KEYBOARDS
Attila Fias is a pianist , composer , and producer with a passion for blending world music with jazz . He has performed with many outstanding musicians , including Indian stars Zakir Hussain , A . R . Rahman , and acclaimed NYC jazz harmonica virtuoso Hendrik Meurkens . His latest original jazz album , Ride , was released in October 2016 and is available on iTunes , Spotify , other digital platforms , and CD . For information about his various ensembles , videos , recordings , and upcoming performances , visit www . attilafias . com
By Attila Fias
Reharmonizing Your Own Compositions
Approaches to Composing
Composing is a personal process for everyone , and there are many different approaches one can take when creating a new piece . If you start with a particular rhythmic pattern or a groove , for example , you set the character of the piece , and work from that . You can also begin with a chord progression and build a piece from a harmonic foundation . A musical texture can also create an atmosphere upon which you can elaborate . Then there is melody . Perhaps the best way to capture the ear of your audience is with a great melody , as it represents the human voice . But composing a unique melody can be tricky , as it can often feel as if it sounds familiar , has been done before , or is just not interesting or beautiful enough .
The piano as a compositional vehicle , even for non-pianists , is very common , because it offers certain advantages . The straightforward visual layout and the ability to hear and experiment with harmonies instantly are two very useful features that allow our ideas to flow freely and quickly , capturing those fleeting moments of inspiration as much as possible .
Reharmonization
A great deal of music has underlying harmony , and this harmonic structure contributes tremendously to the overall mood of the composition . You can breathe new life into a melody by changing the harmony underneath it . If you are new to reharmonization , this is a technique where you take an existing song and replace some of the chords with new ones , either with a similar nature or with an entirely different quality , but you keep the melody ( typically ) untouched . You can also add new chords where there were none before , usually on main melody notes , strong beats in the measure , or underneath long held notes . Alternatively , you can also remove chords to open up the piece and make it more linear .
This can create many types of changes in the piece . A single changed chord creates a brand new colour at that particular moment . A new harmonic progression with several different chords in a row can take the piece in a new direction . A different cadence at the end of a phrase can change the strength of the transition to the next section . The nuts and bolts of this is something you can study at length to get the most out of it , but you can also just use trial and error paired with your own judgment and get started right away . In a nutshell , when you are replacing chords , make sure that the new chords still have the melody note in them so that the melody ties it all together .
As a Composing & Arranging Tool
So here is a little twist – go ahead and try this with your own pieces , too , including arrangements . This can happen during the process of composing , to inspire you in new directions , or it can happen after you are already finished a piece , and want to give it some new shine , some new detailing . Experiment with many different chords , including complex chords with extensions , and you will come up with completely unexpected harmonic colours and cadences and start to realize that there is life and potential in your melody that you didn ’ t foresee .
Often this is enough to provoke further elaboration of your tune , creating new sections , bits , and pieces . The melody anchors you , so you can create a string of chords connected together by the melodic line , which allows you to experiment even with unusual harmonic movements , opening up new directions while providing a unifying element to your composition .
As with any technique , don ’ t overdo it . Step back once you have done some reharmonization and listen to the piece in context as a whole . Make sure it doesn ’ t sound contrived , that it fits the genre you ’ re in , and adds to the overall vibe of the song . In jazz , it is more appropriate ( and common ) to reharmonize with a diverse palette as the harmonic language is pretty rich to begin with , but it can be useful in any style .
As a composer , I find that it is often the details that give the piece its character and individuality , and that includes a few fresh chords here and there . Have fun with it !
Ex . 1 is an excerpt of a jazz piece I wrote and wasn ’ t yet satisfied with . I then reharmonized it ( Ex . 2 ), and with the new feeling that this gave the piece , I found it much more interesting . This is the opening few bars of a piece entitled “ Voyage To Victoria ” on my trio album , Stories .
Ex . 1
Ex . 2
26 • CANADIAN MUSICIAN