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Andy LaVerne - Handbook of Chord Substitutions

Andy LaVerne - Handbook of Chord Substitutions

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HANDBOOK OF

BY ANDY

LAVElRNE

Handbook Of CHORD SUBSTITUTIONS
By Andy LaVerne

© 1991 Ekay Music, Inc. 333 Adams St., Bedford Hills, NY 10507

Table Of Contents
Text
How To Create Your Own Substitute Chords And Rehannonizations Tritone Substitution Changing Chord Qualities Using Functional Harmony Using Non-Functional Harmony Alterations Of Chord Tones Approaching Chords From Above Or Below Functional Substitutions Harmonizing Melody Notes Pedal Points Use Of Constant Structures Modulation - Changing Keys Contrary Motion Descending Bass/Ascending Bass Suspended Sounds Inserting Additional Chords Manipulation Of Musical Forms 5 6 8 10 12 14 16 18 20 22 24 26 28 30 32
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Music
Cherokee Andy LaVerne Arrangement No.1 Andy LaVerne Arrangement No.2 Darn That Dream Andy LaVerne Arrangement No.1 Andy LaVerne Arrangement No.2 Exactly like You Andy LaVerne Arrangement No.l Andy LaVerne Arrangement No.2 (Back H01ne Again In) Indiana Andy LaVerne Arrangement No.1 Andy LaVerne Arrangement No.2 Moonglow Andy LaVerne Arrangement No.1 Andy LaVerne Arrangement No.2 My Melancholy Baby Andy LaVerne Arrangement No.1 Andy LaVerne Arrangement No.2 36 38 40 42 46 47 48 50 51 52 54 55 56 59 60 61 64 65

l Andy LaVerne Arrangement No.A Nightingale Sang In Berkeley Square Andy LaVerne Arrangement No.2 Wrap Your Troubles In Dreams (And Dream Your Troubles Away) AndyLaVerneAmngementNo.2 Solitude Andy LaVerne Arrangement No.l Andy LaVerne Arrangement No.1 Andy LaVerne Arrangement No.2 80 84 85 66 68 69 70 72 73 74 76 78 88 87 Picnic AndyLaVerneAmngementNo.2 Blue Cycle Sabra .1 Andy LaVerne Arrangement No.

5 . "better than new. Let's take a look at some techniques which can be used in the search for substitute chords." Before you begin to manipulate a tune harmonically. However. and have been interpreted by many fine artists. They have been around for quite a while.. don't fix it. These voicings can be analyzed and transferred to your piano "vocabulary" for use as you see fit. you must first determine what the musical motivation is behind the change. play through the music and see if you can extract some ideas to apply to other tunes. These suggest some alternative blues progressions. Along with the pure creative process and music theory. The first special treatment employs a mild use of substitutions. I find that the tunes which come under consideration most often for harmonic alteration are of the "Tin Pan Alley" era. while others feel that this material could benefit from a fresh approach ("Better than new"). I draw upon all three to aid in the process. Some might argue that we should remain true to the composers' original intent. A collection of tunes will be presented. Yet. Along with this selection of familiar standard tunes. I have included my own original blues.How To Create Your Own Substitute Chords And Reharmonizations Two phrases come to mind when I look at the title above: "If it ain't broke. Generally. There are certain theoretical procedures which can be employed to aid in the search for alternative harmonies. Saying that these tunes are familiar is understating the fact.. create your own versions of tunes using the techniques described. looking for a fresh harmonic setting. creativity should not be the only criterion for developing sub chords and re-harms. Each tune is voiced out for two hands in a solo piano format. using the original harmonies as a guide. as a composer I feel that it is essential to give the performer creative license to interpret material in a personal manner. I can empathize with the former statement. Play through the music and make note of other chordal possibilities for the given examples. and therefore should leave all the harmonies intact ("If it ain't broke . Being a composer. Creative license is the key to creating your own substitute chords and reharmonizations. When I'm working on a tune. "). This book can be used in several ways. making use almost exclusively of alternative harmonies. the third part of this equation is to let your ear guide you. You can also use the musical examples as a source for chord voicings. and they can be precursors for composing your own material. The purpose of this book is to demonstrate techniques used to create substitute chords and reharmonizations. Read the text and refer to the cited music examples. The second treatment will be a more advanced reharmonization. The process of finding chord substitutions is actually the first step in this direction." and. each receiving two special harmonic treatments.

- 'z ~ - These chords are closely related in that they share two very important tones. Generally speaking. Here are further examples of tritone substitution. This interval can also be referred to as an augmented fourth or a diminished fifth. Tritone For example.Tritone Substitution One of the most frequently called upon substitutions in the professional musician's bag of tricks is known as the tritone substitution. a G7 can be replaced with a Db7. A tritone is the term used to describe an interval (the distance between two notes) of three whole tones. becomes Dm7 G7~9 Dm7 D~7+9 • -6- 1: ~ -6- 1: ~ · · c:. D7+11 -9 Am7 becomes Am7 I • ~ ~ ~ no "I ~ I 0 · · ~ . F and B. this describes the fact that a dominant 7th chord can be replaced with another dominant 7th whose root is a tritone away from the original.

How would you alter it using tritone substitution? I've indicated how I did Try your hand at this: Fmll j Here's how I did it: Fmll E7+4 I ~7~9 E~maj7+4 I • ~ ~ -e- -u- ~ 17--u 7 ~ · · ~ -e- -1: '~ D-e- Now study this example of tritone substitution in "Darn That Dream. Standard Am7 B7~5 becomes Am7 B7+U F7~9 ~-t J J ~J.L -e- · I C- D-e- c. ~ ~'tU I -uL -e- ~ 'I"~ -6. becomes I A7+1I eJ · · L br. Here's a progression that moves from F to B~ to E~. becomes Cm7 B7 • vU'" · bo ~ -e- Vcr' bn ~ -e- c." then.. ~ D-e- Cm7 F7b9 ! ! ~ < . #J5 II j J ~J. you'll want to try your hand at creating your own. look at the other arrangements in this book to search for additional places in which this device is used. / Fmll j becomes Fmll E7+U E~6+4 ). #)5 II .L - t l~qE L t After playing through the examples above.

) can be changed to another quality.:. . For instance. J becomes _l B:_ I_fr • · · DOl Gn9 C7SUS4 I becomes I -I • ?: 'U 1: (iI- 'U' · · 8 (iI- bo . etc. dominant. minor. • becomes I · · ~ ~~ =8= We can use the same principle for interchanging chords of other qualities. dominant. becomes I • "U" ~tr# · · ~ :.Changing Chord Qualities The quality of a chord (major.. we can take a minor chord and change its quality to major. diminished. half-diminished.7 becomes a diminished chord with a major seventh. For example. we can take a major quality chord and change it so that C becomes Cm or Ee Maj. This can dramatically alter the mood of a piece or phrase. or diminished. even when you are keeping the same root.

" becomes $6 1'0 ~ 7lr & F~9 BD. C~m/F~ F~7 =f3 Bm~7 #r I#r #J #J 11'0 ~ ?PC ~12 I I#r #J #rJ l II 9 .A'" f) Gmll I "~ uP becomes A7~3 G7SUS4 I al · · !9- 60 If6 -e- ~ Try changing the following progression. - ?:. I've indicated one possibility. Try your hand at this: Here's how I did it: C6/9 DmB G7+4 Cm6 . - I used this device in my arrangement of "Cherokee. I Dmll G7+4 • ~ W ~ :g W "~ · ?:.

For example. A7. F. E7. i. Yet another ii chord can be inserted in front of this chord.e. Dm7. G7. we can precede it with a Dm7. If we have an El7 chord we can almost always precede it with its dominant (Bl77)..C. Therefore if we have a G7. m L v • ~T'-e- · · L ~I . becomes Dm9 • 1m- ~v · · b~ Vb i1I - becomes I B!. A7. G7 instead of Dm. G7. G7. Other possibilities include inserting the ii chord before a V chord. producing the progression Em7. Any of these ii chords can be switched to a dominant quality. becomes I • · · i -e- b~ :e: -4 This can be carried a step further by inserting the ii chord's dominant (A7) before that ii chord. A IV chord is sometimes used in place of a ii chord. i.e. Diminished chords can be used to good effect as well because of their strong tendency toward resolution: BO. D7.Using Functional Harmony Additional chords may be inserted into the harmonic rhythm of a song by following traditional patterns of chord resolution. think of the fact that a dominant chord resolves easily to its tonic.

- 1 =6 tI Try your hand at this: C!l. I ·· / ~ - I ifrr ~ u f~r G7+ Here's how I did it: I u --- I Here is how I used this device in "My Melancholy Baby.7 \. ~ 1~~ · · =6- V .becomes I E7+1l Eb7b9 • -e- · · fll- b~ 14 I Cm6 I becomes D7+9 G7b9 Cm6 ~ I ." becomes Fm Fm C7+ Fm r r .

I" ·· i .~'_g b?f Ft. \.7 E7+9 A~7SUs4 ~ i .. vu i • -r ~~ "-6 .~ v _g r " . This type of chordal movement involves arbitrary root movement... • bj: r ~ ~ #f • • bV~ I 4 W E~t. I ·· ..7 E~7 I becomes F t.. Ct. Experimenting with root movements of varying intervals can help in this process..7 A7~9 D~7SUS4 I \ I 12 ..Using Non-Functional Harmony Chord progressions can be used in which the traditional tendency of chord resolution is not apparent.7 G7+9 B7sus4 \.7 ]3b7 becomes Ct.J f · · . Here are some examples of the use of non-functional harmony. Since there are no set theoretical rules to follow in this instance. #~ I .. final decision on the acceptance of a particular progression should be based on your ear and musical taste.7 D~7 becomes Ct.

• I J I I becomes I Bb~7 D7+9 I J I I I · · r I i I~ 'I • ~I b~ I Try your hand at this: I • r · · -6 - Here's how I did it: Bbm7 - B7+4 Db7sus4 v~ i -4 ~1b~ :fI~ W I used this device in "My Melancholy Baby. w ~fr til ~~ .. I C7 becomes D~7 F~7+9 A7suS4 eJ ~r · · -d- . ~ ~ ~ :fI- .." becomes $~b'H r r Eb Bbm6 C+ B7+U gJ Ibn IIr B7 rr G7+9 A7sus4 Bbsus4 gJ Ibn .. ( .

we have: G (root). E (13th).Alterations Of Chord Tones The color and mood of a chord can be changed or enhanced by adding color tones (chord extensions). C (11th).! r -a- f -. \ \ eJ r · · -. to which we can add A (9th). D (5th). Any of the tones can be raised or lowered by half steps to yield alterations to the color or quality of the chord. If we take a G7. and by altering the actual members of the chord (raising or lowering them in half step increments). Using this technique can give a progression a very rich and colorful sound.! b~ :4 ~ ~ becomes : . ~ Fm7 Bb7 Fm9 r l r ~ T • ~I ~ ~ · · • t7-G- ~-G- becomes Am7 Am9 I " ~ eJ I 'U I r r ~ ~ · · ~ r ~"~19- ('J • ~ 14 . becomes Dm7 G7 Dmll . F (7th). The chord extensions (also known as color tones or upper structure triads) can be found by building an additional chord in thirds above the basic one we find in the music. B (3rd) . starting from the root.

f Try your hand at this: C7 p7 Bb~ I c.-(l- ~~ ..J I \ 1 · · 6.~~ . . becomes Gm7 C7 I F~7 Gm7 I .i d.. ~:jt6r." Dm7 G7 C~ becomes Dm7 G7sus4 G7+ C~ ~ ar r f3 r IJ. 15 . r • ~ r I v r 6 ~ rJ U .e- · · o:) 0 (" Here is how I used this device in ''Wrap Your Troubles In Dreams.. . . ~T'4 . I iJ....becomes Bm7 E7 I Bm9 .. I · I I I 1 r I I "1 . ii r r f3 r IJ. Here's how I did it: C7+11 F7 :~ Bb6/9 :6 '-' UI T'C..

The half-step above approach is probably the most commonly used (D~7to C). C). C. r I ·· / I _I I G 1 tI • r b. We can also leave the G7..J 1 ~f · · w.G7. I of G7 to C now becomes D~7. it can always be approached by another chord. I ·· \ I f G -6 :: • ~ v r r I L I F#7 becomes BJ. C. or by a combination of these (D7. ~r ~'Pi I 1 ft- . r I I I F7 becomes 1 F7 _j_ \. A series of back relating dominant chords can be used to approach a target chord. half diminished instead of minor). C). Chords can also be approached from a half-step below the target chord (B7. There are many variations possible using the approach technique. 'P~ ~~ L/.C). The typical V7. from a whole-step above (D7.Approaching Chords From Above Or Below If a chord is established as a harmonic goal. C).7+9 \) f / I . C) from a whole-step below (B~7. C intact and approach the G7 with a dominant seventh chord from a whole step above: A~7. G7 becomes G7 B7+9 \.~7. which can also be viewed as the tritone substitution of D~7 for G7. The term back relating dominant refers to a series of dominant chords each preceded by its own dominant (E~7. D~7. Chord qualities can also be interchanged (minor instead of dominant. D~7.

