Eddie Higgins’ Arrangement of "Danny Boy"

Welcome to this in-depth lesson on Eddie Higgins’ stunning jazz arrangement of the classic tune "Danny Boy." This lesson explores Higgins’ unique reharmonizations, chord substitutions, and voicings that bring a rich and sophisticated sound to the piece. By the end of this lesson, you’ll have a solid understanding of his approach and how to apply these techniques to your own playing.

The Foundation: Original Chord Progression

Before diving into Higgins’ complex reharmonizations, we start with a simple version of "Danny Boy," playing through the original chord changes with 7th chords rather than just triads. This helps establish a solid foundation for understanding the more advanced harmonizations.

The basic chord progression follows a standard jazz structure in the key of Eb major, with common ii-V-I movements and a flowing melody.

Reharmonization & Voicing Techniques

1. Using Spread Voicings

Higgins’ arrangement makes extensive use of two-handed spread voicings, distributing chord tones between the hands to create a fuller, richer sound. These voicings avoid congestion in the mid-range and add clarity to the harmony.

2. Chromatic Bass Movement

A key characteristic of Higgins’ style is chromatic bass motion, where the bassline moves smoothly between chords using half-step movements. This approach creates a seamless flow between harmonic changes.

For example, instead of playing a simple Ebmaj7 to C-7, Higgins introduces Eb/G, creating a stepwise descent:
Ebmaj7 → Eb/G → C-7 → F-7 → Bb7
This small alteration adds harmonic depth and direction.

3. Diminished Passing Chords

Diminished chords function as chromatic connectors between the main harmonic destinations. Higgins frequently substitutes diminished passing chords in places where traditional ii-V progressions would appear.

For example, instead of playing C-7 to F7, he inserts B diminished (B°7) before resolving to F7, adding tension and a sense of anticipation.

4. Tritone Substitutions

One of Higgins’ signature techniques is tritone substitution, replacing a dominant chord with another dominant chord a tritone away.

For example:
F7 → B7 → Bb7, instead of just F7 → Bb7
This creates unexpected but beautiful harmonic movement.

5. Modulation to G Major

In an unexpected yet brilliant move, Higgins modulates from Eb major to G major for his solo section. This sudden shift creates an uplifting and fresh feel, completely transforming the mood of the piece.

Key Practice Tips

1. Master the Original Changes First
   Before attempting Higgins’ complex voicings, play through the basic 7th chord structure to ensure you understand the original form.

2. Practice Chromatic Bass Motion
   Play through the progression while focusing on how the bass notes move by half steps to create smoother transitions.

3. Experiment with Diminished Passing Chords
   Insert diminished chords between common ii-V progressions to hear how they add tension and release.

4. Apply Tritone Substitutions
   Replace standard dominant chords with dominants a tritone away and notice how it alters the sound.

5. Transpose Key Concepts to Other Tunes
   Take the reharmonization techniques you learn here and apply them to other jazz ballads, such as "Misty" or "Body and Soul."

Conclusion

Eddie Higgins’ arrangement of "Danny Boy" is a masterclass in jazz harmony and reharmonization. By studying his voicings, chromatic movements, and unexpected modulations, you can bring greater depth and sophistication to your playing.

Take your time absorbing these concepts, and most importantly, experiment with them in your own playing!