Re: STRATEGIES for REHARMONIZATION in LIVE LOOP COMPOSITION

[F_Anile <eterogenus@gmail.com>]

Interesting discussion, Rick.

Chords substitution is one method for reharmonization I use.

I'm talking about tritone substitution (in a C (I) context, G7 (V) could be' substituted with D♭7+).

Another tip is to use the diminished seventh chord in place of a dominant 7th chord, or alter the chord' quality, just changing one pitch of your original chord.

You can substitute the relative major and minor of hour original chord to slight move in another harmonic context.

Another trick I use is to stress a note of the melody and take it as the root for a different harmonies context (in a D-7 context, try to stress on your melody the D note, then suddenly move the chord to a different harmonic context wich is related with the D note, like Gmaj7 or B♭maj7).

Would love to read what other approaches you guys use.

-f

Il giorno 09/giu/2012, alle ore 02:10, Rick Walker <looppool@cruzio.com> ha scritto:

STRATEGIES for REHARMONIZATION in LIVE LOOP COMPOSITION

I've been reading a lot of books on modern (and classical) harmony lately, in a desire to learn
more about the use of substitutions in harmony in my live looping composition efforts.

In my own music,  I've done a lot of exploration into ways to manipulate typical diatonic harmony,
modal harmony and I've learned a lot about different world approaches to scalar playing.

Now,  I want to investigate ways to purposefully play outside of scales outside of typical
straight modulation techniques.

So, I was wondering:

What are some tricks or strategies that you use to create either more complex harmony
(as opposed to purely modal or diatonic harmony) in melodic songwriting?

Rick Walker