~ I:1-e- f 1:1-61- • -d- Try your hand at this: Here's how I did it: Fm7 E7+9 D7+9 Ebt. Em7 A7 F7+11 Em9 -f. ) f . Bb7+9 A 7 ~~I Db7+9 Dt. Dmll Ab7 G7 Db7+ C ~ Ir r f) r Ij." of becomes Dm7 G7 ct.7 -6- 4J ~ b.becomes \..~r I 1. ~r w ~ · · 1.7 #1 ~ #~ ~'d -6 -u- r fr ~ b-d- Fm7 Bi>7 becomes Ebt.: ~"# ~ f • . \... r ) ~ . IIr r f) r IJ 1. I ·· \... Fm7 I I i -61- -41 :: q+ ~ ~ · '" • c. .- -# I used this technique in the following way for my arrangement ''Wrap Your Troubles In Dreams. c.

A diminished axis is the series of tones formed by stacking minor thirds (the interval structure of the diminished seventh chord). -P A °tl? I -s ~ --:. vT • ~ I I becomes E"'? Dm? Dm b"-~ becomes Em B7-9 Emll \ I I • ft·fj. Other commonly used substitutions are: the iii chord in place of a 1 chord (common tones). ~ r ~ ~ ft'r- "f ~ ft- 18 . they are also on the same diminished axis. . Along with the common tones (F#.-: C"'? I r 11. D7(b9). . F#. F7 (b9) can substitute for A07. C. becomes .f-. The common tones found in these chords (C. F#07 can replace the progression of A07. A.. A) as well as the resolution of both sets of chords to Bb make this a viable substitution. and the V07 in place of a I chord (commontones). Conversely. Eb.. Eb) and resolution tendencies shared by these chords.Functional Substitutions Chords which share several common tones can be used interchangeably. This works well when chords share similar tendencies toward resolution. A functional progression such as Co7.

. ~ :6 -_ .. Try your hand at this: E'" A7-9 Dm7 Here's how I did it: Dm \ / I: ~ 1 ~..becomes F"'7 Bl>7~9 . ~ Cmll D'" Cm9-11 . · · ~I:T ~ ~~f II -- Db' :§: ~ I :r. ~ ~ 1: ~ ~ #"6 1: Here is how I used this in "My Melancholy Baby." becomes AbLl E~o A~M4 +5 A" D7+9 ~ &bb a F ~r F r IF r F IIF ~r F r IF r F 19 . bP~ · ~ ~ br:#T • r ~ 11-d 11-d becomes ..

3) the melody note can be a non-chordal tone. For example. if the melody note is G.1T tt~ becomes Gm7 Ft17 I \... and the original chord is Dm7._ -u- • -. thus w making the melody note the eleventh (extension) of the new chord. For example.. 2) the melody note can be an altered chord tone. if the melody note is F.~. :: fI~ ~ ~ "'- · · 60 t>-e- '" I. There are three basic choices for harmonizing melody notes: 1) the melody note can become a chord member (or extension) of a new harmony.thus making the melody note the +11 of the new (altered) chord.. Factors in choosing which setting is best for the melody note include the context of the substitution (what precedes and follows it). and the original chord is DI1. thus making the melody note a non-chordal tone...._. For example. 0""1 becomes Am7 I Gt17 I ~ I . _o_ · · I') ~ ~. if the melody note is F. we can change the chord to DI17+ll. ~ . becomes Fm7 \ . vi I t I ~r J~ . we can change the chord to Em7. and the original chord is C..r ' I I I I'~ r ~ -iI . " . and the amount of consonance or dissonance desired.Harmonizing Melody Notes Melody notes can be isolated from their existing harmonic underpinning and assigned new chords. I . e can change the chord to Cmll.. ' I I -G- ) f " r vr 60 H ~ D-i ~ -e- · · U ill D.

. .._ 'ttl'- :8: ftu Here is how I used this device in "A Nightingale Sang In Berkeley Square... P'" -u- becomes Bm7 Amll C7b9 Fm6 E7+1l D~7suS4 I I I I ~-U-41 • ~r · · . '1'1' • b. • ..." becomes E~ Bb7 E~~7 Ab7+ll A" D7~il ~&6bH r r' )) II r r r· )) 21 .becomes Bbm7 Gmll I A~mll B7-9 Em6 I E~7+1I D7sus4 I I I I Iro~ • T · · ft .~~ -. -G- f s- b~ ~ b.". u. r · · #f • -6 f4p- v. I 11Q_ ~ • L l' • 'I'I'~ loP.. '~ Tty your hand at this: B" E7 Gmll Here's how I did it: EbB Dmll B~7+ll Amll F~" I .. :t L P# ~ . 10 "~ VI.

VI7. 0 0 t:J -e-_0 t:J fro . I (Em. _ ~: 0 ~ ~ .Pedal Points The movements of roots in the bass can be replaced with a common tone over which the harmonies move. fro . G7. we can take the common progression of III. -fj-: · ~b'f· <.. . becomes F#m7 F#mlB \./O 0 ~o L c".. V7. This device is especially effective in the bridge sections of tunes. _ . For example. p. A7.. . I \ ffGo · · '~~'f: . C) and place a pedal point of G under the entire progression. 0 #~: 0 0 0 .. -: · · ~ . t • I~ T -L_.. This constant bass note can provide contrast to more active root movements.. 0 0 0 b'~: 0 p'¥: . . It can also imply alternative moods and colors to the harmonic content. 0 ~ . 0 0 Fm7 I 0 0 Bb7 becomes FmlBb 0 0 Bb7b9 -G-0 f: L 0 0 v-V 0 0 ~~ ~~: _.. 0 ~q'f: ""-. I ·· I \ ~: . ..« 0 r: ~. 0 " 0 · · · ~c" • #~~ 0 -e-_0 ffi~: 0 0 ~o 0 . ~~ 71:. . .. Em7 D!17 becomes Em/A A7b9 \. ~~ ~: ~ . Dm. - j~. II.

. · · fI u. . 0 0 .. ~.. · . • · "" .. • . 0 fie.. -a-. e.. . w. .. ~~: 0 0 0 -LG-. e. · · .. ( Cm7 becomes F7b9 Bb~/F E/G Eb/F D/F & . ~ I Here is how I used the device of pedal point in my arrangement of "A Nightingale Sang In Berkeley Square. ~. • ~: .. c. 0 #~: 0 fI#'~: ~c. 0 . i:. . < Try your hand at this: Dm7 A7+9 Dm7 Gn9 ""'- C6/9 Here's how I did it C/G A 7+9/G F/G E/G C/G • o-: f. 0 0 0 -z:. ...f6 !9- u I iJ9- f6 ""- ( . ~ 'tr- · · · D -t • · · · ":4:· e. • . w. G#7b9 becomes F#7b9 B~/F# F/F# E/F# I \ ~ & . : 0 bo. -LG-0 . b i: · 0 0 ~.." becomes G~ Am7 D7 G/D .• . · fI" o. 0 . · · V" · · • '~ . W. ..

~ u ~_l. 60 ~l. Bb._ _jIf:_ u Lib . we can build a structure underneath those melody notes based on the interval of a fourth. we can place the notes G. the structure remains constant. ~~ . A. This "quartal" structure can be moved in parallel motion under the prescribed melody notes... D. .. with the melody. ~ -G- .Q_ Cmll becomes ). Generally these are chords which move in parallel motion along with the melody.Use of Constant Structures Constant structures can be used to harmonize a melody."". Gmll becomes I l ).. For example... and E.. l b~ -G- bV~ ~b'~ v~ II v:a: I · · 24 . Going down from C.- becomes I I \ ~ . Therefore. · · v~ v . I J ~~ ___. if we have a melody line of C. A.t •• ~ Fmll becomes I J v• ).t_ ~ _r:fk ) ~ · · I. · · I I 1 _l 1 I <I.

~ ~ 9- Try your hand at this: A7sus4 Here's how I did it: • -tt b ·iI .." becomes $-aa Em G+ D7 C Dmll F#mll Alsus r fJ J J J II j r . < Aml! becomes I eJ I L 1 ~ ~ ~ · · -e- ... • ~iI ~ · · I used this device in my arrangement of "Darn That Dream.i G7sus F7+11 E~7+11 I' J J J 25 .

if a tune with a structure of ABA were in the key of F Major. This modulation could be accomplished by approaching the "new" key with a ii.Modulation - Changing Keys This can be an effective way of altering the mood of a piece. ~ :6 1 1.. Sections of a tune can modulate from the original key to create contrast. r U" Q_ .. V7 progression in the new key. • <J f . (Bbm. Er7. For example. we might modulate up a minor third to the key of Ar Major for the B sections (bridge) of the tune.. Another alternative is to have the melody remain in the original key while the harmonies are placed in a new tonal center. \ I I eJ I _L r ftf ~ -I I · · ~ .. Al).I r:P- 4- becomes Gm7 C7b9 Cm7 F7 I \ \ ~ I • r · · 1. becomes Fm7 Bl>7 Bl>m7 I / \ / • i · · • t i T f -.. This technique keeps the melodic line intact while changing the color of the tune's harmonic underpinning. G7 1 _l -G--' becomes Am7 Dm7 I I I -i.

A(lJ I Here's how I did it: Dm11 r ~ - G7+9 I Cm6 . vf I ' f I ~~ D~t I . ~ ~ ~ ~ I used the device of keeping the melody intact but changing the harmonic progression under it in my arrangement of "Cherokee.~ ~~ -6 · · -- I D-U ~T Try your hand at this: t• l \ vi ." becomes Bb p7+ Bb7 EbA D7:j3 Db7+U C7sus4 ~~bb I 0 IJ j 1 0 II 0 IJ j 1 0 .Dm7 G7b9 becomes Gm7 C7b9 \ I \ • f · · "11 bf ~ u ~v ~ t # I 4 ~ u Ab7-9 becomes Db7 GbA7 f ) \ \ .. .

1-"I .. I becomes Gm7 Am7 Ab7b9 Gm7 F~'" Fm6 r ~ t...~ ~ P II ~ Di ~ · · L c. we can place harmonies under it which have a bass movement of descending motion. This bass movement can consist of roots of chords. b~ b • V :: v~ b1 In ~ p-4I II ~ Am7 \. ) f . · · br') ~ ~. or a combination. This motion can either mirror the intervallic movement of the melody or use a different intervallic relationship to provide more contrast while still moving constantly in a descending line.Contrary Motion Contrary motion between the two outer voices (melody and bass) can yield new harmonies and provide new melodic interest. The same technique can be used if we have a melody which descends. ~. becomes I ~ ~ Fm7 I I Bb7b9 • ~ I I bf · · - Elm? br l. resulting in an ascending bass line.. inversions of chords. becomes Fm7 Gm7 Gm9 Fm7 E'"7 Ebm6 Gm7 I C7b9 - • ~ vr b. . ~'-' 28 . chromatically (in half-steps) to Eb. If we have a melody that ascends from C. vb! I D-!. l11 -J c.

" Eb Bb7 Co becomes E~ Eb E~~ D7:::il Db7j3 C7:::il B7+11 ~~6bH J ~J r Ir IIj J gJ r Ir II .0 " becomes Cm7 F7b9 I B~m7 \.. Bb7+11 Am11 Lb~ 6. ) f \ & Bbm7 I I I vi · · l. / I i · · • - Here's how I did it A/C~ r l.9- Try your hand at this: F~ \. • v. I p. - Dm E~+l1 E7sus4 i19- Q qJ :f p~ q '-.ji • ~9- 6.. ~ · · ~.becomes .I F til ~ . '" • ~ 1..- r-v I ) 1" 6. ~G I used contrary motion in "My Melancholy Baby. r b~ v~ v• l. / ' I -. .1.. 6. '.. 1.

and can move in either a constant upward or downward motion. -z:. whole steps.) Once again. minor or major thirds. r "111 ~ "I"t · · . Dm7 G7 C~ becomes F/C Dmll \) r eJ r ~ ~ \ · · r :4j ~ ~ -. ~ ~ ~ Cm7 F7 becomes G7/B Cmll I I I \ I • ~ f • i ~ ~ ~ · · :4j ~ lii ~ ~ becomes Em7 A7 G/D B7/D~ EmU \. r ) ~ ~'r -i. the intervals used in such movement can vary. (Inverting chords can aid this process. or larger intervals can be employed. Half-steps. ~ -6 30 ..Descending Bassi Ascending Bass The bass line can be treated independently of the melody.

. CLl Am7 I E~7+4 Dmll I -t:i I -t:i -t t \ f i7 ~ r ~(." becomes CLl G9 C9 B~7sus A 7sus A~7 G7sus4 G7~9 C/G F#7+ F. J. ~ · · ~ c...J c. . 1:7-61- c.i+4 E~7+ ~ tEl F J j IJ lie ... I-' c. :ftc.. U · · hI') I') h~ 10 ftc.i+4 I \. I used this technique in my arrangement of "Solitude.becomes Aml' Amll E7/G~ Gm6 • · · ~ ~ -a- 9- I') f' b~ ~ becomes Gmll Gml! Fm6 .~ u -- Try your hand at this: Here's how I did it: Dm G7 F#" F. 'c.j • F J j IJ ~1 . c..

becomes C7SUS4 ~ I J 0 J""""""" 1 I• ~ r · · h.. This is a somewhat harsher sound given the dissonant quality of the major 7 interval. becomes C#7SUS4 .b~""-""_~ _hl b~ ~ ...7susA).Suspended Sounds Chords which contain thirds can be suspended (the third is then replaced with a fourth) which creates an unusual harmonic color. F7. I ~J ~r ~..... for example..-. a susA chord contains a dominant seventh. C Maj. it is sometimes difficult to determine if a major or minor quality is indicated.10... Generally. Thus the progression would become DsusA. or they can resolve to the third. If.. Since the third is usually missing... Bi>7 ~r k#P-IL J!. These suspensions can permanently replace the third.... Bl7. JI~ J"""""'" • ~ I"" f · · .. ~. eJ r · · L - I becomes Bi>7sus4 I 1 11 i I~ r J. . The resolution will yield inner voice movement. J. CsusA. G7susA. we had the progression Cm. r LP-- r b. The major 7 interval is less frequently used in a susA chord.we could change the qualities of these chords by keeping the root movement the same while assigning the suspended quality to each chord.e. but it does appear occasionally (i.JtJl ._ j:~ ~ _.. a " bb'~t l b~ • .

