What is the fundamental definition of harmonization in music?

In music, harmonization is defined as the chordal accompaniment to a line or melody. It involves using chords and melodies together to create harmony by stacking scale tones as triads. This process essentially adds harmonic depth and texture to a single melodic line.

How is a harmonized musical scale constructed?

A harmonized musical scale is created by taking each note of a musical scale and using it as the root note for a chord. The remaining tones within that same scale are then used to build the rest of the chord. This results in a series of chords, each derived from a specific scale degree.

What are the resulting chords when a major scale (Ionian mode) is harmonized?

When a major scale, also known as the Ionian mode, is harmonized, each scale degree forms a specific type of triad. The first degree becomes a major chord (I), the second a minor chord (ii), the third a minor chord (iii), the fourth a major chord (IV), the fifth a major chord (V) or dominant seventh chord, the sixth a minor chord (vi), and the seventh a diminished chord (vii°). The octave returns to the tonic major chord.

What are the chord qualities produced when harmonizing a minor scale (Aeolian mode)?

Harmonizing a minor scale, also referred to as the Aeolian mode, yields a specific set of chord qualities for each scale degree. The first degree forms a minor chord (i), the second a diminished chord (ii°), the third a major chord (III), the fourth a minor chord (iv), the fifth a minor chord (v), the sixth a major chord (VI), and the seventh a major chord (VII). The octave then resolves back to the tonic minor chord.

What does the term 'reharmonization' mean in a musical context?

Reharmonization is a musical technique where an existing melodic line is accompanied by a new or altered chord progression. This process is typically undertaken to introduce musical interest, provide variety, or to create a new section within a piece, such as a coda or bridge.

Can a single melodic tone be harmonized in multiple ways, and if so, how?

Yes, a single melodic tone can be harmonized in various ways, depending on its function within the accompanying chord. For instance, the note E could be harmonized as the root of an E major chord, as the third of a C major chord, or as the ninth of a D minor seventh chord, among other possibilities.

What considerations are important when reharmonizing an entire melodic line?

When reharmonizing an entire melodic line, it's crucial to consider all the melodic tones that occur over a given harmony, not just individual notes. The chosen reharmonization must account for how each of these melodic tones interacts with the new accompanying chords to avoid undesirable dissonances or to intentionally create them.

What potential issue can arise when reharmonizing a melody with a new chord progression?

A potential issue during reharmonization is that a new chord might create dissonant intervals with multiple tones in the melodic line. For example, if a melody contains E♭, F, and G, choosing a D7 chord might not be ideal because each of these notes could create a semitone or minor ninth dissonance with the chord members of D7, requiring careful handling.

How is the term 'reharmonization' specifically understood within the genre of jazz?

In jazz, reharmonization typically refers to the process of fitting a new chord progression to an existing melody, often referred to as altering the 'changes' of a tune. This is done to make a standard tune sound more contemporary or to explore new harmonic possibilities.

Who are recognized as pioneers or significant figures in the development of jazz reharmonization?

Art Tatum is recognized as a pioneer of reharmonization in jazz. Later, musicians such as John Coltrane, Miles Davis, and Bill Evans were among the first to extensively explore its possibilities, making it a fundamental technique for jazz musicians and arrangers.

What is a prevalent technique employed in jazz reharmonization?

One of the most common and influential techniques in jazz reharmonization is chord substitution, particularly tritone substitution. This involves replacing a dominant chord with another dominant chord that is a tritone interval away from the original.

Explain the concept of tritone substitution in music.

Tritone substitution is a technique where a dominant seventh chord is replaced by another dominant seventh chord whose root is a tritone away. This works because the essential harmonic content of a dominant seventh chord—its third and seventh—are enharmonically equivalent to the seventh and third of the dominant seventh chord a tritone away.

What is the relationship between the third and seventh of a G7 chord and its tritone substitution?

For a G7 chord, the third is B and the seventh is F. The dominant seventh chord a tritone away from G7 is D♭7. The third of D♭7 is F, and the seventh is C♭ (enharmonically B♭), which are enharmonically equivalent to the seventh and third of G7, respectively. This shared interval is key to the substitution's effectiveness.

