PG Music - Jazz Pianist

@001 As Time Goes By, written by H. Hupfield, is performed in a solo stride style which incorporates
many of the pianistic elements of Fats aller and Art Tatum. !t is played in a "ery strai#ht$ahead
manner, althou#h the "ariation at bar %& ta'es a few more melodic and harmonic liberties. (ote the
different methods of playin# the bass notes) sin#le note, octa"e, fifth, se"enth, tenth, and tenth with a
fifth. *tride playin# is one of the +..fundamental thin#s + that still apply to piano playin#. This all time hit
was the theme son# from the mo"ie ,asablanca where at one point, a broodin# Humphry Bo#art says
to the piano player, +...-lay it *am, you played it for her, now you can play it for me...+. .ey of /b.
-erformed by0 1iles Blac'. -icture of0 Art Tatum.
@002 Arthur3s Theme, was written by Burt Bacharach, ,hristopher ,ross, ,arol B. *a#er and -eter
Allen. -erformed in a solo -op style, the melody is played and harmoni4ed by the ri#ht hand while the
left hand supplies the bass mo"ement and counter$rhythms in ascendin# arpe##ios. A useful techni5ue
to spice up a triad with the fifth in the lead is to add the 2nd 6!./. 1,2,&,78. This was the theme from the
9udley 1oore mo"ie +Arthur+ and was recorded by pop sin#er ,hris ,ross. .ey of A. -erformed by0
:on ;ohnston. -icture of0 :on ;ohnston.
@00& Bill Bailey, was written by H. ,annon. This old chestnut is played in the solo stride style of Fats
aller, ;ames -. ;ohnson and illie +the <ion+ *mith. (ote the descendin# scale in octa"es in the intro
which leads into the stride style featurin# the left hand notes also in octa"es. This #i"es a hea"ier sound
to the bass than =ust the sin#le note which is normally played. 1any of the pianistic de"ices 6e.#. bar >>8
ha"e been +in"ented+ by the #reat early stride players, each addin# their own little twist to what had
#one before. .ey of F. -erformed by0 1iles Blac'. -icture of0 Fats aller.
@00> 1y 1elancholy Baby, was written in 1?11 with music by Geor#e (orton, lyrics by /rnie Burnett.
The treatment here is an easy #oin# coc'tail style 6li'e 9ic' Hyman3s8 with some occasional stride and
loc'ed hand techni5ue. (ote the effecti"e use of re$harmoni4ation 6e.#. bar ?8 to re"itali4e the more
traditional fa'e boo' chan#es. @ften thou#ht of by musicians as a corny tune associated with an o"erly
sentimental drun' as'in# the band to +... play 1elancholy Baby+, this tune is actually a lo"e son# with a
pleasin# melody and a tender lyric. .ey of F. -erformed by0 :on ;ohnston. -icture of0 9ic' Hyman.
@007 Glow orm, was written by -aul <inc'e. This spirited solo$stride rendition, with elements of Fats
aller and Art Tatum, is full of pianistic #ems. ,hec' out the simple but effecti"e intro and the delayed
octa"es 6bar 218. (ote the rhythmical use of tenths in a rolled style 6e.#. #oin# into bar 278. This tune
was probably the most famous of the many tunes recorded by the 1ills Brothers. .ey of ,. -erformed
by0 1iles Blac'. -icture of0 Fats aller.
@00A AleBander3s :a# Time Band, was written by !r"in# Berlin who published the sta##erin# number of
??? tunes in his lifetime. !t is usually performed as a +ra44mata44+ 9iBieland tune, howe"er here it is
#i"en a 9a"e 1c.enna, 9ic' Hyman treatment. The left hand plays a low$down bass line in +2+ for the
openin# chorus with the ri#ht hand playin# melody and chords. !n the second chorus, the left hand bass
notes are in +>+. (ote how the ri#ht hand is not only playin# a solo, but also compin#. To #et this 'ind of
ri#htCleft hand independence happenin#, chec' out the +<essons0 Blues ,horuses+ which features
wal'in# bass lines for blues in different 'eys. .ey of F. -erformed by0 1iles Blac'. -icture of0 9ic'
Hyman.
@00% Blues in F, is a riff$type blues written by @li"er Gannon . This is played in the style of ynton
.elly, Tommy Flana#an or ,edar alton. A riff is a repeated, blues$type phrase that can be played o"er
and o"er behind the chan#in# chords. Because of its3 12 bar repeated nature, the blues is a #ood
place to start when learnin# impro"isation because the chord pro#ression becomes so familiar. !n bar 1,
the >th beat of the melody is an A. (otice how it is +blues$ified+ by the addition of the , on top as well as
rollin# into the A with an Ab. This techni5ue can be used on other non$blues tunes as well. .ey of F.
-erformed by0 :enee :osnes. -icture of0 Tommy Flana#an.
@00D Be#in the Be#uine, was written by ,ole -orter, one of the #reatest of the American son# writers.
This is played in the solo$rubato$coc'tail style of 9ic' Hyman and others. Bar 122 demonstrates an
effecti"e techni5ue employin# the ma=or triads /b and 9b as a substitute for an altered G%. ,ole -orter
always wrote the lyrics and the music. He was 'nown for his ele#ant chord pro#ressions and witty lyrics.