--...7! ..."...::=:------ ] 33 .... Am7 - Here's how I did it: Dm7 I B~7sus4 A7sus4 r ~ L q"- - D7sus4 I D7 ~~I r .".. r I used suspended sounds in my arrangement of "Indiana........."= :...._.becomes Gm7 C7+11 -9 F67 C7sus4 F7sus4 • · · bo "" rot ~ -6 bo '" Dnuo uo becomes Am7 D7+11 -9 A7suS4 D7suS4 G7SUS4 • ~'" n- · · ~ "" -6 9- ~ Try your hand at this: B~7 I \ \ I ~ I · · L ." becomes E7suS4 A7suS4 "".

adding contrasting sections to existing structures are all possibilities in creative arranging. This bridge is actually a progression which is loosely based on the bridge of the tune "I Got Rhythm. None of these techniques were used in the standards portion of this book. "Sabra" keeps the 12 bar structure. Since this category is a virtual composite of most of the previously mentioned techniques. descending/ascending bass lines. in the section set aside for melodic improvisation. and arbitrary root movement while keeping existing harmonies can yield a dense harmonic palette. but adds another section (bridge) as a contrast." In this instance. "Blue Cycle" is a blues using the format of 12 bars. So you see. the use of tritone substitution disguises the more commonly known progression. Combining some of the previously mentioned techniques. Manipulation of Musical Forms Rhythmic diminution (making rhythmic values shorter). the form has been extended by use of harmonic augmentation resulting in a structure which is 16 measures long. Enjoy! Special thanks to Bill Evans for helping me set and realize my harmonic goals. suspended chords. any of these techniques can be used to enhance the harmonic quality of tunes which are familiar and they can lead you to actually creating your own compositions. taking away beats or measures from phrases. the final results can best be demonstrated in the versions of each tune that follow. 34 . such as tritone substitution. the most common found in blues. adding measures to musical phrases. approach chords. the two original blues included in this collection use the techniques of manipulation of forms. However.Inserting Additional Chords Chords can be placed between existing chords to provide more harmonic movement and interest. rhythmic augmentation (making rhythmic values longer). The musical forms of these tunes were kept intact to fully demonstrate the techniques described above. However.

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--n -qp... ~ q~ ~ ~r---~ CHORUS Jjl .n.j ..CHEROKEE Original Arrangement By Ray Noble _11 t) I Smoothly 1 ~ h.. ~r -e- J I iJf-e- l "" L '" -eE~m ~1 It) 'U' mmmm F7+ B~7 mm Child I II t It) fr : --- of the Prai r ~.J ~yriitll IC1938 The PelBl Maurice Music Co. j~ Iio~ 1'''' " . ~f fbr f -e- ) . Inc. Your love keeps call "" - -e- ing. ~ ft~ ~ ~bf f ~b? 1~r - v r ie .ft-e- heart. f~ . Guitar ~. ~. Renewed. !-e- I ~ F?'+ . Bemslei1 & Co. Scle AdminisIJalOl USAlCa'lada .Shapiro.~r r ~ can't for In .dian maid - en.. Cm?' mm osweet Fdim ~ -e- 'U' I / II It) I 'U' --I I - get CHER - . Lid. England.-~ " B. Y' I . Since first t ~F flf F ~b~1 t Ci F J I r. Sweet t ~ I tJ · · ~I t) . '" KEE I met '" -eyou.. mm '" mmmm F7+ Ekrn ~ v 1 t) ~ . --. New YOlk . r .:= c> ~ ~ I 0 ~ j.. t -e- ?f" r ~ f l~ r. I · "" r r t@f '-Y ~ "r r t"i . you. .J mmmm Dm C9 mm --. fbff .?' n---.j .. .. London.

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t.. .. . q.._ ""'I T r It I / I I ~" I . i:" p I V----I I r I .er .. e I ~ '--""~ I.. bring you down or make you sing Love may give r C9 you. . . Inc. Copyri!#lt Renewed.. ~ . Assigned a-Id CopyrlghtC>l968 by Scarsdale Music Corporatioo lWld Van Heusen Music Corp..ful I 7 thing. . m E~ tJ 1'\ I Love is a r strange. q~ ----~ TO rEESE 11_ OSSIA (IntrodueUon ~ TO CHORCS I ! Slowly 1'\ . New York " ... New Yak. I a I 1'\ I J I < tJ " ~v?. r" .llI-e rit.-- r can 1'\ I mm ..I T I r I " r Copyri!#ltC>I939 Bregma-l. Verse ~ I .- I I "~f1 I q~~ I I ~# I r" I I ~_'.. Voooo lWld Com. r=r ------_ 11- r ..DARN THAT DREAM Original Arrangement Lyric by Eddie Delange Music by Jimmy Van Heusen Slowly 'l I I f • mp ~ - ~f to Chorus) . .. tJ I tJ .... I I * and I Cm Fm9 pow ... tJ (~~~~f mp . . '--"" r - /oj ~- j>ceo .O--e "--..

j Chorus Slowly (Espress.... r _l~ ~ F" I r 1 -J I I I r I . ~ ~ 8 I B . " B1-5 ldf mil 8ft You · · ... ~ -I . r ... Am7 r ~ r Ll..j t I'l ~ t · · mm .lion . E~7 Darn • I dream each . 1 t.: I'l jJ out Oh - c. That Dream ..# G em ~mf ~ Am . rit.. But it _I ~ on .Am7 I'l t... night. I'} 1 I ~mf mil. ~r !~.j~... 'I r $! of sight... " mm .: I r ~ 1 ~r I I q#.-- you 'F I ~ i Bm1-5 fl ~ t m hold m Es me ..IL.I tig ht. t · · mp vf * 't of --- Bay you _l I love me and r -.) fI j. . t ... _0 Am I L But 1 _l when 'I ~ - wake you're flj. Darn That D7+ Dream. LJ mm ~o U--r I hd r ~mf Am7 'q~ poco ...~ _h~ -z: Em G+ D7 r~ ' rr j.aire's - mtt_ G G7 fdf r ~ I Em lfmfm I Em6 A7 Am7 mmm_ ~7 DS+5 ~ seheme.ly gave me ~ I I ane - dream. I'} jJ m Bm mimm <..

I 1 p-r l - .. Dream... ..hove the 11 'F I ~ i Am7 · I I Bm7-5 n tJ M mm m E9 I m Then I I F7 mm or.._ tJ4'· • '-¥ ~ .I ~ ~ < ..G Am7 ~o Il tJ lo+ ~ Darn M ~ . < I Il tJ -I .. m Fm7 I tJ flH t.._./ . ·--Jr~1 ~ -. ~_/ ~ I - ... - U" . I Oh Darn That I I Tr I ~ r r ~ I I ~i 1 v_ ...-...__/ AA .-.. / .. I I It _h u· I I \ · .. Just to change the ~ V..I _I un .. Bm m u moon -lit j.. Il tJ j.. "__...9- ~~ I ~ G I em o I Il j. darn '~ ~ -.- . I d your B7-5 ld d f!b o Em Gt D7 your lips and \) f I fl tJ './ - care '-' i. I ... .> that one track mind r of r. tJ. .I you Il ! t < I tJ . I I 1 1. that mm I Fm7 m em don't can't j.. . ~ vf -- '.der .__/ b~____. · -- . T I - Par .I skies) I I tum .IW I i. '-'~ 1*-P f u _.a .-. i eyes) They 'f --- lift me I I high r a .c. mine..dise..stand..__.. -. >~ Darn . bf _..ble out of r \..

_L I ~ _u.er r r f""-~ 'y i r... G m mm°. s I~r _~~ -b~ hI • ~ · ) ---./J .. I .f) : : lOp' I r . mm too. Oh _1J . . Bm7-5 ~a .. Dream.~ ~ mmmm Grn7 Grn6 Arn7 ~o -.... h mg t t. A 1 I \ .. I'l . m Brn would ~! have you.. With t... ~ W --I ~ 1 . m~ G Gdirn m_ Arn7 D7+ II 2.. f) ~ mm . But 1 it 1 haunts me r it won't come true.J _f1_._ ."" .J Darn • That Dream and . / \ fl ~ f) ~~ ) -6- . .fl .J u I · · Darn That I Dream.IlL p! ~ vf - :'I bless it ':: * -- t a tempo f F7 --I and I out that I I nev .. 1 In. .J bo I r' ~--. t. f) . jm i. .. D7 mmo old D9 mood 1m ~ r. ~ r I ~ I ~r I F#7 I Arn7 ~o ~----------------------~~----------~G~-----' 11....1 1 - I '• "" _1~ I - tI ._ h wel-come I I a I nice I • I.... 1 B7-5 f'l .._ 1 'r r I jm dream. I ~oco r#. - - mare... I - Iv~r ldf d Em G+ D7 '-6 .Grn fl ~ t.

J I ~P' I I I I - rr Bm7 I -- F7 'I f B~7-9 E~ 07-9 r f vr ~ ~ q-.. vocco. al Fine (take 2nd ending r'r r r ~ · · •• h biL ~ --~ C<lpyri~t Ct939 Bregm. -.d Copyright Ct96811f Sendale t. ~ ~. I r· L . • I L ~ G7+5 Cmll F#7+11 Fm7 B7-9 B~7-9+11 A~7 F#m7 B7 Fmll B7+J] B~7sus4 B~7-9 \ I ~ / '" • r-- f rf D-#- -'F #~ • V-J ... _c..- tin:-r f f . I I1 ~. 07-9+]] -. New York.~. P bV_U- r r 'f - ~'*- "=== f I r 1 -r _I -- -- l?# ~. -J ""f¥ ~ qr l --- · · . I 07-9 Gm7 I ~ B~m7 E~7-9 Am7 07-9 1 rr \.~ ~ . B7+9 If ·~ · E7suS4 · · -.~ ~ · ·~ · · Gm7 · · Elmaj? ~ [7. Arnll · ~:::iI _. C<Ipyri~t Renewed. 07-9 I --- 1\.\Isic Corporation . Am-S E~ G7+5 Cmll B~m11 --~ ~~ •I ~ · · II .d Van Heusen Music Corp. '" '"' \. +~ r I I -- h ~. t?-tI ---- · · 7.. ~ · · · · · 1\ -~ II I I r' b•. v D.1 lyric by Eddie Delange Music by Jimmy Van Heusen Gmaj? Am7 I B7+11 F7-9 Em7 I C#m Cm6(maj7) '" • .I1i ~-. Cmtmaj") I E7-9 Am7 i \ I I \ ( '" ...d Com.m ' 07-9 Gmaj? '" ~ '"' ~q. [7..C. Inc. AssIgned .if> . .DARN THAT DREAM Amy laVerne Arrangement No..... New York .

.. ~. -Pm6 I II I I I • r . 174· D7-13 I G7sus4 Am-5 of 60 Cm7 . r· ~-~_:t: ~ ~ 1 hn ~-r • .~ L • ~-#- • h. II-~~:.. (:. .. .S.. Assigned and Copyright Cl968 by Scarsdale loUIe Corporation and Van Heusen ~sic CoIp. I 17-#-' II ft· ~.__ u. -. r p: I : ~~ ----- E7 Elmaj? . :J ~-iI IIIH ~ 1 :: II __ I• ._ L-f'- -----beI Ab7+lJ -{$--! b ~ 'j .. 17-6- Copyright Cl939 Bregman.~. ~f -I ~ ::...: D-. New York 47 .--... -. II· )' C7-9 Am7 I G p#7-9 Bmaj? '" ~c.. c:.· . 17-. . I ~c. Vo= and Com.':'n . · · · ~~~ · · 2... at Coda • ft ~ \ I \ ~ aJ 4T-l.. i. ~ . . r · · ~c:..DARN THAT DREAM Ardy laVerne Arrangement No. I -.. .b-T##~· I Coda f D.2 Lyric by Eddie Delange Music by Jimmy Van Heusen G . .. ~G c.. "" Gm7 I D7-9 -$- I • t · · T h... ~~ ~u- . 1 .. ftr D Cm7 -u I b~ -#- D-#E7+lJ p+4 B7+lJ • 4T -t i~: .lnc.-6 ._.. ... p+4 D I tNI W" To cOda-$-1 A 7+9 Bb7-9 B7sus4 C7sus4 A 7sus4 p#7sus4 p#7-9 Bb I c..--' • L ~c. . 1 ~~ ~r B7+1I Em7 r-- L 19- . New York. Copyright Renewed. .. ~ nT1 -- ~ II-'_"_ IH::r I I.---. #~ Dmll P#mlJ A~7sus4 G7sus4 p7+lJ E~7+lJ A~7+lJ D~7+9 P#mlJ \ I I of of • f .. / ~ Jt~ I ~c.. G7-9 Eb7+lJ Ab7sus4 I · · of . p+4 I r ~c.____. · · .~ .. .. I • -..

co D7 mID Prayed each night 000 G7 r s> ~ I I .LLr ~ ~ DB • . aulta~ C mm Coo 00 0 0 wmm~w~ A7 ceo G C!l~ 0-:)0 A7 co oc V1Il7· FroB ~ A I used to have a per-feet r-T i A tJ - r sweet-heart.ag-ine r. mm 00 Dmz 00 00 oomoo~~ G A7 Dm7 em 0007 0 00 A 0 - mID Willi 000 . . "fI' I a tempo - • ... Not ~ real one. Can you im . Cop)Tighl Act..l~iTfJ _J -r -.deal You're just what I I t-ed 1 And now it's nice to live.. ~ ~ G7+ 1':\ . I ed Know why Ive been I blue. t. V I - how I feel now.. Par-a-dise I o t. I~I 'y. "<9- r-: I I r--.. r ~ i* 4 I J 000 L J 1... t.J .· ..~ ~ ~ . • 1s tJ vis-ion J Of us I as a j team. AI rights aOO1lristered by The Scngwril8rs GuIld of America . ~. ~~i 1 I ff' ~ for mm 00 1 Ih - mmmmmmmm 00 D7 Co 0 r rn . r Love ~.ExACTLY LIKE You Original Arrangement Moderato Words by Dorothy Relds Music by Jimmy McHugh 8 VERSE(Hff:j (j V .know why I've waitJ I I (. 87 fmij tolive: 1':\ 00 real..b .. . won-der- -- ful 7!if - ... 'I rit I . now... ...S..._ ~ Guitar C~ORUS mm Coo - ~"'U. !ffoj~r --.. _I q$~'" ~. L I ~ • I /~~. it's i . just a dream. 1 • -~ ~ .. .. b'" T ~ I I 01930 Aldl MusIc !rid Ireneadele Publishi1g Cartpany ptXsulrll b sections 304 (c) !rid 401 (b) of lila U.J ..~ "<9- ..

