MSessions 2006-02 Reharmonization Secrets Part 1

Reharmonization Secrets Part 1
Taking the harm out of Reharm

By Ted Eschliman
Those who seek Harmony

The very fact that youre reading this suggests you have an interest in making your music more interesting.
What we want to explore in this issue is ways to add rich alternate harmonic progressions, or
reharmonization.
The creative process: not so creative?

If youve ever listened to a piano bar musician or wedding reception solo guitarist, heck, even a really good
street busker, youve probably marveled at the seemingly endless ability to take standard familiar tunes and
create complex, perhaps flamboyant new music out of something simple. Lets suggest that with a few
music theory tricks, you can be adding some zest to your own performance. You can imitate the great
musicians such as pianist Bill Evans who was known for taking Broadway and contemporary pop tunes and
converting them to jazz standards in public perception. You wont repeat the notes, but you can mimic
some of the process.
1.
2.
3.
4.
5.
Add a preceding Dominant chord.

Add a preceding Dominant, precede that with a Dominant Preparation chord or chords.
Include a (Diatonic) Turnaround.
Include a Circle of 5ths Turnaround.
Embellish with Tritone Substitution Turnaround.
Dont get intimidated by terminology here. Some of this we covered in previous articles, like our
Understanding the ii V7 I progression (link: http://mandolinsessions.com/dec03/ted.html ) or the
follow-up article Again the Tonal Centers: Understanding the 'ii V7 I' (link:
http://www.mandolinsessions.com/oct04/mandology.html). If you havent already read these, its worth a
review. We adhere to the principle and practice of learning the concept first and slapping a label on it
afterwards, so you can repeat the concept in another context. To accomplish this, well take a popular 70s
folk tune, Joni Mitchells Both Sides Now apply the above principles and give some intriguing new
harmonic color.
We begin
Take a look at this first line. Really, you could conceivably play the entire first 4 measures on just a G
chord, but even the casual folk musician would usually add the C (IV) in Meas 2, and D7 (V7)in Meas 4.
Not particularly jazzy, but it fits the melody and is familiar to even the unsophisticated ear.
Start from the destination

The most important thing we hope you take away from this whole article is the idea that you always start
with your destination and work backwards. A great sculptor doesnt just start whacking away at a solid
chunk of granite, there is an end result conceived. He/she may encounter a variation in the process of
carving, but the final product is already mentally etched in stone. (Pun intended)
Listen to music this way: ask where do we end up? and then how did we get there? This is the dirty
little secret of harmonic analysis and its amazing how many students (young and old) fail to grasp this. We
knew we wanted to end up in G, now were working backward for options. Lets insert a V7 chord, the
Dominant by adding a D7. In the following example, we will accomplish #1 Add a preceding Dominant
chord.
Get Prepped
Another variation is to add a Dominant Preparation (#2) before the (you guessed it) Dominant. Here
well add an Am chord. Note weve stretched the rhythmic meter a bit by moving this chord to the very
beginning of the measure. It works, because in essence, weve used a simple ii V7 I harmonic sentence
to verify the key of G Major. (Again, its all about the destination.)
Turnaround, too.
Another favorite variation is # 3, Include a Turnaround. You may have heard this phrase already; its
common for jazzers to refer to this at the end of a song as a way to detour and come back to the
beginning of the song. You will hear Swing musicians use these regularly in the last 2 bars of a 12-bar
blues progression. Generally its a variation of the familiar Doo Wop I vi7 ii7 V7 (G Em7 Am7 D7).
Note: we dont leave the key at all (Diatonic for those of you keeping score), using no accidentals.
You arent limited to the end of the song for the Turnaround! You can use it in any harmonically stagnant
section, and well use it here in the very beginning of the song.
Why is it okay to end this on the Dominant chord D7? Because the 3rd Measure is in G Major, and again,
weve shuffled things up a bit, but will start the next measure appropriately. Were already nicely running
down the path of reharmonization.
Pleading the 5th...
Speaking of accidentals, and working backwards, another common Turnaround is to take the Dominant
of the Dominant (A7), and precede it with the Dominant of the Dominant of the Dominant (E7). (Yikes!)
For the uninitiated, this is called the Circle of Fifths (E7, A7, D7). Though it may be a bit of a stretch to
the ear, here well actually try it here in the first two measures. The G# of the E7 and the C# of the A7
chord clash with the melody; but the speed of the harmonic motion in these two measures (the chord
progression to the destination), sets us for beginning of the 3rd measure, still in the key of G. (It does work,
especially in improvising when you arent necessary including the melody.) This is #4 Include a Circle of
5ths Turnaround.
Call in the Substitute

We can also take this another step by substituting the Turnaround chords with chords that are a Tritone
away: 6 frets, a raised 4th or a lowered 5th. Well also inflict a jazz flavor by changing the chords to Major
7 instead of a Dominant chord for an other worldly sound. Were at our final tip #5, Embellish with
Tritone Substitution Turnaround. Note we still maintain a progression of 5ths, starting with the BbMaj7.
Lets look at the next two measures for another trick and continue the principles. Again, rather than start
with the traditional G chord, were going to start preparing for the final G by inserting our Dominant
Prep chord Am. Have some fun and add a jazz flavor by a lowering the 5th to an Am7(b5).
The next two beats are your Dominant (D7), but were going to delay gratification by embellishing with
the Gdim7 chord. This momentarily lowers the 3rd and 5th degrees of the chord, resolving to a lovely Tonic
Gmaj7 chord.
The next four measures of the song are quite similar harmonically. You can play with these variations on
this section, and well follow up in the next issue on ways to reharm the last half of the song. Meantime,
have some fun with these four tricks.
Start with your destination and work backwards.

You can dig up some common Fiddle tunes, and have the same fun with them. If youre in a situation
where you need to provide a lot of music, this is a great way to stretch things, as well maintain your sanity
by keeping things fresh.
Again, its about the destination. Like the childrens game of musical chairs, it doesnt matter where you
wander, just so long as you end up on a harmonic seat when the music stops. Find those moments of
harmonic rest in the song, and think about working the tricks backward from there.
Have you been enjoying the great resources at Mel Bay's MandolinSessions.com? If you're new here, be
sure to click on the Back Issues button above. If you've been a regular, take the time to drop us a note with
some feedback: a question for a future article, an observation about something that is helping your playing,
or just let us know what part of the world you are.
If curiosity has the better of you and you cant wait until the next issue for the rest of the chords, email us at
[email protected], and of course drop in on the Jazzmando.com website, for the latest Tips and Tricks
and jazz mandolin related news!

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Reharmonization Secrets Part 1

Taking the harm out of Reharm

Those who seek Harmony

The creative process: not so creative?

Add a preceding Dominant chord.

Start from the destination

Call in the Substitute

Start with your destination and work backwards.

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