@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 Waller and Art Tatum. It
is played in a very straight-ahead manner, although the variation at bar 73 takes a
few more melodic and harmonic liberties. Note the different methods of playing the
bass notes; single note, octave, fifth, seventh, tenth, and tenth with a fifth.
Stride playing is one of the "..fundamental things " that still apply to piano
playing. This all time hit was the theme song from the movie Casablanca where at
one point, a brooding Humphry Bogart says to the piano player, "...Play it Sam,
you played it for her, now you can play it for me...". Key of Eb. Performed by:
Miles Black. Picture of: Art Tatum.

@002 Arthur's Theme, was written by Burt Bacharach, Christopher Cross, Carol B.
Sager and Peter Allen. Performed in a solo Pop style, the melody is played and
harmonized by the right hand while the left hand supplies the bass movement and
counter-rhythms in ascending arpeggios. A useful technique to spice up a triad with
the fifth in the lead is to add the 2nd (I.E. 1,2,3,5). This was the theme from the
Dudley Moore movie "Arthur" and was recorded by pop singer Chris Cross. Key of A.
Performed by: Ron Johnston. Picture of: Ron Johnston.

@003 Bill Bailey, was written by H. Cannon. This old chestnut is played in the
solo stride style of Fats Waller, James P. Johnson and Willie "the Lion" Smith.
Note the descending scale in octaves in the intro which leads into the stride style
featuring the left hand notes also in octaves. This gives a heavier sound to the
bass than just the single note which is normally played. Many of the pianistic
devices (e.g. bar 44) have been "invented" by the great early stride players, each
adding their own little twist to what had gone before. Key of F. Performed by:
Miles Black. Picture of: Fats Waller.

@004 My Melancholy Baby, was written in 1911 with music by George Norton, lyrics by
Ernie Burnett. The treatment here is an easy going cocktail style (like Dick
Hyman's) with some occasional stride and locked hand technique. Note the effective
use of re-harmonization (e.g. bar 9) to revitalize the more traditional fake book
changes. Often thought of by musicians as a corny tune associated with an overly
sentimental drunk asking the band to "... play Melancholy Baby", this tune is
actually a love song with a pleasing melody and a tender lyric. Key of F.
Performed by: Ron Johnston. Picture of: Dick Hyman.

@005 Glow Worm, was written by Paul Lincke. This spirited solo-stride rendition,
with elements of Fats Waller and Art Tatum, is full of pianistic gems. Check out
the simple but effective intro and the delayed octaves (bar 21). Note the
rhythmical use of tenths in a rolled style (e.g. going into bar 25). This tune was
probably the most famous of the many tunes recorded by the Mills Brothers. Key of
C. Performed by: Miles Black. Picture of: Fats Waller.

@006 Alexander's Rag Time Band, was written by Irving Berlin who published the
staggering number of 999 tunes in his lifetime. It is usually performed as a
"razzmatazz" Dixieland tune, however here it is given a Dave McKenna, Dick Hyman
treatment. The left hand plays a low-down bass line in "2" for the opening chorus
with the right hand playing melody and chords. In the second chorus, the left hand
bass notes are in "4". Note how the right hand is not only playing a solo, but also
comping. To get this kind of right/left hand independence happening, check out the
"Lessons: Blues Choruses" which features walking bass lines for blues in different
keys. Key of F. Performed by: Miles Black. Picture of: Dick Hyman.

@007 Blues in F, is a riff-type blues written by Oliver Gannon . This is played in

the style of Wynton Kelly, Tommy Flanagan or Cedar Walton. A riff is a repeated,
blues-type phrase that can be played over and over behind the changing chords.
Because of its' 12 bar repeated nature, the blues is a good place to start when
learning improvisation because the chord progression becomes so familiar. In bar 1,
the 4th beat of the melody is an A. Notice how it is "blues-ified" by the addition
of the C on top as well as rolling into the A with an Ab. This technique can be
used on other non-blues tunes as well. Key of F. Performed by: Renee Rosnes.
Picture of: Tommy Flanagan.

@008 Begin the Beguine, was written by Cole Porter, one of the greatest of the
American song writers. This is played in the solo-rubato-cocktail style of Dick
Hyman and others. Bar 122 demonstrates an effective technique employing the major
triads Eb and Db as a substitute for an altered G7. Cole Porter always wrote the
lyrics and the music. He was known for his elegant chord progressions and witty
lyrics. This tune was written when the "Beguine", a Latin dance was fashionable.
It was played so often that the musicians were heard to say "..I wish they would
END the Beguine..". Key of C. Performed by: Miles Black. Picture of: Miles
Black.

