Tag Archives: reharmonization

Why Chord Substitutions Are Holding You Back!

To me, this is one of those things that can really open up how you work with chords and help you create some beautiful-sounding progressions without having to rely on systems and rules.

It also touches on one of the things I don’t like about a modal approach to harmony, but I will try not to rant too much about that in this video. Instead, I am going to show you a way to think about the chords that will free you from just using substitutions and will help you create some beautiful harmony that really flows through the piece.

This is closely related to the type of thinking behind the Coleman Hawkins quote: “I don’t play chords, I play movements” which is often associated with Barry Harris even though that is also not the approach that I will focus on in this video.

Like most others then I was introduced to chord substitutions pretty early in my study. This was when I was still living in Copenhagen and spent most of my time playing Jazz standards in the street when I wasn’t in school trying to get better at guitar.

I was just beginning to figure out how to harmonize melodies and turn them into chord melody arrangements but still only relying on the basic harmony (B-roll – Looking in the real book, pointing, and then trying to play a difficult chord looking baffled)

For this, I am going to start with a few basic substitutions and then we are going to expand that into something much more powerful and creative.

Chord Substitutions 101 – Tritone Subs

The first chord substitution you learn is usually the tritone substitution, which I sometimes get the impression is taught because theory teachers don’t know what to talk about in the lessons.

A tritone substitution is exchanging a dominant for the dominant a tritone away because the two chords share the same core notes: 3rd and 7th.

So in a II V I in C major EXAMPLE  the G7 is replaced with Db7. To give you this nice progression:

And you can see how the same tritone is in the two dominant chords which is why it is possible to switch them.

The best way to understand stuff like this is usually to hear it used in a song.

The basic version:

 

and with a tritone sub:

 

And this demonstrates two things: Tritone substitution(or any other chord substitution) doesn’t really make any sense if you don’t understand how it works with the chords around it. You are making the substitution to get the progression to sound different,  and you need to hear it in the context to really get what is going on, otherwise, you are in this case, just playing an E7 (b-roll: E7!) and  E7 sounds differently in a Blues in E compared to A Jazz ballad in Eb

The other thing you want to notice is that Tritone substitution usually works better when the dominant resolves, so a tritone substitute of a backdoor dominant is probably not going to sound fantastic.

Chord Substitution 102 – Major and Minor + Tritone 2.0

There are probably 3 more chord substitutions that are very common and that you want to know when you are at the stage of just swapping out chords and not really trying to think in harmony as a movement, which we will get to later.

#1 Tritone Dom instead of a II V in minor.

The first one is if you have a minor II V I like for example What Is This Thing Called Love

and you then replace the m7b5 chord with a tritone substitute resolving to the V, so in this case, Db7 moving down to C7:

The next two are about messing with how the ear expects to hear either major or minor in a II V I and then you do the opposite.

#2 a m7 instead of a IIø

If the ear expects to hear a dark-sounding m7(b5) chord EXample and instead you play a much brighter sounding chord that is a m7 with a 9th and or an 11th then that is a really nice surprise. Example

A good example could be Beautiful love. The first few bars usually sound like this:

And you can get a much brighter sound by using an Em7(11) like this:

This is pretty common and also something you can use in a solo, and there are actually even a few spots where Parker does this.

#3 a m7(b5) instead of a m7 chord

The other way around is also really nice! If you have a II V I in a song

and then make it darker by playing:

Beyond Chord Substitution

Jazz Harmony space B-roll (chord symbols flying in space?)

I guess it is sort of ironic that I started out the video by teaching chord substitutions when I actually don’t want you to think like that, so let’s go beyond that, first a bit further and then into Uncharted Jazz Harmony Space  (B-roll)

When you can only think in terms of chord substitutions then you can switch one chord out for another chord, but it actually becomes a lot better if you start to learn to work with entire progressions and come up with other ways of harmonizing that section of the melody.

This was something I first started to get into when I was studying at the conservatory and had lessons with Peter Nieuwerf and Eric Gieben who showed me some exciting ways to work much more freely with harmony, and as you will see, some of these don’t make any sense if you think of them as of chord substitutions.