. You seem to I un-der-stand ___ Each fool-ish lit= t le I vL Cm~7 a: r----~ Om7 --I - r. be ~ U 000 G7 Em§ some-one Gdim She meant me for A(\ .acr. /~ ~r - -J- .act . vooCoo..... I ~#~.'- I ~ I ~:or f~ ~$ ___ ~ ..:: r. ~ I I .. 00 - ....rn7 C7 two (j :\0 one does those love scenes --u i~1 T T~"" T . ~~ ..... ." .. (... Ex .._ ~~------l _1_..._ ~~ .::_ ~+ . 1:. m I ~ or---- -~--------i .-----r 7 ~) I =t j ~" ___ Why should we spend mo n ... On -~~: a show or ... fOOl u 000 fIOO I'm schem -ing. ~:_q +___ 4you _ I . ~ Taught 1 me to I I -51-• • i . I ~ ~mm 00 00 . -oil mm ) l.. I or Am I Urn7 I -. .L ~ rum 00 D7 . t'y +- ~ ~I I ~ 1>7 I r. ~.. ..ly like . f ~ I Ex .~~.. scheme f) Dream I {)n dream-ing. yOU-. tJ I I r .(... ------' -C- C L"" . .. .' I \ f~~' r----. tJ - ~ I want to ha nd the world I mm~.J mID some-one G7 r..Fm • 000 G7 r.Iy like . ~ true _£_ I I Now I know why moth ...er I ~ I I . T 1 You make me fe e l so g-rand __ I~-." *~ rmmm~ . to I you I <.7+ I I I J J ~J I ~~ 1- ~C #" .: r ~..fJ . 1 ~ I 1!: ~tl :.

_... .C. I 1I - E7+9-J3 Am7 ~ I 1 1- • -nO- bo ou :6 Arntmaj") I c. . • _. " by The SalgwriIAlrS Guild of America C1930 AldII.tJsic IIld Ireneadele Publishing Company pu'SUlllt. • .. .1 Words by Dorothy Relds Music by Jimmy McHugh Am7 E~7+ll I D7-9+ll I I .- . I ~ -0- I 1 ~ -0- . A~7+9 Am7 Dmll Bb7+11 Am7 F I 1 1 J J J~J I I ~ J-J r I I I · · {jt Coda -C r ~ r::r9I r· c. I ~ : · · • A~7 Grnll C7-9 F • _.so . 1 ~ r· l. .~ »: '.ExACTLY LIKE You Andy laVerne Arrangement No. Dmll I · · ~ b__o_ G7sus4 I G7 D~7+11 To Coda -$! I \: • G~7+11 F B~7+1I . . :I :6U- '-.. sections 304 (e) IIld 401 (b) of !he U. ::. alCoda . I ou I 1-----.. f:1tT _.D""I _.. . Cql)Tighl Act AI rights acmlristered 50 . ~ L - D.S. • -II • · · I ou I I I I .~ $ L ~ · · · · · -0- ----- :6 Fm6 ~c. D~ ~ . _. l?1u I _..- ".~~~ /-0- I . ..-0- l · · · • \.

. u ~'[I-#- • l. 1 ..ExACTLY LIKE You Amy laVerne Arrangement No.. J~J I ~ . fI' -6~ l 6(Lo 0 0 ~G G7SUS4 G7 F~7+9 Am7 E~6 D7 D~+4 11.2 Words by Dorothy Relds Music by Jimmy McHugh Cmaj? B7+9-13 I B~m7 E~7+1l Am7 D7+1l I B7-9 I 0 0 I I 0 0 0 I r ~(:T- ... D7+9-13 Gm7 C7SUS4 C7 G7sus4 G7aug I J J .S.. I 0 0 -ji T ~ f ~c:.__./ 1.~ (:T- • o 0 0 0 r 1 r Fm7 [7.- -r G I I ~ I I I I 1 I -¥- --. D....1-#- ~~ k '$ Fine -- 0 ~c:.. Ccpyright ~ AI ri!tllS amllrlslered by The SalgwriIlrS Guild 01 America 51 .. . --C ~--I 0 -d- 2 ...C. bT q I1lI! =: #I t. 1'--• I -e- .. 1r Fmaj? B7sus4 B~7-9 I A7+9-13 I u 1. 0 0 \. '~ L~ -e- l . at Fine I 6ft b r ~ G ~ 01930 AklJ Music and Ireneadele Publlslmg Canpany putUant I) lI8CIIons 304 (c) and 401 (bt oIlIIe U.. bJ 0 0 • I r -r:. C7sus4 F/C Fm/C I ~ ~ 0 0 I I~I u 1 .

--:::::--. lTJ Cm GUltar mm 000 G goo . ~ mm 000 W8 - o 000 A7 Q EOO1 .----... C \.>: .vas Scenes 0 land we and hold . mm 000 Odim §liij ~ be:_ me:_ " _... oy paints on mem . f r. can . I I 1----. ..gain I seem to A scene that's dear to _ . tJ .U.. II I I -. 1 I -. mm 000 G mm ... 1 I I .(BACK HOME AGAIN IN) Words by Ballard MacDonald Music by James F. I .. •1 q~ A i --= '-'I ... tJ • c00 . . Ddlm a moon-beamon the re-call them in days I"'" . ..1" rr A A A vi -sion Cair I And oC . • Cme m 00' D7 00 Am 0 ~ mm 00 Am 0 ~ ~ see see m 00 D7 .. p f? »>: . .'rer.. ==-1 . 1 I I .ways been a . 1.. v me pear. . A ....- ......• New York. --==== =- ~ ---. T- r--r .... .. Belnstein & Co.. r y -==m. L __ G 000 c00 sea... ~I I ~ I~ if'" .ten times I I I A. • We Yet h.fLu...::. . r.. Inc.. ..... 11_ ...=o . Hanley INDIANA Original Arrangement Moderato 11 eJ .. I rI I Q ~ rail.. Am7 . p ~.. dear..... CIlpyright Cl1917 Shapiro. ~r b~ I --.. . VOICE II ..~ IG" I. $~ ... ~ . mm 000 mm 000 07 1------1 goo 00 fIlm that ve r o Fan fl . I 00 --== I ~fl........ ~ . l aC - ter ter Casts Clear - a spell ly they oer apI . .../ __ o ~ JI ... t..--j' "'j "'!. I ~ '"j I ~ tJ .rys wand . . .I I - have Ill.. I J 11fI' _Lt! .---.. Copyright Renewed.

.. I 1sf r ~ --_ • m ... f_) ~r I In ~ ~ .bout . - • 77. r' ..~ .. P+ ftr --- I r ~ loco = ftr --- the yo o ceo t. . In In . I 000 (j A7 0000 . ~ ..i! mID . And it ~ m 00 D7 seems - . ~ .___...... .dIe -light ~I shin . ... . 411- mm 000 0 Wa . a .J.~r~ -... r ....! ....... 1'< f_) . - The new mown hay -- ~ r'" . . - I ~. I 14- 14- ~ 4- r ~-r . II2 000 G I -t• t' In-~ di. I mm .t A dim -r=>... ...... -.d i-an 1~ EHm .I ~ ? r --=== -. #. . E d irn . . I ~ home.. ___ I'-. .. .... The gleam-ing can . f I b" A A ~f' ""I o E7 0 I f t._ 1\ ...p . .. -s> - . "1 I ::=:- r 7- .. HIm . fields I co 0 E~co ~~ used to roam.. f_) CHORes Back home a-&. .. . .. . ) . I: t) Then I long (or my .an- Iq"-=::i '1 I . - home.ing bright /... --=--- that I can ~ . --=:: I . ..bash . t.b . . . ~. f_) ~ m Em .-. Thru ~ the I t...~ ±i syc . .t.. m 100 .. I - I sends all _"1 I . ..p V \ " -~ :4ij --= 11 53 . ODD? mm .. .. 07 I ~~ I~· ? r -.. Back home a .3 in Ii .. __ When . """' ------=---.-.~ b. the moon-1ight on dr[lim L tJ ..~ ./ ~-==....a.... 000 f_) .. HIm see o oco :mIt . . I . f_) A7 co 0 0 r EillE ~ m 00 D7 .--...___. o . . .." lts "'1 (ra-granee From the - ~ --------==----. . = 0 ..a-mores for me. m Co 0 -= still - JH. .: . -. t) c)---r I "I I . - HIm ...-\7 ---. ..

_ . . D7-9 To Coda l -$- Dm7 G7+11 ~... Gmaj .. iff br ~.. . Bernstein & Co.(BACK HOME AGAIN IN) Words by Ballard MacDonald Music by James F.. ~ A7 Am7 c. ff . Am7 D7suS4 I r I Cmaj? "I ~f I . ~I ~vT f f L . t • ~. · · • · · -. B7+9 E7-9+9 ~ ~ 'I "IlL . ""I . ~ ~ Amll D7suS4 ~ I \ : · · Em7 01 A7sus4 :J . . f' .. · · E7-9 -I ~f &-- . I • ~f · · Gmaj E7suS4 . .. .. ::::l . ~ . I Gmaj C7+11 · · L-- --. '" r • r 6.. I =- . - · · · · \ I . D7-9 Ahnaj+' i I I I ~ Cq)yridlt et9!7 ShalJiro. . I -.1 INDIANA B7+9-13 . Cq)yridlt ReMWed.. fI ~ . E~7+1l D7sus4 D7 Em7 A7 E~7+11 G/D -$Coda \ I I ' JIo • \ . Hanley A7sus4 I Aooy laVerne Arrangement No.. . New York. E7~9 A7 I """":I ~ 'I "li- . - p7+11 C. .w.. Inc. JIo r"""" • • -..

II . . - F#7sus4 Gmtmaj") C7sus C7 B7sus4 A7sus4 ~ fir • . t. Inc" New York..1 I -I I . ~ "I' ~.101 -$- Em 7 A7-9 Dmll G~7SUS4 • · · ~..J :J -w . ~: ~ kDl -.- ... • I · . ~ f Ab7+9 ... Copyright Renewed.J 1= · · ~c.101 A7suS4 F#7-9 .___'.._ L r ~ 1'--:. r . Gb7+1I F7+11 To Coda .101 ~~ · · b. ~r r I r---:= . be~ . -t ---'- · · C7+11 B7 b~ f ~T G7sus4 C/G ' . · ~ ~.'----" • • Dm7 G7sus4 Em7 G7+5 --- ~~ · · .. · D7sus4 I""'" D7 . D7 C#7sus4 " · fI' bo · I <c:> Fmaj+4 I D7suS4 r .-.. ~ ~#'=t · : q~~ • "I' f I E7sus4 . Copyright C1917 Shapiro. - [7 • ~ ~. • f -41 • · · · · · ::1It- · · . Hanley INDIANA Amy laVerne Arrangement No.. V f ~~I r -41 II . .- · · -41 . C/G -$Coda \f I" ·· • -41 vf D-# F~7SUS4 r II :I: . ~ ~ . • L r . . Bemslsln & Co. I Em7 . • · · · · · · I ' . - ~r B7+9 • Bm7 Bb7-9 Db7+11 .101 E7-9+11 Bb7-9 Db7+9 Gm6 C7+11-9 ~ • • · · · · · r.(BACK HOME AGAIN IN) Words by Ballard MacDonald Music by James F. . .2 F7+1I .101 . -= . J:"""-:= . ~ fr -41 ..