This tune was written when the +Be#uine+, a <atin dance was fashionable. !t was played so often that
the musicians were heard to say +..! wish they would /(9 the Be#uine..+. .ey of ,. -erformed by0
1iles Blac'. -icture of0 1iles Blac'.
@00? Blue in Green, is credited to 1iles 9a"is and Bill /"ans. This thou#htful rendition is played in a
solo$rubato style for the first chorus. The bass and drums enter around bar >0. !n the piano style of
Herbie Hancoc' and Bill /"ans, note the use of half$steps within the chords 6e.#. in bars 1 and >8. !n
se"eral inter"iews, Bill /"ans claimed that the tune was actually written by him alone and he wondered
why 1iles too' credit for it. This is a hauntin# and sophisticated melody which seems to ha"e a ne"er$
endin# 5uality to it. .ey of 9m. -erformed by0 :enee :osnes. -icture of0 Bill /"ans.
@010 ,an3t Help Fallin# in <o"e ith Eou, was written by eiss, -eretti and ,reatore. Here it is
performed in a swin#$tempo, solo$coc'tail style. (otice the blues fla"or which permeates this rendition.
This is an eBcellent eBample of how a non$blues can be made bluesy by playin# blues lic's o"er the
re#ular chan#es. For eBample, in bar 1, the B is preceded by a Bb. !n bar >, instead of playin# 9% for a
whole bar, an A 1& chord proceeds the 9%. There are more of these harmonic re$harmoni4ations
throu#h$out the tune. Gene Harris, 9a"e Brubec', 9ic' Hyman and others ha"e always been able to
ma'e the most out of tunes which mi#ht not be thou#ht of as #reat standard material. First recorded by
/l"is -resley and later by ,orey Hart, this pop tune is normally played in 12CD with a hea"y bac'beat.
.ey of G. -erformed by0 1iles Blac'. -icture of0 9a"e Brubec'.
@011 ,arni"al, or 1anha de ,arni"al, was written by Bra4ilian #uitarist <ui4 Bonfa. The first chorus is
played in solo rubato 6out of tempo8 style. The bass and drums =oin in, in a <atin interlude which leads to
the second and third choruses. This rendition has a ,hic' ,orea fla"or to it. (ote the characteristic
melodic appo#iaturas which are common to ,hic'3s style. !t is one of the many beautiful son#s from the
Bra4ilian mo"ie Blac' @rpheus which also featured the tune, *amba de @rpheu. !t was released with an
/n#lish lyric and title 6by ,arl *i#man8 as, +A 9ay in the <ife of a Fool+. .ey of Am. -erformed by0
:enee :osnes. -icture of0 ,hic' ,orea.
@012 ,ome :ain or ,ome *hine, was written by the #reat American son# writer Harold Arlen with
lyrics by the e5ually prolific ;ohnny 1ercer. @ri#inally a torch son#, this rendition, in a Horace *il"er,
<atin style, features a li#hter, more up$tempo =a44 approach. (otice the left$hand compin#, rhythmically
wor'in# a#ainst the melody in the first chorus. Horace always brin#s a feelin# of blues and fun' and an
o"erall feelin# of optimism to e"erythin# he plays and writes. This stimulatin# chord pro#ression has
always been a fa"orite with =a44 musicians. The piece ends with a fun'y 2 $ 7 69m% to G%8 "amp. .ey
of F. -erformed by0 :enee :osnes. -icture of0 :enee :osnes.
@01& The 9ays of ine and :oses, was written by Henry 1ancini with lyrics by ;ohnny 1ercer. This
trio performance is played in the @scar -eterson tradition. The 2 bar brea' at the end of the first chorus
is pure @scar. The arran#ement alternates between 1A bars in the 'ey of F, modulatin# to 1A bars in
Ab. @scar3s style has always been blues$rooted. The last chorus in Ab, builds to a bi# band, riff$type,
shout chorus 6also typical @.-.8, endin# with a traditional & $ A 6,m% to F%8 ta# endin#. The piece ends
with a clichF ascendin# chord pro#ression startin# from the G> minor%6b78. This was the theme from the
mo"ie of the same name which starred ;ac' <emmon and <ee :emic'. This standard has lon# been a
fa"orite of musicians. .ey of F and Ab. -erformed by0 1iles Blac'. -icture of0 @scar -eterson.
@01> /ast of the *un 6and est of the 1oon8, was written in 1?&> by Broo's Bowman. This "ersion
be#ins with a solo rubato chorus in the style of Tommy Flana#an and @scar -eterson. The neBt chorus
is played in a Han' ;ones, solo stride fashion. @ri#inally intended as a ballad, it is usually performed as
a medium$tempo tune, as it was in the *inatra "ersion which still holds up as one of the classic
renditions. 1any =a44 artists ha"e paid tribute to Fran'3s consistently #reat statement of melodies. .ey
of G. -erformed by0 1iles Blac'. -icture of0 Tommy Flana#an.
