Hey there, music lovers! If you’ve ever found yourself getting a tad bored with a straightforward chord progression, you’re in for a treat. Today, we’re diving into the wonderful world of jazz reharmonization. Think of it as giving your chords a fun makeover. Let’s jazz things up
Jazz reharmonization is a technique used by musicians to add complexity, diversity, and interest to a chord progression. It involves replacing existing chords in a progression with alternative ones that maintain—or sometimes creatively alter—the harmonic context of the piece. Here’s an overview of some common reharmonization techniques, starting with tritone substitution
1. Tritone Substitution
Example 1:
- Original: A7 – Dmaj7
- With Tritone Sub: Eb7 – Dmaj7
Explanation 1: Imagine your dominant chord (A7) is wearing a bright new color. By sliding the root a tritone away (to Eb7), you get the same jazzy spice without losing the harmonic essence. Both chords share key tension tones (C# and G), keeping that pull toward Dmaj7.
Explanation 2: Picture swapping out one puzzle piece for another of the same shape but different color. Here, A7 and Eb7 share the same fit in the progression’s puzzle by both driving home to Dmaj7 with their common tritone interval.
Example 2:
- Original: C7 – Fmaj7
- With Tritone Sub: Gb7 – Fmaj7
Explanation 1: Shift C7 over three whole steps to find its tritone buddy, Gb7. This switch retains the driving resolution towards Fmaj7 with familiar tension tones (E and Bb), just wearing a new suit.
Explanation 2: Think of C7 as your familiar route home. Taking Gb7 is like an alternate scenic route, offering a fresh view while ensuring you reach the same destination: Fmaj7.
2. Secondary Dominants
Example 1:
- Original: Cmaj7 – Amin7
- With Secondary Dominant: E7 – Amin7
Explanation 1: A secondary dominant, like E7, acts as a powerful spotlight, highlighting its target, Amin7. It’s like adding extra seasoning to a dish, where E7 brings out Amin7’s best flavors.
Explanation 2: E7 is the musical equivalent of a fanfare leading into Amin7. It temporarily shifts the focus, creating surprise before naturally falling back into the original progression.
Example 2:
- Original: Gmaj7 – Cmaj7
- With Secondary Dominant: D7 – Gmaj7 – Cmaj7
Explanation 1: D7 energizes the Gmaj7 start by heralding its arrival, like a burst of awaited sunshine breaking through clouds, setting the stage beautifully for Cmaj7.
Explanation 2: Think of D7 as a pre-party hype man for Gmaj7, amplifying anticipation for what’s to come and making the transition to Cmaj7 more exciting and profound.
3. Modal Interchange
Example 1:
- Original: Cmaj7 – A7 – Dmin7 – G7
- With Modal Interchange: Cmin7 – A7 – Dmin7 – G7
Explanation 1: Modal interchange borrows Cmin7 from C minor’s rich palette, replacing Cmaj7 to inject a touch of mystery and contrast right at the progression onset.
Explanation 2: Think of modal interchange as checking out a friend’s playlist. Cmin7, taken from a minor mode, adds a reflective, unexpected twist to the typically brighter Cmaj7 scenario.
Example 2:
- Original: Fmaj7 – Bbmaj7 – C7
- With Modal Interchange: Fmin7 – Bbmaj7 – C7
Explanation 1: Swap out the sunshine of Fmaj7 for the moody depth of Fmin7, adding emotional nuance by borrowing this chord from its minor counterpart.
Explanation 2: Picture modal interchange as getting a temporary makeover; the familiar Fmaj7 suddenly has a minor-key flair, lending the progression a touch of wistful elegance.
4. Approach Chords
Example 1:
- Original: Gmaj7 – Cmaj7
- With Approach Chord: Gmaj7 – Bbm7 – Cmaj7
Explanation 1: An approach chord like Bbm7 slyly slides into Cmaj7, acting like a quick side-step in a dance, creating smoothness before the key chord hits.
