Eserlerin Yeniden Armonilenmesi Sürecinde Akor İlerlemeleri ve İkincil Dominantlar
Yeniden armonileme, melodinin var olan armonik yapısının yeniden düzenlenmesiyle, eserin yeni bir müzikal kimliğe bürünmesini sağlayan oldukça yaratıcı ve teknik bir süreçtir. Bu kavram, uluslararası sanat müziğinden caz müziğine, etnik müziklerden popüler müziklere kadar pek çok farklı türde uygulanmaktadır. Yeniden armonileme, bir melodinin yalnızca armonik yapısını değiştirmesini sağlayan bir teknik değil, ayrıca bestecilik ve doğaçlama alanlarında yaratıcılık becerisinin geliştirilmesi açısından da son derece yararlıdır. Çalışmanın amacı, yeniden armonileme tekniklerini hem teorik hem de pratik boyutlarını ele alarak eser üzerindeki uygulamalarını detaylı bir şekilde incelemek ve müzik eğitimcileri/öğrencileri ve müzisyenlerin bu teknikleri daha etkin kullanabilmelerine yönelik yenilikçi yaklaşımlar geliştirmelerine katkı sağlamaktır. Yeniden armonileme uygulamalarına ilişkin bilgilerin elde edilmesinde doküman inceleme tekniği, verilerin çözümlenmesinde ise doküman analizi kullanılmıştır. Yeniden armonileme sürecinde, melodik çizgiyle örüntülü bir şekilde akor ve akor dışı sesler referans alınarak öncelikle seçilen şarkının ana dereceleri belirlenmiş, ardından bu ana derecelerdeki akorların tür ve fonksiyon özellikleri dikkate alınarak yan dereceler tespit edilmiştir. Tespit edilen ana ve yan dereceler, şarkının tonal merkezi ve armonik yapısı içerisinde, II-V-I akor ilerlemeleri, ikincil (secondary) dominantlar ve dominant zincirleri kullanılarak melodiyle uyumlu bir bütünlük oluşturacak şekilde yeniden armonilenmiştir. Yeniden armonileme tekniklerinin ana ve yan derecelerin melodik yapı ve tonaliteye bağlı olarak çeşitli kombinasyonlarla kullanılması sonucu; armonik yapı zenginleştirilmiş, akor ilerleyişlerinde çeşitlilik sağlanmış ve armonik derinlik kazandırılarak müzikal ifade güçlendirilmiştir. Bu sonuçlara dayanarak yeniden armonileme tekniği ile, geleneksel ve yenilikçi yaklaşımlarla müzikal fikirlerin canlı tutulmasına ve müzisyenlerin ifade becerilerini ve yaratıcılıklarını özgün bir şekilde kullanmalarına olanak tanınmış ve müziği daha derin bir anlayışla deneyimleme fırsatı sunulmuştur.
Chord Progressions and Secondary Dominants in the Reharmonization Process
Reharmonization is a creative and technical process that allows a piece to adopt a new musical identity by restructuring its existing harmonic framework. This concept is widely applied in genres ranging from international art music to jazz, ethnic music, and popular music. Reharmonization not only modifies the harmonic structure of a melody but also fosters creativity in composition and improvisation. The study aims to examine the theoretical and practical dimensions of reharmonization techniques, exploring their application on works in detail to aid music educators, students, and musicians in employing these techniques more effectively. Document review was employed to obtain information on reharmonization practices, and document analysis was used to analyze the data. During the reharmonization process, primary degrees of the song were identified based on patterns within the melodic line, and secondary degrees were established, considering the type and function of chords within primary degrees. Both primary and secondary degrees were reharmonized with II-V-I progressions, secondary dominants, and dominant chains to create a cohesive unity with the melody. Through the application of reharmonization techniques, combining primary and secondary chords based on melodic structure and tonality, harmonic richness was enhanced, chord progressions diversified, and harmonic depth was achieved, thereby strengthening musical expression. Based on these findings, reharmonization techniques, incorporating both traditional and innovative approaches, have facilitated the preservation of vibrant musical ideas, enabling musicians to utilize their expressive skills and creativity uniquely while offering an opportunity to experience music with a deeper understanding.
Reharmonization is a creative and technical process that allows a piece to take on a new musical identity by rearranging its existing harmonic structure. This concept is applied across various genres, from international art music to jazz, ethnic music, and popular music. Reharmonization not only alters the harmonic structure of a melody but also plays a crucial role in fostering creativity in composition and improvisation. The technique provides an alternative perspective to the melodic and harmonic structure of a piece, giving it a unique identity within the creative process of music. Through reharmonization, the musical texture of a melody may be transformed, evoking emotional experiences related to the spiritual qualities of the piece for listeners.
Reharmonization impacts not only the melodic and harmonic structure of a piece but also enriches its musical expression from both the performer’s and listener’s perspectives. It offers a wide range of interpretive freedom for performers, especially in improvisational contexts, while promoting the dynamic preservation of musical ideas and enabling musicians to use their expressive skills and creativity in unique ways, leading to a deeper understanding of music.
This study aims to examine the theoretical and practical aspects of reharmonization techniques in detail and explore their applications in musical pieces, providing innovative approaches for music educators, students, and musicians to use these techniques more effectively. Additionally, it aims to contribute to the field of reharmonization studies within the national context.
Using a general survey model, this descriptive research investigates the applications of reharmonization techniques on musical works. While the universe of this study encompasses various practices employed in the reharmonization process, the sample focuses on II-V-I chord progressions, secondary dominants, and dominant chains within these practices. Document analysis was employed to gather information on reharmonization applications, and document analysis was also used to analyze the data. In the reharmonization process, the primary degrees of the song were determined based on melodic patterns and chordal and non-chordal tones. Then, secondary degrees were identified, taking into account the types and functional characteristics of chords in the primary degrees. Both primary and secondary degrees were harmonized using II-V-I chord progressions, secondary dominants, and dominant chains to create a coherent structure in harmony with the melody. To maximize chordal diversity, the use of minor b5 and minor 6 chords on the II degree and major 7, major 7(b5), major 7(#5), major 7(b9), and major 7(#9) chords on the V degree was included. In the representation of chords on the staff, letter symbols (A-B-C notation) were used, while Roman numerals (functional harmony) and figured bass (figured notation) were preferred for degree representation, with chord names included in the explanations. Chords that constitute the primary and secondary degrees of the song were placed in the melody part, while the reharmonized chords were shown in the piano part concurrently with the melody.
The results of the study, which examines the theoretical and practical aspects of reharmonization techniques on song applications in detail, are as follows:
Reharmonization of primary degrees in various ways based on melodic structure enriched the harmonic structure within the existing tonality and increased the variety of chord progressions. The use of secondary degrees in accordance with the type and function of primary degrees added different colors to the harmonic structure; reharmonizations with secondary degrees maintained melodic and harmonic coherence by adhering to the melodic line of the song.
Commonly used II-V-I chord progressions in reharmonization were applied to both primary and secondary degrees in a manner consistent with the melody, enhancing the smoothness of chord transitions, and the successive use of multiple chord progressions within the melodic and rhythmic structure added depth to the harmonic structure. The use of the enharmonics of melodic tones resulted in a variety of chord types, such as minor b5, minor 6, major 7(b9), and major 7(#9), contributing to the diversity of chords used in reharmonization.
The use of secondary dominants and dominant chains on primary and secondary degrees, either separately or together, created an increased sense of tension and resolution, thereby enhancing the musical expression of the piece.
