Harmonization - Wikipedia

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https://en.wikipedia.org/wiki/Harmonization

Harmonization
From Wikipedia, the free encyclopedia

In music, harmonization is the chordal

accompaniment to a line or melody: "Using
chords and melodies together, making
harmony by stacking scale tones as triads".[2]
A harmonized scale can be created by using
each note of a musical scale as a root note for
a chord and then by taking other tones within
the scale building the rest of a chord.[3]
For example, using an Ionian (major scale)
the root note would become the I major
chord,
the second note the ii minor chord,
the third note the iii minor chord,
the fourth note the IV major chord,
the fifth note the V major chord (or even
a dominant 7th),
the sixth note the vi minor chord,
the seventh note the vii diminished
chord and
the octave would be a I major chord.

Two harmonizations of "Yankee Doodle"

One harmonization[1]

Another harmonization

Play .

Play .

Harmonized C major scale

Play : I, ii, iii, IV, V7,

vi, viio.

Using the minor (aeolian mode) one would have:

i minor,
ii diminished,
()III major,
iv minor,
v minor,
()VI major,
()VII major and
the i minor an octave higher.[4]

Contents
1 Reharmonization

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1.1 Reharmonizing a melody

1.2 Jazz reharmonization
1.2.1 Chord substitution
1.2.2 Planing
1.2.3 Multi-tonic systems
2 See also
3 References
4 External links

Reharmonization
Reharmonization is the technique of taking an existing melodic line and altering the harmony
which 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 coda
or bridge.

Reharmonizing a melody
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 - 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), fifths (E would act as 5 on an A augmented chord A - C E),
and a wide array of other options.
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.
For example, if a melody composed of E - F and G was originally harmonized with Emaj7,
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, however handling this dissonance requires a good ear and a deep understanding of
harmony.

Jazz reharmonization
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 standard and alter the changes to make the tune sound more
contemporary or progressive. Art Tatum was a pioneer of reharmonization, and later on John

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Coltrane, Miles Davis and Bill Evans 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.
Chord substitution
One of the most common techniques in jazz reharmonization is the use of substitute chords,
through a technique known as tritone substitution. In tritone substitution, a dominant chord is
replaced by another dominant chord a tritone above its tonic. 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 enharmonic equivalents of C and F, the seventh and third of a D7 chord. Since
the tritone is a distinguishing feature of the sound of a dominant 7th chord,[5] a D7 chord may thus
replace G7.
Tritone substitution works very well on standards, because the chord progressions typically utilize
the II V I progression and the circle of fifths. For example, a jazz standard using a chord
progression of Dm7 G7 Cmaj7 could easily be reharmonized to Dm7 D7 Cmaj7, (G7 is
replaced with the dominant 7th chord a tritone away, D7). The new progression has a more
contemporary sound, with chromatic bass motion and smooth voice leading in the upper parts.
Tritone substitution is also possible with major seventh chords, for example Dm7 G7 Cmaj7
could become Dm7 Dmaj7 Cmaj7. Thad Jones sometimes uses this type of substitution in his
big band writing.[6]
As opposed to the classical approach to tonal harmony, in jazz there are only three functions: tonic,
subdominant and dominant. 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 ii-V-I turnaround. (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 IImaj7 chord mentioned in the previous
paragraph may get a preceding VImaj7 chord instead of the relative II or its tritone substitution.
Combining the above techniques, the following progression:
C

| Am7

| Dm7

| G7

| C ||

can turn into

E7 A7 | Bbm7 Eb7 | D7

F7 | Abmaj7 Dbmaj7 | C ||

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Planing
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 tritone apart,
maintaining the shape and voicing of the chord, at times resolving to the original chord. For
example, F7 (F A C E) could slide up to become G7 (G - B - D - F), 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; as a dominant
chord assumed to be the fifth degree of the momentarily tonicized F major, it can have a second
degree added to it, thus creating an incomplete ii-V-I turnaround which may or may not resolve to
the original chord: Gm7 C7 | (D)
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. Herbie Hancock uses
improvised planing on his tune "Chameleon", on his 1973 Head Hunters record; McCoy Tyner uses
it extensively (specifically, pentatonic scales located a tritone apart) in his recordings with John
Coltrane, most notably "A Love Supreme", as well as in his own albums of the same period.
Multi-tonic systems
A concept introduced by Joseph Schillinger and Nicolas Slonimsky, the idea of multiple tonics
derived from equal division of the octave appealed to John Coltrane, who proceeded to compose
the groundbreaking tune "Giant Steps". The composition features a series of dominant chords and
ii-V-I turnarounds resolving to three tonalities built on the B augmented triad (the three-tonic
system):
B D7
G Bb7
Eb
B

|
|
|
|

G
Eb
Am7
Fm7

Bb7
F#7
D7
Bb7

|
|
|
|

Eb
B
G
Eb

|
|
|
|

Am7
Fm7
C#m7
C#m7

D7
Bb7
F#7
F#7

|
|
|
|| (B)

This concept was very innovative for the jazz world, to the point that Tommy Flanagan was unable
to properly improvise on the original "Giant Steps" recording. Developing this 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 diminished seventh chord) as a reharmonization tool, which has
ultimately become known as "Coltrane changes".[7] In this example from "Countdown" (which is
really a "Coltrane changes" version of "Tune Up", the well-known jazz standard composed by
Miles Davis), 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:
original (Tune Up):
Em7

| A7

| D

| D |

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reharmonized (Countdown):
Em7 F7 | Bb Db7 | Gb A7 | D |

This kind of reharmonization mostly requires alteration of the original melody because of the
frequent modulations and therefore, becomes "reharmonization of the changes" rather than the
classic concept of re-harmonizing the melody.

See also
Chord progression
Harmonic rhythm
Traditional sub-Saharan African harmony

References
1. Porter, Steven (1987). Harmonization of the Chorale, p.9. ISBN 0-935016-80-5.
2. Schonbrun, Marc (2006). The Everything Music Theory Book: A Complete Guide to Taking Your
Understanding of Music to the Next Level, p.257. ISBN 1-59337-652-9.
3. Bruce Buckingham; Eric Paschal (October 1, 1997). Rhythm Guitar: The Complete Guide. Musicians
Institute Press. p. 48. ISBN 978-0-7935-8184-9. Retrieved 19 July 2010.
4. Keith Wyatt; Carl Schroeder (April 1, 1998). "11". Harmony and Theory: A Comprehensive Source for
All Musicians. Musicians Institute Press. p. 58. ISBN 978-0-7935-7991-4. Retrieved 19 July 2010.
5. Levine, Mark (1995). The Jazz Theory Book. CA: Sher Music Co. p. 262. ISBN 1-883217-04-0.
6. Wright, Rayburn. Inside the Score: a detailed analysis of 8 classic jazz ensemble charts by Sammy
Nestico, Thad Jones, and Bob Brookmeyer. New York: Kendor Music, Inc., 1982. pp. 45 109.
7. Farah Jasmine Griffin and Salim Washington (2008). Clawing at the Limits of Cool. Thomas Dunne
Books. p. 242. ISBN 0-312-32785-4. Retrieved Jul 16, 2009.

External links
http://www.torvund.net/guitar//index.php?page=Th_harmscale
http://guitarsecrets.com/harmonizing.htm
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Categories: Harmony Musical scales
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