Why is tritone substitution particularly effective in jazz standards that utilize the II-V-I progression?

Tritone substitution is highly effective in jazz standards featuring the II-V-I progression because it maintains the harmonic function while introducing chromaticism. For example, in a Dm7-G7-Cmaj7 progression, substituting D♭7 for G7 creates a Dm7-D♭7-Cmaj7 sequence, which offers a more contemporary sound with chromatic bass movement and smooth voice leading.

Can tritone substitution be applied to major seventh chords, and if so, how?

Yes, tritone substitution can also be applied to major seventh chords. For instance, a progression like Dm7-G7-Cmaj7 could be reharmonized as Dm7-D♭maj7-Cmaj7. This variation has been noted in the big band writing of musicians like Thad Jones.

How do jazz harmony functions differ from classical harmony in the context of reharmonization?

In jazz, the harmonic system is often simplified into three primary functions: tonic, subdominant, and dominant. This contrasts with classical harmony's more complex functional analysis, allowing for greater flexibility in substituting chords that share these core functions.

What are the three main harmonic functions recognized in jazz music?

In jazz harmony, the three primary functions are tonic (representing resolution and stability), subdominant (creating a sense of movement away from the tonic), and dominant (creating tension that strongly leads back to the tonic).

How can chord substitutions be made based on functional harmony in jazz?

Based on functional harmony in jazz, chords can be substituted for others that share similar roles. For example, the second degree chord can be substituted for the fourth degree chord, and the tonic chord can be substituted for the sixth or third degree chords, maintaining the overall harmonic movement.

What is the effect of substituting a seventh chord for the fourth degree in a major key progression?

Substituting a seventh chord for the fourth degree in a major key progression can impart a 'bluesy' sound to the music. This substitution adds a characteristic color often associated with blues and jazz idioms.

What is 'planing' as a reharmonization technique?

Planing is a reharmonization technique where a chord or chord tone is moved up or down, either chromatically or by a tritone, while maintaining the chord's shape and voicing. This technique can be used to create smooth transitions or to embellish existing harmonies.

How can planing be embellished, and what musical structures can result?

Planing can be embellished by adding elements like a minor seventh to a planed chord. For example, if a D major chord is planed down a semitone to C♯ major, adding a seventh creates a C♯m7 chord. This C♯m7 chord can function as the ii chord in a ii-V-I turnaround, potentially resolving to F♯ major, even if it doesn't resolve to the original chord.

How do jazz arrangers utilize the planing technique?

Jazz arrangers often use planing to reharmonize melodic passing tones that might otherwise clash with the prevailing harmony of a progression. By moving these tones and their accompanying chords in parallel motion, planing helps to create a smoother, more cohesive sound.

Which jazz musicians are noted for effectively using the planing technique?

Herbie Hancock is cited for using improvised planing in his tune 'Chameleon' from the album 'Head Hunters'. McCoy Tyner is also recognized for his extensive use of planing, particularly employing pentatonic scales a tritone apart in his work with John Coltrane on 'A Love Supreme' and in his own recordings.

What concept related to multiple tonics was introduced by Joseph Schillinger and Nicolas Slonimsky?

Joseph Schillinger and Nicolas Slonimsky introduced the concept of multi-tonic systems, which involves deriving multiple tonics from an equal division of the octave. This theoretical framework explored new harmonic structures beyond traditional tonality.

Which John Coltrane composition is known for its use of a three-tonic system based on an augmented triad?

John Coltrane's composition 'Giant Steps' is renowned for its harmonic structure, which features a series of dominant chords and ii-V-I turnarounds resolving to three tonalities built on the B augmented triad. This represented a significant departure from conventional jazz harmony at the time.

What are 'Coltrane changes' in the context of jazz reharmonization?

'Coltrane changes' is a term used to describe the harmonic technique developed by John Coltrane, which involves utilizing multi-tonic systems, such as the three-tonic and later the four-tonic systems. These systems are based on tonics derived from augmented or diminished seventh chords and are used as a reharmonization tool.

How does the reharmonization in John Coltrane's 'Countdown' relate to Miles Davis's 'Tune Up'?