@017 /asy to <o"e, was written in 1?&A by ,ole -orter for the musical +Born to 9ance+. The intro has
that mar"elous (at ,ole, relaBed and co4y feel. The melody is stated in bloc'$chord style of which (at
was one of the earliest eBponents. Geor#e *hearin# made this, his si#nature style, famous in the 703s
and A03s. The *hearin# sound had the "ibes and #uitar doublin# the melody, the latter, an octa"e below.
The bloc'$chordin# style is also carried throu#h to the solo section. .ey of ,. -erformed by0 :enee
:osnes. -icture of0 (at +.in#+ ,ole.
@01A /"er#reen, was written by -aul illiams and Barbra *treisand. Here is a beautiful rendition of
this hit tune played in a solo, coc'tail style. The term +coc'tail style+ piano doesn3t necessarily ha"e to
be dero#atory and it certainly is not here. !t can apply to pianists of all le"els, playin# solo loun#e #i#s.
*treisand not only co$wrote the tune but had the hit recordin# of it. .ey of A. -erformed by0 1iles
Blac'. -icture of0 1iles Blac'.
@01% Fallin# !n <o"e ith <o"e, was written in 1?&D by the #reat son# writin# team of :ichard :od#ers
and <oren4 Hart for the musical +The Boys From *yracuse+. This trio performance is in the =a44$walt4
idiom. The pianistic style has many of the elements of Herbie Hancoc'. (otice the reharmoni4ation near
the end of the first 1A bars. The normal Bb chord with a 9 in the lead is spiced up by a decepti"e
cadence 6Bm% to /%, ,m% to F%8. This de"ice is carried throu#h to the solo section as well. @ne thin#
Herbie li'es to do with his "oicin#s is to include a half$step inter"al at the lower end of the chord. .ey of
Bb. -erformed by0 :enee :osnes. -icture of0 Herbie Hancoc'.
@01D A Fo##y 9ay, was written by Geor#e and !ra Gershwin in 1?&% for the Broadway musical +A
9amsel in 9istress+. This trio "ersion illustrates the pianistic style of /rrol Garner. The left hand plays
four$to$the$bar chords in rhythm #uitar style while the ri#ht hand handles the melody, either
harmoni4ed, in octa"es or octa"e with a fifth. The left hand stays on top of the beat while the ri#ht hand
plays in a la4y, laid$bac' fashion. (otice the bass plays a "ery basic +two+ feel. /rrol Garner, the
composer of +1isty+, was immensely popular in the 703s and A03s. The Gershwins later recalled that this
tune was inspired by their #ood friend @scar <e"ant who was "isitin# <ondon for the first time and had
cabled to say that he was feelin# lost and lonely. This tune has been recorded by many artists includin#
the #reat /lla Fit4#erald. .ey of Ab. -erformed by0 1iles Blac'. -icture of0 1iles Blac'.
@01? Good Bait, was written by Tadd 9ameron and ,ount Basie 6althou#h many publications credit
9i44y Gillespie8. This "ersion is pure *hearin#...... loc'ed$hand style throu#hout this arran#ement.
(otice that the melody is harmoni4ed throu#hout and the melody is doubled by the left hand. (at .in#
,ole and Geor#e *hearin# were eBponents of this techni5ue. .ey of Bb. -erformed by0 1iles Blac'.
-icture of0 (at ,ole.
@020 ! ,an3t Get *tarted, was written in 1?&7 by Hernon 9u'e with lyrics by !ra Gershwin. This solo
arran#ement is played in the style of Tommy Flana#an and Han' ;ones. Hernon 9u'e, incidentally has
written a #reat boo' called +The American -opular *on#+. This is a must for anyone who is interested in
learnin# about the #reat standard tunes. !t is probably a"ailable from most libraries. !n the first chorus,
the arran#ement uses the ori#inal chords , while in the solo section the chromatic reharmoni4ation is
used in the third and fourth bars. .ey of ,. -erformed by0 :on ;ohnston. -icture of0 Tommy
Flana#an.
@021 ! ,ould rite a Boo', was written in 1?>0 by :ichard :od#ers with lyrics by <oren4 Hart for the
musical +-al ;oey+. !t is played here in solo stride style li'e that of Art Tatum. (otice in the left hand the
combination and the "oice leadin# of the tenths and se"enths. *ome of the #reat eBponents of stride
ha"e been0 the stylish ;ames -. ;ohnson, the outra#eous Fats aller who was also a #reat showman,
illie +The <ion+ *mith who was arro#ant and had #reat chops and Art Tatum who probably too' stride
to it3s hi#hest le"el. ,urrent eBponents are0 9ic' ellstood, 9a"e 1c.enna and 9ic' Hyman. .ey of ,.
-erformed by0 1iles Blac'. -icture of0 Art Tatum.
@022 ! ,oncentrate on Eou, was written in 1?&? by ,ole -orter. This trio arran#ement has some of the
characteristics of .eith ;arrett3s playin#, especially in the second chorus. ,ole -orter, one of the most
prolific writers of the American popular son#, was 'nown for writin# A> bar tunes such as this one,
6most standards are &2 bars8. .ey of /b. -erformed by0 1iles Blac'. -icture of0 .eith ;arrett.
