3.5 Reharmonisation

The art of revitalising harmonic progressions

Key Concepts

Melodic Compatibility

Every new chord must contain or support the notes of the melody. The melody is sacred; the chords adapt to it.

II-V insertion

The most common technique: every chord can be preceded by its II–V. This creates a natural harmonic progression.

Triton Substitution

Replace V7 with ♭II7 (a tritone apart). Same tritone, chromatic bass movement, different colour.

Voice Leading

Internal voice movements must follow a logical progression. Chromatic movements or movements in conjunctive intervals create a sense of fluidity.

Modal Interchange

Form chords using parallel inversions (major ↔ minor). IVmaj → IVm and VImaj → VIm are common substitutions.

Stylistic Awareness

Bebop makes extensive use of II-V progressions, modal jazz favours extended chords, and modern jazz uses upper structures and polychords.

What is reharmonisation?

Reharmonisation is the process of changing the chords in a piece whilst keeping the melody intact. It is a fundamental technique in jazz for creating new interpretations of well-known standards.

Aims: To add harmonic interest, modernise simple chord progressions, create variations, and demonstrate creativity.

Fundamental Techniques

1. Add II-V

Original

| Cmaj7 | Fmaj7 |

Reharmonised

| Cmaj7 | Gm7 C7 |

Appendix II–V of F

Principle: Every chord can be preceded by its II–V.

2. Tritone substitution

Original

| Dm7 G7 | Cmaj7 |

Reharmonised

| Dm7 D♭7 | Cmaj7 |

G7 → D♭7 (tritone substitution)

3. Diminished Passing Chords

Original

| Cmaj7 | Dm7 |

Reharmonised

| Cmaj7 C#dim7 | Dm7 |

Colour transition

Usage: Diminished chords fit well between adjacent diatonic chords.

4. Modal Interchange

Original

| Cmaj7 | Fmaj7 |

Reharmonised

| Cmaj7 | Fm7 |

IV → IVm (from C minor)

5. Coltrane Changes

Original

| Cmaj7 - - - |

Reharmonised

| Cmaj7 E♭7 | A♭maj7 B7 |

Major third cycle

Guidelines for Reharmonisation

Important Rules

Respect the melody: The new chords must support the melodic notes
Keep the character: Don’t completely change the song’s identity
Create movement: Use interesting basslines and logical voice leading
Balance: Don’t reharmonise every bar; create contrast
Functionality: Ensure that the tonic and dominant functions remain clear

Complete Example

Reharmonisation of a Simple Chord Progression

Original Progression (8 bars)

| Cmaj7 | Cmaj7 | Am7 | Am7 |

Reharmonised Version

| Cmaj7 Dm7 | Em7 A7 | Am7 A♭m7 | Gm7 C7 |

Techniques used:

Added Dm7 (I → IIm7) for movement
Em7-A7: secondary II-V to Am7
A♭m7: Chromatic progression to Gm7
Gm7–C7: II–V of F
F#dim7: Diminished passing chord
D♭7: Tritone substitute for G7
E♭7–A♭maj7–D♭7: Coltrane changes

Stylistic Approaches

Bebop Style

Many II-V
Secondary dominants
Diminished chords
Rapid colour movement

Modern/Modal

Longer agreements
Modal interchange
Upper structures
Polychords

Practical Examples of Reharmonisation

"All The Things You Are"

Analysis: The classical reharmonisation of this standard adds secondary II–V progressions, tritone substitutions and chromaticisms to increase the harmonic complexity without altering the original melodic beauty.

Techniques: Extended secondary II–V progressions, modal interchange on the bridge (IVmaj → IVm).

Listen to examples

"Autumn Leaves"

Analysis: From a simple II–V–I progression to a complex network of substitutions. Bill Evans, Chet Baker and others have created versions featuring Coltrane changes, tritone substitutions and diminished passing chords.

Techniques: Tritone substitution on all dominant chords, diminished passing chords, extended turnarounds.

Listen to examples

"Stella By Starlight"

Analysis: Harmonically complex in its own right, but modern jazz musicians add upper structures (triads over the bass), polychords and substitutions using altered scales to heighten the harmonic tension.

Techniques: Upper-structure triads, polychords, back-cycling (adding a II–V before an existing II–V).

Listen to examples

"The Girl From Ipanema"

Analysis: A classic bossa nova with relatively simple harmonies. Modern reharmonisations transform the bridge into a harmonic adventure featuring unexpected modulations and Coltrane changes.

Techniques: Coltrane changes in the bridge, extended mode in section A, chromatic voice leading.

Listen to examples

Interactive Audio Examples

Compare the original progressions with their reharmonisations. Listen to how the harmonic colour changes.

Study Tips

1. Start with Simple Standards

Practise reharmonisation on simple chord progressions (I–VI–II–V, blues, ‘Satin Doll’). Once you have mastered the technique using simple material, move on to more complex standards.

