“Pennies from Heaven” Jazz Workshop

Welcome to this month’s Jazz Standard Workshop, where we explore the harmonic structure, improvisation techniques, and key takeaways from the timeless jazz standard “Pennies from Heaven.” This lesson focuses on understanding the harmony, common variations, and improvisational tools to help you build your jazz vocabulary.

We also analyze a classic recording featuring Stan Getz and the Oscar Peterson Trio, breaking down their solos to uncover melodic and harmonic approaches used by jazz masters.

The Harmony of “Pennies from Heaven”

The chord structure of “Pennies from Heaven” follows a 1-4-3-6-2-5-1 pattern, a progression commonly found in many jazz standards.

• The first four bars feature a descending diminished passing chord that acts as a substitution for the 6th chord (A7 → Eb diminished → D-7).
• The B section (bars 9-16) moves through a 2-5-1 in F major (G-7 to C7 to Fmaj7) followed by a secondary dominant (D7 to G7).
• The C section (last 8 bars) introduces another 3-6-2-5 progression but incorporates a Bb7 as a tritone substitution for E7 before resolving back to C major.

Understanding these harmonic movements allows for flexible voicings and improvisational freedom, especially when exploring substitutions and embellishments in the A section.

Common Tunes with Similar Harmony

Many jazz standards share harmonic similarities with “Pennies from Heaven,” making it an essential progression to master.

• “I Can’t Give You Anything but Love” – Shares an identical 1-4-3-6-2-5-1 progression.
• “St. Thomas” (Sonny Rollins) – Uses the same 1-4-3-6 movement in a different rhythmic context.
• “On the Sunny Side of the Street” – Features a nearly identical B section, with a 2-5-1 in F.
• “I Thought About You” – Utilizes the same 1-4-3-6-2-5-1 structure, reinforcing the importance of internalizing this progression.

By recognizing these patterns, you can quickly adapt to new tunes and expand your jazz repertoire with ease.

Improvisation Tools: Chord Tones & Approach Notes

A solid improvisation strategy begins with focusing on chord tones rather than scales.

• Start by outlining the triads and 7th chords within the progression.
• Use approach notes (chromatic or diatonic) to smoothly connect chord tones and create melodic movement.
• A strong bebop approach emphasizes connecting key tones via voice leading, ensuring smooth transitions across changes.

For example, on a 2-5-1 in C major (D-7 to G7 to Cmaj7), you can emphasize:

• Chord tones (D-F-A-C → G-B-D-F → C-E-G-B)
• Chromatic approach notes leading into strong beats
• Motivic development using small ideas to create logical phrases

These techniques are evident in the Stan Getz solo, which blends diatonic simplicity with moments of advanced harmonic movement, including diminished scale patterns and enclosure techniques.

Analysis of Stan Getz & Oscar Peterson’s Solos

Stan Getz’s Solo – A Masterclass in Melodic Clarity

Stan Getz’s improvisation is a perfect example of:

• Singable phrasing with clear melodic direction.
• Diatonic improvisation using C major harmony as a unifying framework.
• Rhythmic variety and well-placed rests to shape the solo dynamically.
• A diminished substitution line over D7, moving in minor third cycles, showcasing advanced bebop language.

Oscar Peterson’s Solo – Swing, Blues, and Virtuosity

Oscar Peterson’s improvisation showcases:

• Blues elements, seamlessly integrated with bebop vocabulary.
• Strong left-hand comping, supporting the right-hand melodic ideas.
• Fast-moving dominant lines, outlining chord changes with clarity.
• A classic Oscar Peterson motif, using ascending diminished and augmented phrases to build intensity.

By studying these solos, you gain insights into:

• How to mix bebop lines with blues phrasing
• Using motif development in a solo
• Incorporating chromatic passing tones to create forward motion

5 Practice Tips for “Pennies from Heaven”

1. Learn the 1-4-3-6-2-5-1 progression in multiple keys – This progression appears in many jazz standards.
2. Focus on chord tones when improvising – Emphasize triads and 7th chords rather than relying on scales.
3. Practice approach notes – Use chromatic and diatonic approaches to lead into strong chord tones.
4. Analyze the Stan Getz solo – Listen for melodic clarity, voice leading, and rhythmic phrasing.
5. Experiment with variations in the A section – Try replacing A7 with Eb diminished or explore tritone substitutions.

By internalizing these concepts, you’ll build stronger improvisational skills and deepen your understanding of jazz harmony.

Next Steps

After mastering this lesson, continue developing your jazz vocabulary by:

• Exploring similar tunes with 1-4-3-6-2-5-1 progressions
• Transcribing small phrases from solos and applying them in different keys
• Practicing blues and bebop lines to enhance your phrasing

Check out our upcoming Barry Harris listening class and our deep dive into Bill Evans’ version of “My Foolish Heart.”

See you in the forum, and happy practicing! 🎶