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    Reharmonization 14

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    Leonel Reyes

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    Reharmonization 14

    Uploaded by

    Leonel Reyes
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    Reharmonization-14

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    Reharmonization 14

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    Extending the idea by preceding each V with its relative ii we get:

    Dm7 F#m7 B7 Emaj7 Dm7 G7 Cmaj7

    C: iim7 iim7 V7 Imaj7 E: iim7 V7 Imaj7 C: Hm7 V7 Imaj7

    It's also possible to apply tritone substitution and/or modal interchange to Coltrane changes.
    I A7 I F7 I Emaj7 I Cmaj7 I

    All of these techniques may be applied to minor keys as well. It takes practice to become fluent at improvising and
    comping over Coltrane changes, because they go by fast. There aren't many choices of good lines to go with them.
    "Giant Steps" and "Countdown" provide good models. Effective improvisational strategies include arpeggios,
    symmetric lines, pentatonic scales, and similar constructions.

    A V7 May Resolve to Any Chord: More Deceptive Cadences


    Through a combination of the principles discussed in this chapter, a dominant chord can move to practically any
    other chord. It can be fascinating to hear a V7 resolve unexpectedly in a tune, leaving the listener convinced that
    the progression sounds right, but lacking an immediate explanation as to why. Obviously, it is a simple task to
    assign Roman numerals to any progression, but that does little to explain why an unusual progression is effective
    and convincing. For the purpose of applying what one has learned it is far better to have an understanding of the
    theory that controls the motion of dominant chords. Then one is able to understand both the "how" and the "why."
    Many musicians learn how progressions work, but fail to reach the deeper level of understanding that comes with
    comprehending why chords move as they do.

    "How" may be viewed as the Roman numeral formula for analyzing chord progressions. All one needs to remem-
    ber is what goes where. "Why" requires an abstract understanding of the source of a given chord progression. An
    understanding of why chords move as they do will facilitate remembering how they move.

    While differences of opinion are bound to occur, harmonic motion can only be understood by explaining that
    motion in clear and logical terms.

    A V7 can resolve to tonic family chords (I, iii, vi in major, or i, in minor) by

    • P5th down to I or i, the dominant function.


    • whole step up to vim7, or possibly to VImaj7 as a back-door cadence, in which case the proper designa-
    tion would be VII7/1.
    • half step down to I or i as SubV7II or SubV7Ii.
    • m3rd down to iiim7 or maj3rd down to

    A V7 can also move to a chord of the subdominant family (ii or IV in major, iv, or in minor) by

    • P4th down to iim7 or


    • whole step down to IVmaj7 or ivm7.
    • half step up to

    A V7 can move to any other chord in the dominant family or any of their substitutes derived by diminished
    substitution

    • to a dominant chord up or down a minor 3rd.


    • to a dominant chord up or down a tritone.
    • to a up a major 3rd.
    • to a °7 chord up a half step, up a maj 3rd, up a 5th, or up a

    112 JAZZOLOGY

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