I harmonized “Du,du liegst mir im Herzen”, inspired by Clare Fischer’s arrangement for voices, as a way of applying my newly discovered polychord voicings and some quartal harmonic sounds. I am sure the tune is familiar to most everyone.
I labeled the functional harmony as usual and also showed possible functional harmonic designations for the quartal sounds although their relationships to standard harmonic labeling are stretched to the limit. The idea was to show a standard jazz harmonization of this tune with the polychords and quartal sounds serving as harmonic embellishment as they occur within a functional framework. I think your ear will accept these sounds as long as the voice-leading is smooth, which I tried to do for the most part in writing this.
You might want to play the changes, first playing only the chords shown on the first beat of each measure while singing the tune, and then add the others. The changes on the downbeat are straightforward and functional, the chords in between are the interesting ones, containing many altered tones that resolve well into the functional harmonies, usually by step and most times chromatically, although some of the notes of resolution are implied.
To summarize, the basic progression is as follows:
D | F#7 | Bm | B7 | Em | Bb7(b5) | A7 | D |
D | F#7 | Bm | B7 | Em | A7 | D | D7 |
G | F#m | A#dim7 | Bm | Em | A7 | D | D7 |
G | F#m | A#dim7 | Bm | Em | A7 | D | D ||
There are several enharmonic spellings where the written notation and chord designations conflict, but don’t let that bother you. Usually it has to do with the proper way of writing an augmented sixth chord in the notation and its labeling as either a dominant seventh or dominant seven flat five chord as it is shown in jazz charts.
I think this makes an excellent chord etude and a nice follow up to “Twinkle Twinkle Jazzy Star” posted June 3, 2011, which you may want to investigate if you haven’t already. The pdf and recording are below.