Santa Claus Is Coming To Town

Summary

Understanding the Melody and Form

The Simplicity of the Melody

“Santa Claus is Coming to Town” is characterized by its simple, diatonic melody primarily within the C major scale. Except for one note in the bridge, all notes belong to the major scale, making it an excellent candidate for harmonic exploration without the complication of many chromatic notes.

The melody is constructed from a repeating rhythmic motif consisting of two eighth notes, a quarter note, and a half note, with a conclusive phrase in the A section. This clear structure supports easy identification of chord tones and harmonic functions.

Song Structure: 32-Bar AABA Form

The song follows the classic 32-bar AABA form, a staple in many jazz standards and Christmas songs alike. This form consists of:

• A Sections: Repeated melodic phrases with minor variations
• B Section (Bridge): A contrasting phrase that introduces a slight melodic and harmonic shift

Knowing the form helps in organizing the harmonic progression and planning chord substitutions or reharmonizations.

Basic Harmonization: Primary Triads

Foundations with I, IV, and V

The first step in harmonizing the melody is to use the primary chords in the key of C major:

• I (C major)
• IV (F major)
• V7 (G7)

By focusing on chord tones landing on strong beats (beats 1 and 3), you can assign chords that fit melody notes perfectly. For example:

• Melody notes E and G fit within the C major triad.
• Melody notes A and C fit within the F major triad.
• When G7 is needed, the chord provides tension that resolves naturally back to C major.

This basic approach yields a simple yet effective harmonic backing suitable for beginner players and traditional renditions.

Adding Complexity: Secondary Dominants and Chord Extensions

Introducing Secondary Dominants

Secondary dominants are chords that temporarily act as dominants to diatonic chords other than the tonic. For example:

• C7 is the V7 of F (IV)
• D7 is the V7 of G (V)

By inserting these dominants before the IV and V chords, the harmonic progression gains more color and forward motion. This technique enriches the harmony without altering the original melody.

Extending Chords to Four Notes

Jazz harmony favors richer chords beyond simple triads. Primary triads can be extended to:

• Cmaj6 or Cmaj7 for the tonic
• Fmaj7 for the subdominant
• G7 or G13 for the dominant

Adding sevenths, sixths, and ninths creates more sophisticated voicings and gives the harmony a jazzy flavor.

Enhancing Harmonic Rhythm: Two-Fives and Turnarounds

Creating Two-Five-One Progressions

The two-five-one (ii-V-I) progression is fundamental in jazz. Splitting longer chords into ii and V chords increases harmonic rhythm and interest. For example:

• Instead of holding G7 for a whole bar, you can play Dm7 (ii) followed by G7 (V) before resolving to Cmaj7 (I).

This subdivision adds movement and enables smooth voice leading.

Turnarounds and Backdoor Dominants

Turnarounds are short progressions that lead back to the tonic; the most classic turnaround is the sequence I VI II V and there are many variations and substitutions. 

One harmonic path includes backdoor dominants, which is a bVII7 chord leading back to the tonic chord. It is connected to the minor plagal cadence. For example:

• The F minor chord (iv minor) going to B♭7 (bVII7) creates a “backdoor” dominant effect returning to C major.
• This chromatic approach offers a fresh and soulful alternative to traditional V-I cadences.

These devices add surprise and sophistication to the harmonic progression.

Chromatic Passing Tones and Diminished Passing Chords

Chromatic Approach Notes

Chromatic approach notes are a half step below chord tones and add tension and smooth melodic movement. For example, approaching a chord tone from a semitone below can enrich solos or comping patterns.

Chromatic Passing Tones

These are notes placed between two diatonic notes a major second aport.

Using Diminished Passing Chords

Diminished chords function as passing chords with dominant functions. For instance, an E7♭9 chord can be replaced or embellished by a G♯ diminished 7 chord, creating a chromatic bass ascending voice leading.

These harmonic tools are common in jazz and offer numerous possibilities for reharmonization and improvisation.

Advanced Reharmonization Techniques

Substituting Chords and Modulations

Jazz musicians often reharmonize songs by substituting chords. Examples include:

• Using the subV (substitute dominant) chord D♭7 instead of G7 to create a chromatic descent to C major.
• Incorporating flat VI major 7 chords for deceptive resolutions.

These reharmonizations provide harmonic variety and advanced color while respecting the original melody.

The Importance of Rhythm and Groove

Playing Beyond the Written Notes

Jazz musicians rarely play melodies strictly as written. Instead, they use rhythmic anticipation, syncopation, and swing feel to breathe life into the music. For “Santa Claus is Coming to Town,” emphasizing the off-beats (the “and” of 2 and 4) and using rhythmic anticipation creates a compelling groove.

Anticipation and Syncopation

Anticipating melody notes slightly before strong beats adds excitement and forward momentum. This rhythmic flexibility transforms a simple Christmas tune into an engaging jazz performance.

Practicing the Bass Line and Jazz Phrasing

Building a Strong Bass Foundation

A bass line outlines the chord progression and reinforces rhythmic feel. The guideline for bass lines often includes playing the root of the chord on the downbeat, with passing tones or chord tones on weaker beats.

Freedom in Alterations

Bass players can alter chord tones creatively, such as lowering the fifth, to add flavor. Chromatic passing tones in the bass create smooth voice leading and harmonic movement.

Jazz Phrasing

Practicing arpeggios starting from the third of each chord and connecting them with scale fragments helps develop a jazzy phrasing style. Varying rhythms and shapes of arpeggios keeps solos fresh and interesting.

Final Thoughts

Recap of the Harmonization Journey

• Started with the simple, diatonic melody in C major
• Harmonized with primary triads (I, IV, V7)
• Added secondary dominants for richer harmonic movement
• Extended chords to four-note chords (maj7, 6, 9)
• Created harmonic rhythm through two-five-one progressions
• Explored turnarounds and backdoor dominants
• Incorporated chromatic passing tones and diminished chords
• Applied reharmonization techniques
• Focused on the importance of rhythmic variety and anticipation
• Practiced bass line construction and jazz phrasing techniques

Encouragement for Musicians

This detailed harmonic and rhythmic study shows how even the simplest Christmas songs can be transformed into intricate jazz performances. Experimenting with these concepts will deepen your understanding of jazz harmony and improve your improvisation and comping skills.

Remember, the goal is to enjoy the music, keep practicing, and swing with confidence!

Frequently Asked Questions (FAQ)

Q1: Can “Santa Claus is Coming to Town” be played in any key?
Yes, the melody is flexible and can be transposed easily for different instruments or vocal ranges.

Q2: What is a secondary dominant?
Secondary dominant is a dominant chord that resolves to a diatonic chord other than the tonic, adding tension and color.

Q3: How do backdoor dominants work?
Backdoor dominants use the bVII7 chord to resolve to the tonic, providing an alternative to the traditional V7-I cadence.

Q4: Why is rhythm more important than harmony in jazz?
Rhythm drives the groove and feel of jazz; even simple harmonies can sound compelling with strong rhythmic interpretation.

Embrace these harmonic and rhythmic tools to bring new life to your jazz Christmas repertoire and beyond!