@009 Blue in Green, is credited to Miles Davis and Bill Evans. This thoughtful
rendition is played in a solo-rubato style for the first chorus. The bass and drums
enter around bar 40. In the piano style of Herbie Hancock and Bill Evans, note the
use of half-steps within the chords (e.g. in bars 1 and 4). In several interviews,
Bill Evans claimed that the tune was actually written by him alone and he wondered
why Miles took credit for it. This is a haunting and sophisticated melody which
seems to have a never-ending quality to it. Key of Dm. Performed by: Renee
Rosnes. Picture of: Bill Evans.

@010 Can't Help Falling in Love With You, was written by Weiss, Peretti and
Creatore. Here it is performed in a swing-tempo, solo-cocktail style. Notice the
blues flavor which permeates this rendition. This is an excellent example of how a
non-blues can be made bluesy by playing blues licks over the regular changes. For
example, in bar 1, the B is preceded by a Bb. In bar 4, instead of playing D7 for a
whole bar, an A 13 chord proceeds the D7. There are more of these harmonic re-
harmonizations through-out the tune. Gene Harris, Dave Brubeck, Dick Hyman and
others have always been able to make the most out of tunes which might not be
thought of as great standard material. First recorded by Elvis Presley and later by
Corey Hart, this pop tune is normally played in 12/8 with a heavy backbeat. Key of
G. Performed by: Miles Black. Picture of: Dave Brubeck.

@011 Carnival, or Manha de Carnival, was written by Brazilian guitarist Luiz Bonfa.
The first chorus is played in solo rubato (out of tempo) style. The bass and drums
join in, in a Latin interlude which leads to the second and third choruses. This
rendition has a Chick Corea flavor to it. Note the characteristic melodic
appogiaturas which are common to Chick's style. It is one of the many beautiful
songs from the Brazilian movie Black Orpheus which also featured the tune, Samba de
Orpheu. It was released with an English lyric and title (by Carl Sigman) as, "A Day
in the Life of a Fool". Key of Am. Performed by: Renee Rosnes. Picture of:
Chick Corea.

@012 Come Rain or Come Shine, was written by the great American song writer Harold
Arlen with lyrics by the equally prolific Johnny Mercer. Originally a torch song,
this rendition, in a Horace Silver, Latin style, features a lighter, more up-tempo
jazz approach. Notice the left-hand comping, rhythmically working against the
melody in the first chorus. Horace always brings a feeling of blues and funk and an
overall feeling of optimism to everything he plays and writes. This stimulating
chord progression has always been a favorite with jazz musicians. The piece ends
with a funky 2 - 5 (Dm7 to G7) vamp. Key of F. Performed by: Renee Rosnes.
Picture of: Renee Rosnes.

@013 The Days of Wine and Roses, was written by Henry Mancini with lyrics by Johnny
Mercer. This trio performance is played in the Oscar Peterson tradition. The 2 bar
break at the end of the first chorus is pure Oscar. The arrangement alternates
between 16 bars in the key of F, modulating to 16 bars in Ab. Oscar's style has
always been blues-rooted. The last chorus in Ab, builds to a big band, riff-type,
shout chorus (also typical O.P.), ending with a traditional 3 - 6 (Cm7 to F7) tag
ending. The piece ends with a clich ascending chord progression starting from the
#4 minor7(b5). This was the theme from the movie of the same name which starred
Jack Lemmon and Lee Remick. This standard has long been a favorite of musicians.
Key of F and Ab. Performed by: Miles Black. Picture of: Oscar Peterson.

@014 East of the Sun (and West of the Moon), was written in 1934 by Brooks Bowman.
This version begins with a solo rubato chorus in the style of Tommy Flanagan and
Oscar Peterson. The next chorus is played in a Hank Jones, solo stride fashion.
Originally intended as a ballad, it is usually performed as a medium-tempo tune, as
it was in the Sinatra version which still holds up as one of the classic
renditions. Many jazz artists have paid tribute to Frank's consistently great
statement of melodies. Key of G. Performed by: Miles Black. Picture of: Tommy
Flanagan.

