CHAPTER II; REHARMONIZATION As with previous examples, choice of modality will be determined by style and func requirements. Note that the diminished 7th chord symmetrically divides the octave. Example 2.5a: The Roots of the Diminished Seventh Chord from the 4th (Key of Bb) a Bb: Vv v " w Vil a bn rig COMMENTS: Bar 1: The basic IV-V cadence Bar 2: Substituted root (C) a third down Bar 3: A new root a tritone down (A) Bar 4: Substituted root a M6 down (Gb) Example 2.Sc: The Roots of the Diminished Seventh Chord from the Sth Including Tritone Substitution (see page 17 Example 2.Sd: Substitution Examples ey wee ye be 9 ie Y = =F = § Z ry f te Bb: v7 1A bVilsus 1A WMA+ 1a blz 1A bvi- BIT 1A COMMENTS: Bar 1: The basic V-I cadence Bar 2: A substituted bVTIsus chord for the V7 Bar 3: A substituted IIIA+ for che V7 Bar 4: A tritone substitution for the V7 Bar S: An added II chord to the trirone substicurion Icis suggested the student continue the above process from the VI degree aniNee cece SUBSTITUTE CHORDS C. STYLE The first consideration when starting a teharmonization project is to establish a stylistic goal. The style of the reharmonization will determine the choice of chord quality and/or fanction of alterations and substitutions; the amount of change in the harmonic rhythm, the selection of key, rhythmic concept, form and any other of the previously cited arranging, concepts. Style is most clearly defined by what reharmonization processes are used at caden- tial areas: cycles, cadences and turnarounds, Generally speaking, there are five basic styles: 1, Standard ~ as the composer intended, usually having: (a) traditional dominant/non-dominant resolutions (b) symmetric harmonic rhythm (©) similar modality and key “quality” (@) limited reharmonization - simple tweaking (©) limited change in form 2. Blues/Urbane - similar to the sound of the Ellington and Mingus school: (a) extensive use of altered or dominant 7th chord substitutions for all minor chords found in cadential areas (b) selection of darker sounding “flat” keys (©) lower tessitura (@) use of blue notes in melodic variations (¢) “dark” colortones found at melodic cadence points 3. Newbop - based on the style of Charlie Parker's rewriting of “standards” but moderat- ed to conform to a more contemporary harmonic/melodic approach. {a) extensive use of tritone substitution (b) extensive use of parallel II-Vs (©) symmetric harmonic rhythm. (d) limited use of rewritten melodies in a moderated bebop style 4, Pop/Diatonic: (a) extensive use of diatonic substitutions (b) use of dominant sus4 chords at all cadential areas, (0) selection of brighter key centers (@) relaxed symmetric harmonic rhythm (6) use of diatonic slash/chord construction (see Table of Diatonic Substitutions, p.51) (8 use of relaxed, &th-note subdivided rhythms 5. Modal: {a) use of repose/transition harmonic rhythm, (b) extensive use of pedal point (6) extensive use of the exotic modal chords (d) use of nondiatonic slash chords ‘These general descriptions will be further illustrated and explained in subsequent examples.CHAPTER Il: REHARMONIZATION D. HARMONIC RHYTHM This refers co the speed of the occurrence of the original chords ~ where and how chords occur relative to the pulse of the composition. The harmonic rhythm of com, tions of the “standard” repertoire based on the song form usually is slow and sym: ‘The goal of the reworking of the harmonic rhythm is to give it a more dynamic quali offering a contrast of slow and quick movement and by offering a contrast of openness density. In addition, the resolution quality of cadential areas can be enhanced by the cious use of increased harmonic rhythm immediately prior to theit resolution. The the harmonic zhythm is increased by the addition of chords and is decreased by the del of chords or by the use of pedal point, Refer to the concepts of Repose and Transition giv Volume I of this book. Mutations of a composition’s harmonic rhythm are found at two areas: CADENTIAL AREAS Cadential areas are sections of a tonal harmonic scheme which show an active mov toward a resolution goal. Cadential areas are comprised of cycles, turnarounds and es, In addition to having root movements that are diatonically related and move by f or fifths, their definition is determined by the function and/or modality of the indi chords. The harmonic material of cadential areas can be of additional use in tags endings ~ always a problem area for both the composer and performer. 1. Cadences: Chords following the function formula of dominant to non-dominant formula is that of the V-I, IV-V-I and the ubiquitous II-V7-I with its implied mo Dorian-Mixolydian-lonian. 2. Cycles: A group of chords having the same function and/or modality, or showing = meity of function and/or modality 3. Turnarounds: A group of chords of mixed function/modality that are organi resolve to a target starting point, usually to the start of a section if nor the begin: the composition, NON CADENTIAL AREAS ‘Those areas in a see of chords where che harmonic rhythm is slowest, usually by having one chord for a measure or two, or where there is found a few passing chords thar non-functional role. REHARMONIZATION OF CADENTIAL AREAS Most of the harmonic content of a tonal based composition is made up of cadential las, In addition, most of this material is directly interchangeable with all compositions! on that system. With chis in mind, itis advantageous to have a number of variations monizations) of cadential materials at the disposal of the jazz composer/improviser following is a partial listing of examples of cadential reharmonizations with explanass the process. In addition to changed harmonic rhythm, the techniques used will include: ations, substitutions, and permutations of the three. By now the student should be recognize thar tritone substitution and some of the special case °7 substitutions ase matic and only those which are not of chose groups will be pointed out in the co: Note that in many cases the melody note or notes may need to be changed to conf cadential reharmonization. There is no harm in doing so and usually the end restless tically viable, A “carget chord” is usually the first chord of a section or of a phrase. It usually is & by its being che release point of a tension/release cadence or its being the object of = of chords in a modal tension contour. 1. CADENCES ‘The most basic cadence is the V-I or the more defined IV-V-I. Taking the IV-V-Ias = starting point, the following example illustrates some of the above given techniques