2. One Technique at a Time

Don’t use all the techniques at once. Spend one week focusing solely on II–V insertions, the next on tritone substitutions, and then on diminished passing chords. Master one technique before combining them.

3. Sing the Melody

Whilst reharmonising, always sing the original melody. If a note in the melody sounds out of place against the new chord, the reharmonisation doesn’t work. The melody must always ‘work’.

4. Analyse Famous Versions

Transcribe the reharmonisations by Bill Evans, Herbie Hancock and Barry Harris. Analyse what they have changed and why. Identify the techniques used and how they support the melody.

5. Practise voice leading

Write the reharmonisations for four-part voices (SATB or close piano voicing). This forces you to think about the movement of the inner voices, not just abstract chords.

6. Create Contrast

Don’t reharmonise every bar. Alternate reharmonised sections with simpler ones. The contrast makes the reharmonisations more effective and prevents harmonic saturation.

7. Play along with backing tracks

Use iReal Pro or Band-in-a-Box to create backing tracks for your reharmonisations. Playing along with them will immediately show you whether they work musically or only on paper.

8. Experiment with different styles

Reharmonise the same standard in different styles: bebop (lots of II–V progressions), modal (long chords), modern (upper structures). This develops versatility and an understanding of different styles.

Common Mistakes

1. Ignore the melody

Problem: Creating sophisticated reharmonisations that create a clash between the melody and the chords. Example: the melody contains ‘E’ (the 3rd of Cmaj7); reharmonise with Fm7 (where E is ♯9, which is very dissonant).

Solution: Always check that the notes in the melody are chord tones, acceptable extensions (9, 11, 13) or approach notes. Sing the melody over each new chord before making a decision.

2. Too Many Chords (Over-Reharmonisation)

Problem: Adding an II–V in every bar, turning 8 bars into 32 chords. Result: harmonic confusion, loss of the piece’s identity.

Solution: The 50 per cent rule: do not reharmonise more than 50 per cent of the bars. Keep some sections simple for contrast. Less is more.

3. Poor Voice Leading

Problem: Chords that jump irregularly, voices that move across wide intervals without any logical pattern. Example: Cmaj7 → F♯maj7 (all voices jump).

Solution: The half-step principle: internal voices should move by semitones or whole tones wherever possible. Use inversions and drop voicings to create smooth voice leading.

4. Not Taking Stylistic Context into Account

Problem: Using Coltrane changes on a romantic ballad, or reharmonising a modal piece with 50 bebop II-V progressions. Stylistic inconsistency.

Solution: Match the style: bebop → lots of II-V progressions, modal → long chords and modal interchange, contemporary → upper structures and polychords. Stay true to the character of the piece.

5. Loss of tonic function

Problem: Reharmonising to such an extent that the listener loses their sense of the tonic. It becomes unclear which key we are in.

Solution: Maintain at least 2–3 tonal ‘pillars’: a I chord at the beginning and end, a clear V–I cadence, and diatonic reference points. The tonic must always be recognisable.

6. Theory Only, No Practical Instrumental Training

Problem: Creating reharmonisations on paper that look perfect in theory but sound bad or are impossible to play smoothly.

Solution: Play each reharmonisation on the piano or guitar. If you can’t play it smoothly or it sounds off, review the voicings. Theory is the starting point; your ear is the final judge.

7. Ignoring the bassline

Problem: Focusing solely on the upper voices and creating a bassline that jumps erratically (C → F♯ → A♭ → D), which is difficult to play and sounds unnatural.

Solution: Always think about the bassline. Opt for chromatic movements (C → C♯ → D) or movements by fourths and fifths. Use inversions to create smooth bass motion. A good bassline makes reharmonisation convincing.

Full Summary

Key Concepts:

Reharmonisation transforms chord progressions whilst keeping the melody intact
Melodic compatibility is rule number one: the melody is sacred
Smooth voice leading makes the substitutions convincing
A chromatic bassline or one based on fourths and fifths creates cohesion

Main Techniques:

II–V insertion: every chord can be preceded by its II–V
Tritone substitution: V7 → ♭II7 (same tritone)
Diminished passing chords: chromaticism amongst diatonic chords
Modal interchange: drawing on arrangements from parallel modes
Coltrane changes: major third cycles

Best Practice:

Start with simple basics, one technique at a time
Always sing the tune to check for compatibility
Analyses reharmonisations by Bill Evans, Herbie Hancock and Barry Harris
Don’t over-reharmonise: less is more; create contrast

To Avoid:

Chords that clash with the melody
Too many substitutions (harmonic saturation)
Irregular voice leading or unnatural leaps
Losing one’s sense of the tonic

Key Concept: Reharmonisation is the art of putting your own spin on jazz standards. Respect the melody, create interesting movement, and use your ear as the final judge. A good reharmonisation sounds natural, not forced.

← Harmonic Analysis: Theory Index – Complete Theory!