@015 Easy to Love, was written in 1936 by Cole Porter for the musical "Born to
Dance". The intro has that marvelous Nat Cole, relaxed and cozy feel. The melody
is stated in block-chord style of which Nat was one of the earliest exponents.
George Shearing made this, his signature style, famous in the 50's and 60's. The
Shearing sound had the vibes and guitar doubling the melody, the latter, an octave
below. The block-chording style is also carried through to the solo section. Key of
C. Performed by: Renee Rosnes. Picture of: Nat "King" Cole.

@016 Evergreen, was written by Paul Williams and Barbra Streisand. Here is a
beautiful rendition of this hit tune played in a solo, cocktail style. The term
"cocktail style" piano doesn't necessarily have to be derogatory and it certainly
is not here. It can apply to pianists of all levels, playing solo lounge gigs.
Streisand not only co-wrote the tune but had the hit recording of it. Key of A.
Performed by: Miles Black. Picture of: Miles Black.

@017 Falling In Love With Love, was written in 1938 by the great song writing team
of Richard Rodgers and Lorenz Hart for the musical "The Boys From Syracuse". This
trio performance is in the jazz-waltz idiom. The pianistic style has many of the
elements of Herbie Hancock. Notice the reharmonization near the end of the first 16
bars. The normal Bb chord with a D in the lead is spiced up by a deceptive cadence
(Bm7 to E7, Cm7 to F7). This device is carried through to the solo section as well.
One thing Herbie likes to do with his voicings is to include a half-step interval
at the lower end of the chord. Key of Bb. Performed by: Renee Rosnes. Picture
of: Herbie Hancock.

@018 A Foggy Day, was written by George and Ira Gershwin in 1937 for the Broadway
musical "A Damsel in Distress". This trio version illustrates the pianistic style
of Errol Garner. The left hand plays four-to-the-bar chords in rhythm guitar style
while the right hand handles the melody, either harmonized, in octaves or octave
with a fifth. The left hand stays on top of the beat while the right hand plays in
a lazy, laid-back fashion. Notice the bass plays a very basic "two" feel. Errol
Garner, the composer of "Misty", was immensely popular in the 50's and 60's. The
Gershwins later recalled that this tune was inspired by their good friend Oscar
Levant who was visiting London for the first time and had cabled to say that he was
feeling lost and lonely. This tune has been recorded by many artists including the
great Ella Fitzgerald. Key of Ab. Performed by: Miles Black. Picture of:
Miles Black.

@019 Good Bait, was written by Tadd Dameron and Count Basie (although many
publications credit Dizzy Gillespie). This version is pure Shearing...... locked-
hand style throughout this arrangement. Notice that the melody is harmonized
throughout and the melody is doubled by the left hand. Nat King Cole and George
Shearing were exponents of this technique. Key of Bb. Performed by: Miles Black.
Picture of: Nat Cole.

@020 I Can't Get Started, was written in 1935 by Vernon Duke with lyrics by Ira
Gershwin. This solo arrangement is played in the style of Tommy Flanagan and Hank
Jones. Vernon Duke, incidentally has written a great book called "The American
Popular Song". This is a must for anyone who is interested in learning about the
great standard tunes. It is probably available from most libraries. In the first
chorus, the arrangement uses the original chords , while in the solo section the
chromatic reharmonization is used in the third and fourth bars. Key of C.
Performed by: Ron Johnston. Picture of: Tommy Flanagan.

@021 I Could Write a Book, was written in 1940 by Richard Rodgers with lyrics by
Lorenz Hart for the musical "Pal Joey". It is played here in solo stride style like
that of Art Tatum. Notice in the left hand the combination and the voice leading of
the tenths and sevenths. Some of the great exponents of stride have been: the
stylish James P. Johnson, the outrageous Fats Waller who was also a great showman,
Willie "The Lion" Smith who was arrogant and had great chops and Art Tatum who
probably took stride to it's highest level. Current exponents are: Dick Wellstood,
Dave McKenna and Dick Hyman. Key of C. Performed by: Miles Black. Picture of:
Art Tatum.

@022 I Concentrate on You, was written in 1939 by Cole Porter. This trio
arrangement has some of the characteristics of Keith Jarrett's playing, especially
in the second chorus. Cole Porter, one of the most prolific writers of the American
popular song, was known for writing 64 bar tunes such as this one, (most standards
are 32 bars). Key of Eb. Performed by: Miles Black. Picture of: Keith Jarrett.

