Exploring "My Foolish Heart" – Jazz Piano Voicings & Arrangements

Welcome to this lesson on My Foolish Heart, where we explore a range of harmonic techniques, voicing choices, and improvisational concepts for jazz piano. This lesson is designed for pianists looking to deepen their understanding of voicings, spread harmonies, and how to interpret a lead sheet with expressive melodic phrasing.

By the end of this lesson, you will have a strong grasp of voicings for the A and B sections of My Foolish Heart, techniques for smooth voice leading, and strategies for tasteful improvisation.

Simple Voicings for the A Section

We begin by outlining simple voicings for the A section of the tune. This section primarily revolves around the harmony of Bbmaj7, moving through classic 2-5-1 progressions.

Root-Position Voicings

We start by playing root, 3rd, and 7th in our left hand, ensuring clarity of the harmonic structure. For example:

• Bbmaj7 → D-7 → G7 → C-7 → F7 → Bbmaj7

By focusing on these core tones, we build a foundation that allows for more complex harmonic movement later.

Adding Extended Voicings

To create a richer and more sophisticated sound, we add extended chord voicings

For example:

• D-7 → G7: Instead of simple root-position chords, we can play a D-11 (adding the 9 and 11) resolving into a G13 (including the 9 and 13).

This approach allows for a more fluid, harmonically sophisticated progression.

Inner Voice Movement & Passing Chords

One hallmark of advanced jazz voicings is the subtle use of inner voice movement to create smooth harmonic transitions. In My Foolish Heart, we integrate chromatic passing chords and reharmonizations to bring more color to the lead sheet.

Chromatic Passing Chords

• Between G-7 and C-7, we add a Db7 as a passing chord to create a additional tension and resolution.
• Approaching Bbmaj7, using an A7b9 as a secondary dominant can add more tension before resolving.

These small additions greatly enhance the harmonic depth of the arrangement.

The B Section – Exploring Minor and Altered Harmonies

The B section of My Foolish Heart introduces minor harmony and dominant chords with alterations.

Minor 2-5-1 Progression

The B section introduces minor 2-5-1 progressions:

• A-7b5 → D7 → G-7
• Here, using upper-structure triads on D7 (such as an Ab major triad) to add tension to the dominant chord.

Improvisation Strategies & Melodic Development

Quoting the Melody in Improvisation

A beautiful technique used in jazz ballad playing is to subtly reference the original melody while improvising. Pianist Ryo Fuki employs this approach effectively in his rendition of My Foolish Heart, using small fragments of the melody to guide his solo.

Arpeggio Motion

One striking element of Ryo’s playing is his use of arpeggio shapes to create flowing, lyrical improvisation:

• Running Bbmaj7 arpeggios through various inversions
• Emphasizing the 9th and 11th for added color
• Using chromatic lines to connect chords smoothly

Practice Tips for Mastering This Arrangement

1. Use Spread Voicings – Play 2-handed spread voicings to create a fuller, more balanced sound.
2. Incorporate Passing Chords – Add chromatic movement to smoothly transition between harmonies.
3. Improvise with Melody Fragments – Base your improvisation on small sections of the melody.
4. Explore Upper-Structure Triads – Use triad shapes over dominant chords to add color and harmonic sophistication.

By integrating these techniques, you’ll develop a deeper understanding of how to voice jazz ballads and how to approach improvisation with confidence and creativity.