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Re-harmonization

Re-harmonization is the process whereby a simple progression is enriched with a more compex progression. Reharmonization is always built on the primary chords of a song.

The primary chords are: I, IV and V.

To re-harmonize, we both SUBSTITUTE and SUBDIVIDE existing chords in the progression.

1) Let's start with diatonic re-harmonization, which means that the reharmonizing chords will be in this group: ii, iii, iv, ii, viiº (the secondary chords)

These are all chords found inside the major scale.

Note: If the tune is based on the minor scale, the chord qualities will be slightly different, but the principles of substitution and subdivision remain the same.

Here are some examples:

I	I	IV	IV	V	V	I	I	Initial progression
I	iii	vi	IV	iii	V	I	I	Using only substitutions
I iii	vi I	IV vi	ii IV	V iii	ii V	I	I	Using only subdivisions

Note: The 7th of all the substituting or subdividing chords can also be added.

Note: When the subdivision comes AFTER the primary chord, it is called an extension. Sometimes the subdivision comes BEFORE the primary chord, in which case it is called a delay. In particular, a ii chord leading to a dominant chord a perfect 4th above is called a dominant delay. Note: some ii - V progressions are part of the structural composition of the song, in which case the ii is a preparation (and not a delay) of V (ex: first chord of "Lover Man").

Inversions can be used to create a smoother bass line (linear stepwise motion). Inversions also change the "color" of chords.
Furthermore, the V can be delayed with a cadential 6/4 chord (I6/4).

I	I	IV	IV	V	V	I	I	Initial progression
I	I 6	IV	IV 6	I 6/4	V	I	I	Using inversions

2) The next layer of re-harmonization is the introduction of secondary dominants: any of the secondary chords introduced into the chord sequence which are followed by a chord a perfect 4th above can be changed to a dominant chord. Our example becomes:

I	I	IV	IV	V	V	I	I	Initial progression
I III7	vi I	IV VI7	ii IV	V iii	II7 V	I	I	Secondary Dominants

3) The final layer of re-harmonization is modal interchange. By using chords found in any of the four parallel minor keys (harmonic minor, ascending meloding minor, descending melodic minor and dorian), we can derive variants of the secondary chords. Our progression becomes:

I	I	IV	IV	V	V	I	I	Initial progression
I III	VI I	IV viø7	iiº IV	V iii	iiø7 V	I	I	Modal Interchange

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