Moving the same chord shape (like a Minor 9th or a Quartal voicing) in parallel with the melody, regardless of the key signature. This creates a modern, "shifting" sound common in Impressionism and modern jazz. 6. The "ii-V" Expansion
The most important rule is that the new chord must not contain a note that "clashes" (usually a minor 9th interval) with the melody note being held.
Apply this to a Tritone Sub. Instead of just Db7, use Abm7 — Db7 — C . 7. Pedal Points Reharmonization Techniques
The simplest form of reharmonization involves replacing a chord with another that shares a similar function and scale.
You can create forward motion by "treating" any chord in a progression as a temporary tonic and preceding it with its own V7 chord. C — Am — Dm — G7 Reharmonized: C — E7 — Am — A7 — Dm — G7 Moving the same chord shape (like a Minor
Since these chords share two or more notes, the melody usually still fits perfectly, but the "mood" of the stability changes. 2. Tritone Substitution
This involves "borrowing" chords from a parallel mode, usually the parallel minor. The "ii-V" Expansion The most important rule is
Swap a IV (F major) for a ii (D minor).