Reharmonization of Run Away with Me: Jazz Theory Arrangement

Three fundamental reharmonization techniques are demonstrated. First, harmonic complement rules: before any fifth degree chord, place the second degree chord (e.g., F#m7b5 before Mi Menor); before the second degree, place the sixth degree chord (e.g., Do before Mi Menor). Second, diatonic substitution replaces chords with functionally equivalent ones (e.g., substituting Do with La Menor when approaching Do Mayor). Third, modal interchange allows using chords from different modes that don't belong to the original key but create interesting colors (e.g., using Fa7 from Sol Menor in a Sol Mayor context). These techniques enable arrangers to enrich existing harmonic structures while maintaining logical progression.

Beyond diatonic chords, songs commonly use chromatic chords from outside the key. The flat seven (♭VII) creates an open, epic sound. The flat three (♭III) adds bluesy edge by mixing major and minor elements. The flat six (♭VI) moves to new tonal spaces. The flat two (♭II) produces exotic, Arabesque qualities. The sharp four/flat five (♯iv/♭V) is rare with cinematic sound. These modal interchange chords expand harmonic possibilities and create dramatic color changes within compositions.

Chromatic medians are chords built a major or minor third away from the tonic that contain non-diatonic tones, creating tension commonly used in film and TV scores; they can be used by pinging between the tonic and a chromatic median, alternating between different chromatic medians, or mixing chord qualities to enhance dramatic effect.

When writing non-functional or atonal harmonies, composers face the challenge that purely atonal music without a tonal center is almost impossible to achieve. Two main approaches exist: vertical harmony (thinking in terms of chords and their relationships) and horizontal harmony (thinking in terms of individual note movements). Vertical harmony includes functional harmony (tonic, dominant, subdominant relationships) and non-functional approaches. Horizontal harmony focuses on modal harmony where all notes come from one particular collection of notes (mode). The ear can detect connections between harmonies that move by step, by a fifth (due to the overtone series), or where something stays the same while something else changes. Ligeti's second piano etude demonstrates how harmonic movement can be guided through fifths or stepwise movement without relying on functional harmony. Modal harmony is a horizontal approach where individual chords are less important than the collection of notes used. However, composers can create more nuanced approaches where vertical chords and horizontal modes interact even when they somewhat contradict each other, creating uncertainty that composers explore in contemporary music.

Guide tones are the third and seventh of a chord, which define its color and function. When connected smoothly from chord to chord, they create a melodic line that outlines the harmony—this is called voice leading. In consecutive 2-5 progressions, common tones stay fixed while other notes move chromatically downward. Doubling guide tones is acceptable for training purposes but not typically recommended in performance.

Voice leading is the technique of moving between chords using the shortest possible paths. The ear prefers when harmonies stay relatively close together rather than making large leaps. The instructor explains that when chord positions jump too far apart (like from the 7th to 9th fret), it creates awkward sound packets. The key principles are: (1) Always find the closest inversion available, (2) When the bass goes up, move the chord down, and vice versa, (3) When a note stays the same, keep it stationary for stability. This principle has been valued since Bach's time and creates more pleasant-sounding chord progressions.

Guide tones are the essential notes that define each chord's character. For Am (i), the guide tone is E (the 5th). For Dm (iv), it's F# (the 3rd). For G7 (V7), it's B (the 3rd). For Em7 (iii7), it's C (the 5th). Voice leading involves smoothly connecting these guide tones between chords: E resolves to D, F# resolves to E, and B resolves to C. This creates natural and pleasing transitions. Understanding these principles allows musicians to create smooth, professional-sounding chord progressions.

Voice leading is a technique for connecting chords fluidly and melodically, derived from choral music where voices are distributed among choir members. Harmony must be viewed on two dimensions: vertical (notes composing each chord) and horizontal (melody formed by each voice). Without voice leading, chord progressions create uncomfortable jumps with little melodic sense. The three core rules are: (1) Each voice should move no more than one tone or semitone between chords; (2) Maintain common notes between chords and only move changing notes; (3) Avoid repeating the same inversion between consecutive chords. These principles create linear, easy-to-sing melodies that are more pleasant to listen to and play.

Voice leading creates smooth chord transitions through minimal note movement. Key principles include: keeping common notes stationary, moving voices in step-wise motion (avoiding intervals larger than thirds), and changing register only at phrase endings. When chords share common notes, keep them constant while moving other voices stepwise. For example, in C to F progression, hold C while moving E→F and G→A. This creates smoother transitions than root-position playing. The goal is conjunct, seamless melodies in each voice.

Coltrane changes, also known as the three-tonic system, is a harmonic approach developed by John Coltrane that involves modulating between key centers a major third apart. This system creates striking harmonic associations by always traveling as far as possible between key centers on the circle of fourths and fifths. Coltrane applied this system in his famous composition 'Giant Steps' using two approaches: traveling to each new key center every measure with its relative five chord, and traveling upwards in major thirds every two measures with its relative 25 chord. This system became central to Coltrane's career from 1959 onwards and represents a fundamental advancement in jazz harmonic language.

Coltrane changes, also known as the three tonic system, is a jazz harmony concept based on dividing the octave into three equal major thirds, creating a progression that cycles through three related keys (e.g., C, E, G#) using an alternating pattern of perfect fifths and minor thirds; this system can be analyzed through interlocking augmented triads forming the augmented scale, and improvisers can navigate it using either the augmented scale, whole tone scale, or by treating each ii-V-I progression as its own key.

Coltrane Changes is a harmonic substitution technique developed by John Coltrane, characterized by three modulations separated by major thirds (such as C major, F major, and Bb major), which create a distinctive 'triangle of Coltrane' that divides the circle of fifths into an equilateral triangle; this technique can be applied to jazz standards by substituting traditional ii-V-I progressions with these three-tone modulations, requiring musicians to adapt the melody to match the new harmonic structure, as demonstrated in Coltrane's reinterpretations of 'Body and Soul' and 'Countdown' (a variation of 'Tune Up').

Giant Steps is considered one of the most iconic jazz albums, with its opening track containing one of the most famous solos in jazz history. The album was released in 1959, a significant year for jazz releases, and has become iconic for its technical innovations and musical energy. The three-tonic system and rapid chord changes have become a right of passage for young players. Giant Steps uses a three-tonic system where the song rapidly moves through three different key centers: B major, G major, and E flat major, all exactly a major third apart. This creates a symmetrical harmonic structure that is extremely difficult to execute. The chord changes happen every two beats, except for only three or four places where a chord is held for a full two beats. The entire tune contains 26 chords, requiring significant mental gymnastics and athletic ability to execute. Countdown is a reharmonization of 'Tune Up' from Miles Davis's Cooking with the Miles Davis Quintet, applying what became known as 'Coltrane changes' to it. This reharmonization is similar in root movement to Giant Steps but is actually even more difficult and faster. The track is only 2 minutes and 25 seconds long but contains approximately 75 chords. Art Taylor's drumming on Giant Steps represents pure mastery of jazz percussion, with precise high hat patterns on beats two and four, the ride cymbal providing a steady pulse, and the bass drum and snare drum working together with remarkable coordination.