@02& ! 9idn3t .now hat Time it as, was written in 1?&? by :ichard :od#ers and <oren4 Hart and is
played here in a ,edar alton, Herbie Hancoc', .enny Barron trio style. The intro echoes the +time
bells+ in a minor 'ey. (otice the "oicin#s) the /m?6b78 for the first chord, the FG adds a nice fla"or) also
the use of half steps in the chord "oicin#s. The left hand ne"er o"er shadows the ri#ht but compliments
it. !n the Dth bar the arran#ement incorporates a reharmoni4ation by substitutin# an Fm%, Bb% for the
Gm%, ,% before the /m% of the ?th bar. :eharmoni4ation li'e this, if it3s done tastefully and not used to
eBcess, can be "ery effecti"e. The reason this wor's here is that Fm%, Bb% mo"es lo#ically and
musically to /m%, A(9 there is no conflict with the melody. .ey of 9m. -erformed by0 :enee :osnes.
-icture of0 Herbie Hancoc'.
@02> ! Get a .ic' out of Eou, was written by ,ole -orter. This trio renderin# be#ins with a .enny
Barron approach. (ote the arran#in# de"ice at the end of the first chorus. The solo section pays tribute
to the #reat Bebop playin# of Bud -owell. Fran' *inatra san# the definiti"e "ersion. The A> bar len#th is
typical of -orter. .ey of /b. -erformed by0 1iles Blac'. -icture of0 Bud -owell.
@027 ! <o"e Eou 6Accompaniment8, was written by ,ole -orter. This is a piano$accompaniment
treatment to illustrate a typical medium tempo piano with horn or "ocal duo concept. The left hand wal's
throu#hout while the ri#ht hand comps. !n the middle chorus, the piano plays a solo while the left hand
continues to wal'. Hibes or =a44 #uitar #enerally sound #ood for the horn or "ocal sound. .ey of F.
-erformed by0 :on ;ohnston. -icture of0 :on ;ohnston.
@02A !ndian *ummer, was written by Hictor Herbert and Al 9ubin. This is a solo coc'tail readin# of this
old standard in the style of Han' ;ones, Tommy Flana#an and (at ,ole. There is a loose 6but in time8
feel to the first chorus. 1usically this tune is distin#uished by the au#mented chord in the second bar
and the half step 2 $ 7 pro#ression near the end. .ey of Bb. -erformed by0 1iles Blac'. -icture of0
(at ,ole.
@02% !t3s All :i#ht with 1e, was written in 1?7& by ,ole -orter for the mo"ie +,an ,an+. !t3s played here
in an up$tempo, solo Bebop fashion. Bud -owell , who was a #reat eBponent of this 'ind of playin#, was
'nown for his ama4in# speed and musical ima#ination. This A> bar tune is always associated with
*inatra. .ey of ,m. -erformed by0 1iles Blac'. -icture of0 Bud -owell.
@02D ! ant to be Happy, was written by Eoumans and ,aesar. This trio interpretation echoes the
loc'ed$hand style of Geor#e *hearin#, (at .in# ,ole, and @scar -eterson. (otice the decepti"e
cadence in the ta# at the endin#. This 'ind of de"ice can add a feelin# eBcitement to an arran#ement.
@ri#inally thou#ht of as a li#ht and fri"olous tune, it can sound #ood when #i"en a medium$swin#
treatment. .ey of ,. -erformed by0 :on ;ohnston. -icture of0 @scar -eterson.
@02? @h <ady Be Good, was written by Geor#e and !ra Gershwin. Here is a solo in the style of players
li'e 9ic' Hyman and Han' ;ones. 9ic' Hyman is a superb solo pianist wor'in# out of the (ew Eor'
area. Alon# with scorin# and playin# in a number of oody Allen mo"ies, he has published a much
recommended fa'eboo' of son#s which show the correct basic chan#es as well as fre5uent
substitutions. Another one of the wonderful Gershwin tunes which musicians en=oy playin# on because
it has such a natural feel. This almost starts off as a blues but in fact has a &2 bar structure. .ey of F.
-erformed by0 :on ;ohnston. -icture of0 9ic' Hyman.
@0&0 <o"e al'ed !n, was written by Geor#e and !ra Gershwin in 1?&D. This trio treatment features
some of the playin# elements of .enny Barron, Herbie Hancoc' and ,edar alton. .ey of F.
-erformed by0 :enee :osnes. -icture of0 Herbie Hancoc'.
@0&1 The 1an ! <o"e, was written by Geor#e and !ra Gershwin. This tune is played in tempo
throu#hout althou#h it implies a free and unconfined rhythmic concept. Hery much in the style of Bill
/"ans, this arran#ement demonstrates the solo conception which Bill de"eloped. @ri#inally written as a
ballad, it is most often played in an up$tempo mode. .ey of /b. -erformed by0 1iles Blac'. -icture of0
Bill /"ans.
@0&2 Ha"e Eou 1et 1iss ;ones, was written by :ichard :od#ers and <oren4 Hart. This trio
arran#ement be#ins with a rubato solo chorus followed by a fun'y <atin treatment. (otice the
reharmoni4ation in the se"enth bar to Abm% $ 9b?. Fre5uently played in the =a44 repertoire, it is 'nown
for it3s e"er modulatin# brid#e which some speculate mi#ht ha"e been an inspiration for ;ohn ,oltrane3s
+Giant *teps+. .ey of F. -erformed by0 :enee :osnes. -icture of0 :enee :osnes.
