| LearnJazzPiano.com archives: Reharmonization Trick | |
| Styles -- 09/26/2006, 11:02:26 -- #30069 | |
| Spurred on by the old George Cables thread, I took Debussy's idea of creating harmony around the melody and applied it to jazz. Take Misty for instance. After the Abm7--Db7 near the beginning, the following chord goes back to the tonic. That's just boring! Well, when the melody goes to the note G which harmonically fits as the 3rd in Eb triad, I substituted [B]Fmaj7[/B]. Then I go F#maj7b5 for when the melody goes to Ab after that, and then play the original Cm7 which Garner wrote in. Instead of the G being the third in Eb triad, I make it the 9th in Fmaj7... What do you guys think? | |
| DoubleZ -- 09/26/2006, 11:36:20 -- #30069 | |
| I loveee Misty; it is actually one of the songs I learned how to reharmonize on. However, I'm lost with where you are talking about- I've seen Misty in a lot of keys; what key is the version you're referring to in? ZZ | |
| Styles -- 09/26/2006, 11:49:42 -- #30069 | |
| Eb | |
| Styles -- 09/26/2006, 11:56:01 -- #30069 | |
| http://www.songtrellis.com/picture$836 | |
| Mike -- 09/26/2006, 13:55:54 -- #30069 | |
| I can not make out what you mean by [B]Fmaj7[/B]. I have never seen any notation like that before. So I gave up trying to figure out what u are saying there. | |
| jazz jasper -- 09/26/2006, 14:06:09 -- #30069 | |
| It was ment to be in bold you fool!!! | |
| sykora -- 09/26/2006, 20:58:47 -- #30069 | |
| I personally like the sound of making the melody note a major 7th/minor 7th - you can pretty much reharmonize anything like this | |
| nn -- 09/26/2006, 21:57:21 -- #30069 | |
| I'm also trying to figure out what you're talking about, Styles. Can you give us the progression in which you make the reharmonizations? Assuming this is the "normal" progression: Ebmaj7 Bbm7-Eb7 Abmaj7 Abm7-Db7 Ebmaj7-Cm7 Fm7-Bb7 Gm7-C7 Fm7-Bb7 I guess your reharmonized progression would be: Ebmaj7 Bbm7-Eb7 Abmaj7 Abm7-Db7 Fmaj7-Cm7 F#maj7b5-Bb7 Gm7-C7 Fm7-Bb7 ? Sorry if I'm getting you guys even more confused, lol. | |
| Styles -- 09/26/2006, 22:10:43 -- #30069 | |
| lmao Ebmaj7--------Cm7 <---original Fmaj7--F#maj7b5---Cm7 <---reharm These extra chords are used to harmonize the melody which is played straight. | |
| Brotherdavies -- 09/27/2006, 01:39:59 -- #30069 | |
| A related question: Are the Bill Evans style reharmonisations different from what the Bebop guys were doing? Cheers Bro | |
| charlp88 -- 09/27/2006, 06:38:36 -- #30069 | |
| Dear Dave Here is my 2cents worth One of Bills great influences was ,probably the Quintessential example of BEBOP piano Bud Powell. I think bill incorporated the bebop sound and added his own Ideas to expand it .A good example of this is his EVERYBODY DIGS BILL EVANS A knockout version of TENDERLY. | |
| nn -- 09/27/2006, 08:03:37 -- #30069 | |
| Not bad, styles. The Fmaj7 sounds like a mistake at first (even in a jazz context), but the following F#maj7b5 makes it smoother 'in retrospect'. I would go one step further by inserting a G7 just before the Cm, because it continues on the chromatic ascension initiated by the 2 preceding chords, AND conveniently leads to Cm. Ebmaj7--------------Cm7 <---original Fmaj7---F#maj7b5-G7-Cm7 <---reharm | |
| thejaffer -- 09/30/2006, 16:41:12 -- #30069 | |
| Here's something you can try for the last two bars: instead of the turnaround Eb Cm | Fm Bb || Eb use: Bmaj7#11 | Emaj7#11 || Eb works great at the end of the head for launching into the solos (rather than at the end of every soloing chorus where it could get tedious especially on a quick tune with a lot of choruses) There are loads of tunes that end like this (the masquarade is over, on green dolphin street etc.) and it's a neat little trick you can use to make an arrangment nicer. Even if there's only one bar of tonic chord at the end of the form (My Ideal for example) you can fit this same thing in by just adding an extra bar onto the head. For Major chords try these: Melody note is the root EbMaj7 --> Fmaj/Eb (could be written EbMaj7#11 use Eb lydian) Melody note is the 3rd EbMaj7 --> Gmaj/Eb-Eb (could be written EbMaj7#5#11 use C mel. minor) Melody note is the 5th EbMaj7 --> EbdimMaj7 ( use Eb harm. major) Melody note is the 7th (ie. first bar of the form) EbMaj7 --> D7/Eb-Eb (could be written EbMaj7#9#11 use G harm. minor) | |
| Styles -- 10/01/2006, 08:29:31 -- #30069 | |
| Thanks thejaffer | |
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