.lnc.c.. Mars.. ~ went I a-rounda-lone. . h r-1 I "1 h Et Fln . I ". Inc. r !fa r ---r If . ~ It must have been Moon I - I glow I 'Way up in . ...til l ... an .MOONGLOW Original Arrangement By Will Hudson. New York.L' co· I I I tJ ..y courr-try.. and Mills Music...]ust I j . larpe mp-11!/' "1 . fP' ~ "v. mp on v• r:» ~ "- .ing from l~ ~ Ii'V .'.. fl tJ I m C7 )0( Adim let xx Gm7 mm F#dim mm xX Gm7 mm in the stars: . I read a mes-sage ... .it ... I :> 56 . ~ r'l I I I I t tJ T n- r r "j r-- ~~ '.tit I fli . like a roll-ingstone ~ Un .-.. I r Like some-one that has. . ~ _ the I r--1 I> Copyright 4:>1934 Mils Music. vis . . r-.._ "1 . ~ • #i"'I I Chorusxo ~~ tJ Am7 00 1m . . Eddie Delange and Irving Mills Verse fI tJ L Xlii Gm I Gm xxo -.. New York._ Like a strang-er. )()(O mm I Cm fI~ \ tJ I I ~. r r . xx ~ .. .. Copyright Renewed <rid Assigned to Scarsdale Music Corpaaion.......

xm Am7 Am7~5 xo > Jam in xxo 09 0 mm I xoo mm 07 1m xooo G fllJ. . hold me fast!' A9 . • 57 . the seemed to float right I #~~ q't .it • I I still hear you I ... r G ... . > ~ . r. .....1> 'l1J... . ..fI- -.. . 'I ~I ~~... . Gj'''. I pray >-.. ... $ I I r" - 1m xoo:) G9 )( x • We ..fI- ~ "':1 I r ~ \..... f) iI •• "1 And I start q. .. I pV~ I .. ..~ - ....... ~ Oh Lord.. ~ I I !~ 1m .::::..lIlg I .. G Am7 xo 00 mm _. xxem I p"~ I ~ I ~ I #~:t: q'l.. I I f) 'l~ let this last. I f) fl~ Ii that led me Xg Am7 > iii . . _ fllJ.- G9 r Ii 1m ~ F#9 > p---r F9 thru lim .... > tt .. ~ . straight to you_ fllJ... please .' . ...:. r • ~.---. I I Am7 xo 00 I> . f... I r I p-'r mm 0 r xeeee G6 mm li "Dear one.. ...A9 i"TIf 1mf It must Am7 xii Am7~5 )(xo m 09 0 xi! D7 have been > G ..

. I r--.. I t:\ t. ii G -----E~7 )Cim ----Am7-E~7---G im m~ .glow gave ~ .. I "v... ..glow gave y..._~ --07 im ~ f'J .. ~ .. t:\ r p-.ways ~ ~ ..G ~_1§ E~7 .. .J m 1 D9 0 Am7 xo 00 /I~ t... I ---r 1 rI :# ~~$ I ~1j.... ::f: • ..f1 f1 .__. f' .:=:-1I ~ I I -.... 1 ~ .. ...____- .. I ..glow 1 "1 ~ ..r G6 "~ i~ ~~ > 1 Ii.._.. I you. ~ it- It. ....1i air.J ~ lot 4! That Moon.. re- y. allargando ""~ .. ~ . I y....J ev I - 1 'ry I - where: q~: .ber I I That Moon. Am7 -1-Am7~5 £___.ii you. G 000 r cr:'_cm )C 00 )CXO 1m )COO 0 -!map .. .r =t 77 .."... m And now when there's . 1m lnem 1 1 D9 )Coo D7 let > . E9 o m E 00 _ seemed to come from )OlO f'l~ t.. 'I .. I I I I Moon .. .... .a... iff 'Way up in the ldf A9 I> Am7 )Cm I al ..... (r-~: . .. xx > ~ .... '.. --- 1 t:\ I 1 ~~ 1 ~~ accel.. ~. . _l :# • I me ~ ..

New York. Bb7+ll A~maj7 (}rnaj7 ~ · · ~~.C. Bl> 7+11 Am7 I I D7-9 ~ ~ · · -r D~m7-5 Cm6 r· I . Inc.lnc.1 ii ~~ 'U r b. · · ..and Mils lolJalc. Cclpyri~t Renewed <lid Assi~ to bsdala lolJsIc Caporalon.· · ·· ·· B7+9-13 ~ -dFine L ~ ~ ~ E7+9-13 ~ DmB C7-9 p7+9 \.-G- · .. New Yorle. . Eddie Delange and Irving Mills Am7 p7+1l I I Em7 \ \ I j i ~ ~ · · . I ·· / \ ' ~ --. L. -a- . · "I r r· · · (}7 _'_.. ~.~ -. oJ.1 By Will Hudson. l &-- I ~ f ) I \ ~ . .. · · A 7-9-13 C ~u \. # -a- l TP- ~ . at Fine (take 2nd ending) ------ c:. f A7sus4 E~ 7-9-13 I ~ ~ 'If-:::::: · · _1 ~ '-- - -6 IV E~7 E7suS4 I U t V" "I ~ b D-6 D.-----.MOONGLOW Aooy laVerne Arrangement No. D-6 '~ Cclpyri~t ct934 MislolJalc. I \ .

. / • f · · ~c:..& -e- --I . vf D-9- . New YOfIt -u- f\() .. alCoda I'I~ B7+9-13 ~. Inc. I ~ · · ~ I b.lot • · · f E~7-9 b1 r-L _. ~'- ~"-- ::::::0- ::n:: b-uCop)TI!1l1 C1934 Mils Music. To Coda -(j)- G/B B7+9 F7+11 f -u- r ~ . ~ . Eddie Delange and Irving Mills Em7 E7+9-13 B~7+11 Am7 I I D~7+11-9 G7+11 F#mll \ I / . ~: _.. ~ I be I D.. ._ . I E~7SUS4 D7sus4 I 11 I L I "1 r ~ · · -9- t I J b___ 11. -(j)Coda . I ~ .lot ~u ~~ ~ . I'I~ Cm6 I ~ . I \ ..J .2 By Will Hudson. ~ F+4 . .. · · r I D~7SUS4 r' . . .lot --U _..M OONG LOW Amy laVerne Arrangement No. . ..lot - D7sus4 D7 D~7sus4 D~7 C7sus4 C7 B7+9-13 F7+11 • ~ ~ - =4i£ L I I VI I ~Ic:.. I _. "1 ~r b~ ~ ~ · ·-s \. \.C. .lot I ' . · · · · b __• · ~ ~D~7-9+1l ~ 'U ~~ . F7+11 Db7-9+11 ~. f D7-9+11 rf bo D~m-5 . F+4 1 In.

. r ...." r l rr ~ ~-6 ......1 - I __....sweet-heart mine. . lIq ~J~ l <.l I 01991 Ekay Music. Birds in the trees." ~ r 11 _ •• _ ~ Eb B_7 Pm7 IIb7 r I Come. r: . "'"" I It· ~ "Ii ):f q• i r - 'l J. . I ... ~ ...~ VERSE rJ e) L . ... b1_ ~ '. - Co I "I r II - . • I "i "11.rr r ---- -z: I.My MELANCHOLYBABY Original Arrangement Words by George A. - ..hon~ Sha-dows will fly - 00!l lOOl r r Gdim F7 r ~JHm fftm I Have I ev-er said an un-kind word to you? Thru youropen Window while the pale mOOD beams -I . I I I j_~ r r.. Norton Music by Ernie Burnett Slowly I'l I ~lll I I .. qi t~ ~ I • ~ = Fm I 00!l - Gdim wm ~hathave I done? Clouds will roll by l An-swer me. J~l..lnc.~. l'q ~ L ~ I Fm r: .J ~. I r "Don't sit andpine Sweet mel-o -dies Tell me of the cares that make youfeel so blue They will take youto a land of peace-ful dreams - fl tJ - 1.

y time Life is al-ways sunshinewhen the heartbeats true r r' f1 - . wbenyou sigh Ban-ish your fears .----:--..- .a...L.cy f"l • I 62 f..' B~7 Cdim CHORU~l ~L ~~t±ilif OW 11 _itl& lee ing) Come • f"l I · · im ~ J 1 c+ ~ I • I · ·'11 · · . I r· <1 ~ • ..-~ ..". .LY ...".. Wby do you grieve I Andjust for you Try and be . K~ - '- '11-'" Po':lJ raI~r I .and up =i Ipr"r \.lieve l~ do ai-most an.. fI eJ I don't I be • -.. v r ~ r i'r I I ~ J - IT -.y • thing at an . Orwhen you cry Smilethroughyour tears Some-thing seems to grip this ve... r ii tfi rtf tum f F7 -tJ fI I r _ C7 tum - F7 Pm7 ~ I .~virttr BA - _• r C7 -* . - Fm BY Cud -dle . "'t!:HE.l f Guitar ~ E~ "'-.J.. I. J I 'I . II I... Fn. 'r r v ~i .fl tJ 1 r II _ r 11 _ My love is true..l - t~~~·~~~~~~~~~~i~~~~ ~ ~ * fI 1 • 1I~1i .ry heart of mine: Whenyoure sad it makes mefeel the same as you: I.AN-CHO . u ~ '~ "'---~ mHt I I Fm Fm7 .. ~.. may F9 blue AU your fears are fool-ish fan . t to me. Dear.-lil 1---" ..---. I "r.--r . MY MEL ... • r F ~rJY v . C7 " .. ....

.. 8 63 ~~ ~\t:'\ ?I~ '! tt- . Youknow.. ~~ --i too. I I I 1 .. Ife. PDCD /'till.~=i I .that 1m in love with you _ . "~ l [ io- f .• ~I be . I r.ebo ..tFi _41 14 ! . Ev-'ryeloudmDSt ~ - C+ ~ fl ."'t ". • I~ ..... -- it. r "'I!!!Ii . -r ~ I I rrJf _-- 1'\ I • ~ I • Fm - --. -......... have a sil-ver - -~.. • L.ly.. . r: . 8--.11 Or elae I shall be. my hOD ey dear While I I kiss a-way each tear I • . 1'- i 1+ 'HI .--.. .:' il the t I • I n "r .. ) r.r -._ - • Fm !llmsun shiDes through _ Fm C7 Ding Wait un .-.. ~ ~ "r -r ~ iPr ~~. I I ~I u Smile.. .. .aD ... .. - .Dll.. tpr . ...._. ~ --. ~ I • _/~ I I mel. I too......dear.... '"i . . 1'\ I 1i I j I --. ten :"t .

C. - - I I I Fm7 B7+5 ~7sus4 B~7-9 G7+5 Cmll F7+ll Fm7 Gm7 Alrnaj? B~7-9 \ I 1 • 4- ~ ~ ~ ~ · · L v L ._ Q~() . - B~m7 E~7-9 A~+4 Am-5 1 D7+9-13 D7-9+11 I 1Jc.. ~ -. ~ D. Inc.. ( 1 B7-9 ...---.------.. I c... ::::c!i .. i1i ._ ff -o- " -¥ ~~ !II ~ t ~ Fm7 ~ aJ I bo c.I ) -e- Cl991 Ekay MusIc.v c...-< ~~~ ./ • ftB7-9 B~7sus4 B~7 Fm7 G7-9+9 1 u.... Fm7 1 Fm7 C7+9-13 I To Coda-$- F7 I f T r 1\~:~~~~~b()~~~~~~~~L~~~~~~~~i!biO~~~~~ \. qVj: l. I ' 1 · · J :j I I I 1 · · -C7+5 qt 1 1"---'I I-e- "qi~-t u vu ::S: ~ . c.. . ~ ~ c.My MELANCHOLY BABY Ardy laVerne Arrangement No.1 Words by George A. v ~c. D~7sus4 D~7-9 I L I I I ~ ~ Gm7 C7sus4 C7-9 Fm7 AP G7-9 C7-9+ll Fmll I B~7sus4 ~7-9 E~6 \) ~ \ _1 I • r ~ _I 6-6 ~ .. I . Norton Music by Ernie Burnett Ehnaj? Fm7 F~o Gm7 A~7 A~7-9 G7-9 G~-9-13 C7sus4 C7-9 Frnrmaj") \.. a/Coda · · · · Coda . · · • • ... ..1 :g: · · Q.~ 6p- ... ... TO lf4 b. r».. • · · V" :J I -._.. ~ -¥_-¥ q. I -eI I I I I .

. . ~ ~ '''.i. ~ V • i qi "~ Jot . Fm7 E7+11 I i I Eb7+5 I .~T.o~ Jt I. ~'-D -.C. l c. alCoda · · . .--"II ft f" I.- ~ b~ • . . G r Cm11 .G 1. q:c "~~ D. I ..:».. -u- .2 Words by George A.... Fm7 I ~7 G7+9-13 E+4 • ~~-!P- • ~f - • ~~ G ~ l c. C7+9-13 "I . B7+9-13 B~7sus4 A7+9-13 G7-9 G7+9-13 F#7+11 B~+9-13 B7-9+11 Cm 7 F7 I To Coda • ~c.0 ._ . Norton Music by Ernie Burnett Ebmaj? I 07+9+11 0b7+9-13 C7-9+11 B~+l1 B7 1.._. F7+11 ft'- c. " . .. ... . F 1 rr . _g~ j__k~~ G• • ft'07+11 Ob7+11 C7-9+11 B7+9-13 B~7-9 E~6 0~7 \.f V~ :rr Ii . ~ l ~: .· · · · I I I I Jot I UI' ... • A~ I G7sUS4 I F#7+11 Arnll 07-9+11 1 I s- I ftc. v.. · ~. j__k~ .'' 1. I I .--. 0l0i...My MELANCHOLYBABY Amy laVerne Arrangement No.. (.--. b~ b~ ~ b~ • . I 1 I 1 v ..0 G7+9 A7sus4 B~7sus4 Bb7 C7sus4 C7-9 Fm(maj7)/C I ~ I \ I ...0 .z T ~ .. ~ A~m7 I 07 0~7sus4 I 0~7-9 I Gm11 C7-9 · · · · · · · -$ Coda . . ~ l. .

