Final Reharmonisation
Version 3 extends earlier approaches to reharmonisation using ii–V movement, extended and altered dominants, tritone substitutions, and introduces the circle of fourths which is then influenced by Dameron-style harmony. It is used in the 4-bar intro and outro, with one of the chords reused throughout section A for continuity and theme building purposes. The B section avoids this material to provide a contrast between sections.
The melody is now treated as a theme rather than a fixed line, allowing rhythmic and melodic paraphrasing in performance. Small pitch changes therefore take place (e.g. A → A♭ to fit A♭maj7) plus a change to rhythmic variation, making the melody less rigid and more performance-led. As a result, the original tune is less immediately clear at the opening, but more adaptable in a jazz context.
The reharmonisation introduces an early cycle of fourths (vi-ii-V) and is influenced by Dameron's use of substituted chords, producing an E♭maj7–A♭maj7–D♭maj7 cycle as the introduction, immediately creating harmonic colour, forward motion, and suggestion of unpredictability throughout the arrangement. The recurring use of A♭maj7 fulfils this across the arrangement and provides cohesion.
Overall, this version was the most stylistically developed, producing a more exploratory jazz arrangement with greater harmonic interest, contrast, and flexibility. The use of borrowed chords and paraphrased melody creates a clear jazz influence and a more distinctive reinterpretation while still retaining recognisable elements of the original.
Listen to the final recording below which is created using a Band in a Box (PG Music) auto-arrangement style including drums, bass and rhythm piano, and subsequently edited by the author. This was imported into a DAW with the melody and short improvised sections added by the author, and complete arrangement produced.
A lead sheet was produced setting out the harmonic changes, however given the free approach for the performer provided with this version, the notated melody and rhythm are intended as a representation rather than fixed.
