Jingle Bells – Alternate Reharms
In this lesson we explore some alternate reharmonisations for the A section of Jingle Bells using diatonic progressions and tritone substitutions.
In the last lesson we focused on bars 1 to 8 and in this lesson we focus on bars 9 to 16 to introduce different voicing techniques and reharmonisation principles.
Diatonic Reharmonisations
Diatonic reharmonisations are chords and voicings taken from the diatonoic 7th chords of G major – the key of the tune. We start by simply walking up from the I chord Gmaj7, to the ii chord A-7, to the iii chord B-7.
On the second line we then introduce the 36251 progression which creates a strong turnaround into the next part of the tune.
Tritone Substitutions
The original changes of bars 9 to 16 contains much of the same melodic and harmonic material as bars 1 to 8 and so tritone substitution is a very useful device to create interest and variety.
In the previous lesson we added a 251 progression before the chord change to C Major, the IV chord of the key. We can use the tritone substitute chords for this 251 progression and so instead of playing D-7 to G7 to Cmaj7, we can play Ab7 to Db7 to Cmaj7.
Lesson Downloads
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Jingle Bells Reharmonised File Type: pdf -
Jingle Bells Midi File File Type: midi
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Jingle Bells Transcription File Type: pdf
Related Lessons
We explore ways that we can add variety by utilising the different registers of the piano. We’ll also add in some interesting chord reharmonisations.
The Christmas Song is also known as ‘Chesnuts Roasting On An Open Fire’ and this sentence is also the first line of the lyrics.
The tune is most commonly played in the key of C. We reharmonise the changes to create a rich and harmonically complex arrangement.
Practice Tips
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In the previous lesson we explored the 5 to #5 to 6 movement over the first 3 bars of Gmaj7. In this lesson we learn an alternate reharm using the diatonic 7th chords.
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Experiment with the tritone substitutes to create different sounds over the repeating melody that we covered in the last lesson. Remember that the 2 and 5 chords can be voiced as dominant 7 chords.
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The 36251 on the second line can be simplified to a simple 251 progression so that we have 2 chord changes in the bar, and not 4 chord changes.
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Remember that we don't have to play all of these rehamronisations - choose the ones that you resonate with you and omit the ones that you don't like.
simply mind blown 🙂 Thank you Hayden! This is an amazing Christmas treat to us all! These lessons will be on repeat mode for me. I am much more enlightened about the concept of jazz voicing and this lesson is teaching us a ton of invaluable tips and tricks. Your approach to allowing us to understand better (knowing jazz piano is so complex, at least to me) is highly impressive, so organized and detailed. Seeing the coloured chords to differentiate from triads to options for voicings, reharmonization, chord subsitutions etc. are soooo very helpful. Thanks once again and really enjoying the course big time. – Kristeta
PS – the piano fills, embellishments, blues stuff are Brilliant!
Thanks Tina – I’m glad you enjoyed the lesson and the PDF handout.
Merry Christmas to you and wishing you a musical New Year!
Cheers,
Hayden