@023 I Didn't Know What Time it Was, was written in 1939 by Richard Rodgers and
Lorenz Hart and is played here in a Cedar Walton, Herbie Hancock, Kenny Barron trio
style. The intro echoes the "time bells" in a minor key. Notice the voicings; the
Em9(b5) for the first chord, the F# adds a nice flavor; also the use of half steps
in the chord voicings. The left hand never over shadows the right but compliments
it. In the 8th bar the arrangement incorporates a reharmonization by substituting
an Fm7, Bb7 for the Gm7, C7 before the Em7 of the 9th bar. Reharmonization like
this, if it's done tastefully and not used to excess, can be very effective. The
reason this works here is that Fm7, Bb7 moves logically and musically to Em7, AND
there is no conflict with the melody. Key of Dm. Performed by: Renee Rosnes.
Picture of: Herbie Hancock.

@024 I Get a Kick out of You, was written by Cole Porter. This trio rendering
begins with a Kenny Barron approach. Note the arranging device at the end of the
first chorus. The solo section pays tribute to the great Bebop playing of Bud
Powell. Frank Sinatra sang the definitive version. The 64 bar length is typical of
Porter. Key of Eb. Performed by: Miles Black. Picture of: Bud Powell.

@025 I Love You (Accompaniment), was written by Cole Porter. This is a piano-
accompaniment treatment to illustrate a typical medium tempo piano with horn or
vocal duo concept. The left hand walks throughout while the right hand comps. In
the middle chorus, the piano plays a solo while the left hand continues to walk.
Vibes or jazz guitar generally sound good for the horn or vocal sound. Key of F.
Performed by: Ron Johnston. Picture of: Ron Johnston.

@026 Indian Summer, was written by Victor Herbert and Al Dubin. This is a solo
cocktail reading of this old standard in the style of Hank Jones, Tommy Flanagan
and Nat Cole. There is a loose (but in time) feel to the first chorus. Musically
this tune is distinguished by the augmented chord in the second bar and the half
step 2 - 5 progression near the end. Key of Bb. Performed by: Miles Black.
Picture of: Nat Cole.
@027 It's All Right with Me, was written in 1953 by Cole Porter for the movie "Can
Can". It's played here in an up-tempo, solo Bebop fashion. Bud Powell , who was a
great exponent of this kind of playing, was known for his amazing speed and musical
imagination. This 64 bar tune is always associated with Sinatra. Key of Cm.
Performed by: Miles Black. Picture of: Bud Powell.

@028 I Want to be Happy, was written by Youmans and Caesar. This trio
interpretation echoes the locked-hand style of George Shearing, Nat King Cole, and
Oscar Peterson. Notice the deceptive cadence in the tag at the ending. This kind of
device can add a feeling excitement to an arrangement. Originally thought of as a
light and frivolous tune, it can sound good when given a medium-swing treatment.
Key of C. Performed by: Ron Johnston. Picture of: Oscar Peterson.

@029 Oh Lady Be Good, was written by George and Ira Gershwin. Here is a solo in the
style of players like Dick Hyman and Hank Jones. Dick Hyman is a superb solo
pianist working out of the New York area. Along with scoring and playing in a
number of Woody Allen movies, he has published a much recommended fakebook of songs
which show the correct basic changes as well as frequent substitutions. Another one
of the wonderful Gershwin tunes which musicians enjoy playing on because it has
such a natural feel. This almost starts off as a blues but in fact has a 32 bar
structure. Key of F. Performed by: Ron Johnston. Picture of: Dick Hyman.

@030 Love Walked In, was written by George and Ira Gershwin in 1938. This trio
treatment features some of the playing elements of Kenny Barron, Herbie Hancock and
Cedar Walton. Key of F. Performed by: Renee Rosnes. Picture of: Herbie Hancock.

@031 The Man I Love, was written by George and Ira Gershwin. This tune is played in
tempo throughout although it implies a free and unconfined rhythmic concept. Very
much in the style of Bill Evans, this arrangement demonstrates the solo conception
which Bill developed. Originally written as a ballad, it is most often played in an
up-tempo mode. Key of Eb. Performed by: Miles Black. Picture of: Bill Evans.

@032 Have You Met Miss Jones, was written by Richard Rodgers and Lorenz Hart. This
trio arrangement begins with a rubato solo chorus followed by a funky Latin
treatment. Notice the reharmonization in the seventh bar to Abm7 - Db9. Frequently
played in the jazz repertoire, it is known for it's ever modulating bridge which
some speculate might have been an inspiration for John Coltrane's "Giant Steps".
Key of F. Performed by: Renee Rosnes. Picture of: Renee Rosnes.