.t .. morn. a - nic I < I t.. a ... . our rell ..~ wing ... ~ Dm G7sus.. ) r'~r I .- ~vous - P 'I ~ 1 f 1 f~ ~ 11 ti - r 1 ") ~ ~ ~ ~lb::::!- brr- 4t Copyright II:>t955. I I f--r I Chorus G7sus 4 F G9 Dm6 An7 1 Dm7 G7sus G7 Il ~ Ou . tJ ! ~y ~ Am6 r tt .. __. 1'1 · · · .how ~ 011 .. :jJ:..-::: ~ D7 I' a I r-I r ... .. I I . I Pic . t956CoIlI11bia PictLfes Music Corpaalon.... mp r 1 p-'I I V- I . ..... 0 ___ . t. G79 c 1 DIII6 __ =J some . I With. ~r I r ----L--I~ f _I lr DIII7 1 ~ G7sus G7 Dm7 ~.dcz - .. r c bl1.. New York 66 .ing I I . 07 . c Pic ~J J C 1 )r-J Am6 D7 '1/' J J =J .nic 1 grove was ..but a : warn- I I ~ I iug I I I looked at I you r 1 I ._.PICNIC (THEME FROM "PICNIC") Original Arrangement Words by Steve Allen Music by George W. Duning J :> .. tJ t fl t. C Dill 5 - Il ... I Mv heart i went . day ~ ~ for I knew sing .... I .ing I I I < I .~ Moderately Slow Il 1- (with etcpression )~ I -.. U' '/ _. ..1 I J I < .J I 'I P 'I ~ -I ?~ f I ~r ~ I ~ \i-...1 J -....9 Il Am7 t.ilJg .. I . I . . o F 69 Dm7 4 " and . .. 4 .

_... .t On .j ~ I I .-...-._..t I I A~ Dm7 07 sus4 C F 09 I I I I last I) I light ot ere . 0 • I Dm6 Am7 Am6 D7 Dm7 ~ =T f.-...R.. t r ~ -If-.1 with stor .nic time I I ...f'j o ~ tJ. 07+ . .~ f'j L'1!: :... . o ..--eo Dm9 Db7 0 _-61- l < J ~. u- ~T6r K: ~ l!: _ ~1 ~"'(J" ~ ~T ~ ~ 67 .... Pic .".my tor me I I just re .call o I I ~I I " I I f'j 'I·0 ~ Odim 07sus 4 ~ -_ ~ 1 you. 4i / ~i'" V L...... ~ r-6j I Am7 I r ~ Am6 D7 'f I .. f lt1r I rtlr* <:»: \.shine We strolled the tields I and tarms_ -r ~ .. I L?! .ning I I I I held you ill my arms Now when days grow ~ i -----+--~ i JI LI~I I.J 07sus 67 I ~. Dm7 09 o Dm7 ..... : -& -~._ q~ ..0 :. .. Dm7 r 07-9 r Aud lone ly I I .... a ~ you....At the I I ill the sun. 1J I r ~. f'j . I 07 I 2.4- fl tJ You and . ..

. I ·· \ ' r --?: ~ f b Amirnaj") Am7 I :: ~ff • Am6 I . ~.S. ?: =4 q.. · · L~ I I I I f ~~ ~'---""13-' . . bf (. Duning G7Sus4 ~ Cmaj? G7SUS4 Cmaj? F7+ll Bb7+11 Arnll D7SUS4 D7+1l • --- ·. 0 I Cmaj? Am7 G7SUS4 G7 To Coda -$- Fm7 G7SUS4 G7-9 -13 \) f / / J rt Eb7+11 · 0 " (. at Coda --- I c:. 1. ---tI r -4 . . .1 Words by Steve Allen Music by George W. :1:: . Fm Cmaj? -$Coda \) / ' • ~ £0 . Dm7 G7SUS4 I aJ ·. ~ _.I Cmaj? Am7 ov-u Dmll I ~ I : 0 0 I ?r ::e =4 -: -s I I -t~ --I f I G7sUS4 f I G7-9 r 9- r 9- ~ ~ D.0 :1:: . · · · . ~ -e- ::g: ~ - . 0 .'7 ~ f c:. 0 'z ~ Db7+9 Cmaj F7+ll E7-13 Am7 Dmll Dmll Em7 Fmaj+4 I G7-9 \. · :6.PICNIC (THEME FROM "PICNIC") Ardy laVerne Arrangement No.• G7sus4 ~ E7+9-13 r3 ----. =E: :J . ._ . 0 (. I I (.

To Coda 1c Vbr t II bV-'I 1ft: ~ b":J: ~~ ~~ t: -:J_ .. () I . . :t II ...-bf1~ I1t T b. ... ~c. D7suS4 . · "• I =I -t ~ bft: I ~ · 1· L• · I .. a/Coda --- 1 -$Coda I Dm7 Ab7SUS4 G7sUS4 G7-9 Dbmaj+4 \.. I.· "t¥ ~ =I " -4 I -J. ·. :f: . :!:: · ~~ .. 1 (.PICNIC (THEME FROM "PICNIC") Ardy laVerne Arrangement No. \ ). Naw Yak 69 . I. Em7 Bb7-9 A7sus4 I ~. .S. ~~ L -. · · I E7+9-13 Am7 Ab7+11 Gm7 Db7+1l C7sus4 C7-9 B7+9-13 Em7 Ab+9-13 Db7+11 F~m7 G7sus4 .les t... • ~ .2 Words by Steve Allen Music by George W.. I -6 . \ . G7sus4 C7sus4 I ' I F~7+1l Fmajt+ I\ . · · -4 . ~ -e-- ~ b-u1956 CoIunbia Pic1l. I \ =I .. I I .I ) I #'f ~t. F7+1l E7-9 Arnll Ab7+1l Gmll C7+ Cmaj Bb7+11 --- ·. Duning \) ~ .- ~ q:--- hl")l I -6 · · · C/G · I ~c.... t'I' r: · · · · hn ~t.J- ~ D. I Ccpyr!!tIICl955..- ~r~ ...3 ---. f --. · · · b.. -$Dm7 () ho I -ill · · · · · A7-9 Ab7sus4 G7sus4 G7-9-13 C/G G7SUS4 \.~.tJsIc Ccrpcra'on..

fI tJ _ ..SoLITUDE Original Arrangement Words by Eddie Delange and Irving Mills Music by Duke Ellington Slowly.i I - tude __ I 1 -& I .mfrubato G9sus..7 )( fOOl In my m 000 Xii Cdim Om7 xxo mm nl~. ...tude _ you haunt With ""6- P .. . Inc.:: --I ~ :i 1 1-'. Copyri~t Renewed ~d AaaI~ed to American Academy 01 Mualc. . with expression - ~ Chorus xx G7+ 00 Cmaj..0 G6 loof W of days gone by. l Cdi m xx mm I lim taunt 07 r xxo m 09 0 Xii With 1 #4 "l't G9sus.its ~ 4- .-.... tJ r'l xil I . and Scarsdale Music Corporation...ezz: v[ ~ I 'l rr Pi tf~ ttr 07 I - In my 1 Sol . I I r Ccpyri~t C1934 American Academy 01 Music Inc" New York.. . r r .? x mm I mm 1 1 060 rev - er . D7 xoo mit Sol ..4 xi! iff mem G6 L~----~ - I you I me... fI ~ #f 'r ?T ' . C C#dim Om7 xxo mm G7+ xx 00 Cmai....er -w 1 77_ . I -0 - ries that nev ....4 . I" 77_ . ~ :: :j .i .. New York.

Dear Lord - bove send back my ... go I mad. t. im F im F#dim I f"l 4 m C know C~ xx 1 0 xx Cmaj.".". :j 'I ~r. ..- ~ ... ~ r·....._ ~T :: ~ T F--Fm-C6 i"--l • 'm X 00 C Cdim -Om7-_ mm .J f ..-.".4 X... 1 _l - I tude _l I I'm I ..". J T ~~ r .". C 00 loot Fm X mmmmmm 00)(X0 C Om7 Cdim xx 1m Xii C9 F I _ Theft:'".J f) . ri7 ~~ ~ rubato lttl _ "t ...C I r 'm 00 Xx mm love .". - f"l 4! - that I'll I soon I ~~ Dm7 ..DO mm 1m In -'12.... -- -'r .x ~f I 'r -u G7+ .)( mm die.. .". I I I T r.xo f"l mm - Xx Om9 m ~ 0 G9sus. my love. ... ---. ~ tt'J motto rit. - .OO mm 1m a G6 L~ .XOO . T t. ...0000 G7 ~ f"l I 4! pray ing .-..7 00 dimmm Jet In my _I X 000 Im*l _. r ~ 1 --- I .1 f"l t. ~~ ~'7.. _j_ Sol _l '. q* -:----..

.J ~ Cmaj? B7+9-13 I I I ~u E7-9-13 Am7 E~7 . f ~'~ b.· · · ~.f · · r"'"'--I r--.1 Words by Eddie Delange and Irving Mills Music by Duke Ellington G7SUS4 G7+5 SoLITUDE ._ v.# r---t I T ~ Fmaj? ___ . b. .LP- 62_ D7sus4 Dmll I G7sus4 D~7+9 I ~maj7 Am7 . I · · Co :t . I f· I I r 'z _.S. ~ .Ardy laVerne Arrangement No. . and Scarsdale Music Corpaalion..... G7+5 '" 1 ~ r J =4 Dm7 Cmaj? G7+5 ~ I \ 7') .. · · · · I ~ bf I '" ~ ~'.J :t ·iI · · · · I IU I ~19- - I . .. G7-9 Am7 D7SUS4 D7 l Dm7 G7SUS4 Cmaj? A~7+11 Gm7 C7-9+11 l B~maj1 ~ I ~ I I I \ . at Fine t ~ Copyrl~t C19304 American Academy of Music Inc.f · · Am7 f· I I r ~ D7SUS4 D7 -*- ~ r bf I ~ I ___ .. D._ "11 f: _. f • G7SUS4 G7+5 f tnf C7-9+11 I ~ Fine f Bhnaj? f\ · · -e- Fmaj+4 A~7+5 Gm6 Fmaj? \ I ~ . Naw York. Naw York. Inc. Cop)Tl~t Ranawed IIId As8I!Jled to American Academy of Muaic.

. Ccpyrljlt Cqlyri~t Cl1934 American Academy of Music Inc. Pmaj7+4 r - {jt C/G 1 ----G7sus4 T ~ #~ ftc.Ardy laVerne Arrangement No.. New Yak. Am7 Eb7+1l G7Sus4-9 G7 1:39-: .. 1 ~ P-#- -u- Eb7+U C7SUS4 p7SUS4 \.__. - - . I New YOlk. alCoda • :g: · · L I '-_..... To Coda v:..2 Words by Eddie Delange and Irving Mills Music by Duke Ellington Db7-9+1l p7 E7+9-13 Bb7 SouruDE I \ I . Inc.. and Scarsdale Music Capaallon. • Bb7suS4 A7sus4 -"qI Ab7 G7sus4 G7+5 C/G Dbm-5 Cm6 _l_ {jt Coda -J -~ . b~ I f L p#7+11 b~ W. [ .-' b~ .J I ~ · · . Renewed Md Assi!1led 10American Academy of Music.. 73 . . .S.. I ·· \ =99= · · b~ =99= vr 1'-6- ~ 1 _. ~ ~ · · I. .~ ~ · · I I ~ P' =6 IT LI v r -6 . ~ Cmaj? _l ~ I III ~ D. ~ . ~ I l r c: Pmaj7+4 Eb7+1l f· D7sus4 G7sus4 r _6Q_ C7 sus+ b"f I ~o Bb7SUS4 A7sus4 Ab7 · · G7sus4 ~v u G7-9 G p#7+1l p7 sus+ ... G7SUS4 ~(.