@0&& The 1ore ! *ee Eou, was written by arren and Gordon. This pretty ballad is #i"en a solo Bill
/"ans treatment. (otice the second 1A be#ins with a reharmoni4ation. !nstead of playin# the F chord, a
Bm%6b78 is substituted. .ey of F. -erformed by0 :on ;ohnston. -icture of0 Bill /"ans.
@0&> (ardis, was written by 1iles 9a"is. Here is a solo rendition of this =a44 classic played here in the
Bill /"ans style. The melody features some loc'ed$hand wor' with accompanyin# bass lines. !n the
solo section the ri#ht hand is punctuated by bass notes played sparsely and off the beat. .ey of /m.
-erformed by0 :enee :osnes. -icture of0 Bill /"ans.
@0&7 (ice or' if Eou ,an Get !t, was written by Geor#e and !ra Gershwin in 1?&% for the musical +A
9amsel in 9istress+. This solo rendition is definitely styled after Thelonius 1on'. 1on'3s roots were in
stride piano, 6;ames -. ;ohnson and 9u'e /llin#ton8. /"en thou#h he later became harmonically and
rhythmically +liberated+, he ne"er lost his feel for stride, especially when playin# solo ballads. (otice the
fre5uent hi#h trills and half steps in the melody as well as displaced time etc. This ton#ue$in$chee'
rendition also illustrates 1on'3s sense of humor and his lo"e of the unusual. As he said himself0 +wron#
is ri#ht.+ .ey of Bb. -erformed by0 1iles Blac'. -icture of0 Thelonius 1on'.
@0&A (i#ht and 9ay, was written by ,ole -orter. This trio renderin# be#ins with an out of tempo first
chorus. hen the bass and drums =oin in at the second chorus, the tempo is medium$up and the style is
"ery much 1c,oy Tyner. (otice the ,oltrane chan#es in the brid#e. For more on ,oltrane chan#es,
see the lesson +,oltrane turnaround chan#es+. .ey of 9. -erformed by0 :enee :osnes. -icture of0
1c,oy Tyner.
@0&% @ld 9e"il 1oon, was written by Burton <ane and /.E. Harbur# in 1?>A for the musical, +Finian3s
:ainbow+. Here is a trio conception played with the style elements of 1c,oy Tyner, Herbie Hancoc'
and ynton .elly. !n the statement of the melody not the loc'ed$hand counter melodies. .ey of G.
-erformed by0 :enee :osnes. -icture of0 1c,oy Tyner.
@0&D @ur <o"e is Here to *tay, was written by Geor#e and !ra Gershwin. This trio treatment is in the
style of (at ,ole and @scar -eterson. !t is bluesy in fla"or and has the typical brea' at the end of the
first chorus. By the third chorus it builds to an almost bi# band arran#ed sound and the endin# has a
fairly typical three$time repetition of the last phrase. .ey of /b. -erformed by0 :enee :osnes. -icture
of0 (at ,ole.
@0&? -eople, was written by ;ulie *tein and Bob 1errill in 1?A&. This solo rendition is played with a Bill
/"ans approach. The arran#ement starts out in the rather difficult and infre5uently played 'ey of B and
then has an unusual modulation 9@( to Bb. !t3s "ery effecti"e because it3s uneBpected. (ote the
+rhythmaci4in#+ in the left hand and the lush "oicin#s and "oice$leadin# which is typical of the /"ans
style. Barbra *treisand had the ma=or hit on this one. .eys of B and Bb. -erformed by0 :on ;ohnston.
-icture of0 Bill /"ans.
@0>0 The :ose, was written by A. 1cBroom and is the theme of the mo"ie of the same name which
starred Bette 1idler. This readin# be#ins "ery #ently in a tender mood in the 'ey of ,. After the first
melodic statement the bass and drums =oin in the 'ey of Ab. The arran#ement builds in intensity and
modulates to the 'ey of A for the third chorus. The tune winds down to it3s ori#inal mood for the endin#.
A nice eBample of the use of dynamics. The pianistic style is that of .eith ;arrett. .ey of ,. -erformed
by0 1iles Blac'. -icture of0 .eith ;arrett.
@0>1 *ecret <o"e, was written by FainCebster for the Broadway play and mo"ie +,alamity ;ane+.
Here is a solo interpretation in the style of Gene Harris, Han' ;ones or Tommy Flana#an. The intro has
the bass pedalin# on the fifth while the ri#ht hand is soloin# on a 1$A$2$7 based pro#ression. The
se"enth and ei#hth bars of the intro set the be#innin# of the tune up by #oin# to a more chord based
approach. (otice the ,oltrane chan#es in the second brid#e. .ey of /. -erformed by0 1iles Blac'.
-icture of0 Tommy Flana#an.
