A Section Reharms
In this lesson we explore an interesting reharmonisation for the 4th bar of the A section and a common tritone substitute for the 3625 progression on the 2nd line of the tune.
Diminished Chord Reharm
In the original harmony we have a Bb diminished chord in the 4th bar. We replace this with a 25 progression that leads us smoothly and convincingly to the A-7 chord in bar 5.
When approaching a minor chord, we typically play a minor 25 progression which in this case is B-7b5 to E7. This works perfectly with the original melody notes which gives us B-11b5 moving to E7#9 and then resolving into A-7 which is the iii-7 chord in the key of F Major.
The Power Of The Tritone
The 3625 progression on the 2nd line is a great candidate for tritone substitution. We simply change the bass note of the D7 to Ab and this give us the following progression:
- A-7 / Ab7 / G-7 / C7
This creates a chromatically descending bass line between the A-7 and the G-7 and also adds a fresh sound to this progression that repeats throughout the form of the tune.
Lesson Downloads
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Reharmonising The A Sections File Type: pdf
Practice Tips
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The secret to a great reharmonisation is to keep the melody note intact whilst adding new harmony underneath. The B-11b5 and E7#9 fits perfectly with the melody in bar 4.
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Remember that voicings can always be enlarged to create a wider spread on the piano. This helps to add more dynamics to repeating sections such as the A section in this tune.
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Create a habit to naturally explore tritone substitutes for common progressions such as 251s and 3625s. This is often one of the simplest ways to add new flavours and harmonic colours.