Reharmonization is as much about the bass line as it is the chords. Aim for smooth voice leading or intentional chromatic steps.
The "engine" of a G7 is the tritone between its 3rd (B) and 7th (F). A Db7 uses these same two notes (the 3rd is F, the 7th is Cb/B), creating a smooth, chromatic bass descent to the target chord. 3. Secondary Dominants Reharmonization Techniques
Apply this to a Tritone Sub. Instead of just Db7, use Abm7 — Db7 — C . 7. Pedal Points Reharmonization is as much about the bass line
Keep the bass note constant while the chords change above it. Playing C, D/C, F/C, and G/C. A Db7 uses these same two notes (the
Moving the same chord shape (like a Minor 9th or a Quartal voicing) in parallel with the melody, regardless of the key signature. This creates a modern, "shifting" sound common in Impressionism and modern jazz. 6. The "ii-V" Expansion