. · I 0 l:r~ ~ ~. b5 ~ I' ...ness r.i -ness? Who can t{uth-ful-1y say? ". Verse 1. 0 .. :> . It. Love is hap .roa.si . view -. Now I look at life a d1r. .dy f-_f~'" ~ - I . I What price hap .0 . G7 C ---I r Am 0 fi D9 ~t.. I -~ _I I 1= :1~ ---r- I . 0 - - I~ - -I I ... Sor-rowsI bound to come Teach your heart to hum Bid your trou-bles a _ dieu .WRAP YOUR TROUBLES IN DREAMS (AND L. song.. Co r I ~r Co >- I~~"" .ES DREAMS.. And IN _l ~ I ~ .1t!f I ..ffent It will cheer you when the day is way: long: .? .ly I _l ~ Ive had Learn his ~·I rn · r -r D9 i I II-r- - r ~ A7+ L-z: D9 Am7 ~C t Em7 G Dm7 (J1 DIn7 sus 4.pi .. mel. They're on-ly gr~y for ~ • 1ft. I 0 0 So WRAPYOURTROU-BI.. .. f.---__ .~~ 4 C 0 0 I" :::: "1! C 0 r E7 I G7 7J:.. day. G7 I I But ~Wbat it end-ed one a won ._' ~~. j'1r" ..ness! You can ea ..dy and 0 gray.q~ I share with tears i"J blue-bird fly we in t :. der • ful r e 0 0 r Chorus ~ C9+5 II day. DIn7 ~ G7G9+5 C p. p" ~ \ { e.l ~.~i-ness'?"'hat price hap ..I . ..ay. ._p- r J ---_l ~ ___ I _- ~ --T----r D7 0 Am7 It~ ~ When skies are ctou. ~ ?:J A7~ - ~C Dm 7 C Em7 D9 --- Am7 D9 @.. DREAM YOUR TROUBLES AWAY) Original Arrangement Words by Ted Koehler and Billy Moll Music by Harry Barris Moderately ~ ~ ~ Slow ~ ..._.. ~ Am Dm Co h ap-p~ ..__~ I ~-r'~ 1--.._ _ But for Soon you'll ev -'ry see your t t · I p ~'f" I f I 'f" I r Sf I 17~r I C -6 ~ II! D7 m .I ..

~ I} . I D7 Dm7 E7 Am - B7 WRAP YOURTROU-BLES IN DREAMS. a · · · 1 I ~ Fm6 C~ fl Am .... that's I I . .ny that way...-:::--- f" ~r " ! fol -lows the I r .way. And dream your trou-bles ~ t.. 1 -ft.. '!oj"" ' fall.... r .. ~ "'-e ftrr .-. 'F . Am D7 E7 Fate.. I G9+5 C G7 c ....~ f E7 ~ ps" I V I 11'"'1 -=== = B7 ..s they ...~ just smile . I r.. dayi' J Say! Just re-mem-ber that sun. D9 A m7 !.BLESIN DREAMS.... af-ter all..1 ..r G7 you - - C E7 Were.f) Dm 7 G7 c a.. r f I ~-r"f ~ I. ._ a ..Ij'J ~ ~ G7 +5 l:6 C f) t.. '.. Un .. I f=t . I So vm.. b~---G-+~-+~""" I ~ ~ f. And dream your trou-bles I 1 a .. G7 +5 C Am E7 A7 Life's real-ly furi.n't I} R-mgr t.j C . - on -Iy o~e thing to I do."' . r"f'-----.i .. .. l-r' } ..til that sun-shine peeps thru..ble...--... . . 1. -.. I 1I~~~~ iJ ~ I I rit r I krr L '"-I .....-.. I I r f 1T! ff I I f_ I r :> U" : r When way.---'----__ '~ T G9+5 C G7 C .. • I -hi - t rJ~.. ~.. 1 " CI1--' . __ ~ ... G7+5r:. I Am7 £or a.way. No u~e to grum-ble. D7 . I ~l . .. . ... .. I I I I .r dream your trou-bles I I ~ ..._ lIP: -. I Just ~ ~ff1Y ifF L ~ - ~-'-7 I I ~rr" ~ Bm 7 . G7 There's C E7 Am . I 'I J~I . rain.AP YOCRTROU..shine Al-ways ~ _J f.. ~ J- 7 I - -. r D9 ~~ r ~ Dm9 ~-r-r L~ G . J 1 1 l. C .way I Your cas-tles may tum .J ..

..1. Bansteln & Co. ~ -11 .. I lt5- · · · I I ~ I V-I II r 'z r A~7 G7 ~r r r I 'I "IlL r ~. ~r c" · ~.~.~ jI-. b.. · · To Coda Am7 A~7 Gm7 C7-9+11 -$ C/G G7SUS4 G7+5 F#o \.WRAP YOUR TROUBLES IN DREAMS (AND DREAM YOUR TROUBLES AWAY) Amy laVerne Arrangement No.r'· ~ A ~ I . I I ~ T'F' I t IIPr 1.~ Cc!pyri!tll C1931 Shapiro.. Inc...1 Words by Ted Koehler and Billy Moll Music by Harry Barris \ I \ .....__ - .~.. ~ . ~r' r r I ·· · • l.r'· ~ 1. b __ 'T r f r iiI~ ~. · · · · I I ~ II=: i -c: i II-J ~ · · Ifc" P-#- C B~7+11 A~7+5 G7+5 G7SUS4 G7+5 Co/9 F7 Bm7 I E7-9 F7+11 \ ._ r-.... • G7+5 ~ Cmaj? G7SUS4 D~7+11 Cmaj? I F7 Bm-5 E7sus4 "._ E7-9 I lt5- · · · · r =6 F r I I U' · :: • r T'I s: 'I · · j.. •• · · 76 .~ Q._ I I ~ I -11 til '-' . Cc!pyri!tll Aerfted... I ·· / \ I I I I I I I I ~~ crl L .. • -- - -~ •• ~ I · · E~7+11 D7+9 F7+11 ~ I \. I ) r' .. New York....

~ "- \. I ._ L ~~r .. I ...- I b~ -I I l#I -41 ~~~ I""-~~ r I Db7+5+11 I ~I#- 'f b~ .r ~~ ..__.._ r._ -$ Coda ..Eb7+11 D7+9 M7 G7 DH+5 Cmaj? Ab+9-13 Dmll G7+5 )... / I I I I I -I ""'"'- I DS a ic oda .~ Eb7+11 I C/G D7+9 \.. / I · · · · · · · I I "II - I u b.. .

. ~ f. -6.rI'- Il'Dm I ll Ab7 G7 Db7+5 I C Elrnaj? A bmaj 7 G7+5 II ~ml1 Ab7 G7sus4 \) f I -4 ~ • t ~~ . · -i19-:· · · . .rI~ r ~'- .. Inc..vT r "ilL • l · · . ~ # I ltt · · · · I -4 · · ~ I ~ r" .rI- C7-9+U I F To Coda -(jtC/G I A 7-9-13 \.. . I I . - G7+5 I .. ~ l-- 78 C<Jpyri~1 e>1931 Shapiro. I 17 ___ C/G Eb Alrnaj" G7+5 F~7+11 G7+5 \...~. New York.J n · · · · I Am7 f . i · · rr I 17 ___ fIl · · · · If- I I ~ ~ Ab7+11 I A7-13 I I II I . ~~: .WRAP YOUR TROUBLES (AND DREAM YOUR TROUBLES Amy laVerne Arrangement No. C<Jpyri~1 R__ .2 F+4 EmU IN DREAMS AWAv) Words by Ted Koehler and Billy Moll Music by Harry Barris F#7-9 Bm-5 I I E7-9 BP-9 I \ ._ 'I I I \ ~J '--' • I ed. I r---.. · · · · · f. B«nsteln & Co. 6.. I I ~"-#- l r '- -?!}-.

· · i - G7+5 Db+4 Gb+4 " f6~~ I - C bT I 79 .fiI'_ ~ I "I -4 · I ..· .._ I I ~ QD..S. . C/G <::» "I A7-9-13 Droll Ab7 G7sus4 Coda · · · \ a I ~. ~~ ~ Itt ~ === I 1:1 ___ =: I ~Q- · · · · I • b. alCoda .D7+9-13 G7 ~ ~~ I -j:::r .

...... r I r . I - CopyrigJt el940 The Pea MaJrice !.--- . I I I r ~ '0.'ry wind .. I o v I 1m So the m Ie.ers I 1 Fm7 When I . london.fI.fair. J Abm6 J--I Lyric by Eric Maschwitz Music by Manning Sherwin 1 I I ~_l r J 1"--1 I r 1--Bb7 rit. t • "If' r r Pf" V .. Bernstein & Co. ~ I II Ev ..' VERSE ~ L Guitar .1 meet I in May.._.1 - I .--"j r a .\laic Co. · · · .. Engllrld. Sole Seling Agent USAICa1ada: Shapiro...o>: l:r r B>9 r Pf .[.. II birds sing Win . Renewed.. fj tJ m Eb 1m! true loy . the spell 1 ~ ltI -o>: J - ~: ~ .ter turns ?J -..H.1 I-.gends tell 8'-'·'' /-. ~ .ing 1~1 ! I Fm7 ~ Abm6 d I II Falls Fm6 ~ ~$fI!~ be-neath em 0 g I street 1 in I May-fair .. - I . ~- --J I 'i I _. New Yak. spring ~J--/!c.I ~ -I Fm7 . Song to 0 ••• ·· 0: ~ I . ltd.. .A NIGHTINGALE SANG IN BERKELEY SQUARE Original Arrangement !l ~ L Slow 1~___. . Inc..r -...

. . r Om o f -:... 1 There There was was - . I' . ~ I -Abm6 o !mn - fmf I I I ~ -I::~ r . __ I .. . was...J.J .-3--.1 met..' · · fj t..-- vr Om o --.. m Fm7 ~ SQUARE ~ I - f --- f ..--3---.. ~ . Fm 7 . ~ ~ fl f 11:-- . .. Om o fl I .1 J I . CHORUS fl I F I I ~t r ':.When A -...zy night we met.......! ~ 41 That (How) I T · cer strange mm o Om Gm o ~ I 1 - tain it night..pare 11 'I .Gm7 fl I ~ .J> I II I There were With that Ii an-gels din .. 000 G7 . I- .IN-GALESA~G l~ BER Pronounced (Bar I - KLEY kley) . ~ know such en-chant-ment can II '''1 II I 'Cause it ha p-pened one ev'.... be L !i1m I Cm1 I II I F9 .... ~ . . u I 1-- IL~'---'" - t.zy.ing at theRitz.--:= . /-. I .\bm6 ~ 0 I I' JG=-"'" V 3 ~ ma-gic ne-ver I fl ~ 'I 31 a-broad in the air a dream to com.ning I to II me. Bb7 ~ I ~ ~ L NIGHT .. .... I 31 ~ 11 <. ~ .. The How night sweet I we and . era .. f\ . I This ~' fi f· --' ~ ... And A ha . . s. . .! I I 8_ I m . strange..

em ~ o Fm7 .mm ..IN-GALE SANG when you turnd and smiled at me we were dan ....rupt our ren-dez .lin a -000 G7 ~l/---.. g o Cm Abm6 o · · ~ per. I.. I . .. ~ _". E dim Am7 _!J tJ (j I ~ ~ ... 1 l R~ I .I.--::--. ~ .vous. II '1 -. in ..zled moon. kley) ..r re- .ly will. · · -· .ry .. . - f f .~ ~ I Yi Cms -~ - _ 000 G _ .Cm o Gm o () I ~ .. mm . o l I I I 1 l ~~ · .. f ..gered 0 .ver Lon-don town.. he wore a frown.... II! ~ . . . . Howeould he know we two were so in love The I still re-mem-ber how you smiled and saidWas •. I A NIGHT. l. ..go-round in a fair 1 I 31 't '1 81 I That For I . .. tJ I ~/ Abm6 .~ ~ The moon that lin .. fJ L .. Cm tJ I Silt sQeARE o . ...ter . may heart be right I may be wrong.. 1 f ~f ~ .ing to swear mer . - .. . 00 D7 11 r . .--. I . ..~ r#~~ ~~F ~ . f r ~ vf . r . I J. Like I 1 . -:f: Bm 7 I. .r II! \_ .- fir I -I I I - . I ~ I I r-- 9. _. r ! • D7 .- • 00 D7 mm G 000 Am 7 u ( I tJ ~ r"~... 00 D7 Am? . \Vhen dawn came stealing up all gold and blue r I Poor To I r ~r" IT I .. () L . I puz . fl tJ I .feet ..eing eheek to cheek And A I I I I I IN BER (Bar - - - KLEY .. But of mine beat loud and fast.

.man .fJ I . ~ "r ~ pvr q.G7' 000 J J r- r I1V J~ . such a ro . I r • . A~m6 o ~ • ~ ...way I -..dan-eing feet of As-taire 9. - '~t ~{.. eV"" If I ~ I ~ A~m6 o II I . Cm7 AGm6 o . I o mm I • I . ~ f -- I ..\ .. ..... . ~-Square... NIGHT. " 91 'I 1 " " And And I I> as '. -. _ Fm7 ~ I ~ r • I'l I r =m B~m6 C7 ~ ~_l mmmmmm ~~~ - I knowbause Iwas there That night in Ber-liley (Bar-kley) ... ~ ' Cm c Gm ~ __ I . fHm .: .. I I s~id "good . I - I' ~ v ~_/ _l - ..--... rail. ~ I whole darn world seemed up-side down The streets of town were paved with stars It was that a dream or was it true?"Our home-ward step was just as light As the • Bm7 fM Edim Fm7 . HowSQUABE -. r I ~rf IP·r. ~ U ~~ II. 83 .ni~ht" far a .'.. .fair tap ...'e kiss'd and like an e .tic af . • ( 0 . A A • ~ r I I ~ r .IN-GALE SANG IN BER (Bar - K'LEY kiey) SQUABE • ----Cm -- r vr . ~ JI lot:"..oho .

