#reharmonization

[ohshootradio]

DIRTY LOOPS Circus (Britney Spears cover)

[diamondbrickz]

woe. golden omens onto ye. i’ve had this theme song stuck in my head on loop for the past week because i binged both seasons for the first time (it’s really good) but making a mashup did NOT help to get it out. probably made it worse actually. thank you neil gaiman and terry pratchet

[sseeyasaturday]

Weki Meki - Siesta (2021) Chords

[knistelfitz]

The Lumineers - Angela (Knistelfitz Cover)

[yan-loves-ganondorf]

i finished my 2019-2020 Zelda art in 2022, i drew it in semi realism only because that was originally intended

i was inspired by "hyrule castle song reharmonized into a major key for no reason" by Clark Powell, this ver had so many hot sunny summer day vibes https://on.soundcloud.com/47bkk

[cactus-with-boobs]

At a bluegrass jam n they asked me to solo so I riff on the melody (reharmonize it and make it s little more vocal) and suddenly km the bad guy??

[sonicmusicmusings]

Since this is year of shadow, can you analyze the remix of white jungle from forces dlc.

Of course! Let's do it!

This mix is so much heavier and produced than its SA2 original. This is not unusual for the drum and bass Shadow themed tracks--I found the Generations mix of For True Story to be a little more focused in its production too. The guitars are heavier, with the vocals more front and center. The synth has a bit more of a razor's edge to it as it warbles between the verses. Oh, and there's even a filter fade out into the second chorus, very cool! This second chorus has a cool reharmonization with a dramatic build up into the turnaround. The form is definitely more concrete, and it makes for a cool riff on the original without taking away the bones that make it special.

[void-of-nothing]

industrial metal reharmonization 👍

[doctorwhoisadhd]

dr who spinoffs love making a theme song that is basically the dr who theme but if you took out the melody and maybe reharmonized it like the tiniest bit so its still absolutely recognizable as the dr who theme but if you took out the melody

[can-you-free-me]

what the fuck was that remixed reharmonized Kill or Be Killed??? at Rock Werchter? I love it so much it's so pretty 😭

[myplasticadversary]

This reharmonized genre-bending arrangement of Run Away With Me is so stupid good it makes me wanna say that music is over because we can't top this

[voxelfoxkae]

it is [was?] a mildly popular browser extension that auto-replaced words to be more My Little Pony themed

https://addons.mozilla.org/en-US/firefox/addon/ponify-reharmonized/

i just installed it and this is the tumblr reblog filter:

so i changed “someone” to “a boob” on ponify and i typed an assignment out for religion and handed it in, but i forgot about ponify so when i got it back i

[sheetmusiclibrarypdf]