@0>2 *eptember !n The :ain, was written by Harry arren and Al 9ubin. This is a "ery relaBed solo
stride readin# of this old standard in the style of Art Tatum, 9a"e 1c.enna or Han' ;ones. (otice that
there are a lot of tenths bein# played in the bass. This slower tempo permits this 'ind of left hand
approach. 9inah ashin#ton had a hit recordin# of this tune in the mid$fifties. .ey of F. -erformed by0
1iles Blac'. -icture of0 Art Tatum.
@0>& *omeone To atch @"er 1e, was written by Geor#e and !ra Gershwin. This is a sensiti"e
rendition of one of the most touchin# of the Gershwin ballads. The two choruses are played in a solo
rubato mode. A few points of interest are, the descendin# bass line in the first phrase, the phrase which
connects the two choruses and the "ery pretty endin#. .ey of Bb. -erformed by0 :enee :osnes.
-icture of0 :enee :osnes.

@0>> *weet Geor#ia Brown, was written by Bernie and -in'ard in 1?27. This +old standard+, a
perennial fa"orite of =a44 musicians and sin#ers, is performed here in a "ery relaBed, solo stride
manner. The first chorus emulates the style of (at ,ole, whereas the second and third choruses are
more in the /rrol Garner tradition 6> to the bar left hand chords8. This tune has been performed in all
different styles of =a44, from 9iBieland to modern and has had many Bebop heads or melodies based on
it3s chan#es. !t is usually performed 5uite up$tempo but here the treatment is relaBed and +swin#in +. .ey
of Ab. -erformed by0 1iles Blac'. -icture of0 (at ,ole.
@0>7 Tea for Two, was written by Eoumans and ,aesar. Here is a solo, swin# treatment of this well
'nown standard 6which is also often performed as a ,ha ,ha8. !t is played in a stride style with pianistic
elements of Art Tatum, Fats aller, 9u'e /llin#ton and 9ic' ellstood. ellstood, one of best li"in#
eBponents of stride, points out that the essence of stride is the left hand. +That3s where the pulse is.
ith stride you play tensions off your left hand.+ This is definitely happenin# in this "ersion. Also, chec'
out Thelonius 1on'3s solo "ersion of this tune which has some "ery hip reharmoni4ation. .ey of Bb.
-erformed by0 1iles Blac'. -icture of0 Fats aller.
@0>A They ,ant Ta'e That Away From 1e, was written by Geor#e and !ra Gershwin. Here is a
relaBed "ersion played in the solo style of Tommy Flana#an, Han' ;ones or 9ic' Hyman. (otice that the
melodic +holes+ are filled by the bass motion. The endin# re$capitulates the initial melodic phrase. .ey
of /b. -erformed by0 :on ;ohnston. -icture of0 Tommy Flana#an.
@0>% This ,an3t Be <o"e, was written by :ichard :od#ers and <oren4 Hart in 1?&D for the Broadway
show +The Boys From *yracuse+. This solo is played in the style of 9a"e 1c.enna, @scar -eterson,
Gene Harris and 9ic' Hyman. 9a"e 1c.enna in particular, is a master of the left hand wal'in# bass
with the ri#ht hand soloin# and compin#. !t3s ama4in# to notice how many lastin# standards were written
for the Broadway sta#e in the thirties and forties by the li'es of :od#ers and Hart, the Gershwins, ,ole
-orter, !r"in# Berlin and later, :od#ers and Hammerstein. .ey of G. -erformed by0 1iles Blac'.
-icture of0 @scar -eterson.
@0>D Eou3d Be *o (ice To ,ome Home To, was written in 1?>2 by ,ole -orter for the Broadway show
+*omethin# to *hout About+. 1c,oy Tyner3s style dominates this "ersion of a tune that always been a
fa"orite of =a44 instrumentalists and "ocalists. (otice in the intro some of the trademar's of 1c,oy3s
style, the powerful left hand pedals with chord "oicin#s in fourths mo"in# in a parallel and polytonal
mode. !n #eneral, this is a #ood demonstration of +outside+ and +inside+ playin#. .ey of ,m. -erformed
by0 1iles Blac'. -icture of0 1c,oy Tyner.
@0>? Eou Go to 1y Head, was written by Gillespie and Goots. This #reat tune is presented here in the
solo style of Bill /"ans or Han' ;ones. This is beautiful =a44 playin# with lush "oicin#s, solid harmony
and #ood root motion. (otice the decepti"e cadence at the "ery end, and Fm11 rather than an Fma=? is
played. @ne of the most sensual recordin#s of this ballad was by the #reat Billie Holiday. .ey of F.
-erformed by0 :on ;ohnston. -icture of0 Bill /"ans.
@070 hen ! Fall !n <o"e, was written by Eoun# and Heyman. This thou#htful solo rendition is played
in the style of Bill /"ans or Tommy Flana#an in the not often used 'ey of Gb. (otice how both hands
are wor'in# rhythmically and melodically a#ainst each other in a complimentary manner. .ey of Gb.
-erformed by0 1iles Blac'. -icture of0 Bill /"ans.
@071 here or hen, was written by :od#ers and Hart in 1?&% for the Broadway show +Babes in
Arms+....another #reat standard from the heyday of the American -opular *on#. This is played in the
easy$#oin# solo coc'tail style of 9ic' Hyman, Tommy Flana#an, Han' ;ones etc. .ey of /b. -erformed
by0 1iles Blac'. -icture of0 9ic' Hyman.
