Replacing a IV (F) with a iv (Fm) or a bVII (Bb7). This adds a "darker" or more cinematic quality to a major-key melody. 5. Line Cliché and Constant Structure
Reharmonization is as much about the bass line as it is the chords. Aim for smooth voice leading or intentional chromatic steps.
You can create forward motion by "treating" any chord in a progression as a temporary tonic and preceding it with its own V7 chord. C — Am — Dm — G7 Reharmonized: C — E7 — Am — A7 — Dm — G7
Swap a IV (F major) for a ii (D minor).
The simplest form of reharmonization involves replacing a chord with another that shares a similar function and scale.
This involves "borrowing" chords from a parallel mode, usually the parallel minor.
Instead of changing the whole chord, keep the harmony static while moving a single inner voice chromatically (e.g., C — Cmaj7 — C7 — C6).
Keep the bass note constant while the chords change above it. Playing C, D/C, F/C, and G/C.