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    3 Reharmonization Techniques Every Guitarist Should Know

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    Mariano
    This article contains 3 Reharmonization Technique examples used in a solo jazz guitar situation. Changing the tonality of a tune is an effective technique to experiment with. Adding more bass notes is effective on melodies that have ascending or descending scale based passages.

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    3 Reharmonization Techniques Every Guitarist Should Know

    Uploaded by

    Mariano
    294 views4 pages
    This article contains 3 Reharmonization Technique examples used in a solo jazz guitar situation. Changing the tonality of a tune is an effective technique to experiment with. Adding more bass notes is effective on melodies that have ascending or descending scale based passages.

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    This article contains 3 Reharmonization Technique examples used in a solo jazz guitar situation. Changing the tonality of a tune is an effective technique to experiment with. Adding more bass notes is effective on melodies that have ascending or descending scale based passages.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    294 views4 pages

    3 Reharmonization Techniques Every Guitarist Should Know

    Uploaded by

    Mariano
    This article contains 3 Reharmonization Technique examples used in a solo jazz guitar situation. Changing the tonality of a tune is an effective technique to experiment with. Adding more bass notes is effective on melodies that have ascending or descending scale based passages.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 4

    3 Reharmonization Techniques Every

    Guitarist Should Know


    Learning jazz reharmonization techniques is not only a great way to develop jazz comping
    skills but it also expands application of jazz substitutions and superimpositions.
    Reharmonization techniques are often required for solo jazz guitar arrangements to create
    interest, interpretation and originality. That is not to say that every tune should have 20
    chords in the first measure.
    But if a tune only has 3 chords, there is nothing wrong with adding some harmonic twists.
    This article contains 3 reharmonization technique examples used in a solo jazz guitar
    situation. Each example contains a before and after sample.
    Reharmonization Technique #1 Change Tonality

    An effective reharmonization technique to experiment with is changing the tonality of a
    tune. This technique works best on melodies that do not contain thirds because the original
    theme can be kept as it is.
    The Happy Birthday theme is usually played in a major key. The first line in the example
    below shows how the melody can be harmonized using major chords. In the second line the
    major 7
    th
    chords have been changed to minor 6ths.
    Almost all of the dominant 7
    th
    chords are now flat 9 chords producing a minor V I
    cadence.
    The entire theme now has a much darker feel it than it did with major chords. Try and find
    some other traditional or folk melodies that do not contain thirds in the melody and apply
    the changing tonality reharmonization technique to them.


    Reharmonization Technique #2 Harmonize Bass Notes

    The next reharmonization technique of adding more bass notes is applied to the jazz
    standard Polka Dots and Moonbeams.
    This particular standard contains endless possibilities for reharmonization techniques and is
    well worth learning as a solo jazz guitar piece.
    The original chord progression in the first two bars of this tune is a I VI II V.
    The new chord progression is essentially doing the same harmonic job, but with a
    descending bass line in the first bar.
    Adding more bass notes is effective to use on melodies that have ascending or descending
    scale based passages, like in Polka Dots and Moonbeams.
    There is a chord to support each new bass note. The E7 could also be E-7 to diatonically fit
    the key of F, but an E7 provided more effective voice leading.
    The great Ted Greene also applied the harmonized bass note technique to his arrangement
    of Polka Dots and Moonbeams.


    Reharmonization Technique #3 Add More Cadences

    The final reharmonization technique explored in this article is adding more cadences.
    Besides demonstrating how to addd more cadences this example incorporates the
    chromatically moving bass techniques from the last example.
    The song used in this example is the bridge to Somewhere Over The Rainbow.
    The first bar usually only contains a major 7
    th
    chord for the entire duration.
    In this example I have adding another chord (C#dim7) while retaining the original melody.
    The C#dim7 is essentially acting as an A7b9 which provides a V I cadence to the D-7 in
    the next bar.
    A C#dim7 was used instead of an A7b9 to create a chromatically rising bass note.
    Tritone substitution is used in the second bar to continue the chromatic bass movement as
    the G7 is now a Db7#11.
    The common I VI II V substitution of replacing the I chord with a III is used in the
    penultimate bar to create cyclic bass movement and a full minor ii V I.



    I hope that you enjoy playing through each of the examples and that they provide you with
    some fresh ideas to spice up your solo jazz guitar playing.
    What are some of your favorite reharmonization techniques? Share your thoughts in the
    comment section below.

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