Someone to watch over me, Gershwin, arr. Keith Jarrett, piano sheet music

Someone to watch over me, George Gershwin, arr. Keith Jarrett, piano sheet music, Noten, partitura, spartiti 楽譜.Best Sheet Music download from our Library.Please, subscribe to our Library.Browse in the Library:The Lonely Search That Became a Shared Language: "Someone to Watch Over Me" as a Jazz Standard Someone to watch over me, George Gershwin, arr. Keith Jarrett, piano sheet music, Noten, partitura, spartiti 楽譜. https://youtu.be/gWegpfFeWI4?si=iKFAO0T7_1IkmaQh The Lonely Search That Became a Shared Language: "Someone to Watch Over Me" as a Jazz Standard Emerging not from a smoky jazz club, but from the bright lights of Broadway in 1926, George and Ira Gershwin's "Someone to Watch Over Me" possessed an inherent magic that transcended its theatrical origins. Introduced by Gertrude Lawrence in the musical Oh, Kay!, the song immediately captivated audiences with its poignant blend of vulnerability, yearning, and sophisticated melody. Little did the Gershwins know, they had crafted not just a hit show tune, but the DNA of a future jazz standard, destined to be reinterpreted by countless legends for nearly a century. From Broadway Ballad to Jazz Canvas: The Ingredients of a Standard What made "Someone to Watch Over Me" so ripe for jazz interpretation? - Harmonic Richness: George Gershwin's composition, rooted in the traditions of Tin Pan Alley and classical music, features lush, sophisticated chord progressions. Its journey through keys (notably the modulation in the bridge) and its inherent harmonic tension provided fertile ground for jazz musicians to explore reharmonization, substitutions, and improvisation. - Malleable Tempo & Feel: While often performed as a slow ballad, the song's structure (classic AABA form) and rhythmic flexibility allow it to be swung gently, played with a bossa nova lilt, or even taken at a brighter tempo without losing its essential character. - Emotional Core: Ira Gershwin's lyric is a masterpiece of understated longing – "There's a somebody I'm longing to see, I hope that he turns out to be, Someone to watch over me." This universal theme of seeking comfort, protection, and love resonates deeply, offering a profound emotional canvas for musicians to paint upon. The vulnerability invites intimate interpretation. - Strong Melodic Arc: The melody is both memorable and expressive, moving gracefully over the harmonies. It provides a strong foundation for improvisers to depart from and return to, offering recognizable motifs to play with and embellish. The Early Adopters: Setting the Standard The transition from show tune to jazz standard wasn't instantaneous, but key figures recognized its potential early on: - Louis Armstrong (1936): Satchmo's recording, featuring his instantly recognizable trumpet and gravelly vocals, was pivotal. He infused it with jazz phrasing, rhythmic swing, and his own unique emotional warmth, demonstrating how the song could thrive outside its original context. - Ella Fitzgerald: The First Lady of Song recorded it multiple times, most famously on her seminal Gershwin Songbooks series (1959) arranged by Nelson Riddle. Her crystalline diction, impeccable phrasing, and ability to convey both innocence and deep feeling cemented the song's place in the vocal jazz canon. She treated it with reverence while making it utterly her own. - Frank Sinatra: Sinatra's interpretations, particularly his later, more world-weary versions, brought a different shade of masculine vulnerability to the lyric, further broadening its emotional appeal. The Instrumentalists' Playground: Masters Reinvent As the song solidified its status, instrumental jazz giants found endless inspiration in its framework: - Bill Evans (1962, Moon Beams): Evans' trio rendition is a landmark of introspective jazz. His touch is delicate, almost prayerful. He explores the harmonic depths with subtle reharmonizations and cascading lyrical lines, transforming the song into a profound meditation on loneliness and quiet hope. The space he leaves, the interplay with bassist Chuck Israels and drummer Paul Motian, creates an atmosphere of hushed intimacy that remains deeply influential. - Miles Davis (1958, Porgy and Bess - Gil Evans arrangements): Davis, under Gil Evans' lush orchestration, delivers a masterclass in muted trumpet lyricism. His tone is fragile, yearning, and exquisitely controlled, floating over the rich textures. This version highlights the song's inherent cinematic quality and emotional depth. - Keith Jarrett (Multiple recordings, notably Standards Trio): Jarrett approaches the song with his characteristic blend of reverence and fearless improvisation. Whether in solo concerts or with his legendary Standards Trio (Gary Peacock, Jack DeJohnette), he uses the melody as a launchpad for extensive, exploratory improvisations. He might deconstruct the harmony, introduce rhythmic complexities, or stretch the tempo, yet always finds his way back to the song's aching core, proving its incredible resilience and adaptability. - Chet Baker: Baker's trumpet and vocal versions epitomize West Coast cool. His fragile, breathy delivery perfectly matched the song's vulnerability, making it a signature piece for him. His interpretations emphasize melodic beauty and a sense of romantic melancholy. - John Coltrane (1961, Olé Coltrane): Trane offered a more exploratory take, stretching the harmony within his early 60s modal approach. While less overtly sentimental than others, his version showcases the song's strength as a vehicle for harmonic investigation even by avant-garde pioneers. - Nina Simone: Simone imbued the song with her unique blend of jazz, blues, and classical intensity. Her versions are often slower, more dramatic, and infused with a raw, almost defiant vulnerability, adding another powerful layer to its emotional spectrum. Enduring Legacy: Why It Still Resonates "Someone to Watch Over Me" remains a cornerstone of the jazz repertoire because: - It's Timeless: The fundamental human need for connection and protection it expresses never goes out of style. - It's Adaptable: It can be intimate or orchestral, traditional or avant-garde, vocal or instrumental, slow or moderately swung. It welcomes personal interpretation. - It's Structurally Sound: The strong AABA form provides a reliable framework for improvisation and arrangement. - It's Emotionally Rich: It offers a depth of feeling that musicians can connect with and communicate to audiences. From Bill Evans' whispered introspection to Keith Jarrett's expansive explorations, from Ella Fitzgerald's pristine elegance to Miles Davis' fragile trumpet cry, "Someone to Watch Over Me" has proven to be far more than a Gershwin classic. It is a shared language of longing and hope, a blank canvas upon which generations of jazz musicians have inscribed their own stories, fears, and desires. Its journey from Broadway stage to the heart of jazz improvisation is a testament to the genius of its creators and the enduring power of a song that speaks directly to the universal need to be seen, protected, and loved. As long as that need exists, jazz musicians will continue to find new ways to watch over, and be watched over by, this immortal melody. Read the full article

