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The melody has a long note every other bar and you can fill that up with an additional chord that pulls towards the next one. Here I am including Gb7 before F7, E7 before Ebmaj7 and Eb7 before D7, so I am utilizing a tritone alternative as an additional color in the plan.

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I have considered utilizing Autumn Leaves as a way to demonstrate reharmonizations discussing 4 or 5 variations, let me understand in the remarks if that could be an intriguing video. Later in the video, I also review some alternatives for various intriguing modifications. B-part Problem Solving Taking the easiest option In the B part, there are a few places where you require to find out how to harmonize the tune in a nice way without making it too difficult, and really the very first chord is already getting us into trouble A discuss the option the rest is comparable to the very first A.

In this lesson, I will provide you some suggestions for the tail end of the song.  Full Article  that is the simplest to utilize, and comparable to what you already found earlier in the lesson. A Eb7 D7 again using Eb7 You can extend this by turning it into a total chromatic II V example.

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And another version that makes it an even longer parallel II V development, quite comparable to Wes' 4 on Six. A more extreme, but still beautiful harmonization is to utilize the bass motion of a II V, but then relocate parallel using other chords. This can be a bit more tricky to get to work, however when it does then it is extremely lovely as shown below: Different types of chords for the last note.

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It does need me to change the tune. Another alternative that is really common and the favorite of lots of bass-players is to play a C7. Essentially the C7 is simply a Gm6 with a C in the bass, and also the IV in the melodic minor scale. The Neapolitan subdominant is a fantastic alternative for the last note in a song.