There are hundreds of tutorials and videos out there about the technical aspects of re-harmonization. I'm not going to try to re write those, but focus on an approach that anyone can use to get started. Of course, some of these things here will need a level of music theory and technique, but this post will try to emphasise arranging and re-harmonization from a different angle. I will look at some introductory methods and techniques, some of which can be expanded upon in a later write up.
1. USE YOUR EARS. This cannot be stressed more. If you start out with the notion that if it sounds good it is probably going to be good, you can already cover a lot of ground. So many people forget that at the end of the day, your arrangement has to sound good.
2. LISTEN. This is an extension of the first tip. In order to use your ears you have to listen. Listen, absorb, enjoy and explore all kinds of music. The more you do this, the more your ear will be open, and the more sounds you will have as the tools of your trade when it comes to reworking chords and melodies.
3. CHOOSE WISELY. Pick tunes you know well. You are unlikely to do a good job with a tune you are still learning the melody or chords. Start with compositions you know by heart, and have played in many different contexts. The better you know the tune, the more likely you are going to find something true to the original.
4. KNOW YOUR SOURCE. If you are trying to re-harmonize a standard and you haven't heard the original, or famous versions of that song, you are probably not going to do it justice. A good re-harmonization is one that captures the mood of the original, stays true to it, yet gives it's own unique take on it. Study the lyrics of the song, think about the title. If a tune has the word Blue in it - it probably is there for a reason. Think about what that means, and how to convey that in your arrangement.
5. LEARN THE MELODY. This seems obvious, but this is the area that leads to the most trouble if not done properly, and is most often neglected when starting out. The chords you add to your arrangement must fit the melody. Not only is your arrangement not going to sound as good as it could, you will cause all kinds of trouble to the musicians attempting to learn your charts. Good accompanists are always aware of how the melody fits into the chord that they are playing. If the melody note is different to the indicated chord, it will derail even the best sounding pieces.
6. START SMALL. You don't have to change the whole song in order to create a reharmonization. Maybe just a section or a few bars is enough for you to create your own unique version of that tune. Listen to how others have approached the same piece. Where are the critical points in the music that could be worked upon?
7. TRY. Play around, try things. Be curious. See what works and what doesn't. Sit at the piano and work with different ideas, and combinations of ideas. Record the ones that you like. Let them sit a while and come back to see if you still like them. The ones you like, fix and make a chart.
Record yourself again. Don't be afraid to explore at any point in the process. Try the tunes in a band context or a gig. Even a recording. What works, what could be changed? What kind of tools have you found that might be useful in another tune?
8. FEEDBACK. Have people that you trust give you critical feedback on your work. Give your arrangements to good musicians and have them play them through. Much can be gained here. All of us miss things, and even the smallest constructive criticisms can lead to substantial improvements the next time around.
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