Harmonization

[3] For example, using an Ionian (major scale) Using the minor (aeolian mode) one would have: Reharmonization is the technique of taking an existing melodic line and altering the harmony that accompanies it.

In jazz, the term is typically used to refer to the process of reharmonizing some or all of a tune, whereby an existing melody is refitted with a new chord progression.

Jazz musicians often take the melody from a well-known standard and alter the changes to make the tune sound more contemporary or progressive.

The new progression has a more contemporary sound, with chromatic bass motion and smooth voice leading in the upper parts.

A concept introduced by Joseph Schillinger and Nicolas Slonimsky, the idea of multiple tonics derived from equal division of the octave appealed to John Coltrane, who proceeded to compose the groundbreaking tune "Giant Steps".

The composition features a series of dominant chords and ii-V-I turnarounds resolving to three tonalities built on the B augmented triad (the three-tonic system): The harmonic structure of Giant Steps was unfamiliar territory for many jazz musicians at the time, including Tommy Flanagan, the pianist on the original 1959 recording.

The relative minimalism of his solo on the tune (compared with the density of Coltrane's) is considered by many to be an indication that he was not yet comfortable improvising on such a structure, even given his extensive experience within the jazz idiom.

[7] In this example from "Countdown" (which is really a "Coltrane changes" version of "Tune Up", the well-known jazz standard composed by Miles Davis), the long ii-V-I in the key of D major is laced with V-I progressions that resolve to the three tonics of the D augmented triad: This kind of reharmonization mostly requires alteration of the original melody because of the frequent modulations[citation needed] and therefore, becomes "reharmonization of the changes" rather than the classic concept of re-harmonizing the melody.