Analyze the use of reharmonization in a given jazz standard, identifying specific alterations and substitutions and explaining their impact on the overall sound.

Reharmonization, a crucial technique in jazz arranging and improvisation, involves altering the original harmonic structure of a melody by substituting or modifying chords. This practice allows musicians to reinterpret familiar tunes, adding new layers of complexity, color, and emotional depth. Reharmonization can involve various alterations, such as chord substitutions, chromatic alterations, modal interchanges, and the use of different chord voicings. The impact of reharmonization is significant, fundamentally changing the harmonic context of a piece and influencing its overall sound. One of the primary forms of reharmonization is chord substitution. This technique involves replacing a chord with another that shares a similar harmonic function or quality. A common example is the use of tritone substitutions, where a dominant 7th chord (V7) is replaced with a dominant 7th chord a tritone away. For example, in a ii-V-I progression in C major (Dm7-G7-Cmaj7), the G7 could be substituted with Db7. This substitution maintains the dominant function but adds a chromatic color, creating a slightly more complex sound. This technique is incredibly common in jazz standards, and the effect of this tritone substitution provides a new sound to a common chord progression. Another type of substitution involves using minor chords instead of major chords or vice-versa. For instance, in the same C major ii-V-I example, the Dm7 can be changed into a D half diminished chord. This adds color and creates an altered sound. Reharmonization through substitution allows the musician to alter the familiar chords, while still preserving the fundamental harmonic intent of the original chord progression. Another form of reharmonization involves the use of modal interchange, also known as borrowed chords. This is where chords are borrowed from parallel modes or scales to add new colors and flavors. For example, in a C major context, a chord borrowed from C minor might be used, such as a flat VI chord (Ab major), which is not withi....