'Countdown' is essentially a 'Coltrane changes' version of Miles Davis's 'Tune Up'. The reharmonization involves altering the original chord progression of 'Tune Up' to incorporate Coltrane's complex harmonic concepts, particularly frequent modulations.

What does the reharmonization of 'changes' in jazz often necessitate regarding the melody?

The extensive modulations and harmonic complexity involved in reharmonizing 'changes,' as seen in examples like 'Countdown,' often require alterations to the original melody. This means the focus shifts from re-harmonizing the melody itself to re-harmonizing the underlying chord progression.

Describe the visual representation of two harmonizations of 'Yankee Doodle' provided in the source.

The source material includes an image displaying two different harmonizations of the song 'Yankee Doodle.' One harmonization is presented with a musical notation and an accompanying audio playback option, while the second harmonization is shown with its own distinct musical notation and audio playback feature.

What does the image depicting a harmonized C major scale illustrate?

The image illustrating a harmonized C major scale visually represents the chords derived from each degree of the scale. It shows the Roman numeral analysis of these chords, indicating I, ii, iii, IV, V7, vi, and vii°, corresponding to the major scale's harmonization.

What is the purpose of the 'See also' section in the article?

The 'See also' section provides a list of related topics and concepts that are relevant to harmonization. It includes entries such as Chord progression, Harmonic rhythm, Rule of the octave, and Traditional sub-Saharan African harmony, offering readers avenues for further exploration.

What external resources are linked for further information on harmonization?

The article provides links to external resources for further study. These include a Wayback Machine archive of 'Music Theory for Guitar - The Harmonized Scale' from Torvund.net and a page on 'Guitar Chords and Guitar Scales Harmonizing' from GuitarSecrets.com.

What is the significance of the Wikimedia Commons link in the article?

The Wikimedia Commons link directs users to a category containing media files related to harmonization. This allows users to access visual and potentially auditory examples that complement the article's content.

What is the primary difference between harmonization and reharmonization?

Harmonization is the initial process of adding chords to a melody, essentially creating the harmonic structure. Reharmonization, on the other hand, involves altering or replacing an existing harmonic structure that already accompanies a melody, often to add interest or a new perspective.

How does the concept of 'voice leading' apply to reharmonization techniques like tritone substitution?

Voice leading refers to the smooth movement of individual melodic lines within a harmonic progression. Tritone substitution, for example, often results in smooth voice leading in the upper parts of the harmony, contributing to its pleasing sound even with chromatic alterations.

What is the role of a 'dominant 7th chord' in the context of tritone substitution?

The dominant 7th chord is central to tritone substitution because its characteristic sound, largely defined by the tritone interval between its third and seventh, is preserved when a substitution is made. The substituted chord, also a dominant 7th, shares this crucial interval relationship.

What does the term 'enharmonically equivalent' mean in relation to musical notes?

Enharmonically equivalent means that two different names refer to the same pitch. For example, C♯ and D♭ are enharmonically equivalent. This concept is vital in understanding how tritone substitutions work, as the third and seventh of one dominant chord are enharmonically the same as the seventh and third of its tritone-substituted counterpart.

What is the function of a 'ii-V-I turnaround' in jazz music?

A ii-V-I turnaround is a common chord progression in jazz that creates a strong sense of harmonic movement and resolution. It typically consists of a minor seventh chord (ii), followed by a dominant seventh chord (V), which then resolves to a major or minor tonic chord (I). This progression is frequently used as a basis for improvisation and reharmonization.

What is the 'circle of fifths' and how does it relate to jazz harmony?

The circle of fifths is a sequence of musical keys where each key is a perfect fifth above the previous one. In jazz, progressions often follow the circle of fifths, and techniques like tritone substitution can be applied to these standard progressions to create variations and add harmonic color.

What is the purpose of adding a second degree to a planed chord in a ii-V-I context?

When a planed chord is treated as a dominant chord (V) of a momentarily tonicized key, adding a second degree to it creates an incomplete ii-V-I turnaround. This embellishment adds harmonic complexity and can lead smoothly into the tonic chord, even if the resolution isn't to the original key.

What is the 'three-tonic system' as utilized in jazz composition?

The three-tonic system, as explored by musicians like John Coltrane, is based on deriving three primary tonalities from an equal division of the octave, often related to an augmented triad. This system involves progressions that move between these three tonal centers, creating a unique harmonic landscape.

