In this clip from the full course, we focus on the C section and study the evolution of the harmonic progression: the original progression, how Ahmad Jamal took it a step further, then Miles Davis‘s version, today’s most common chords and my own reharmonization. Discover our free jazz lessons !
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Introduction
“Green Dolphin Street” is a classic jazz standard that has inspired countless musicians to explore its rich harmonic structure. This lesson delves into the harmonic evolution of the last eight bars of the tune, examining the original chord progression and how jazz legends like Ahmad Jamal and Miles Davis reinterpreted it. Additionally, we share a modern reharmonization approach and discuss practical ideas for improvisation and performance.
Understanding the Original Chord Progression
The Starting Point: Original Chords in C Major
To gain a clearer understanding of the harmonic journey, it is helpful to transpose the original progression into the key of C major. The last eight bars follow this sequence:
- D7♭9
- Dm7
- G7♭9
- Am7
- F6
- G7
- C
This progression features a classic jazz cadence with a II-V-I (Dm7–G7–C) structure, enriched by alterations and deceptive resolutions. The deceptive resolution to the F6 chord adds harmonic interest and movement.
Breakdown of the Deceptive Resolution
The deceptive resolution occurs when instead of resolving to the expected tonic chord C6, the progression moves to the F6 chord, the subdominant. This unexpected shift provides tension and release, a common device in jazz harmony that adds emotional depth to the tune.
Ahmad Jamal’s Reharmonization: Adding Complexity and Motion
Expanding the II-V-I Progression
Ahmad Jamal introduced a reharmonization that extends the typical II-V-I progression by splitting the II-V into smaller segments, creating a sequence of II-V chords. For example, instead of going directly from Dm7 to G7, Jamal adds E-7 to A7 as a secondary dominant to approach Dm7. This chain looks like:
E-7→A7→D-7→G7→
This approach adds forward motion and rhythmic interest, giving the progression more harmonic activity.
Chromatic Bass Line and Diminished Chords
Jamal also used chromatic passing chords to create smooth bass movement. One example is approaching with a chord played over D♯, which is the third of B7 and creates a chromatic line in the bass:
B7/D♯→Em7
This chromaticism can be interpreted as a diminished chord (D♯ diminished) due to the altered tones, which adds color and tension. Such reharmonizations require careful attention to melody compatibility to maintain musical coherence.
Using Half-Diminished Substitutions
Another innovation Jamal applied is substituting G7 with B minor 7♭5 (also known as half-diminished). These chords share three common tones, making the substitution smooth:
G7≈Bm7♭5
Both serve a dominant function in C major, allowing flexible voice leading and fresh harmonic colors within the progression.
Miles Davis’ Interpretation: Blending Tradition and Innovation
Combining Jamal’s Ideas with Modern Jazz Practice
Miles Davis incorporated some of Ahmad Jamal’s reharmonizations while also using more contemporary approaches. His version uses descending bass lines and chromatic passing chords to create fluid motion between chords:
Dm7→Dm7/C→Bm7♭5→E7→Am7→D7♭9→B
This bass line descent adds a compelling melodic bass movement, enhancing the harmonic texture and giving soloists rich material for improvisation.
The Use of II-V-I Progressions and Extensions
Davis’ reharmonization maintains the essential II-V-I framework but adds complexity by inserting additional II-V sequences targeting intermediate chords (such as the V7 of V). This layered approach creates a more dynamic and expansive harmonic landscape:
Dm7→G7→C→A7→Dm7
This cyclical motion keeps the progression engaging and reflects the evolution of jazz harmony from bebop to modal and post-bop styles.
Modern Jazz Reharmonizations in Jam Sessions
The Common Practice Today
In contemporary jazz jam sessions, musicians frequently use the modern reharmonization derived from Miles Davis’ approach. The standard progression often looks like this:
Dm7→Dm7/C→Bm7♭5→E7→Am7/G→F♯m7♭5→B7→Em7
This progression is characterized by its descending bass line and the use of half-diminished chords that add harmonic richness and tension-resolution cycles.
Practical Tips for Improvisation
For improvisers, understanding these reharmonizations is crucial. Soloists should be aware of the chord substitutions and altered tones:
- Target chord tones of the dominant chords, especially altered extensions like ♭9, , and .
- Use chromatic passing tones to highlight the descending bass lines.
- Experiment with melodic motifs that outline the reharmonized chords.
Alex Terrier Reharmonization: Creative Freedom in Jazz Harmony
Unique Approach with Colorful Chords
The author’s personal reharmonization of the eight bars includes colorful chord voicings such as:
- Dm7 with added 11th and 9th extensions,
- Deceptive resolutions using D♭m7 and chords,
- Use of an major 7 chord where the functions as a major 7th,
- An A♭ diminished major 7 chord providing a distinctive tension.
These reharmonizations reflect the limitless possibilities in jazz harmony, where chords can be reinterpreted as diminished chords, altered dominants, or modal interchange chords.
Transposition and Adaptation
While the original and classical reharmonizations are often played in C major, the author performed his reharmonization in major. This highlights the importance of adapting harmonies to different keys and contexts, especially when working with vocalists or other instrumentalists.
Conclusion: The Infinite Possibilities of Jazz Reharmonization
The evolution of the last eight bars of “Green Dolphin Street” illustrates the dynamic nature of jazz harmony. From the original progression to Ahmad Jamal’s innovations, Miles Davis’ adaptations, and modern interpretations, each reharmonization offers unique colors and improvisational opportunities.
Whether you are a student, performer, or composer, exploring these harmonic variations can deepen your understanding of jazz theory and enhance your musical expression. The sky is the limit when it comes to reharmonizing jazz standards, and this exploration invites you to experiment and create your own harmonic interpretations.
FAQ:
What is a deceptive resolution in jazz harmony?
A deceptive resolution occurs when a dominant chord moves unexpectedly to a chord other than the expected tonic, often to the VI chord, or any another chord, creating surprise and tension.
How does Ahmad Jamal’s reharmonization differ from the original?
Jamal expands the II-V-I progression by inserting secondary dominants and chromatic bass lines, adding harmonic motion and color.
Why use half-diminished chords as substitutions?
Half-diminished chords share chord tones with dominant chords, allowing smooth substitutions that add harmonic variety while maintaining functional tension.
How can I apply these reharmonizations in my jazz playing?
Study the chord substitutions and voice leading, practice the bass line movements, and incorporate altered chord tones in your improvisations to reflect the reharmonized changes.
Explore these harmonic tools and transform your approach to “Green Dolphin Street” and other jazz standards with confidence and creativity. Keep swinging!
