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Guidelines for reharmonization of approach notes in 3 or 4 horn writing

4 Basic Techniques

• Chromatic approach reharmonization: each lower voice moves by 1/2 step into the target in the same direction as the melody.
• Dominant approach reharmonization: the approach note is voiced with a dominant 7th chord below the melody (either pure or altered) serving as V of the target chord (the approach note bust be a chord tone of that V chord or one of its tensions).
• Parallel approach reharmonizaiton: this method matches the precise motion of the lead to that of each voice below. Each inner voice moves the same number of steps into its target note. This may be used to voice any kind of approach note (including chromatic, etc.)
• Diatonic (scale) approach reharmonization: when an approach note moves by a diatonic whole or 1/2 step to a chord tone or tension target, it is known as a scale approach and may be harmonized with the corresponding diatonic chord below the melody.
• Diminished approach reharmonization: any (non-chromatic) approach note may be harmonized with a diminished chord built on the lead note. This technique is considered dated and is not used frequently. The other 3 techniques are more interesting in sound.
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3 Additional techniques

• There are 3 additional techniques for 3 horn (re)harmonization:
• Constant structure 4ths voicings: notes are drawn from the mode of the moment; intervals may be perfect 4ths (or not); avoid 3rds; beware of low interval limits; avoid b9 intervals on major 7th chords; ambiguous voicings (not containing chord sound 3 and/or 7) are best when following or followed by voicings containing chord sound
• Inverted 4ths voicings: this type of voicing contains a perfect 4th and a 2nd (major or minor) between the top 2 or lower 2 voices; it is a respelled 4ths voicing; this may also be viewed as a "closed" voicing in 4ths
• Cluster voicings: all adjacent intervals are 2nds (major or minor); notes placed immediately below the melody (no space between the top 2 voices); notes are selected from not only the chord (tones) but also from the mode of the moment (all available tensions); voicings may be incomplete (missing 3 and/or 7) as long as the chord sound is still implied; these are effective for-tightly spaced voicings on the low notes of a melody, background punches and higher lead for brilliance; avoid clusters to harmonize an active 8th note passage (the result is a blurred melodic effect).
• Listen to the masters!