What is the 'four-tonic system' in jazz harmony based upon?

The four-tonic system in jazz harmony is based on tonics derived from a diminished seventh chord. This system expands upon the concept of multi-tonic systems by utilizing four tonal centers related by diminished seventh intervals.

How did the harmonic complexity of 'Giant Steps' impact the pianist on its original recording?

The harmonic structure of 'Giant Steps' was so novel that the pianist on the original 1959 recording, Tommy Flanagan, reportedly found it challenging. His solo on the track is considered by many to be less dense than Coltrane's, suggesting he was still adapting to improvising over such an unconventional harmonic framework.

What is the role of 'basso continuo' in musical accompaniment?

Basso continuo, also known as figured bass, is a type of accompaniment common in Baroque music. It typically involves a bass line played by a cello or bassoon, with chords indicated by figures above the bass notes, which are then realized by a keyboard instrument like a harpsichord or organ.

What is an 'Alberti bass'?

An Alberti bass is a common type of broken chord accompaniment pattern, particularly in classical music. It typically consists of a repeating pattern of the lowest, highest, middle, and highest notes of a chord, creating a flowing, arpeggiated texture.

What is a 'rhythm section' in a musical ensemble?

A rhythm section is a group of musicians within an ensemble responsible for providing the rhythmic and harmonic foundation. Common instruments in a rhythm section include drums, bass, and piano or guitar, though its composition can vary depending on the genre.

What is the difference between a 'chord' and a 'chord progression'?

A chord is a combination of three or more musical notes played simultaneously, creating a harmonic unit. A chord progression, on the other hand, is a sequence of chords played one after another, forming the harmonic structure of a piece of music.

What is 'harmonic rhythm'?

Harmonic rhythm refers to the rate at which chords change within a musical composition. It dictates how frequently the harmony shifts, influencing the overall pace and texture of the music.

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The Essence of Harmonization

Defining Harmonization

In the realm of music, harmonization refers to the practice of creating chordal accompaniment for a melodic line or a principal melody. It is the art of combining chords and melodies to produce harmony, essentially by stacking scale tones to form triads or more complex chords.^[2] This process enriches the melodic content, adding depth, texture, and emotional resonance to a musical piece.

Visualizing Harmony

While direct audio playback is not possible here, consider the visual representation of musical concepts. For instance, the provided diagrams illustrate how a melody can be supported by chords derived from a musical scale. The first diagram shows two different harmonizations of the tune "Yankee Doodle," demonstrating how the same melody can be accompanied by varied harmonic structures.

Yankee Doodle Harmonizations

These visual examples showcase distinct harmonic treatments for a familiar melody, highlighting the creative possibilities within harmonization.

Two Harmonizations of "Yankee Doodle"

🖼️

One harmonization.

🖼️

Another harmonization.

Harmonizing Musical Scales

Constructing Harmonized Scales

A harmonized scale is created by using each note of a musical scale as the root note for a chord. The remaining tones within that chord are also derived from the same scale. This process generates a set of chords that are diatonic to the scale, forming the harmonic foundation for melodies within that key.

The Major Scale Example

In a standard major scale (Ionian mode), harmonizing each scale degree results in the following chord qualities:

I: Major chord
ii: Minor chord
iii: Minor chord
IV: Major chord
V: Major chord (often a dominant 7th)
vi: Minor chord
vii°: Diminished chord

This sequence provides the fundamental harmonic vocabulary for music in a major key.

The Minor Scale Example

For the natural minor scale (Aeolian mode), the resulting harmonization is:

i: Minor chord
ii°: Diminished chord
III: Major chord
iv: Minor chord
v: Minor chord
VI: Major chord
VII: Major chord

These patterns form the basis for understanding harmonic relationships across different modes and keys.

Harmonized C Major Scale

This visualization illustrates the diatonic chords derived from the C major scale.

🖼️

Harmonized C major scale: I, ii, iii, IV, V7, vi, vii°.

