonic, subdominant, dominant). Replacing chords with others of the same function can create interesting variations without altering the basic harmonic progression. For example, in the key of C major, we can replace G7 (dominant) with Bdim7 (also dominant).

Reharmonizing by Adding Chords with the Same Harmonic Function

This technique consists of keeping the original chord and adding one or more chords of the same function. For example, in the progression | C | F | G | C |, we can add a Dm before G to enrich the harmony:

Reharmonizing by Dismemberment (2,5,1)

Also known as the 2-5-1 cadence, this technique expands the perfect cadence (dominant-tonic) to subdominant-dominant-tonic. For example, instead of | G | C |, we can have | Dm | G | C |. This technique is widely used in jazz and creates a smoother and more interesting progression.

Without 2,5,1:

With 2,5,1:

Conclusion

Reharmonization is an art that allows transforming and enriching the harmony of a song without altering its essential melody. By exploring various techniques, from the use of tetrads to substitute dominants and modal borrowings, musicians can discover new sonic and expressive dimensions in their compositions and arrangements. Each technique offers a unique way to approach harmony, providing a vast palette of musical colors and emotions.

With reharmonization, it is possible to revitalize known songs, creating fresh and innovative versions that capture the listener's attention. Additionally, this practice is an excellent tool for musical development, challenging musicians to think creatively and understand harmonic structures more deeply. Whether you are a music student, composer, or arranger, mastering reharmonization techniques will open new possibilities for your artistic expression and enrich your musical practice.

Try applying these techniques to your favorite songs and see how reharmonization can transform something familiar into something extraordinary. Remember to always test the new harmonies with the original melody, ensuring that the essence of the music is preserved while new sonic dimensions are explored.