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then it's time to start your own arrangement/reharmonization
If you like my Reharmonization
and you would like to apply similar skills and vocbulary to your own jazz standards
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|Section 1: Autumn Leaves Reharmonization Performance|
Jazz Guitar Reharmonization is and can be totally mystifying to any musician.Where do you start? Which is the definitive version? Shall I copy my favorite version? etc etc I had the same problems, until I recognised what was happening. Each great player demonstrates his understanding of music by reharmonizing songs in their own unique way.
Does the Chet Atkins version sound like the Joe Pass version? No.
Fake books will supply us with a starting point for most Jazz standards.
Step 1 confirms our understanding of each chord in the progression, with relation to the key.
Step 2 we are left with targeting chords, secondary dominants, II V's outside of the key and bV subs.
Step 3 we apply our vocabulary based on our understanding of chord extensions, chord substitutions, Diatonic Reharmonization, Modal Reharmonization and Intervallic Reharmonization, whilst supporting the melody.
Job done! Lets get started....
section 2 contains justification of each chord shape/substitute with accompanying charts
section 3 contains all of the charts necessary for your own reharmonizations. I have also included videos explaining Diatonic,Modal,Intervallic Reharmonization and chord extensions.
|Section 2: Analysis of original chords and reharmonizations applied|
We take a look at the first 4 bars of my reharmonization of Autumn Leaves.
I've used Modal and Intevallic chord substitution.
I identify all possible modal substitutes for chord II(Am7) and chord IV(Cmaj7), and Intervallic substitutes for the V chord(D7).
We take a look at the next 4 bars of my We take a look at the first 4 bars of my reharmonization of Autumn Leaves.
I've used Modal and Intervallic chord substitution.
I identify all possible modal substitutes for chord II(F#m7b5) and Intervallic substitutes for the V chord(B7) of Em7,and Intervallic subs for E7( V of Am7)
got to section 3 for more on Intervallic/Modal Reharmonization.
B7 and two bars of Em7
Intervallic sub for B7 is F13
Em cliche follows
F#m7b5 may become F#7 as it is 5 steps higher than B7b5. This is the Secondary Dominant principle. Any chord that appears a 5th higher than the next chord may become a 7 chord.
then this F#7 gets replaced by F#diminished since diminished chords may be built on the 3rd or b5th of any 7 chord.
as the key of the moment may be interpreted as E minor....I've substituted it for a VI ......sounds cool...I think
then we are targeting the next chord, which should be Am7 with E7#9 and E9
a simple II V I in G gets a twist on the II chord
Don't forget you are supporting the melody
earlier I decided to treat an Em7 as a I chord and substituted it for a VI (Cmaj7)
WELL I 've done the same again with Am7..... it's now Fmaj7
then I used an intervallic sub for D7....Ab7b5
kept the Gmaj7 though
II V I in E Minor(VI) has been changed for II V targeting G(I) with an F# diminished replacing D7
I replaced Em7(I decided it was the key of the moment) with its VI (Cmaj7) and its III (Gmaj9/B)
D diminished is a sub for G7 V of the next chord.
C13 and C9 are Modal substitutes. IV of G Major for IV of G Dorian.
F13#11 is an Intervallic sub for B7 (Vof Em)
Em/add9 is a simple extension of Em7(VI of G)
As the key of the moment is Em. I've decided to "change from Minor to Major" said it the wrong way round in the vid lol
Got those 3 reharmonization tricks yet?
master them and you'll never run out of steam. I used to get stuck in bar 2 of every jazz standard I tried.I didn't have enough vocabulary. I audition these 3 systems as I progress through each song.I Hope you find your vocabulary growing. I've given you charts for every possibility/key/chord sub in the next section. You may want to watch me do the next song etc till you get it. cheers
|Section 3: Diatonic, Modal & Intervallic Videos and charts.|
Chord Extensions are not substitutes, they are the original chords with scale notes added.
The charts will help you identify the position of every chord within the key of the song and expose those that are not. Once you have the roman numerals in place you can start to experiment with Diatonic,Modal and Intervallic Reharmonization.
In any Key, I III & VI are interchangeable.this is sub group #1
In any Key, II & IV are interchangeable.this is sub group #2
In any Key, V & VII are interchangeable.this is sub group #3
When these ideas are exploited it's called Diatonic Reharmonization. You are substituting the original chords for chords from the same key/scale.
One amazing feature of this idea is the targeting chords(II's & V's) of each substitute can be used to target chords in that sub group. Am7 D7 should end with Gmaj7 but change that for Em11....wow and C#m7b5 with F#7(II &V of Bm7) followed by Gmaj9
there's even more possibilities when you enter Modal and Intervallic Reharmonization!
II V I
Am7 D7 Gmaj7
Gmaj7(I) can be freely substituted for III or VI from any G Mode.
This is subgroup#1 I III VI are interchangeable
Since EACH I III & VI are interchangeable
their targeting chords (II’s & V’s) are also.
Am7(II) can be freely substituted for IV from any G Mode.
This is subgroup#2 II & IV are interchangeable
D7(V) can be freely substituted for VII from any G Mode.
This is subgroup#3 V & VII are interchangeable
This is an example of Modal Reharmonization in Major Scales only. The charts supplied explore Harmonic & Melodic Minors also.
Lets explore Intervallic Reharmonization next
II V I
Am7 D7 Gmaj7
Any chord can be substituted for a chord occupying the same position in a major scale intervallically positioned with the original key.
G Db G
One possibility:- Am9 Ab13 Dbmaj9 instead of Am7 D7 Gmaj7
G B Eb G
One possibility:- Am9 Bb13 Bmaj9 instead of Am7 D7 Gmaj7
G Bb Db E G
One possibility:- Cm9 Ab13 Emaj9 instead of Am7 D7 Gmaj7
G A B C# D# F
One possibility:- C#m9 Ab13 Fmaj9 instead of Am7 D7 Gmaj7
Charts for every key are available for you to download.
|Section 4: Quiz Time|
|Lecture 13||1 page|
|Lecture 14||1 page|
|Lecture 15||1 page|
transcriber/analyst/performer of thousands of tunes of all genres.
educator of guitar/bass since 1979.
performer, side man, arranger, band leader, guitarist, bass player in many types of bands from duos to big bands from 1964.
Collaborator on KOMPOZ
Studied privately in New York and London
Still active locally with several local bands, one to one tuition and schools etc, and solo as BossaNovaGuitar.
Author of Rock Solid Pentatonics, Easy Blues, 5 Golden Rules of Bass ebooks