Reharmonization: Evolving Harmony

The Art of Altering Harmony

Reharmonization is a sophisticated musical technique where an existing melodic line is accompanied by a newly composed or altered chord progression. The primary goals are to introduce musical interest, provide variety, or adapt a piece to a more contemporary or progressive style. It's a powerful tool for arrangers and composers to reimagine familiar melodies.

Melodic Tone Harmonization

A single melodic tone can be harmonized in numerous ways, serving as different chord members (root, third, fifth, seventh, etc.). For example, the note 'E' could be the root of an E major chord, the third of a C major chord, or the ninth of a D minor seventh chord. When reharmonizing an entire melodic line, the arranger must consider how each melodic tone interacts with the chosen harmony, managing potential dissonances and ensuring smooth voice leading.

Consider a melody with the notes E♭ – F – G. If originally harmonized with an E♭maj7 chord (E♭ – G – B♭ – D), reharmonizing with a D7 chord (D – F♯ – A – C) might create significant dissonance, as F clashes with the F♯ (a semitone difference) and G clashes with the A (a major second difference). While skilled musicians can leverage such dissonances, careful consideration of voice leading and harmonic context is paramount.

Jazz Reharmonization Techniques

Contemporary Jazz Harmony

In jazz, reharmonization often involves updating the chord progressions of existing standards to sound more modern. This is a cornerstone of jazz improvisation and arrangement, with pioneers like Art Tatum, John Coltrane, Miles Davis, and Bill Evans significantly advancing the practice.

Tritone Substitution

A prevalent technique is tritone substitution, where a dominant seventh chord is replaced by another dominant seventh chord located a tritone (three whole steps) away. This works because the crucial third and seventh intervals of a dominant chord are the same (enharmonically) as the seventh and third of the tritone-substituted chord. For example, a G7 chord (G-B-D-F) can be substituted with a D♭7 chord (D♭-F-A♭-C♭/B), as B and F are enharmonically equivalent to C♭ and F.

This substitution is highly effective in jazz standards that frequently use the II-V-I progression. A progression like Dm7 – G7 – Cmaj7 can become Dm7 – D♭7 – Cmaj7, introducing chromatic bass movement and a richer harmonic color.

Functional Substitution and Bluesy Sounds

Beyond tritone substitution, jazz harmony simplifies functions to tonic, subdominant, and dominant. Chords can be substituted based on these functions (e.g., substituting the ii chord for the IV chord). Replacing a major chord with a minor seventh or dominant seventh chord can create a "bluesy" effect. The common II-V-I turnaround can be elaborated with preceding chords or substitutions, adding chromaticism and harmonic sophistication.

Advanced Concepts in Harmony

Planing

Planing involves sliding a chord or a set of chord tones up or down, chromatically or by a tritone, while maintaining its voicing and structure. This technique is used by improvisers and arrangers to create harmonic movement and interest. For instance, a F7 chord could be planed up to F♯7, creating a semitone shift in all its constituent notes. This can be further embellished, for example, by adding a seventh to a planed dominant chord to create a ii-V-I turnaround, even if it doesn't resolve to the original tonic.

A common progression like Cmaj7 | Am7 | Dm7 | G7 | Cmaj7 can be reharmonized using planing and substitutions. For example: E7 | A7 | B♭m7 E♭7 | D7 F7 | A♭maj7 D♭maj7 | Cmaj7. This demonstrates chromatic movement and substitutions, creating a more complex harmonic landscape.

Multi-tonic Systems

Inspired by theorists like Joseph Schillinger and Nicolas Slonimsky, multi-tonic systems explore the octave divided into equal parts, creating multiple tonal centers. John Coltrane famously utilized this concept in his composition "Giant Steps," which features rapid modulations through three tonics based on the B augmented triad (B, G, E♭). This approach, often referred to as "Coltrane changes," involves complex sequences of dominant chords and ii-V-I progressions resolving to these distant tonics.

Coltrane's "Countdown," a reharmonization of Miles Davis's "Tune Up," exemplifies this. The original D major key progression (Em7 – A7 – D) is transformed with rapid shifts: Em7 F7 | B♭ Db7 | Gb A7 | D. This intricate harmonic structure requires advanced improvisational skills and often necessitates melodic alterations to fit the new harmonic framework.