@072 hen Eour <o"er Has Gone, was written by in 1?&1 by /.A.*wan. This trio rendition be#ins with
a chorus of solo piano in time. The bass and drums =oin in for the second and third choruses which are
pianistically played in the style of Geor#e *hearin# and (at .in# ,ole. .ey of Bb. -erformed by0 :on
;ohnston. -icture of0 (at +.in#+ ,ole.
@07& ind Beneath 1y in#s, was written by Henley and *ilbar and recorded by Better 1idler. This is
#i"en a .eith ;arrett trio treatment. The first chorus is played solo in tempo. hen the bass and drums
enter at the second chorus, the feel is a loose, fun'$<atin typical of .eith. (otice how this tune builds to
a crescendo and drops down =ust before the endin# which incorporates a "amp which in turn rises and
falls in intensity. .ey of /. -erformed by0 1iles Blac'. -icture of0 .eith ;arrett.

@07> Eoun# and Foolish, was written by Arnold B. Horwitt and Albert Ha#ue in 1?7>. -erformed here
in the solo style of Bill /"ans or Tommy Flana#an, this rendition be#ins with the out of tempo "erse
which starts in the 'ey of /b and modulates to a few different tonal centers, before endin# with a 9b?
which leads into the tune in the 'ey of ,. (otice the use of reharmoni4ation 6e.#.0 in the 2nd bar, #oin#
to Ab? before the G%8. 1any of these chordal tric's were pioneered by the #reat pianistic inno"ator Bill
/"ans. Tony Bennett had the bi# hit on this one. .ey of ,. -erformed by0 :on ;ohnston. -icture of0
Bill /"ans.
@077 9anny Boy, the traditional !rish ballad is performed in a beautiful and sensiti"e solo Bill /"ans
style. The first chorus is played out of tempo. (otice the eB5uisite "oicin#s, reharmoni4ation and "oice
leadin#, also the choice of bass notes and where they lead. .ey of /b. -erformed by0 :on ;ohnston.
-icture of0 Bill /"ans.
@07A Blues for 9r. ;ohn, was written by 1iles Blac'. This is a solo bar$room boo#ie blues played in the
style of 9r. ;ohn, ,hampion ;ac' 9upree and others. !t incorporates many of the de"ices and tric's
which ha"e been in"ented and passed down o"er the years. (otice the "ariation at bar >&. .ey of , 6of
courseI8. -erformed by0 1iles Blac'. -icture of0 1iles Blac'.
@07% Boo#ie Blues, was written by 1iles Blac'. This eBuberant solo blues is played in :ay Bryant or
9r. ;ohn style. The left hand lays down the bass and the rhythm in a simple and repetiti"e #roo"e. All
the "ariation comes from the ri#ht hand. All the #reat blues piano players had somethin# uni5ue to
contribute to the art form. This performance encapsulates many of these pianistic de"ices. .ey of ,.
-erformed by0 1iles Blac'. -icture of0 1iles Blac'.
@07D 1y Funny Halentine, was written by :od#ers and Hart in 1?&%. Here is a sensiti"e renderin# of
one of the most lo"ed and often performed ballads in the =a44 repertoire. A solo "ersion played out of
time, it incorporates many of the stylistic elements of Herbie Hancoc'. (otice the modulation to the
second chorus. .eys of ,m and Fm. -erformed by0 :enee :osnes. -icture of0 Herbie Hancoc'.

@07? :ay3s 1ood, was written by 1iles Blac'. This is a #ospel piece in the style of :ay ,harles.
Althou#h it is not a blues, this tune has a #ospel$blues feel throu#hout. *ome of the pianistic de"ices
played here were pioneered by the #reat /arl +Fatha+ Hines. (otice the use of triads with +blues$ified+
approaches in the ri#ht hand and the laid$bac' rhythmic feel. .ey of G. -erformed by0 1iles Blac'.
-icture of0 /arl Hines.
@0A0 Eou 1ade 1e <o"e Eou, was written by ;oe 1c,arthy and ;ames 1onaco in 1?1&. Here is a
solo stride "ersion which is played in an easy listenin# coc'tail style. 1any Art Tatum$isms are present,
such as when the tempo is seemin#ly suspended while a fairly impressi"e run is eBecuted. @ther
eBponents of this style are 9a"e 1c.enna and @scar -eterson. .ey of F. -erformed by0 1iles Blac'.
-icture of0 Art Tatum.
@0A1 1y Funny Halentine 6Accompaniment8. This :od#ers and Hart piece is performed here as a duo
for piano and horn 6or "ocal8. The piano accompaniment be#ins in a +two+ feel. !n the second chorus,
the left hand plays in +four+. -lease note0 For further study in these techni5ues, chec' out the +<esson 0
Blues ,horuses.+ .ey of ,m. -erformed by0 :on ;ohnston. -icture of0 :on ;ohnston.
