Exploring Reharmonization in Jazz Piano

Welcome to this seminar on reharmonization, a fundamental technique for expanding your harmonic vocabulary and creativity on the piano. In this lesson, we explore the process of reharmonization, beginning with an understanding of harmonization—how chords are added to a melody—and then moving beyond diatonic harmony into more adventurous harmonic possibilities.

Understanding Harmony & Reharmonization

Before we dive into reharmonization, it’s important to have a solid grasp of harmonization. Harmonization is the process of assigning chords to a melody, typically staying within a given key using diatonic chords. For example, in the key of D major, the diatonic 7th chords include:

• Dmaj7
• E-7
• F#-7
• Gmaj7
• A7
• B-7
• C# diminished

These chords provide a natural framework for harmonizing melodies within the key. However, reharmonization allows us to step outside of this diatonic framework and introduce new harmonic colors.

The Concept of Tonal Expansion

Traditional harmony operates within a single key, where melody and harmony are closely linked. Reharmonization breaks this strict relationship, allowing the melody and harmony to function more independently. This technique increases harmonic tension and resolution, creating fresh and unexpected sounds.

Instead of treating harmony as a rigid system, reharmonization treats it as a flexible, evolving structure. We can think of tonal music as a "tonal center" rather than a fixed key, and this approach opens up possibilities for chromatic movement, substitutions, and extended harmony.

Applying Reharmonization to "Autumn Leaves"

To illustrate reharmonization in action, let’s consider the classic jazz standard Autumn Leaves in G minor (relative to Bb major). The standard 2-5-1 progression in Bb major is:

• C-7 to F7 to Bbmaj7
• A-7b5 to D7 to G-7

Reharmonization allows us to substitute, alter, or add chords to this progression. For example:

• Instead of C-7, we might use C#-7 to F#7, creating a chromatic step up.
• Instead of F7, we could use an E7, creating a secondary dominant leading to A-7b5.
• Instead of D7, we could substitute an Abmaj7, leading smoothly into G-7.

These changes introduce new colors and create alternative pathways through the harmony.

Exploring Chord Voicings & Finger Placement

Reharmonization isn’t just about choosing new chords—it’s also about voice leading and how chords connect. One important concept is avoiding redundancy, where the melody and bass play the same note, which can weaken the harmonic impact.

One way to explore reharmonization is by focusing on the top note of a chord (often the melody note) and finding multiple chord options that support that note. For example, if the melody is playing an E-flat, we could harmonize it with:

• G#-7
• Amaj7
• Bb-7
• B-7
• C-7
• C#maj7

By thinking about harmony from the melody downward (rather than just building chords from the root up), we open up new reharmonization possibilities.

Balancing Reharmonization in Performance

While reharmonization is a powerful tool, it should be used with intention. Over-harmonizing can clutter the arrangement and distract from the melody. In ensemble playing, excessive reharmonization can also disrupt the group if the other musicians are not expecting the changes.

One approach is to use reharmonization during the melody statement and then revert to standard harmony during solos to keep the form recognizable.

Practice Tips

1. Explore One Melody Note at a Time – Take a single melody note and find multiple chord options to harmonize it.
2. Use Tritone Substitutions – Try replacing dominant 7th chords with their tritone substitutes for fresh harmonic movement.
3. Experiment with Pedal Tones – Holding a static bass note while changing chords above can create unique textures.
4. Play in Free Time (Rubato) – This helps you hear and feel reharmonization options without being constrained by tempo.
5. Listen & Transcribe – Study recordings of great jazz pianists and analyze their reharmonization techniques.

By incorporating these ideas into your practice, you’ll develop a deeper understanding of harmony and enhance your ability to create expressive, dynamic jazz arrangements. Happy practicing!