Introduction to Reharmonization of “White Christmas”
“White Christmas” is a classic song originally built on a simple harmonic progression in the key of C major, primarily using the chords , , and . The first eight bars, in particular, have an uncomplicated progression: I−V−V−I. Because of this simplicity, reharmonization techniques can dramatically enhance its harmonic texture and create new melodic possibilities.
This lesson explores various reharmonization methods, including adding related minor chords, diatonic substitutions, secondary dominants, and sub V chords, demonstrating how they transform an otherwise straightforward progression into a rich jazz harmony landscape.
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Basic Harmonic Framework
Original Chord Structure
The initial harmonic outline is:
- Bar 1: (I)
- Bar 2: (V)
- Bar 3: (V)
- Bar 4: (I)
This basic perfect cadence (I–V–V–I) offers a perfect starting point to experiment with reharmonization. Although the original harmony is minimal, it provides a clean slate for applying jazz techniques.
Enhancing Harmony: Adding Related II-7
The Power of the II–V Progression
A fundamental jazz reharmonization practice is to add the relative minor 7th chord that naturally leads into each dominant chord. For example, the G7 (V7) chord can be preceded by its related (ii7) to form a ii–V progression:
- Replace G7 alone with Dm7 (ii7)
This adds vital harmonic motion and interest.
Variations in Rhythm and Repetition
- You can repeat the ii–V within a bar or across bars, depending on tempo.
- Both Dm7 and Fmaj7 chords share many common tones, allowing subtle variation without losing harmonic function.
Diatonic Substitutions Within Function
Understanding three main chord functions within C major is crucial:
| Function | Chords |
|---|---|
| Tonic (I) | Cmaj7, , |
| Subdominant (IV) | Fmaj7, |
| Dominant (V) | G7, |
For example:
- Replace a repeated chord with Am7 (vi), both tonic function chords sharing many tones.
- Replace repeated Dm7 with , both subdominant function chords.
Such substitutions increase harmonic interest while maintaining the song’s tonal center.
Secondary Dominants: Creating Chromatic Tension
Introducing Secondary Dominants
Secondary dominants are dominant chords applied to chords other than the tonic.
Example:
- Transform Am7 (vi) into A7 (V7 of ii) to approach Dm7 (ii7) via a secondary dominant.
This tweak significantly increases harmonic tension and allows for richer melodic lines.
Experimentation with Melody Compatibility
- Adding secondary dominants like and with altered extensions (e.g., sharp nine) introduces a bluesy flavor.
- Such alterations work well in jazz but must be tested against the melody for compatibility.
Example Progression With Secondary Dominants
Cmaj7→A7→Dm7→G7
This represents a clear cycle of tensions and resolutions beyond the original simple progression.
Sub V Chords: Enhancing Color and Motion
What Is a Sub V Chord?
A sub V chord is the tritone substitution of a dominant chord, located a tritone away from the original dominant. For example:
- Instead of A7, use (a tritone away)
- Instead of , use A♭7
Usage and Harmonic Effects
- Tritone substitutions add chromatic interest and smooth voice leading.
- Must consider melody notes to avoid clashes.
Example Incorporating Sub V Chords
| Original Dominant | Sub V Chord |
|---|---|
| A7 | E♭7 |
| D7 | A♭7 |
| G7 | D♭7 |
Example progression with sub V:
Cmaj7→E♭7→Dm7→D♭7
Allows smooth chromatic bass motion and alternative tensions.
Combining Tonic, Secondary Dominants, and Sub V Chords
Example Full Progression
- Cmaj7 (I∆)
- E♭7 (sub V of II)
- (II-7)
- E♭7 (sub V again)
- A7 (V7/II)
- D7 (V7/V)
- G (V7)
- Cmaj7 (I∆)
This sequence demonstrates how diatonic chords, secondary dominants, and sub V chords interplay to enrich harmonic content and create opportunities for chromatic melodic lines.
Resulting Harmonic Movement
- Reinforces tonic and dominant functions with varied chord colors.
- Opens melodic paths featuring chromatic notes between chord tones, enhancing improvisation.
Practical Tips for Applying Reharmonization
- Always check melody compatibility when changing chords, especially when introducing altered dominants.
- Maintain chord functions: tonic, subdominant, dominant — substitutions should preserve the functional sense.
- Use ii–V progressions liberally to add movement.
- Incorporate sub V chords sparingly to avoid overly complex tension.
- Keep tempo and rhythmic space in mind — chord changes may be compressed or expanded according to feel.
Summary of Key Insights
| Technique | Purpose | Example Chords | Effect |
|---|---|---|---|
| Adding Related II-7 | Enrich V7 chord with ii7 | Dm7→G7 | More harmonic motion |
| Diatonic Substitutions | Replace chords with same function | Cmaj7↔Am7 | Avoid repetition, tonal variety |
| Secondary Dominants | Add tension and chromaticism | A7 before Dm7 | Opens chromatic melodic lines |
| Sub V Chords (Tritone Sub) | Smooth voice leading, add color | E♭7 for A7 | Creates chromatic bass movement |
Conclusion
Reharmonizing “White Christmas,” with its simple original progression, reveals the power of jazz harmony to transform basic chords into a landscape rich with tension and color. By using ii–V progressions, diatonic substitutions, secondary dominants, and sub V tritone substitutions, musicians unlock new melodic and harmonic possibilities.
Whether you’re a student of jazz or a professional arranger, adopting these reharmonization techniques will deepen your understanding of chord functions and broaden your creative palette. Explore these ideas hands-on, keeping melody and expression in mind, and keep swinging with confidence!
Have Questions or Want More?
For detailed examples and further harmonic explorations, visit specialized jazz theory resources and experiment with applying these techniques in your own arrangements and improvisations.
2 Responses
Thank you Alex for these exemples of reharmonization. At the end maybe its also possible to use the Tadd Dameron cadenza as for Lady Bird CM7 EbM7 AbM7 DbM7(or Db7)(#11). It maybe also interesting to add a F#7 for beat 3 and 4 after G7 on bar 4 like a passing chord to keep going a chromatic descending bass line. and for the last four bars a progression like that I FM7-E/FM7 or Em7I Dm7-G7 or Db7ICM7-EBM7IAbM7-Db7I…But its going to be another tune with a new melody…
Yes! These are great ideas, possibilities are (almost) limitless!