"Somewhere Over The Rainbow" – Jazz Standard Workshop

Welcome to this month’s Jazz Standard Workshop, where we explore Harold Arlen’s timeless classic, "Somewhere Over The Rainbow." One of the most famous jazz standards, this tune offers rich harmonic opportunities and beautiful melodic phrasing, making it an essential piece for any aspiring jazz pianist.

In this lesson, we break down the harmony, form, and chord substitutions, along with an analysis of how jazz greats such as Bud Powell and Keith Jarrett have interpreted this song. We’ll also take a look at the original sheet music and the often-overlooked verse section of the tune.

Understanding The Harmony & Form

The form of "Somewhere Over The Rainbow" follows a classic AABA structure. The A section establishes the main theme, repeating with slight variations, while the B section provides contrast before returning to the final A section.

The A Section

The harmony revolves around Eb major, moving through 1-6-3-6 progressions (Ebmaj7 to C-7 to G-7 to C7), leading to the 4th degree (Abmaj7). A common variation includes inserting a 2-5-1 in G minor (A-7 to D7 to G-7) before resolving back to Ebmaj7.

Another notable substitution includes Eb-7 to Ab7, which sets up movement toward the 4th degree (Abmaj7), creating smoother voice leading.

The B Section

The B section introduces a cycle of 2-5s, leading into F minor (the ii chord of Eb major). A common reharmonization includes 3-6-2-5 substitutions (G-7 to C7 to F-7 to Bb7), which add more movement before resolving back to the A section.

One small correction—the last chord of the B section should be Bb7, not B7. This maintains the expected 2-5-1 motion back to Eb major.

Common Jazz Variations

Jazz pianists often take liberties with the harmony of this tune. One popular variation involves starting the final A section on the III chord (G-7) instead of the I (Ebmaj7), adding a fresh sound to the resolution. Another option is using chromatic passing chords or tritone substitutions to create more harmonic depth.

Exploring The Original Sheet Music & Verse Section

Most musicians are familiar with the AABA form, but the original sheet music contains a lesser-known verse introduction, often omitted in jazz performances. This verse sets up the main melody with a dreamy, storytelling quality.

Judy Garland rarely performed the verse, but an archival recording reveals its use in a special rendition of the song. The verse offers additional harmonic insight, starting on Bb major and moving through diminished passing chords, a technique that can inspire unique jazz interpretations.

If you’re interested in crafting a more complete arrangement, incorporating the verse can add a deeper emotional touch.

Notable Jazz Interpretations: Bud Powell & Keith Jarrett

Bud Powell’s Interpretation

Bud Powell brings a bebop approach to "Somewhere Over The Rainbow," filling the harmony with diminished passing chords, rapid chromatic runs, and tritone substitutions. His introduction features a dominant diminished run, moving through B diminished over Bb7, a classic bebop device.

A notable trick he uses is diminished chord movements over dominant chords, creating rapid cascading arpeggios that add energy and momentum to his solo piano version.

Keith Jarrett’s Interpretation

Keith Jarrett’s solo piano performance showcases lyrical phrasing, reharmonization, and an unexpected harmonic shift in the final A section. Instead of playing the typical 2-5-1, he replaces the ii chord (F-7) with a flat-6 major chord (Bmaj7), a harmonic device known as the Lady Bird Cadence.

This substitution offers a fresh sound and can be applied to other jazz standards to create harmonic interest.

5 Practice Tips For "Somewhere Over The Rainbow"

1. Visualize The 2-5-1 Progressions – Identify the 2-5-1 progressions within the A and B sections. Understanding these movements makes it easier to apply reharmonizations.

2. Experiment With The Verse – Try incorporating the original verse into your performance for a unique and authentic rendition.

3. Use Spread Voicings – Spread the chord tones between both hands for richer, fuller voicings rather than playing simple root-position chords.

4. Incorporate Tritone Substitutions – Replace dominant chords with their tritone substitutes (e.g., D7 instead of Ab7) to create smoother voice leading.

5. Listen To Multiple Interpretations – Compare the versions by Bud Powell and Keith Jarrett to explore different phrasing and harmonic approaches.

Final Thoughts

"Somewhere Over The Rainbow" is a harmonic playground for jazz pianists, offering countless ways to personalize the arrangement. By understanding the core harmony, incorporating substitutions, and learning from jazz greats, you can develop your own interpretation of this timeless tune.

For further study, check out the chord substitutions PDF, transcriptions, and the archived seminar video with breakdowns of key techniques. Happy practicing! 🎹