Modal Harmony reharmonization

On the same original theme we will practice different reharmonization following always some general criteria in the replacement or chords substitution.

Of course, we will work always on the same melody.

There are many options and I invite you to experience your own.

I approached five possibilities with different ideas in this book:

1- Chord replacement and /or substitution respecting the original harmony idea.

2- Modulation towards another tonal center (Modal Harmony reharmonization).

3- Interleaving of modal interchange chords.

4- Modulation of a part of the progression.

5- Look for a Blues sound in the harmony.

It will be important as a first step to establish main chords (usually situated in strong bars) and then build intermediate progressions that connect them.

Practice melodic and harmonic analysis in each case, this will ensure that the new harmony works.

Playing and listening to it will of course be the total guarantee.

Modal Harmony reharmonization

– Seek to displace the tonal center to another mode.

– Can be relative to F major or not.

– Keep the same melody.

In this example I have joined two resources: modulation and modal harmony.

I have moved the tonal center towards G Dorian (II relative minor mode of F major).

I have used two resources in order to achieve the tonal center sensation in Gm Dorian mode.

1- To repeat exaggeratedly the Gm chord.

2- To avoid the C7 which as F natural dominant could displace the tonal center towards it.

Obviously, all the chords are diatonic to both tones, since they are relative, thats why if we do not take those precautions our ear will move towards the F Ionic mode, which is the one we are more accustomed to listening.

The 6 in the first bar helps us define the Dorian mode from the beginning, above all because it is a strong note (strong beat and long duration).

The penultimate bar breaks the Dorian mode, with a little change of dominants, to stress the tonic sensation in G.

The last hybrid chord is a wink to both tones (G Dorian y F Ionian), living the door open to continue in G Dorian or to modulate to F Ionian. In this last case, this chord will serve as a pivot for a good transition towards F Ionian.

This post is part of my book