Let me show you an example, that sort of goes against one of the things that makes reharmonization most effective. I am going to assume that you know what Blue Moon sounds like so that you can hear how these chords are different, and then I am going to explain what is going on.

You can hear how this still works, and still has a flow but also how far away you can go on a very simple turnaround. And actually, you can approach it in a much more open way but I’ll get to that in a bit.

The first thing I changed was turning the Am7 chord into a C#dim.

That is just a secondary dim chord and not something special.  In Bar 3, there is a lot more happening, because here the long G in the melody was original on Cmaj7 Am7, but now it is harmonized with Abmaj7 and Dbmaj7 leading into the Dm7 G7,

and Abmaj7 and Dbmaj7 are not exactly substitutions of Cmaj7 Am7, you could at most call them suspensions but since they don’t resolve back to C then that is also not really a description of what is going on.

The best way to see it is probably just to see it as something that

A/ sounds good with the melody

B/ fits in the key and the chord progression

Here they work because they are both minor subdominant chords in C major and of course sound great under the G in the melody.

In Bar 5 The Cmaj7 Am7 is turned into Bb7(#11) A7.

Again Bb7 is not really a substitution for Cmaj7 or related to Cmaj7. Instead, it is an example of choosing harmony that focuses on a different aspect of the turnaround: The chord that was there: Cmaj7 is just a tonic chord and it is a resolution when you land there, but the song keeps on moving, and the Bb7 only makes sense here because it keeps on moving to A7 and in that way is both a bit surprising but makes sense as the music continues. So you can look at the turnaround and think:

A- It is a tonic chord and then it moves on

or

B- It is a progression that needs to resolve in 2 bars.

And here I am using Bb7 because that works with the melody and really helps push towards the resolution in bar 7. In this last turnaround, I also changed the Dm7 to a D7, but that is just because I think that sounds a little better than the m7 chord with the melody.

So the big difference here is that I am much more free to use whatever chords I can get to work with the melody and the chord progression, not just looking at a chord and then thinking what chord fits instead of this.

This can give you A LOT of freedom, but before I get into that then let’s look at a way to set up a reharmonization so that it really stands out.

The Easiest Way To Make It Work

Timing is incredibly important for reharmonization and chord substitution. When you are playing a song and changing the harmony then what you are really working with is a way to go against the listener’s expectation. That is also what you hear in the Blue Moon example where I first play a turnaround in C to establish the song and then I start to change the chords.

If you start with changing the chords then there is less of an expectation and nothing for the listener to be surprised by:

And of course, that is possible but it is not nearly as strong. If you start listening for how people use reharmonziations then this is more common than you think, try to listen to Gilad Hekselman’s recording I Should Care where the 2nd half of the ABAC form starts with an F#ø Fm6 Em7 A7 because that is a new way to color the melody when it repeats in the 2nd half of the form.  This is by the way a very common reharmonization used on a ton of songs, but let’s get into some more uncommon progressions and different sounds.

Everything Is Allowed!

Until now, I was just showing you some things that were changing a chord here and there and creating some beautiful sounds, but you can also just leave out most of the chords and completely re-imagine the chord progression, using “atonal” ideas and Giant Steps.

To have a place to start check out the first few bars of You Don’t Know What Love Is:

Let’s say that you played that as the first A and now you can change things up in the 2nd A:

Here I am starting with a different chord that is essentially the same Fm6 with a Bb in the Bas and then I sculpt the rest of the chord progression around an ascending bass line ending with Gbmaj7 instead of Db7, but this would really work well moving on to Gø that would follow it.

This next example is borrowing some ideas from Coltrane’s Giant Steps circle:

Giant Steps don’t really exist in minor, and actually, you don’t want to be tied down by some sort of system when doing this, so I am being very liberal with how I incorporate the chords, and I still want to play the song.

The idea I use is to start on Fm6 and then through E7alt go to Amaj7 which is pretty far away from Fm, and to move on to Db major and finally take another route to end on Bmaj7(#11) instead of Db7.