@033 The More I See You, was written by Warren and Gordon. This pretty ballad is
given a solo Bill Evans treatment. Notice the second 16 begins with a
reharmonization. Instead of playing the F chord, a Bm7(b5) is substituted. Key of
F. Performed by: Ron Johnston. Picture of: Bill Evans.

@034 Nardis, was written by Miles Davis. Here is a solo rendition of this jazz
classic played here in the Bill Evans style. The melody features some locked-hand
work with accompanying bass lines. In the solo section the right hand is
punctuated by bass notes played sparsely and off the beat. Key of Em. Performed
by: Renee Rosnes. Picture of: Bill Evans.

@035 Nice Work if You Can Get It, was written by George and Ira Gershwin in 1937
for the musical "A Damsel in Distress". This solo rendition is definitely styled
after Thelonius Monk. Monk's roots were in stride piano, (James P. Johnson and
Duke Ellington). Even though he later became harmonically and rhythmically
"liberated", he never lost his feel for stride, especially when playing solo
ballads. Notice the frequent high trills and half steps in the melody as well as
displaced time etc. This tongue-in-cheek rendition also illustrates Monk's sense of
humor and his love of the unusual. As he said himself: "wrong is right." Key of Bb.
Performed by: Miles Black. Picture of: Thelonius Monk.

@036 Night and Day, was written by Cole Porter. This trio rendering begins with an
out of tempo first chorus. When the bass and drums join in at the second chorus,
the tempo is medium-up and the style is very much McCoy Tyner. Notice the Coltrane
changes in the bridge. For more on Coltrane changes, see the lesson "Coltrane
turnaround changes". Key of D. Performed by: Renee Rosnes. Picture of: McCoy
Tyner.

@037 Old Devil Moon, was written by Burton Lane and E.Y. Harburg in 1946 for the
musical, "Finian's Rainbow". Here is a trio conception played with the style
elements of McCoy Tyner, Herbie Hancock and Wynton Kelly. In the statement of the
melody not the locked-hand counter melodies. Key of G. Performed by: Renee
Rosnes. Picture of: McCoy Tyner.

@038 Our Love is Here to Stay, was written by George and Ira Gershwin. This trio
treatment is in the style of Nat Cole and Oscar Peterson. It is bluesy in flavor
and has the typical break at the end of the first chorus. By the third chorus it
builds to an almost big band arranged sound and the ending has a fairly typical
three-time repetition of the last phrase. Key of Eb. Performed by: Renee Rosnes.
Picture of: Nat Cole.

@039 People, was written by Julie Stein and Bob Merrill in 1963. This solo
rendition is played with a Bill Evans approach. The arrangement starts out in the
rather difficult and infrequently played key of B and then has an unusual
modulation DOWN to Bb. It's very effective because it's unexpected. Note the
"rhythmacizing" in the left hand and the lush voicings and voice-leading which is
typical of the Evans style. Barbra Streisand had the major hit on this one. Keys of
B and Bb. Performed by: Ron Johnston. Picture of: Bill Evans.

@040 The Rose, was written by A. McBroom and is the theme of the movie of the same
name which starred Bette Midler. This reading begins very gently in a tender mood
in the key of C. After the first melodic statement the bass and drums join in the
key of Ab. The arrangement builds in intensity and modulates to the key of A for
the third chorus. The tune winds down to it's original mood for the ending. A nice
example of the use of dynamics. The pianistic style is that of Keith Jarrett. Key
of C. Performed by: Miles Black. Picture of: Keith Jarrett.

@041 Secret Love, was written by Fain/Webster for the Broadway play and movie
"Calamity Jane". Here is a solo interpretation in the style of Gene Harris, Hank
Jones or Tommy Flanagan. The intro has the bass pedaling on the fifth while the
right hand is soloing on a 1-6-2-5 based progression. The seventh and eighth bars
of the intro set the beginning of the tune up by going to a more chord based
approach. Notice the Coltrane changes in the second bridge. Key of E. Performed
by: Miles Black. Picture of: Tommy Flanagan.