[cavenewstimestoday]

“Kurt had a real ear for a hook, so playing bass with him was super-easy”: An unexpected reharmonization is one of the keys to this classic Nirvana bassline

(Image credit: Getty Images) Back in 1991, just before Nirvana suddenly broke huge on MTV, rock fans and musicians alike were in a bit of a holding pattern – mainstream ’80s hard rockers (see Guns N’ Roses) and muso shredders were hanging on for dear life, and more aggressive funk-rockers (Red Hot Chili Peppers, Fishbone, Faith No More) were going along for the ride. So when grunge first hit it…

[compoblog]

Composition Sem 1 recap

Recap on advanced reharmonization

Replacing chords

Contrary motion based on melody and bass

Parallel - based on the melody and bass

Chromatic movement (half/whole step)

Tonal move V - I

Pairs of tritone

Pedal point

Max Reger Modulation

Stemming away from traditional modulations such as pivot chords. Many other ways of modulating such as:

Direct/abrupt modulation

Neapolitan 6th

Dorian 6th, raised the 6th

2nd Super-dominant

Borrowed chord

Review on the Strings and Winds

Extended techniques such as col legno on strings, the use of artificial and natural harmonics.

Applications of extended techniques on winds

Double Tonguing

Triple Tonguing

Harmonics

Flutter Tongue

Especially for flute, the use of "Sa", vocal and beatboxing.

Commonality between the strings and winds is that they are agile except for the horn. Learnt extended techniques for Horn such as Harmon mute, hand stop or lontano.

Analyzing Holst's the Planets

The use of repetitions, sequencing, fragmentations and motivic development are very common in his variations of themes. Many films such as Star wars theme were derived/inspired from Holst. Listening to Holst has inspired me to compose the piece Demise.

Exotic scales

Prometheus Scale

Can create your own given scale, need not be predefined chords, can be formed based on intervallic relations.

Analyzing Mathis Der Maler and Ricordanza 

Similar to holst, many repetitions of the theme, melody is king with supported harmonies. Lots of contrapuntal writing, supporting couter melodies. Thematic motif is different sections but always repeated again. Some fragmentations but still retain the motif to enable the listeners to capture the same theme. Structure of the song, A-B-A format

Half -Recital comments

Some comments were given with aide me to make some changes. For instance, one of the comments given was too many ideas around the piece, just to stay in one idea and then slowly evolve the idea before moving to the next theme/idea.

Some of the piece may not need be contrapuntal. A sense of unity is also good or powerful in some context.

Listen to more composition works or have more extended techniques on the instruments to add colours to the pieces.

Explore more melodies, rhythm and harmony variations to add deeper dimension to the piece.

[fordcrownvictoria]

The Mecca of Rhythm Jazz Guitar: A Reflective Review of The Swinging Guitar of Tal Farlow

There’s a moment, right at the beginning of The Swinging Guitar of Tal Farlow, where everything else fades. The room quiets, the world stills. The first line Tal plays isn’t just a note—it’s a statement. And for anyone who’s lived long enough to know that great jazz doesn’t just swing—it breathes—this album is a kind of sacred text.

For me, this isn’t just a record. It’s a cathedral built of rhythm, harmony, and soul. I like to call it what it is: the Mecca of rhythm jazz guitar.

A Trio That Feels Like One Voice

At first glance, the album is deceptively simple. A guitar trio: Tal Farlow on guitar, Eddie Costa on piano (but here playing bass!), and Vinnie Burke on drums. But what they accomplish together is nothing short of alchemy. Without a traditional bassist, Costa adapts, offering a tactile, percussive, sometimes walking, sometimes singing approach that anchors Tal’s endless harmonic flights. Burke never overstates—he dances under the music like shadows on a ballroom floor.

The absence of a fourth player creates space, and Tal steps into that space not just as a soloist, but as a builder of entire harmonic landscapes. Every voicing is deliberate, every phrase an architectural decision. He wasn’t just playing over changes—he was redesigning the building mid-flight.

