Jazz Reharmonization

What is “Reharmonization”?
Reharmonizing a song is simply the process of replacing the “original” or “accepted” chords with
new ones, giving the tune a different flavor.

7th and 6th Chords

Rather than simple triads, jazz music tends to use 7th chords to harmonize melodies. There are
several types of 7th chords (major, minor, diminished, and more), but they are all derived by
simply extending a triad (root, 3rd, 5th) by one more note to include the 7th.

G Major Scale

1st 2nd 3rd 4th 5th 6th 7th

(root)

Musical Jargon

• Scale degrees are derived from major scale (pictured above), so all other chords/scales are
described by lowering or raising these notes by a half step
-Examples: flat 3rd, flat 7th, etc.
-Major Triad = root, 3rd, 5th, while Minor Triad = root, flat 3rd, 5th
-G Major = G B D G Minor = G Bb D

Types of 7th Chords

• Major 7th, Root, 3rd, 5th, 7th (Example: Gmaj7 = G B D F#)

• Dominant 7th, Root, 3rd, 5th, flat 7th (Example: G7 = G B D F)
• Minor 7th, Root, flat 3rd, 5th, flat 7th (Example: Gm7 = G Bb D F)
• Diminished 7th, Root, flat 3rd, flat 5th, double flat 7th (Example: Gdim7 = G Bb Db Fb or E)

7th Chords Within the Key of G (Diatonic)

Maj7 Min7 Min7 Maj7 7th Min7 Dim7

(dominant)
6th Chords

The concept of 6th chords is the same as 7th chords, just with the 6th scale degree inserted
instead of the 7th. These are simply another color, and can help avoid notes clashing with the
melody.
-Examples: Gmaj6 = G B D E Gmin6 = G Bb D E

Relative Minor Harmony

This reharmonization technique sounds complicated, but is actually simple and fairly common. It
involves replacing a major chord with a minor chord a 3rd below.

An example in the key of G would be to replace a Gmaj with an Emin, or a Cmaj with an Am.

2-5-1 (ii-V-I)
The most common chord progression in jazz music is the ii-V-I progression. In the key of G, this
would be:

Am-D-G

By inserting this progression somewhere, we make the tune sound jazzy. The easiest way to
implement it is simply by inserting a ii chord before a V chord that already happens in the tune.

Secondary Dominants
A “secondary dominant” is simply a dominant 7th chord placed before something other than the
I chord of the tune. These can be used before almost any chord, and are used to emphasize
whatever chord they lead to.

How to Derive a Secondary Dominant

Secondary dominants act in the same way the V chord does. Basically, we briefly pretend that
we are in the key of the chord we want to emphasize, and build a V chord in that key.
Key of C Major

1st 2nd 3rd 4th 5th 6th 7th

(root)

The 5th in C in G, so we build a G7 chord (G B D F)

1st 2nd 3rd 4th 5th 6th 7th

(root)
The 5th of D is A, so we build an A7 chord (A C# E G)

Flat 9 Dominant Chords/ Diminished Chords

We can extend any dominant chord and add the flat 9th on top to create a diminished sound.
Let’s do it with our D7 chord to create a D7b9.

First, let’s make a D7 Chord: D F# A C

Now, let’s add the 9th: D F# A C E
Finally, let’s lower the 9th by a half step: D F# A C Eb

These also form diminished chords if you remove the root. This means that any dominant chord
can be replaced by a diminished chord.

iim6 Chords

These function the same as V chords and can be used in their place.

Example in G: V = D7, iim6 = Am6

Negative Harmony
Negative harmony is a very deep and complex topic. It involves using the “tendencies” of notes
that want to resolve in the opposite way. Here’s a basic way to view it: regular harmony = 5ths
(ie, V - I), and negative harmony = 4ths (ie, IV - I)

Minor Plagal Resolution

This harmony technique uses this IV - I resolution in place of a V - I resolution. However, the IV
chord becomes minor, and instead of being a min7, it’s a min6.

An easy example in the key of G is to change a D7 - G resolution into a Cm6 - G resolution.

Tonic Diminished

This reharmonization technique isn’t as common as the others, but can create a really
interesting sound. It involves replacing a chord before the I chord with a diminished chord built
off the root of the key. So, a diminished I chord. This works very well if you’re replacing a IV
chord.

Non-Functional Harmony

This is simply harmony that does not necessarily follow the circle of 5th’s pattern (the basis of ii-
V-I). Often times it can be found moving in stepwise motion.

A common theme with NFH is the melody note being a color tone of the chord. Color tones are
the 3rd, 7th, and all extensions.

Stacking Techniques
The key to reharmonization is to use these techniques with and around each other in a way that
the musician enjoys. Much of it all stems around the ii-V-I progression being used in creative
ways.

ii-V-I Extended

This progression can be utilized within almost ANY context, even within itself. You can set up a
ii-V with another ii-V. Here’s an example in the key of G:

Original chords: D7 - G
ii - V reharm: Am7 - D7 - G
ii - V of ii - V: Bm7 - E7 - Am7 - D7 - G

Secondary Dominants and ii-V-I

This combines the two techniques and essentially changes all the chords in a ii-V into dominant
chords.

Secondary Negative Harmony

This utilizes the concept of secondary dominants, but reharms with a minor iv instead of a V
chord. Here’s an example in the key of G:

Original chords: G - C
Secondary dominant: G7 - C
Secondary negative dominant: Fm6 - C
Arrangement lyrics by Robert Burns
by Kyle Coughlin Auld Lang Syne traditonal Scottish melody

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Auld Lang Syne Reharm

G Am7 Bm7 Cm6 Em7 Dm6 C C#dim

G6 F#m7 www.TwoHappyBears.com
B7 Em7 C G
www.ChristmasMusicSongs.com
© 2016 by Kyle Coughlin All Rights Reserved

Em7 A7 Dm7 Cm6 Em7 Dm6 A#dim7

G6 Am7 D7sus G