Techniques - Reharmonization

This involves "borrowing" chords from a parallel mode, usually the parallel minor.

Swap a I (C major) for a iii (E minor) or a vi (A minor).

Reharmonization is as much about the bass line as it is the chords. Aim for smooth voice leading or intentional chromatic steps. Reharmonization Techniques

Keep the bass note constant while the chords change above it. Playing C, D/C, F/C, and G/C.

Instead of changing the whole chord, keep the harmony static while moving a single inner voice chromatically (e.g., C — Cmaj7 — C7 — C6). This involves "borrowing" chords from a parallel mode,

This builds immense tension, as the listener waits for the bass to finally move and "resolve" the shifting harmonies above it. Summary Tips

This adds chromaticism and stronger "pull" toward the next chord in the sequence. 4. Modal Interchange (Borrowed Chords) Aim for smooth voice leading or intentional chromatic steps

The "engine" of a G7 is the tritone between its 3rd (B) and 7th (F). A Db7 uses these same two notes (the 3rd is F, the 7th is Cb/B), creating a smooth, chromatic bass descent to the target chord. 3. Secondary Dominants