Tal’s Touch: A Language of Emotion

Tal Farlow’s playing is an emotional paradox. It is cerebral and yet intimate. Intense, but never flashy. His tone is soft-spoken but confident—as if he’s whispering truths meant only for you. He plays with an almost impossible fluidity, as though his fingers are one step ahead of time itself.

When Tal solos, it doesn’t feel like improvisation in the modern sense—it feels like recollection. As if he’s remembering something beautiful and bittersweet and letting us overhear it.

He has a way of slurring lines together, gliding between register shifts without harsh attack. It’s almost pianistic, but more intimate. Notes don’t just land; they bloom.

Deep Dive: Structural and Harmonic Brilliance

What elevates this album into the realm of essential jazz is how Tal Farlow manipulates song structure and harmonic language with deep intellect and boundless creativity.

“Yardbird Suite” – Bebop Disassembled and Reborn

On Charlie Parker’s classic 32-bar AABA form, Tal dances through the changes, emphasizing melodic contour over scalar regurgitation. The way he approaches ii-V-I progressions—sometimes outlining them with arpeggios, other times skipping expected resolutions—is bold but never gratuitous.

He often slips in tritone subs or extended upper-structure triads (like F# major over D7, evoking D13b9). These substitutions aren’t just clever—they add color, tension, and a sense of storytelling. His phrasing often plays against the time, laying back just a hair or rushing ahead, creating a pocket within the pocket.

This is bebop as architecture, not just vocabulary.

“Gone with the Wind” – Ballad Reharmonized With Poetry

This tune is a masterclass in lyrical reharmonization. The original is straightforward—mostly diatonic—but Tal takes liberties. His chord melody on the head incorporates gentle voice leading with upward- and downward-moving inner lines. He’ll substitute a minor IV for a major, or sneak in a diminished passing chord to bridge I to vi.

But what’s most remarkable is the emotion: even in these harmonic twists, nothing feels mechanical. It feels like the song is telling you a different version of its story—one more mature, more honest, perhaps sadder.

“I’ll Remember April” – Modal Pirouettes and Rhythmic Games

This track is Tal’s playground. The tune’s form (ABAC) shifts tonal centers often, and Tal exploits every one. His solos pass through Dorian, Mixolydian, and even Phrygian flavors, stretching the song’s tonal fabric while still resolving cleanly back to home base.

He often uses symmetrical patterns—diminished arpeggios, chromatic triads—but these aren’t just patterns. They are phrases with direction. He plays with double-time runs, then drops into quarter-note phrases with a weight that feels like wisdom.

Rhythmically, Tal flirts with three-over-four cross-rhythms, tying notes over barlines, making the listener feel like they’re floating above the tune. It’s adventurous, but never loses the beat.

“Taking a Chance on Love” – Where Chords and Time Become One

Here, the song’s 32-bar form becomes a canvas for Tal’s rhythmic sophistication. He comps using rootless shell voicings, using contrary motion to suggest counterpoint against the bass. You hear pieces of Bach and Bird in the same breath.

In his solo, he stretches out lines across phrase boundaries, disguising the AABA structure with motivic development that spirals outward. He might take a five-note idea and sequence it down chromatically, each time reharmonizing it with the underlying changes.

By the time the head returns, it feels less like a reprise and more like a revelation.

A Legacy Still Swinging

What Tal did on this album was more than just play jazz guitar well. He created a blueprint for modern jazz guitar that prioritizes harmonic depth, rhythmic integrity, and melodic imagination. In an age when too many players lean on scale shapes and speed, Tal reminds us that music is conversation, not competition.

His influence echoes in players like Peter Bernstein, who carries Tal’s torch of taste and harmonic clarity. In Jonathan Kreisberg’s bold modulations. In Kurt Rosenwinkel’s ethereal phrasing.

And yet, The Swinging Guitar remains uniquely Tal. No one else has that blend of casual virtuosity, architectural instinct, and raw heart. It’s the sound of someone in love with music—not just performing it, but living inside it.

Final Thoughts: The Cathedral of the Moment

Listening to this album feels like stepping into a quiet sanctuary where rhythm swings like incense and harmony rises like stained glass light. It’s not a flashy monument. It’s a place of worship—for those who believe in the power of tone, of phrasing, of silence between the notes.

It is, truly, the Mecca of rhythm jazz guitar.

And Tal Farlow? He is its architect, its spirit, and its eternal voice.