My Favorite Things & It’s Beginning to Look a Lot Like Christmas – Jazz Piano Arrangements

Welcome to this special lesson where we explore jazz piano arrangements for two classic tunes: "My Favorite Things" and "It’s Beginning to Look a Lot Like Christmas." In this session, we focus on reharmonization techniques, spread voicings, and creative ways to voice these pieces with inspiration from jazz greats like Bill Evans.

Exploring “My Favorite Things”

The jazz standard "My Favorite Things" is often played in a waltz feel (3/4 time signature) and features extended modal harmonies. Bill Evans’ interpretation showcases his signature two-handed spread voicings and melodic ornamentation that give the tune a fresh harmonic depth.

Reharmonizing the A Section

The original harmony consists of a simple E minor to F# minor movement followed by C major for multiple bars. To create more harmonic movement, we introduce:

• Descending bass motion to connect sections smoothly.
• Passing diminished chords for chromatic voice leading.
• Upper structure triads for richer harmonic colors.

The Power of Spread Voicings

Instead of traditional 7th chords, we use spread voicings by distributing chord tones between both hands:

• E-7 (E-G-B-D) → F#-7 (F#-A-C#-E) → Cmaj7 (C-E-G-B).
• Adding color tones such as 9ths and sharp 11ths to enrich the harmony.

Using Drop 2 Voicings

Bill Evans frequently used drop 2 voicings, a technique where the second-highest note of a four-note chord is dropped to the left hand. This creates a more open and balanced sound.

Chromatic Passing Chords

One effective approach is using dominant passing chords:

• Moving from Gmaj7 to Cmaj7, we insert A7#11 as a chromatic approach.
• Over a Gmaj7 resolution, a D7 tritone substitute (Ab7) adds harmonic interest.

It’s Beginning to Look a Lot Like Christmas – Jazz Ballad Approach

Unlike "My Favorite Things", which features a modal harmonic structure, "It’s Beginning to Look a Lot Like Christmas" follows a traditional chord progression that can be reinterpreted with jazz harmony.

Reharmonizing the Opening

The original C major to F major movement can be expanded using:

• F13 voicings instead of simple F major.
• B7 as a tritone sub for a chromatic approach to E7.
• Adding inner voice motion in the left hand for a smoother harmonic flow.

Applying a Swing Feel vs. Ballad Interpretation

• A stride left-hand approach provides a rhythmic swing feel.
• A more open ballad voicing allows for expressive, flowing lines.

Upper Structure Triads for Richer Sounds

We incorporate major triads built on the 9th, sharp 11th, and 13th:

• B♭7 with a D major triad (9, #11, 13).
• E7 with a G# major triad (13, b9, 3).

Practice Tips

1. Break It Down by Sections – Focus on playing the A section and B section separately before combining them.
2. Experiment with Voicings – Try playing with spread voicings and drop 2 voicings to see which textures you prefer.
3. Use the Melody as a Guide – Many reharmonizations stem from melody-driven chord choices—listen to the original and let the melody dictate your chord substitutions.
4. Apply Chromatic Passing Chords – Integrate dominant approach chords (e.g., A7 → Gmaj7) to add movement.
5. Practice in Different Styles – Play the pieces with a swing feel, ballad phrasing, or even an up-tempo Latin rhythm for variety.

By mastering these techniques, you’ll enhance your ability to reimagine jazz standards with rich harmonic textures. Keep exploring, and happy playing! 🎹