3/4 Re Harmonisation-Jazz/Fusion Triads/Bass

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jazz-fusion-reharmonisation-triads-example

Hi Guys,

Today we will have a look at re harmonising with extra dominant substitutions and a chord ii variant…..

jazz-fusion-reharmonisation-triads-example

The first bar employs a C6/9 in place of the basic tonic chord of C major.

Also, note that this has a 3/4 time signature and starts with an up beat.

jazz-fusion-reharmonisation-triads-example
jazz-fusion-reharmonisation-triads-example

The next two bars alter the Dominant chord of G7. This is achieved by thinking of G as a 1st inversion and changing the harmony on top.

jazz-fusion-reharmonisation-triads-example

The BbmMaj7/B has the flattened 3rd like a #9 a flattened 5th [altered] but has the 9th and the 7th of G7. The first 4 notes of the improvised line establishes the BbmMaj7/B harmony whilst the next eight notes employ the A whole tone scale.

jazz-fusion-reharmonisation-triads-example
jazz-fusion-reharmonisation-triads-example

The next substitution is a Db chord over the B bass establishing the flattened 5th and a flattened 9th. But, what is really happening is that we are taking a triad a tritone away form the dominant chord G7 and superimposing that on the B [as a 1st inversion] bass note.

jazz-fusion-reharmonisation-triads-example
jazz-fusion-reharmonisation-triads-example

Next, we use a chord ii substitution. Again, thinking of F as the bass [1st inversion] we play an E triad over the top. This has the raised 6th and the flattened 5th as a sort of m7b5/Dorian mix.

jazz-fusion-reharmonisation-triads-example

The final Dominant substitution employs another triad from G altered. This time we use the Eb triad over the B [as 1st inversion] bass. [This has an added 9th acting as the 7th note of G]

jazz-fusion-reharmonisation-triads-example

Improvised line over the top,

jazz-fusion-reharmonisation-triads-example

Finally, we arrive back to C6/9

jazz-fusion-reharmonisation-triads-example

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