@042 September In The Rain, was written by Harry Warren and Al Dubin. This is a
very relaxed solo stride reading of this old standard in the style of Art Tatum,
Dave McKenna or Hank Jones. Notice that there are a lot of tenths being played in
the bass. This slower tempo permits this kind of left hand approach. Dinah
Washington had a hit recording of this tune in the mid-fifties. Key of F.
Performed by: Miles Black. Picture of: Art Tatum.

@043 Someone To Watch Over Me, was written by George and Ira Gershwin. This is a
sensitive rendition of one of the most touching of the Gershwin ballads. The two
choruses are played in a solo rubato mode. A few points of interest are, the
descending bass line in the first phrase, the phrase which connects the two
choruses and the very pretty ending. Key of Bb. Performed by: Renee Rosnes.
Picture of: Renee Rosnes.
@044 Sweet Georgia Brown, was written by Bernie and Pinkard in 1925. This "old
standard", a perennial favorite of jazz musicians and singers, is performed here in
a very relaxed, solo stride manner. The first chorus emulates the style of Nat
Cole, whereas the second and third choruses are more in the Errol Garner tradition
(4 to the bar left hand chords). This tune has been performed in all different
styles of jazz, from Dixieland to modern and has had many Bebop heads or melodies
based on it's changes. It is usually performed quite up-tempo but here the
treatment is relaxed and "swingin ". Key of Ab. Performed by: Miles Black.
Picture of: Nat Cole.

@045 Tea for Two, was written by Youmans and Caesar. Here is a solo, swing
treatment of this well known standard (which is also often performed as a Cha Cha).
It is played in a stride style with pianistic elements of Art Tatum, Fats Waller,
Duke Ellington and Dick Wellstood. Wellstood, one of best living exponents of
stride, points out that the essence of stride is the left hand. "That's where the
pulse is. With stride you play tensions off your left hand." This is definitely
happening in this version. Also, check out Thelonius Monk's solo version of this
tune which has some very hip reharmonization. Key of Bb. Performed by: Miles
Black. Picture of: Fats Waller.

@046 They Cant Take That Away From Me, was written by George and Ira Gershwin.
Here is a relaxed version played in the solo style of Tommy Flanagan, Hank Jones or
Dick Hyman. Notice that the melodic "holes" are filled by the bass motion. The
ending re-capitulates the initial melodic phrase. Key of Eb. Performed by: Ron
Johnston. Picture of: Tommy Flanagan.

@047 This Can't Be Love, was written by Richard Rodgers and Lorenz Hart in 1938 for
the Broadway show "The Boys From Syracuse". This solo is played in the style of
Dave McKenna, Oscar Peterson, Gene Harris and Dick Hyman. Dave McKenna in
particular, is a master of the left hand walking bass with the right hand soloing
and comping. It's amazing to notice how many lasting standards were written for the
Broadway stage in the thirties and forties by the likes of Rodgers and Hart, the
Gershwins, Cole Porter, Irving Berlin and later, Rodgers and Hammerstein. Key of G.
Performed by: Miles Black. Picture of: Oscar Peterson.

@048 You'd Be So Nice To Come Home To, was written in 1942 by Cole Porter for the
Broadway show "Something to Shout About". McCoy Tyner's style dominates this
version of a tune that always been a favorite of jazz instrumentalists and
vocalists. Notice in the intro some of the trademarks of McCoy's style, the
powerful left hand pedals with chord voicings in fourths moving in a parallel and
polytonal mode. In general, this is a good demonstration of "outside" and "inside"
playing. Key of Cm. Performed by: Miles Black. Picture of: McCoy Tyner.

@049 You Go to My Head, was written by Gillespie and Goots. This great tune is
presented here in the solo style of Bill Evans or Hank Jones. This is beautiful
jazz playing with lush voicings, solid harmony and good root motion. Notice the
deceptive cadence at the very end, and Fm11 rather than an Fmaj9 is played. One of
the most sensual recordings of this ballad was by the great Billie Holiday. Key of
F. Performed by: Ron Johnston. Picture of: Bill Evans.

@050 When I Fall In Love, was written by Young and Heyman. This thoughtful solo
rendition is played in the style of Bill Evans or Tommy Flanagan in the not often
used key of Gb. Notice how both hands are working rhythmically and melodically
against each other in a complimentary manner. Key of Gb. Performed by: Miles
Black. Picture of: Bill Evans.

