Harmonizing and re-harmonizing a melody is an essential skill for performers, jazz players, arrangers and composers. One of the most important aspects (after creativity) in creating harmonies and harmonic embellishments is the level of proficiency one possesses in Tonal Harmony.
At mDecks Music we have created a series of master classes in tonal harmony and reharmonization techniques using Mapping Tonal Harmony Pro 6 that will guide you through the vast landscape of Tonal Harmony and harmonic concepts. We hope you find it useful.
Reharmonizing “Oh, Danny Boy”
Here’s the final arrangement of “Oh, Danny Boy” where we have used all the techniques mention in the series. By the end of the series, you will be able to create reharmonization and arrangements such as this one.
Before we take a look at the final arrangement we would like to introduce the concepts and techniques used.
Introduction: The Basics
Now you are ready to start learning some essential reharmonization techniques and concepts.
Part 1: 4 Essential Reharmonization Techniques
Reharmonization Technique 1: Chord Substitution
Some chords maybe substituted by others. The best candidates are the ones belonging to the same region as the initial chord.
Reharmonization Technique 2: Borrowing Chords (aka Modal Interchange)
Functions from other modes may be used in a chord progressions. Borrowing from the minor mode in major is more often used than borrowing chords from major when in a minor key.
Reharmonization Technique 3: Cadential six-four (I64 or I in first inversion) and seventh sus4
Use these chords before the V7
Reharmonization Technique 4: Secondary Dominants
One of the most imporat
On the next post we will show you more reharmonization techniques. After that we will use them to create a full arrangement of “Oh, Danny Boy” using Mapping Tonal Harmony Pro as our guide.