Reharmonization Techniques Review

The "engine" of a G7 is the tritone between its 3rd (B) and 7th (F). A Db7 uses these same two notes (the 3rd is F, the 7th is Cb/B), creating a smooth, chromatic bass descent to the target chord. 3. Secondary Dominants

Keep the bass note constant while the chords change above it. Playing C, D/C, F/C, and G/C.

Swap a IV (F major) for a ii (D minor).

You can create forward motion by "treating" any chord in a progression as a temporary tonic and preceding it with its own V7 chord. C — Am — Dm — G7 Reharmonized: C — E7 — Am — A7 — Dm — G7

Swap a I (C major) for a iii (E minor) or a vi (A minor). Reharmonization Techniques

If you are in C Major, use an Abmaj7 (from C minor) instead of an F major.

The simplest form of reharmonization involves replacing a chord with another that shares a similar function and scale. The "engine" of a G7 is the tritone

This builds immense tension, as the listener waits for the bass to finally move and "resolve" the shifting harmonies above it. Summary Tips