@051 Where or When, was written by Rodgers and Hart in 1937 for the Broadway show
"Babes in Arms"....another great standard from the heyday of the American Popular
Song. This is played in the easy-going solo cocktail style of Dick Hyman, Tommy
Flanagan, Hank Jones etc. Key of Eb. Performed by: Miles Black. Picture of:
Dick Hyman.

@052 When Your Lover Has Gone, was written by in 1931 by E.A.Swan. This trio
rendition begins with a chorus of solo piano in time. The bass and drums join in
for the second and third choruses which are pianistically played in the style of
George Shearing and Nat King Cole. Key of Bb. Performed by: Ron Johnston.
Picture of: Nat "King" Cole.

@053 Wind Beneath My Wings, was written by Henley and Silbar and recorded by Better
Midler. This is given a Keith Jarrett trio treatment. The first chorus is played
solo in tempo. When the bass and drums enter at the second chorus, the feel is a
loose, funk-Latin typical of Keith. Notice how this tune builds to a crescendo and
drops down just before the ending which incorporates a vamp which in turn rises and
falls in intensity. Key of E. Performed by: Miles Black. Picture of: Keith
Jarrett.

@054 Young and Foolish, was written by Arnold B. Horwitt and Albert Hague in 1954.
Performed here in the solo style of Bill Evans or Tommy Flanagan, this rendition
begins with the out of tempo verse which starts in the key of Eb and modulates to a
few different tonal centers, before ending with a Db9 which leads into the tune in
the key of C. Notice the use of reharmonization (e.g.: in the 2nd bar, going to Ab9
before the G7). Many of these chordal tricks were pioneered by the great pianistic
innovator Bill Evans. Tony Bennett had the big hit on this one. Key of C.
Performed by: Ron Johnston. Picture of: Bill Evans.

@055 Danny Boy, the traditional Irish ballad is performed in a beautiful and
sensitive solo Bill Evans style. The first chorus is played out of tempo. Notice
the exquisite voicings, reharmonization and voice leading, also the choice of bass
notes and where they lead. Key of Eb. Performed by: Ron Johnston. Picture of:
Bill Evans.

@056 Blues for Dr. John, was written by Miles Black. This is a solo bar-room boogie
blues played in the style of Dr. John, Champion Jack Dupree and others. It
incorporates many of the devices and tricks which have been invented and passed
down over the years. Notice the variation at bar 43. Key of C (of course!).
Performed by: Miles Black. Picture of: Miles Black.

@057 Boogie Blues, was written by Miles Black. This exuberant solo blues is played
in Ray Bryant or Dr. John style. The left hand lays down the bass and the rhythm in
a simple and repetitive groove. All the variation comes from the right hand. All
the great blues piano players had something unique to contribute to the art form.
This performance encapsulates many of these pianistic devices. Key of C.
Performed by: Miles Black. Picture of: Miles Black.

@058 My Funny Valentine, was written by Rodgers and Hart in 1937. Here is a
sensitive rendering of one of the most loved and often performed ballads in the
jazz repertoire. A solo version played out of time, it incorporates many of the
stylistic elements of Herbie Hancock. Notice the modulation to the second chorus.
Keys of Cm and Fm. Performed by: Renee Rosnes. Picture of: Herbie Hancock.

@059 Ray's Mood, was written by Miles Black. This is a gospel piece in the style of
Ray Charles. Although it is not a blues, this tune has a gospel-blues feel
throughout. Some of the pianistic devices played here were pioneered by the great
Earl "Fatha" Hines. Notice the use of triads with "blues-ified" approaches in the
right hand and the laid-back rhythmic feel. Key of G. Performed by: Miles Black.
Picture of: Earl Hines.
@060 You Made Me Love You, was written by Joe McCarthy and James Monaco in 1913.
Here is a solo stride version which is played in an easy listening cocktail style.
Many Art Tatum-isms are present, such as when the tempo is seemingly suspended
while a fairly impressive run is executed. Other exponents of this style are Dave
McKenna and Oscar Peterson. Key of F. Performed by: Miles Black. Picture of:
Art Tatum.

@061 My Funny Valentine (Accompaniment). This Rodgers and Hart piece is performed
here as a duo for piano and horn (or vocal). The piano accompaniment begins in a
"two" feel. In the second chorus, the left hand plays in "four". Please note: For
further study in these techniques, check out the "Lesson : Blues Choruses." Key of
Cm. Performed by: Ron Johnston. Picture of: Ron Johnston.