@0A2 *eptember in the :ain 6Accompaniment8, was written by arren and 9ubin. This piece is
performed here as a duo for piano and horn 6or "ocal8. The piano accompaniment consists of the left
hand playin# a stron# +four+, while the ri#ht hand is compin# sparsely. For further study in these
techni5ues, chec' out the +<esson 0 Blues ,horuses.+ .ey of F. -erformed by0 :on ;ohnston. -icture
of0 :on ;ohnston.
@0A& @ld 9e"il 1oon 6Accompaniment8. This Harbur# and <ane tune is performed here as a duo for
piano and horn 6or "ocal8. (ote how the Bossa feel is rhythmically #enerated by the piano
accompaniment. The melody instrument will sound best if set to Hibes or ;a44 Guitar. .ey of F.
-erformed by0 1iles Blac'. -icture of0 1iles Blac'.
@0A> The 1ore ! *ee Eou 6Accompaniment8. This Gordon and arren piece is performed here as a
duo for piano and "ocal or horn. -layed in a medium swin# #roo"e, the piano accompaniment be#ins
with a +two+ feel and then mo"es into +four+. .ey of Bb. -erformed by0 1iles Blac' . -icture of0 1iles
Blac'.
@0A7 ! 9idn3t .now hat Time !t as 6Accompaniment8. This :od#ers and Hart piece is performed
here as a duo for piano and horn or "ocal. The accompaniment starts out with a relaBed, spacey two$
feel. 1elodic holes are filled with the ri#ht hand. (otice how the "oice$leadin# always compliments the
melody 6as opposed to #ettin# in the way8. -erformed by0 1iles Blac'. -icture of0 1iles Blac'.
@0AA <esson0 Blues ,horuses. !n this lesson, the blues is played with a left hand wal'in#$bass while
the ri#ht hand comps. At the end are a series of 61,A,2,78 turnarounds. The 'eys and number of
choruses 6in brac'ets8 are) G 6>8, , 6>8, Bb 6&8, F 628, Turnarounds. !n the second chorus of the blues
in ,, notice this often played "ariation of the usual chord pro#ression)
6,...Bm%6b78./%.Am%.Ab?.Gm%.,%.F? etc...8. This lesson is ideal for those who wish to #et their
wal'in#$bass chops to#ether. The "oicin#s #et more compleB with each chorus. -erformed by0 1iles
Blac'. -icture of0 1iles Blac'.
@0A% <esson0 !!$H$l <ic's. :i#ht$hand impro"isation 6hot$lic's8 is the focus of this lesson. The chord
pro#ression is !! $ H $ ! in two ma=or 'eys and two minor 'eys as follows) 1. Gm%...,m%...Fma=%.......6D
times8, 2. ,m%...F%...Bbma=%.......6D times8, &. Am%6b78...9%6b?8...Gm AC?.......6D times8, >.
9m%6b78...G%6b?8...,m AC?.......6D times8. (otice lots of arpe##ios with appo#iaturas 6approachin# a
chord tone or tar#et note from abo"e andCor below8. -erformed by0 1iles Blac'. -icture of0 1iles
Blac'.
@0AD <esson0 +:hythm ,han#es+ Hoicin#s. This lesson deals with "oicin#s played in a trio settin# 6i.e.
with bass and drums8. This &2 bar chord pro#ression, which, neBt to the blues, is the most fre5uently
played in =a44, is referred to as +:hythm chan#es+, because it is based on the tune +! Got :hythm.+
Three choruses in Bb and one in F are played. The first chorus uses the left hand only. All other
choruses use both hands in increasin# difficulty. -erformed by0 1iles Blac'. -icture of0 1iles Blac'.
@0A? <esson0 *cale Hoicin#s. This lesson deals with the different methods of harmoni4in# a scale. The
'eys dealt with are) ,, F, Bb, /b, 9, G, 9b, and Gb. /ach scale has the followin# harmoni4ation
techni5ue) 1..*in#le line, 2..*iBths, &..,lose position, melody doubled, >..9rop$2 62nd "oice is dropped
an octa"e8, 7..Flat$nine 6or diminished a half$step abo"e8, A..Hoicin#s in >ths., %..Ascendin#, D..Tenths,
?..9iatonic and diminished approach. This lesson ultimately leads to harmoni4in# melodies in a loc'ed
hand approach. -erformed by0 :on ;ohnston. -icture of0 :on ;ohnston.
@0%0 <esson0 ll$H$l ,hordin#. This lesson deals with the !!$H$! pro#ression played in bossa rhythm, trio
style, in all 'eys. The focus is on two$handed melodic compin#. The order of 'eys is) ,, Bb, Ab, Gb, /,
9, 9b, B, A, G, F, /b. -erformed by0 :on ;ohnston. -icture of0 :on ;ohnston.
@0%1 <esson0 ,oltrane ,han#es. This lesson is ad"anced. The four bar !! $ H $ ! pro#ression
9m%...G%...,ma=%........ may be reharmoni4ed as 9m%./b%.Abma=%.B%./ma=%.G%.,ma=%... This >$bar
pro#ression is played two times each in the followin# 'eys) ,, F, Bb, /b, Ab, 9b, Gb, B, /, A, 9, G. This
chord substitution is #enerally referred to as playin# + 3Trane chan#es+. -erformed by0 1iles Blac'.
-icture of0 1iles Blac'.
@