Transforming Songs into Swing Jazz Style

Overview

This guide provides a systematic approach to converting any song (pop, folk, traditional) into authentic 1920s-1940s Lindy Hop-style swing jazz.

The Transformation Process

Phase 1: Analysis

Step 1: Document Original Song Structure

- Key and time signature
- Tempo (BPM)
- Form (verse, chorus, bridge)
- Chord progression
- Melody (with original notes)
- Lyrics

Step 2: Identify Core Elements

• What is the main melodic hook?
• What are the most important chord changes?
• What is the emotional content?

Phase 2: Tempo & Feel Adjustment

Lindy Hop Tempo Guidelines

Establishing Swing Feel

• Change straight eighth notes to swung eighths
• Emphasize beats 2 and 4
• Add walking bass foundation
• Add four-to-the-bar guitar rhythm

Phase 3: Harmonic Reharmonization

Basic Chord Upgrades

Adding Jazz Progressions

Insert ii-V-I Movements

Before a target chord, add its ii-V:

Original:  | C    | C    | F    | F    |
Jazz:      | C    | Gm7 C7 | F    | Cm7 F7 |

Rhythm Changes Substitution

For static chord sections, use I-VI-ii-V:

Original:  | C    | C    | C    | C    |
Jazz:      | Cmaj7 | Am7  | Dm7  | G7   |

Tritone Substitution

Replace V7 with bII7:

Original:  | Dm7  | G7   | C    |
Jazz:      | Dm7  | Db7  | Cmaj7 |

Chromatic Passing Chords

Add chromatic movement:

Original:  | C    | Dm   |
Jazz:      | C    | C#dim | Dm7  |

Common Reharmonization Formulas

For Static Major Chord (4 bars)

| Imaj7 | vi7  | ii7  | V7   |

For V-I Motion

Original: | G7   | C    |
Options:
1. | Dm7 G7 | Cmaj7 |          (add ii)
2. | Db7    | Cmaj7 |          (tritone sub)
3. | Dm7 Db7| Cmaj7 |          (ii + tritone)
4. | Ab7 G7 | Cmaj7 |          (chromatic approach)

For Minor Progressions

Original: | Am   | Am   |
Jazz:     | Am7  | Am7 E7b9 | (add V of vi)

Phase 4: Instrument-Specific Arrangements

Contrabass Part

1. Identify new chord progression
2. Map root movement
3. Create walking bass line (see bass guide)
4. Add approach notes between chords
5. Write out first pass, then allow improvisation

Saxophone Part

1. Transpose melody to sax key
2. Identify melody's chord tones vs. passing tones
3. Add swing phrasing marks
4. Suggest fills between vocal phrases
5. Create solo section chord chart

Rhythm Guitar Part

1. Simplify chords to shell voicings
2. Write chord chart with slash notation
3. Mark any specific rhythmic figures
4. Note dynamics (softer under vocals)
5. Indicate any breaks or stops

Keyboard Part

1. Choose voicing style (stride for solo, comping for ensemble)
2. Write left hand chord voicings
3. Mark comping rhythm suggestions
4. Create intro/outro figures
5. Note solo section length and changes

Vocals

1. Transcribe melody in concert pitch
2. Mark phrasing and breath points
3. Suggest melodic variations for repeats
4. Indicate scat sections (if any)
5. Note dynamics and expression

Phase 5: Arranging the Form

Standard Swing Arrangement Form

INTRO:      4-8 bars (usually ii-V-I or piano/bass feature)
HEAD 1:     Full melody (vocals or unison horns)
HEAD 2:     Repeat with variations (optional)
SOLOS:      1-2 choruses each instrument
SHOUT:      Arranged section, building energy
HEAD OUT:   Return to melody
OUTRO:      Tag ending or ritard to final chord

Intro Ideas

• Piano stride intro (4 bars)
• Bass walk-in (2 bars)
• Drum count-off with horn hit
• Full band hits on I-VI-ii-V

Outro Ideas

• Tag ending: repeat last 2-4 bars with ritard
• Basie ending: short hits (...bah-dah-BAH!)
• Full stop with one final chord
• Fade with repeated riff

Example Transformation

Original: Simple Folk Song in C

Form: Verse - Verse - Chorus - Verse - Chorus
Tempo: 100 BPM (moderate)
Chords: C | F | G | C (repeating)

Transformed: Swing Jazz Arrangement

Tempo: 140 BPM (medium swing)
Key: C Major (transpose if needed for vocalist)

INTRO (4 bars):
| Dm7    | G7     | Cmaj7  | Am7 G7 |

VERSE (8 bars - swing feel):
| Cmaj7  | Cmaj7 C#dim | Dm7   | Dm7   |
| Fmaj7  | Fm7   Bb7  | Cmaj7 | Dm7 G7 |

CHORUS (8 bars):
| Cmaj7  | Am7   | Dm7   | G7     |
| Fmaj7  | Fm7   | Cmaj7 | Dm7 G7 |

SOLO SECTION (16 bars over verse changes):
Piano 8 bars, Sax 8 bars

HEAD OUT (same as verse/chorus):
Full band, vocals with more embellishment

OUTRO (4 bars):
| Cmaj7  | Am7   | Dm7 G7 | Cmaj7 (hold) |

Quick Reference: Transformation Checklist

Pre-Arrangement

• [ ] Original song documented (chords, melody, lyrics)
• [ ] Target tempo determined
• [ ] Key confirmed (check vocalist range)

Harmonic Work

• [ ] Chords upgraded to 7ths
• [ ] ii-V-I progressions inserted
• [ ] Chromatic passing chords added
• [ ] Tritone substitutions considered

Rhythm Section

• [ ] Walking bass line sketched
• [ ] Guitar voicings selected
• [ ] Piano comping style chosen
• [ ] Intro/outro arranged

Melody & Vocals

• [ ] Melody analyzed for chord tones
• [ ] Phrasing adapted for swing
• [ ] Melodic variations for repeats
• [ ] Scat sections planned (if any)

Arrangement

• [ ] Form structure set
• [ ] Solo order determined
• [ ] Dynamics mapped
• [ ] Ending chosen

Common Pitfalls to Avoid

1. Over-complicating harmony - Keep it danceable
2. Wrong tempo - Too slow kills the swing
3. Ignoring the melody - Keep the hook recognizable
4. Too many solos - Balance features with ensemble
5. Weak endings - Plan the ending carefully

Resources for Reference

Songs to Study

• "Take the A Train" (Ellington)
• "Sing Sing Sing" (Goodman)
• "One O'Clock Jump" (Basie)
• "In the Mood" (Miller)
• "It Don't Mean a Thing" (Ellington)

Listening for Arrangement Ideas

Note how these elements work:

• Intros and how the band kicks in
• Solo lengths and trading
• Shout choruses and builds
• Endings and final hits