@062 September in the Rain (Accompaniment), was written by Warren and Dubin. This
piece is performed here as a duo for piano and horn (or vocal). The piano
accompaniment consists of the left hand playing a strong "four", while the right
hand is comping sparsely. For further study in these techniques, check out the
"Lesson : Blues Choruses." Key of F. Performed by: Ron Johnston. Picture of:
Ron Johnston.

@063 Old Devil Moon (Accompaniment). This Harburg and Lane tune is performed here
as a duo for piano and horn (or vocal). Note how the Bossa feel is rhythmically
generated by the piano accompaniment. The melody instrument will sound best if set
to Vibes or Jazz Guitar. Key of F. Performed by: Miles Black. Picture of: Miles
Black.

@064 The More I See You (Accompaniment). This Gordon and Warren piece is performed
here as a duo for piano and vocal or horn. Played in a medium swing groove, the
piano accompaniment begins with a "two" feel and then moves into "four". Key of
Bb. Performed by: Miles Black . Picture of: Miles Black.

@065 I Didn't Know What Time It Was (Accompaniment). This Rodgers and Hart piece is
performed here as a duo for piano and horn or vocal. The accompaniment starts out
with a relaxed, spacey two-feel. Melodic holes are filled with the right hand.
Notice how the voice-leading always compliments the melody (as opposed to getting
in the way). Performed by: Miles Black. Picture of: Miles Black.

@066 Lesson: Blues Choruses. In this lesson, the blues is played with a left hand
walking-bass while the right hand comps. At the end are a series of (1,6,2,5)
turnarounds. The keys and number of choruses (in brackets) are; G (4), C (4), Bb
(3), F (2), Turnarounds. In the second chorus of the blues in C, notice this often
played variation of the usual chord progression; (C...Bm7(b5).E7.Am7.Ab9.Gm7.C7.F9
etc...). This lesson is ideal for those who wish to get their walking-bass chops
together. The voicings get more complex with each chorus. Performed by: Miles
Black. Picture of: Miles Black.

@067 Lesson: II-V-l Licks. Right-hand improvisation (hot-licks) is the focus of

this lesson. The chord progression is II - V - I in two major keys and two minor
keys as follows; 1. Gm7...Cm7...Fmaj7.......(8 times), 2. Cm7...F7...Bbmaj7.......
(8 times), 3. Am7(b5)...D7(b9)...Gm 6/9.......(8 times), 4. Dm7(b5)...G7(b9)...Cm
6/9.......(8 times). Notice lots of arpeggios with appogiaturas (approaching a
chord tone or target note from above and/or below). Performed by: Miles Black.
Picture of: Miles Black.

@068 Lesson: "Rhythm Changes" Voicings. This lesson deals with voicings played in a
trio setting (i.e. with bass and drums). This 32 bar chord progression, which, next
to the blues, is the most frequently played in jazz, is referred to as "Rhythm
changes", because it is based on the tune "I Got Rhythm." 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 increasing difficulty. Performed by: Miles Black.
Picture of: Miles Black.

@069 Lesson: Scale Voicings. This lesson deals with the different methods of
harmonizing a scale. The keys dealt with are; C, F, Bb, Eb, D, G, Db, and Gb. Each
scale has the following harmonization technique; 1..Single line, 2..Sixths,
3..Close position, melody doubled, 4..Drop-2 (2nd voice is dropped an octave),
5..Flat-nine (or diminished a half-step above), 6..Voicings in 4ths., 7..Ascending,
8..Tenths, 9..Diatonic and diminished approach. This lesson ultimately leads to
harmonizing melodies in a locked hand approach. Performed by: Ron Johnston.
Picture of: Ron Johnston.

@070 Lesson: ll-V-l Chording. This lesson deals with the II-V-I progression played
in bossa rhythm, trio style, in all keys. The focus is on two-handed melodic
comping. The order of keys is; C, Bb, Ab, Gb, E, D, Db, B, A, G, F, Eb. Performed
by: Ron Johnston. Picture of: Ron Johnston.

@071 Lesson: Coltrane Changes. This lesson is advanced. The four bar II - V - I
progression Dm7...G7...Cmaj7........ may be reharmonized as
Dm7.Eb7.Abmaj7.B7.Emaj7.G7.Cmaj7... This 4-bar progression is played two times
each in the following keys; C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G. This chord
substitution is generally referred to as playing " 'Trane changes". Performed by:
Miles Black. Picture of: Miles Black.
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