You can probably tell how this is really more about using the Coltrane cycle as a source of inspiration and not at all a system, but like this, the melody is still intact and you get something different.

A great place to put this to use is to work on chord melody:

How Chord Melody Will Help You Master Important Skills

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Make Your Minor Chord Progressions More Interesting

The minor key has a lot of interesting options, and also quite a few that you don’t have in Major. This video goes over some of the beautiful progressions that you can create in minor when reharmonizing a basic II V I, and you can go pretty far.

This video will give you a lot of examples and concepts to add to your repertoire!

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Content:

00:00 Intro

00:47 The Tritone substitute That We All Know

02:07 Minor Ladybird Turnaround

02:50 Making it all II Vs like Wes

03:48 Making it all II Vs But Then A Little Weird

04:17 The Amazing Amount Of Diatonic Chords In Minor

05:27 The Most Beautiful Altered Dominant Is A Minor Chord

06:20 Pretending To Be Go To Another Degree0

06:59 The Neapolitan Subdominant

07:53 A Little Like Coltrane But In Minor

09:37 Another Great Sounding Substitution for the V

09:46 Why You Want To Think in Functional Harmony

09:54 Like the video? Check out my Patreon page

 

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Autumn Leaves Reharmonization – How To Make It Sound Fresh

One of the most fun parts of playing a Jazz Standard is that you can make your own reharmonization and give it a personal fresh sound. And it is also great to not always sound the same as everybody else who has been playing the song for the last 60 years.

In this video, I am going to go over 5 examples of reharmonizations with a lot of different sounds and level by level becoming more and more exotic.

You can check these out and have a lot of ideas for your own arrangements and never sound predictable again.

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Content:

00:00 Intro

00:44 Level 1 – The Basic Changes

01:50 Level 2 – A few Tritones Subs and a Surprise

03:22 Level 3 – Attack of the Chromatic II Vs

04:27 Level 4 – Dysfunctional Harmony

06:08 Level 5 – The Aliens Stole My Lunch Money and gave them to John Coltrane

07:44 Searching for Beautiful Chord Progressions

07:53 Like the video? Check out my Patreon page.

 

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Make Your Chord Progressions More Interesting

There are many ways you can reharmonize chord progressions. In this video, I am going over a method that is simple and easy to use. I am using basic functional harmony to show you how you can create amazing jazz chord progressions yourself and really change the color of the songs you play.

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Content:

00:00 Intro

00:52 Basic II V I and The Power of Chord Functions

01:23 The Advantage of Functional Harmony

02:14 Chord Progressions Have To Make Sense Too

02:39 Subdominant chords and lots of options

02:45 3 Basic major subdominants

03:10 Is VI a subdominant?

03:41 7 useful minor subdominants

05:00 4 exotic #IV subdominants

06:15 Progressions Using Other Subdominants

07:07 Dominant Chords

08:02 Progressions Using Other Dominants

08:53 Tonic Chords and Suspensions

10:20 Changing functions – From II V I to Neo-soul

12:00 Functional Harmony – A Powerful Tool

12:16 Like the video? Check out my Patreon page!

 

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How To Create Beautiful Chord Progressions

Functional Harmony is almost a secret weapon when it comes to reharmonizing or creating great sounding chord progressions. In Jazz, we sometimes forget that just understanding basic harmony is a very strong tool for creating new sounds, and in this video, I will show you how you can mess around with a simple II V I and get some fantastic results.

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Content:

00:00 Intro

01:07 Diatonic Chords in major

02:14 Progression #1 – bVImaj7

02:49 Minor diatonic chords and Modal Interchange

05:00 Progression #2 – Tritone substitution

06:12 Don’t limit yourself to substitutions

07:03 Progression #3 – Ending in the Wrong Key

09:00 Understanding Modulation a Pivot Chords

09:34 Progression #4 – Another Dominant Alternative

11:20 Reharmonization with only Maj7 chords

11:34 Like the video? Check out my Patreon page.

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II V I – When you want to sound different (in 8 ways)

The II V I is the most important and common chord progressions in Jazz.