Foundational Music Theory

Functional Harmony

Classical and jazz harmony often simplify tonal relationships into three core functions: tonic (home), subdominant (leading away), and dominant (leading back). Understanding these functions allows for strategic chord substitutions, as chords with similar functions can often replace each other without disrupting the overall harmonic flow.

Harmonic Rhythm and Voicing

Harmonic rhythm refers to the rate at which chords change within a piece. The way chords are voiced—the specific arrangement of notes within the chord—also significantly impacts the overall sound and texture. Sophisticated reharmonization often involves careful consideration of both harmonic rhythm and voicing to achieve desired effects.

Global Harmonic Traditions

While Western music theory heavily influences concepts like harmonization and reharmonization, diverse musical traditions worldwide employ unique approaches to harmony and melody. Exploring these global perspectives enriches our understanding of musical structure and expression.

References

Source Material

The information presented on this page is derived from scholarly and encyclopedic sources, providing a foundation for understanding musical harmonization.

Porter, Steven. Harmonization of the Chorale.
Schonbrun, Marc. The Everything Music Theory Book: A Complete Guide to Taking Your Understanding of Music to the Next Level.
Buckingham, Bruce, and Eric Paschal. Rhythm Guitar: The Complete Guide.
Wyatt, Keith, and Carl Schroeder. Harmony and Theory: A Comprehensive Source for All Musicians.
Levine, Mark. The Jazz Theory Book.
Wright, Rayburn. Inside the Score: A Detailed Analysis of 8 Classic Jazz Ensemble Charts by Sammy Nestico, Thad Jones, and Bob Brookmeyer.
Griffin, Farah Jasmine, and Salim Washington. Clawing at the Limits of Cool.

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References

Wright, Rayburn. Inside the Score: a detailed analysis of 8 classic jazz ensemble charts by Sammy Nestico, Thad Jones, and Bob Brookmeyer. New York: Kendor Music, Inc., 1982. pp. 45 â 109.

A full list of references for this article are available at the Harmonization Wikipedia page

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This page has been generated by an AI for educational and informational purposes only. The content is based on publicly available data and aims to provide a clear, structured overview of musical harmonization.

This is not professional music advice. The information provided herein is not a substitute for consultation with qualified music theorists, composers, arrangers, or educators. Always seek the guidance of experienced professionals for specific musical endeavors or academic pursuits.

The creators of this page are not responsible for any inaccuracies, omissions, or actions taken based on the information presented.

Harmonization Unveiled

💡 Dive in with Flashcard Learning! 💡

The Essence of Harmonization 🎼

🎵 Defining Harmonization

🎶 Visualizing Harmony

🖼️ Yankee Doodle Harmonizations

Harmonizing Musical Scales 🎹

📏 Constructing Harmonized Scales

💡 The Major Scale Example

melancholic The Minor Scale Example

🖼️ Harmonized C Major Scale

Reharmonization: Evolving Harmony 🔄

🎼 The Art of Altering Harmony

👂 Melodic Tone Harmonization

Jazz Reharmonization Techniques 🎷

⭐ Contemporary Jazz Harmony

🔀 Tritone Substitution

blues Functional Substitution and Bluesy Sounds

Advanced Concepts in Harmony 🧠

➡️ Planing

🌌 Multi-tonic Systems

Foundational Music Theory 📚

⚖️ Functional Harmony

🎼 Harmonic Rhythm and Voicing

🌐 Global Harmonic Traditions

References 🔗

📜 Source Material

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📜 Educational Context

Dive in with Flashcard Learning!

The Essence of Harmonization

Defining Harmonization

Visualizing Harmony

Yankee Doodle Harmonizations

Harmonizing Musical Scales

Constructing Harmonized Scales

The Major Scale Example

The Minor Scale Example

Harmonized C Major Scale

Reharmonization: Evolving Harmony

The Art of Altering Harmony

Melodic Tone Harmonization

Jazz Reharmonization Techniques

Contemporary Jazz Harmony

Tritone Substitution

Functional Substitution and Bluesy Sounds

Advanced Concepts in Harmony

Planing

Multi-tonic Systems

Foundational Music Theory

Functional Harmony

Harmonic Rhythm and Voicing

Global Harmonic Traditions

References

Source Material

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

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Disclaimer

Educational Context