Modal interchange reharmonization

Practice modal interchange reharmonization: on the same theme of the previous post we will practice a rearmonization with modal exchange chords.Of course, we will work always on the same melody.

Original theme

Modal interchange reharmonization

In this example I have interleave three interchange modal chords:

– Gm7b5: IIm7b5, typical subdominant from the minor mode (Aeolian), connects a chromatic bass line which starts in the second bar with the Dm7/A and finishes in the 5th bar with the F chord, helped by the substitute dominants Ab7 y Gb7.

– The melody forces to play a #5 on Ab7, for this reason I choose the Altered scale instead of the Lydian b7 as usually corresponds to a substitute dominant.

– Ebmaj7: bVIImaj7 from the Mixolydian mode. This chord breaks the previous chromaticism jumping by tone, moving all voices in the same direction, from Fmaj7, in parallel form.

– Gbmaj7: bIImaj7 from the Phrygian mode, works as a resolution delay creating a strong tension, since all its voices are within a semitone distance from the tonic chord. F in the melody is a nexus between these two chords, because it is 7 in Gbmaj7 and f in F6.

This post is part of my book

Modern Harmony EXERCISES II

available in

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