But sometimes it is also nice to have some other ways of approaching this progression so that it sounds a little less predictable maybe even less like a II V I.

In this video, I am going over 8 ways to change the chords to get some new sounds, and I am only messing with the II and the I chord because I have a ton of other videos with different V chord options.

Of course, you can also take these examples and use them on a static chord if that fits the music you play better and you want to change it up a little.

Check out other videos on Reharmonization

Why Reharmonization Is For You And How To Get Started

Reharmonization – Are you getting it wrong?

Content:

0:00 Intro – Changing up the II V I sounds

0:20 8 Ways to change the sound of a 2 5 1

0:44 Example 1 – IImMAj7

0:59 What The Chords Sound Like and why that is important for solos….

2:29 Example 2 – IIø(9)

3:19 More Different Rhythms

3:36 Triplets Groupings

3:53 Example 3 – IIsus4(b9) – The Prhygian Chord

4:58 The Elephant In The Room

6:11 Example 4 – IIalt

7:04 8th note triplet groupings on altered dominants

7:45 Example 5 – Imaj7(#11)

8:47 Example 6 – Imaj7(#5)

9:29 Sneaking in Melodic Minor sounds

10:04 Triplet rhythms for medium swing – Hancock, Rosenwinkel, Mehldau

10:29 Example 7 – Imaj7(#9,#11)

11:43 Example 8 – Imaj7(#9,#5)

11:58 The Augmented Scale – That I never practiced

13:33 Like the video? Check out my Patreon Page

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Why Reharmonization Is For You And How To Get Started

Reharmonization! I imagine the word itself sets off alarms for some people thinking: “Crazy Music Theory will follow” and there are going to be the weirdest examples of chord substitutions and bass-notes over triads with extensions.

But it isn’t that bad. Reharmonization is a great way to add variation to both your solos and your interpretation of a song, for example in a chord melody arrangement.

In this video I am going to give you some basic reharmonization ideas to use, it is pretty basic and stuff you might know already but not use like this or maybe have played examples off. The video is not going to make you the best arranger of our time but it will give you some things you can put to use in a lot of places and if you are only playing the basic changes all the time then starting to work on improvising with the chords could be just the thing you should do to get to a higher level.

Content

0:00 Intro

0:24 How Do We Use Reharmonization.

0:52 Playing with the Expectations of the Listener

1:25 #1 Major instead of Minor

2:17 Example on Stella By Starlight

2:37 Solo Example 

2:50 Hearing this in context – Timing and Placement in the form

3:25  #2 Tritone Substitutes – Using Complete II V’s

3:45 Example on There Will Never Be

4:30 The Effect

4:48 Solo example

5:06 #3 Parallel Minor Chords – Dim Chords

5:15 The Two Types of Minor chords

5:47 Example 1 – Dim to m7 – Someday My Prince Will Come

6:48 Recorded examples

7:18 Solo Example

7:28 #4 Parallel Minor Chords – Harmonized Bassline

7:33 The Progression that is reharmonized.

8:23 Example on Days of Wine and Roses

8:45 Using this in Melodies and Recorded examples in solos

9:20 Solo Example

9:27 Like the Video? Check out My Patreon Page!

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Phrygian Chords – Some Of The Best Places To Use Them

Phrygian Chords are a great chord substitute to have in your vocabulary. It can be used in reharmonizing songs for arrangements or as something to throw in there in solos and comping. In this video, I talk about some of the places where you can apply a phrygian chord. Some more “out” than others. I demonstrate this using a chord melody of the song “I fall in love too easily” which I then harmonized using a lot of Phrygian, or Dom7thsus4(b9) chords.

I use the arrangement of the song but also talk about applying this type of chord substitution or reharmonization on Stella By Starlight and Night And Day.

