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    Reharmonization 6

    Uploaded by

    Leonel Reyes

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    © All Rights Reserved
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    Reharmonization 6

    Uploaded by

    Leonel Reyes
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    Reharmonization-6

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    3 views1 page

    Reharmonization 6

    Uploaded by

    Leonel Reyes

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    Passing Chords

    Any chord that moves between one diatonic chord and another one nearby may be loosely termed a passing chord.
    A diatonic passing chord may be inserted into a pre-existing progression that moves by a third in order to create
    more movement.

    I Cmaj7 IEm7 IDm7 I G7


    A diatonic passing chord may be inserted between I and iii.

    I Cmaj7 Dm7 I Em7 IDm7 I G7


    The easiest passing chords to recognize move chromatically, with the passing chord quality usually matching that
    of the chord above or below. Here is the same progression with a chromatic passing chord between iiim7 and iim7.

    I Cmaj7 I Em7 IDm7 I G7


    Adding Extra Chords
    Whenever Imaj7 moves to VI?, two additional chords may be inserted to strengthen the progression. Below we'll
    examine some possible modifications of a simple turnaround in C major.

    I Cmaj7 B7 I BP7 A7 Dm7 G7

    Imaj7 V7/iii SV7/vi V7Iii iim7 V7

    Replacing the 1117with its tritone sub results in smooth bass movement and parallel dominant double passing
    chords: two passing chords in a row-B7 and Cmaj7 and A7. B7 is a secondary dominant of Em.

    I Cmaj7 B7 I BP7 A7 Dm7 G7

    Imaj7 V7/iii SV7/vi V7Iii iim7 V7

    Notice that each chord receives the same metric placement and time duration. The turnaround to the first section
    of "Satin Doll" (measures 7 and 8) furnishes an example of the progression shown directly above (parallel domi-
    nant double passing chords). Another example is found in the Latin jazz standard "Aquarela di Brazil." The same
    turnaround may also result from a modification of the following chord progression.

    ICmaj7 Fmaj71 Em7 A7 Dm7 G7

    Imaj7 IVmaj7 iiirn7 VI7 iim7 V7

    also becomes

    Icma j7 B7 I BP7 A7 Dm7 G7

    Imaj7 V7/III SV7IVI VI7 iim7 V7

    104 JAZZOLOGY

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