Harmonic substitutions on a given harmonic structure

Forgive my ignorance, but what are HI-LO substitutions?

Crisantemi wrote:

Excuse my ignorance, but what are HI-LO substitutions?

It is part of tension management:

Tension resolution (Hi-Lo and double Hi-Lo).

Variations of the Hi-Lo (Lo-Hi-Lo Hi-Ch-Lo Lo-Hi-Ch-Lo).

If I understood correctly, they are the classic suspensions... so named by the composers

mmm... it's time for me to update, in my day this terminology didn't exist

AbateFaria wrote:

If I understood correctly, they are the classic suspensions... so named by composers

Ah probably, but then it is a melodic procedure; what is meant by "relative harmonization"?

In my opinion, it means writing a melody that fits well over the indicated harmonic framework. Playing with the HI-LO clearly forms altered chords. Furthermore, it is likely enough to add some substitutions: secondary dominants, tritone substitutions, etc.

Sparo

F D- | A- Db7 | Gb7 | F |

Bb Bb- | F Ab7 | G7 C7 | F ||

If we are talking about tensions and their resolution, therefore in the field of functional harmony, the procedure applies only to V or temporary Vs that resolve... So in the succession given from F7 to Bb, and D7 to G7, G7 to C7, C7 to F, if we don't want to consider the third of Bb which becomes minor as a tension to resolve on the 5th of F...

In your example, Egidio, where do Db7 and Gb7 come from?

Hi, a couple of questions: could you explain the hi-lo concept better to me (maybe with some examples)? do you mean substitutions that do not alter the harmonic functions (I imagine)?

Something like this?

F D- / A- B7 / Bb / F

Bb Eb7 / F Ab7 / Db7 Gb7 / F

tritones and a substitution in the modal interchange, essentially all bass movements.

Gibson, you still alive?

Crisantemi wrote:

Gibson, you still alive?

The fact is that I am alive

I really wouldn't know what to add to the initial post, in the sense that I was hoping to find some insight. It seems to be the track of a Jazz harmony exam.

As soon as I have a moment, I will look at your solutions.

Thank you

Crisantemi wrote:

i understand... I'll do a bit of research, then if I understand I'll let you know.

I can tell you that it's not exactly standard terminology, at least in the texts I have studied. It probably comes from Berklee...

Yes Crisantemi, I think Berklee is the source of this terminology

I am taking a look at: Theory - Berklee Course On Arranging. In effect, it is about the harmonization of tensions; for example, HI-LO would be a Tension-Resolve.

Lesson 10 is dedicated to variations of HI-LO:

LO-HI-LO

HI-CHROMATIC-LO

LO-HI-CHROMATIC-LO

Frank wrote:

I am taking a look at: Theory - Berklee Course On Arranging. In effect, it is about the harmonization of tensions; for example, HI-LO would be a Tension-Resolve.

Lesson 10 is dedicated to variations of HI-LO:

LO-HI-LO

HI-CHROMATIC-LO

LO-HI-CHROMATIC-LO

Thanks Frank, can you give a practical example?

Harmonization of the HI-LO

...the complete table is a bit extensive

HI-CHROMATIC-LO

From my point of view, it is about harmonizing melody notes in order to create tense "patterns".

Thank you so much Frank! So we are talking about resolving 9, 11, 13 within the same chord, not on the subsequent chord... in fact, they reveal the 'appoggiatura' nature of the aforementioned ones.