Explanation 2: Visualize an approach chord as the decorative trim on a piece of art. Here, Bbm7 decorates the connection between Gmaj7 and Cmaj7 for a smoother, more intriguing transition.
Example 2:
- Original: Dmin7 – G7 – Cmaj7
- With Approach Chord: Dmin7 – Ab7 – G7 – Cmaj7
Explanation 1: Ab7 comes out of nowhere to steer dramatically into G7, providing a suspenseful moment that adds a rich, surprising detour before resolving to Cmaj7.
Explanation 2: Consider the Ab7 as a dramatic glide into G7. It’s like a scenic curve in a straight road, momentarily diverting attention, then ushering listeners back to familiarity with style.
5. Diminished Passing Chords
Example 1:
- Original: Amin7 – D7 – Gmaj7
- With Diminished Passing: Amin7 – D#dim7 – D7 – Gmaj7
Explanation 1: D#dim7 adds a delicate chromatic step between Amin7 and D7, providing a gentle tension that enriches the lead into Gmaj7.
Explanation 2: Think of D#dim7 as stepping stones in a stream, easing your way from Amin7 to D7; every step adds intrigue and anticipation on the way to Gmaj7.
Example 2:
- Original: Cmaj7 – Fmaj7 – G7
- With Diminished Passing: Cmaj7 – F#dim7 – Fmaj7 – G7
Explanation 1: F#dim7, like a hidden passage, guides the ear from the open embrace of Cmaj7 toward Fmaj7, maintaining interest with its dissonant charm.
Explanation 2: Imagine F#dim7 as a whispered secret between chords, inserted slyly between Cmaj7 and Fmaj7 to build subtle yet perceptible mystery into the progression.
6. Altered Dominants
Example 1:
- Original: D7 – Gmaj7
- With Altered Dominant: D7#5 – Gmaj7
Explanation 1: D7#5 adds a dramatic flair to the dominant, igniting more tension and excitement that finally releases into the calming embrace of Gmaj7.
Explanation 2: Alter the D7 with a #5 for an extra dose of drama. It’s like adding a juicy plot twist, intensifying the lead-in to Gmaj7 with anticipation.
Example 2:
- Original: B7 – Emaj7
- With Altered Dominant: B7b9 – Emaj7
Explanation 1: B7b9 spices up the harmonic story, layering in exotic tension that melts beautifully into the resolution when Emaj7 arrives.
Explanation 2: Picture the B7b9 as the wild card in the deck; it delivers unexpected tension to B7, making the resolution to Emaj7 all the more satisfying.
7. Pedal Points
Example 1:
- Original: Gmaj7 – Cmaj7 – D7
- With Pedal Point: Gmaj7/D – Cmaj7/D – D7
Explanation 1: Gripping onto the note D solidifies the root while the chords dance around it, creating a consistent harmonic base throughout the pattern.
Explanation 2: Imagine D as your grounding point; no matter how the other chords change, it keeps things anchored, giving the piece structural depth.
Example 2:
- Original: Amin7 – D7 – Gmaj7
- With Pedal Point: Amin7/G – D7/G – Gmaj7
Explanation 1: Holding G creates a pedal tone effect, offering a thrilling sense of continuity and suspense as the chords shift above it.
Explanation 2: Picture G as the backbone of your progression, maintaining harmony and providing continuity and tension beneath the changing chords.
In our musical journey, we’ve explored the enchanting world of jazz reharmonization, uncovering ways to transform ordinary chord progressions into captivating masterpieces. From the mystical charm of tritone substitutions to the dramatic flair of altered dominants, each technique offers a unique path for musical exploration and creativity. Whether you’re borrowing chords through modal interchange or threading a consistent pedal point, these methods invite you to experiment and enrich your jazz improvisations. So, grab your instrument, let your imagination run wild, and enjoy the endless possibilities of jazz harmony. Keep playing, keep creating, and let every chord tell a new story. Happy jamming! 🎶