Content:

0:00 Intro – Phrygian Chords

1:12 Chord Melody – I Fall In Love Too Easily

2:41 Phrygian Chords – What is it

3:00 A few Phrygian Voicings – The Abmaj7(b5) connection

4:30 Phrygian Chord as a substitute for a II V

5:02 Scale Choices and variations for the chords

5:57 Reharmonizing a minor II V I

6:42 Night And Day Reharmonization

7:06 Stella By Starlight

7:49 A few bars with “normal” changes

8:40 Minor II V substitutes and the consequences

10:47 What is the melody actually?

11:34 Tonic chord substitute #1: Phrygian on III

12:30 Using this on Night And Day – Consequence of this choice

13:00 Arranging: Think in expectation of the listener

13:33 Tonic chord substitute #2: Phrygian on I

14:40 Learning to use new chord sounds

15:24 Like the video? Check out my Patreon Page.

Learn using Reharmonizations in your solos

A huge expansion of your vocabulary happens once you learn to improvise not only with the notes of the chord but also with the chords in the progression.

This video lesson demonstrates and discusses that.

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Reharmonization – Are you getting it wrong?

Chord Substitution and Reharmonization are Jazz topics that are very often discussed together but are actually not really the same thing. This video is going to go over how I think while creating new chord progressions and how I use my reharmonization jazz skills to create several chord progressions for the same song.

The emphasis is on how to come up with chords and 5 examples of how to reharmonize a Blues in F. I also talk about how I improvise over the progressions, what to play and why.

If you only think of music as one chord at the time then you are really missing out! Reharmonization is a great example of how that which is another thing I am trying to illustrate in this video.

Content:

0:00 Intro

0:20 Improvising WITH the chords not just over them

0:39 A Better approach than just thinking substitution

1:40 The Chord is always in a context not just a Chord Symbol

2:08 Standard F Blues

2:29 Parker Blues

3:19 Reharmonization #1

4:06 Analysis of the harmony

4:45 Some Solo Tips for this progression

5:05 Example #1

5:20 Reharmonization #2

6:02 Example #2

6:18 Reharmonization #3

7:00 A Strange A7

7:32 Example #3

8:11 Reharmonization #4 – Re-interpreting Bb7

8:54 Example #4

9:08 Using Pentatonics to play Reharmonization #4

9:33 Don’t Tell The Rhythm Section!

10:01 Reharmonization #5 – Another Chromatic idea

10:35 Example #5

10:50 Method to changing the chords

11:23 This as a Chord Melody?

11:37 Like The Video? Check out My Patreon Page?

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Reharmonization Techniques – the best way to make them more musical

Why it can be tricky to get reharmonizations to sound musical in a solo

Using reharmonizations in your solos can be tricky since you need to find the right place and the right type of reharm if you want it to sound natural and still surprising. This video will go over some Reharmonization techniques and how you place them in the form of a song. The place where you use stuff like this has a huge impact on how it works, and I will discuss this in the video.
 
How do you apply reharmonizations to your solo?

Content of the video:

0:00 Intro – Musical approach to Reharmonization

0:13 Applying Reharmonizations to a musical context – A Song

0:41 The Form and the Song

1:19 A surprising way to use Tri-Tone substitution

1:41 Take The A-Train – The form, key and harmony

2:04 The pull towards the tonic and reharmonizing that 2:28 The Tri-tone reharmonization

2:47 A progression that makes sense

3:04 Soloing on A-train with the reharmonization

3:15 How Jim Hall uses Tri-Tone substitution on Autumn Leaves

3:48 Making a m7(b5) is m7(9) to get a brighter sound

4:22 Blue Bossa Chord Progression

5:05 Comping through it with the reharmonization

5:17 Soloing using the reharmonization

5:30 Same idea in Stella on the beginning

5:52 This idea applied to a #IVm7(b5) like Days of Wine and Roses

6:35 Parallel harmony reharmonization turning a dim chord into a m7(9)

6:42 Someday My Prince Will come – harmony

7:13 Using this as a melodic idea as well

7:42 It’s Parallel so the sounds are the same

8:12 Example of a solo using the parallel minor chords

8:30 Other songs where this might work and people who does this

9:04 Relating this to the Parker Blues

9:28 A Musical way to use reharmonization

10:07 Do you have favourite reharmonizations?

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