Reharmonizing "Heart and Soul"

Welcome to this in-depth lesson on reharmonizing the jazz standard Heart and Soul. Originally composed by Hoagy Carmichael, this tune is widely recognized for its simple and familiar chord progression. While often associated with beginner piano players, it also serves as an excellent foundation for learning advanced harmonic techniques.

In this lesson, we explore different approaches to reharmonization, from simple harmonic variations to more complex techniques like tritone substitutions, modal reharmonization, and the Coltrane cycle.

Understanding the Basic Harmony

At its core, the A section of Heart and Soul follows a 1-6-2-5 progression, one of the most common harmonic movements in jazz and popular music. In the key of F major, this progression is:

• Fmaj7 → D-7 → G-7 → C7

This progression repeats four times within the A section. Because the melody is entirely diatonic and rhythmically straightforward, it provides an ideal canvas for exploring different harmonic variations.

First Steps in Reharmonization

1. Substituting the I Chord with iii-7

One of the simplest ways to add harmonic interest is by replacing the I (Fmaj7) with iii-7 (A-7). This works because A-7 contains the same notes as Fmaj7 (except for the root).

Now, our progression becomes:

• A-7 → D7 → G-7 → C7

This also introduces a 3-6-2-5 movement, which is a common variation in jazz.

2. Adding Dominants

We can enhance the tension and resolution in the progression by replacing some minor chords with dominants:

• Fmaj7 → A7 → D7 → G7 → C7 → Fmaj7

This creates a chain of dominant chords, leading to stronger resolutions.

Advanced Reharmonization Techniques

1. Tritone Substitutions

Tritone substitutions involve replacing a dominant chord with another dominant chord located a tritone (three whole steps) away.

Applying this to our 1-6-2-5 progression:

• Instead of D7, we use Ab7 (tritone sub of D7).
• Instead of G7, we use Db7 (tritone sub of G7).
• Instead of C7, we use Gb7 (tritone sub of C7).

This results in a more chromatic and harmonically rich progression:

• Fmaj7 → Ab7 → Db7 → Gb7 → Fmaj7

2. The Barry Harris Approach

Barry Harris’ harmonic approach revolves around alternating between major 6 chords and their related diminished chords. Applying this to Heart and Soul, we use:

• F6 → E°7 → D-7 → Db°7 → C7 → B°7 → Bbmaj7

This technique smooths out voice leading and creates beautiful passing harmonies.

3. Modal Reharmonization

Rather than focusing on traditional harmonic function, modal reharmonization uses harmonic colors that don’t necessarily lead to a resolution. One approach is to keep a static bass note (pedal point) while changing the upper harmonies.

For example, keeping C as a pedal tone:

• C7sus → C7 → C-7 → Cmaj7

Alternatively, using quartal voicings or ambiguous harmonies can add modern color to the tune.

4. The Coltrane Cycle

This approach divides the octave into three equal parts, modulating through major thirds. Starting from F major, the tonal centers are:

• Fmaj7 → Dbmaj7 → Amaj7 → Fmaj7

This cycle is commonly used in jazz improvisation and composition, and when applied carefully, can create a sophisticated harmonic movement.

Practice Tips

1. Start Simple – Experiment with replacing the I chord with iii-7 and adding dominant chords before moving to more advanced reharmonizations.
2. Listen and Imitate – Study recordings of pianists like Barry Harris, Hank Jones, and Bill Evans to hear how they approach harmonic variations.
3. Use Guide Tones – Focus on the 3rd and 7th of each chord to ensure smooth voice leading.
4. Introduce Chromatic Movement – Explore tritone substitutions and chromatic dominant motion to create a richer harmonic palette.
5. Experiment with Modal and Pedal-Point Approaches – Try sustaining a single bass note while reharmonizing the melody for a modern sound.

By incorporating these techniques, you can transform Heart and Soul into a harmonically rich jazz arrangement. Experiment, mix and match these concepts, and develop your own unique harmonic approach!