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Abstract(s)
A literatura sobre rearmonização é extensa e refere essencialmente os processos de substituição harmónica ou de harmonização das notas da melodia. No entanto, há uma variedade de outros processos a considerar na rearmonização da música jazz.
O objectivo do presente estudo foi o de apresentar as principais técnicas utilizadas na rearmonização da música jazz e, mais concretamente, na explicação do processo da substituição harmónica e da harmonização de melodias para piano. Definiram-se assim, duas estratégias: (i) adquirir um conhecimento sistemático acerca das técnicas de rearmonização para piano e (ii) aplicar estes processos ao projecto artístico de rearmonização de temas.
A substituição tritónica emergiu como uma das técnicas mais utilizadas, tanto na rearmonização, como na própria performance. A rearmonização através de funções tonais assumiu um papel fundamental quando se pretendeu um contexto harmónico totalmente diferente do contexto original. Em relação à aplicação das técnicas de rearmonização para piano, a rearmonização paralela e a substituição harmónica assumiram principal destaque.
Espera-se que o conhecimento aprofundado e posterior aplicação destes processos, permita aumentar os recursos estilísticos e criativos no arranjo musical, na composição e, posteriormente, na performance.
The extensive literature on reharmonization refers essencially to the processes of harmonic substitution or of harmonization of the melody notes. Nevertheless, there is a great variety of processes to consider in jazz reharmonization. The aim of the present work was to present the main techniques used in jazz reharmonization and, more specifically, on the explanation of the process of harmonic substitution and harmonization of piano melodies. Two strategies were defined: (i) to acquire a systematic knowledge about the reharmonization techniques for piano and (ii) to apply those processes to an artistic project of reharmonization of themes. The tritonic substitution emerged as one of the most frequently used techniques, both in reharmonization and in performance. Reharmonization through tonal functions assumed the main role when the aim was to get an harmonic context totally different from the original one. As far as the application of piano reharmonization techniques was concerned, parallel reharmoniztion and harmonic substitution stood out. It is expected that a deeper knowledge and subsequent application of these processes allow performers to derive on a greater number of stylistic resources in musical arrangement, composition and performance.
The extensive literature on reharmonization refers essencially to the processes of harmonic substitution or of harmonization of the melody notes. Nevertheless, there is a great variety of processes to consider in jazz reharmonization. The aim of the present work was to present the main techniques used in jazz reharmonization and, more specifically, on the explanation of the process of harmonic substitution and harmonization of piano melodies. Two strategies were defined: (i) to acquire a systematic knowledge about the reharmonization techniques for piano and (ii) to apply those processes to an artistic project of reharmonization of themes. The tritonic substitution emerged as one of the most frequently used techniques, both in reharmonization and in performance. Reharmonization through tonal functions assumed the main role when the aim was to get an harmonic context totally different from the original one. As far as the application of piano reharmonization techniques was concerned, parallel reharmoniztion and harmonic substitution stood out. It is expected that a deeper knowledge and subsequent application of these processes allow performers to derive on a greater number of stylistic resources in musical arrangement, composition and performance.