· · .. ~ V • .-::l E7-9 ~~. V Bm7 I D"7+9+11 Gb7+1l Fm7 B7-9 Bb7sus4 I E+4 I \.. r"1 .· 1""..Fu Ab7 Am-S 07+9-13 \ I I I • r · · I Fine r C7+11 B7+9 f ~G r - · · · · =E l1? 1 -G- ~~ q:e07sus4 -6 c:.-4 . ._ I b~ Gb7 Fm7 -~ T • • ~c.3--. · · rr .. I \ G B7+9 . · · q-' . I b.. . · · ~I ~~r ~-6 ._ --.f' ~ «tn .A NIGtmNGALE SANG IN BERKELEY SQUARE AriJy laVerne Arrangement No. to... G7 Cm7 AmbS 07(+9) 07(-9) (+13) ~ -.. ._.· · '" v-J -Cm Gb7 F7sus4 • --. . I r I J ~J 4 I i . at Fine · · • L. . \ f \ ) -. ~ . I . ~~ · 'r .1 Lyric by Eric Maschwitz Music by Manning Sherwin Elrnaj? j_ G/O Cm7 Gm7 I I Bbm6 Eb7+S Abmaj7+S .. =6 Abm7 IJ-iI V. ~~ r . ~ T' r L._ Bm7 Am7 I A! 7+11 .. . b'___ ~ -4. L. 07sus4 D~r .J · · ~ qJ . · · I I • C7+1l ~ LIo ..3 G7sus4 . _ . ." . .S. ~ G E7-9 07-9+11 _I k I r-.• . Ehnaj? 1 · · . ___ ~ bj: ~ · · ~ I . . 07-9+11 I Ob7 C7+S I-I F7 Fm7 Bb7-9 Ab7+1l Am-S Db7 Gm-S I ~ • _... I .. ~r ~~r q~'f ~ 1 b~ · · ~ ~~ I r 07-9+11 I .. h_ -I I ~IL ... · · b7 D.. 'r ~r I . f~ r I -4 II II I I .

.. ct 1__ "__ ._ ft Ltd. Cm7 I I Db7 Fm6 .. · · 9- · · .. .2 G7-9-13 IN Lyric by Eric Maschwitz Music by Manning Sherwin F~m-5 . Eb ~'-9- 07sus4 I \ a I -u- - · ~. b~ I ~ I I I 3- I I '" tr I I. London. ...·· . · J 1. - .. t.. c::.--- ~ T' · · .. _l_ • "'_ Engl. .. - G/O E7-9/D b_ "I ( · · I . . · · c:: D7+9-13 Ab7+11 =6 Gmll I:n1F~7 Fmll ~G Abm7 I Fm/Eb 07+9 G7-9-13 \) f \ · · · I I - · · b~· · · I lJ'~ I • I Cm7 I \ a l \ 1 · · 2 1 0 - Db7 To Coda "'- -$- Emaj? D7-9 tqJ9- ~ -s #- I r [ "I f -?j- - - .__ Moac Co. · · D7-9 • "I . I a ... 940 The PelBr Maurice ro-l_ __ ro. 4' I:n1. . ~ . ... I . Cop)TI~t ...11"""""_-...1_. G/D E7+9-13/D r' ~ -e- . . . ~ ~o L · ~ I . ..r1d. . a r Db7+11 . _k «:»..A NIGtmNGALE Dm-5 I eJ SANG BERKELEY SQUARE ArKJy laVerne Arrangement No. ~--I . r L ~c. . r T 9- . .Renewed.. "I r--:.------3 ----. •__ ••_ U__• .. -¥-' · · · · . .

r ~ ~ r 11-d- "U" \ Q'4 -e- -.G/D E7-9/D F7sus4 E7+9-13 A 7-9-13 D. alCoda Emaj? Dtrnaj? Eb -Elf Coda \ / I ~ #~ I .S. . .

C.. ~ B~7 rL. at Fine ~~ ~ · · Cl991 Andy laVerne . ..v ._ • -#- T:i~ . D._..~ h. _1L t / I )~ · · -6- : ~ __. h I ~=J~~ T 4- T 4.. G~7 I F7 . . h.SABRA .... oJ · · · · Fine b-rr _1L _u_ AP (Improvise) G7 \. ..J '-' ( -6- \ ~ · · · · l'r .u.:.~~· 1*-.. I ·· / / I . < ~ B~7 I • · · · · _1L _1L By Andy laVerne - .. __...

. _. I --.. I • . ~ >-~ ( · · '-" .- s~ · · I I l't u b~ 174 -d- · · (last time only) -(jt Coda \~..BLUE CvCLE By Andy LaVeme . ~~ . . · · -d- ~_. F#/B _..._ v:err -e-e- D7sus / DIG F#7SUS B~7SUS D7sus I I I I I I I G7-9-5 ~ ... < F7 I A7-9 • I '- I--' . ( C7 • · · . . · · - '- .. .~~~~~ ._ I ~.....u .... . ..." Cmaj/sus+ (~~~~~ Cl991 Andy laVerne .... ~._ >-~ "- /::g -e- - -e- - -e- .

Chords for Solos: II: F7 C7 A7-9 C/D D/G E/F~ C/D / G7-9-S :/1 89 .

.

" "Iazziz" and "Hot House. "Liquid Silver." "Severe Clear." "Piano Stylist. and the New England Conservatory. His interest for jazz piano eventually led him to Bill Evans.1947." "Downbeat. He has also been awarded several ASCAP composer awards as well as a "Meet The Composer" grant. Blackhawk). Chick Corea. Mel Torme. and "Captain Video" (Atlas). and giving clinics." "Jazz Piano Lineage. Lee Konitz. drummer Dave Weckl (both of Chick Corea's band) and saxist Bob Sheppard." has recently been released by Homespun Tapes. and numerous other top performers. Ithaca College." "Sheet Music Magazine. Joe Farrell. and Richard Beirach. "Andy Laverne Plays The Music Of Chick Corea" (Iazzline)." "Magic Fingers" (DMP)." "Letter From Evans. ''True Colors" (Pony Canyon). composer and arranger with the Stan Getz Quartet.A recording featuring bassist John Patitucci. Donald Byrd. Eddie Gomez. Bob Brookmeyer. As a teenager. . Later on he also studied jazz with Don Friedman. New for 1991 is an L. Eddie Daniels. "See How It Feels" (Brubeck/Laverne Trio. His first instructional video. Bill Watrous. He has also served as an adjunct professor of music at The University of Bridgeport. Andy Laverne's professional career includes three years (1973-1975) with Woody Herman's big band and four years (1977-1980) as pianist." "Standard Eyes" (SteepleChase). Berklee College of Music. Miroslav Vitous." "For Us. Sonny Stitt. Andy LaVerne is the recipient of three Jazz Fellowships from the National Endowment for the Arts (1984." "Keyboard. He has also played and recorded with Frank Sinatra. He continued his classical studies with John Ranck. "Natural Living" (Musidisc). Andy Laverne enrolled at the age of 8 in the Iuilliard School of Music as a classical piano student. David Liebman. 1989). John Abercrombie. clubs." and other publications. 1987. and also studied composition with composer Karel Husa." "Keyboard Classics. His growing list of recordings as leader includes "Another World." "Frozen Music. Laverne discovered jazz by listening to "Monk's Dream" by Thelonious Monk on the radio." "Fountainhead. laVerne has been the subject of feature articles in "Downbeat. and he continued the study of music at the New York City High School of Music and Art. he is a frequent contributor to "Keyboard. Eddie Harris. Mel Lewis. Jackie Byard.Andy laVerne Born in New York City on December 4. "Andy Laverne's Guide to Modern Jazz Piano. His collaborations with Chick Corea resulted in the highly acclaimed album. Scott Hamilton. Shelly Manne. Dizzy Gillespie. who became his first jazz teacher." When not touring North America and Europe playing concerts. tentatively titled ''The Pleasure Seekers" (friloka).

O. If you wish to cancel your subscription at any time.._. Playing and learning has never been easier . P.~S2ix~==:::::"_E=====:_--. ~ )~'.. Clare Fischer for a l-year subscription.. you'll receive full Special Offer! arrangements of the great stanYour purchase of this book entitles dards and exciting originals by you to a 10%discount on your new the leading performers of our subscription oron a renewal ofyour time. :~. rhythm. the quiet elegance of Mozart .--' . times a year.. • FOR THE BEGINNING STUDENT A MAGAZINE WITHIN A MAGAZINE: THE NEW PIANIST For early level pianists...~.. From the stride sound of Fats Waller and the jazz improvising of BillyTaylorto the pop virtuosity of Roger Williams. Judy CarWrite down your name and address (including zl......""-' . In each and every issue there are columns on building technique.. Box 58843..(f $13. Or use and others! your MasterCard or Visa (include And you'll get step-by-step expiration date and account number). each issue of Keyboard Classics contains The New Pianist. • ADVICE FROM THE MASTERS With artistic advisors such as Van Cliburn and Andre Watts. And every issue is filled with surprises you won't find anywhere else. Boulder. enjoy and memocurrent subscription..O.. the best music we can find by premiere keyboardists such as HOW TO ORDER Herbie Hancock.. becoming a better musician. But it's more than that . Or use your MasterCard or Visa (include expiration date and account number). L .. Dick Hyman.J" -. the fire of Beethoven . Matt Dennis... Bob enclose acheckfor~$18. or more enjoyable! Your purchase of this book entitles you to a 1~ discount on a new subscription or on a renewal of your present subscription. Mail to The Piano Stylist. Oscar Peterson.The soaring melodies of the Romantic Era .P__ ~o_d_e).00 James... Box 58838._. Mail to Keyboard Classics..$)6. and the jazziness of Gershwin. the magazine pianists all across the country are hailing as the greatest selfimprovement vehicle ever created for today's keyboardist... substitution.. It's all here ....and michael. simply inform us and we'll refund your money for all remaining issues.. __ .. Dave Grusin..P. month after month . to play... There are ten or more pieces in each copy of Keyboard Classics.i~. If you wish to canthe trade. so order today! Special Offer Special Offer Special Offer HOW TO ORDER Write down your name and address (including zip code) . Dept 5R261... Dave Brubeck. understanding music and the ins and outs of piano playing.. Keyboard Classics is filled with the best music lessons you'll find anywhere.So order today! rize . technique and cel your subscription at any time. tricks of CO 80321-8843..over 500 years of golden classics.9:... The Piano Stylist TheJournalO/Pop Keyboard Techniques! What do George Shearing. theory. Peter Nero and Marian McPartland have in common? They all teach in The Piano Stylist! It's the journal that will show you how to do it all.. featuring easy pieces and arrangements of the great classical themes that anyone can play! Plus technique and theory lessons.:: ~~ =--=.92 for a 1-year subscription.:~'~f··~~~:... The Piano Stylist is your guide to the styles and techniques of pop and jazz piano. Dept lessons on harmony and chord 5R261..... and enclose a check for ... Practical advice from top simply inform us and we'll refund professionals! your money for all remaining issues.. . Boulder. CO 80321-8838.. .

.. 7 Week Requires Just 20 A Day! * A Complete Guide TheyKeyboard To Chords And How Work! * For Musicians Of All levels! YOUR GUARANTEE If. * * * HOW TO ORDER * * * For Fastest Service On Credit Card Orders Call Toll Free 1-800-641-9797 24 Hours A Day. So order your copy TODAY! Chords And Harmony Here's the method to make keyboard harmony easier than ever to understand and to play! In just 20 minutes a day. clear explanations to make major . Ask for product #906750 . .. 21681-1950. The 20 Minute Chords & Harmony Workout is the most fun you cari have while learning to be a better musician! There are games and workbook drills to keep you fascinated as you discover just how easy it can be to master the rudiments of keyboard harmony.00 postage and handling payable to Songbooks Unlimited (NJ.O. . diminished . enclose check or money order for $15. MORE THAN A DICTIONARY The 20 Minute Chords & Harmony Workout is so much more than a chord dictionary.95 plus $3.. varieties of colors they can produce. the material is presented in a stepby-step method of programmed learning . . . We will ship with full 30-day guarantee. Mail to: SONGBOOKS UNLIMITED. how they act as the foundation of all music. and all it takes is 20 minutes a day! What's more. You'll find music and diagrams covering the basics. inversions.. . P.. thirteenth chords and others easy to understand. Ridgely M. payable to Songbooks Unlimited. Best of all. augmented .•• Step-By-Step! For Everyone! * The Amazing NewMinutes Course ... ways they are put together to form musical patterns. you'll learn everything you could possibly want to know about building chords. for any reason at all.Everything HJu Uilnt To Know About Keyboard Harmony . Specify product #906750. chord progressions and more. bursting with information on the way chords are used. No questions asked! Youhave absolutely nothing to lose.. eleventh . ninth . 7 Days A Week! Use VISA or MasterCard. seventh . .D. you are not completely delighted with The 20 Minute Chords & Harmony Workout. with fun-filled drills and superb. . Within days you will feel that you know elementary theory and chords better than you ever thought possible! Write down the number of copies of The 20 Minute Chords & Harmony Workout you want. IA and NY residents please add sales tax). Box 1950. playing chords and understanding chords. For each volume ordered. sixth . simply return it within 30 days for a full refund. minor .

The Book Every Musician Has Been Waiting For!

All The Right Changes
THE BEST CHORD CHANGES AND SUBSTITUTIONS FOR 100 MORE TUNES

Every Musician Should Know
HERE IS JUST SOME OF WHAT YOU GET! StarDust Alexander's Ragtime Band Witchcraft Autumn Nocturne The Boy Next Door All Of Me Like Someone In Love Here's That Rainy Day Imagination From This Moment On But Beautiful The More I See You Stormy Weather My Blue Heaven Back Home In Indiana Harlem Nocturne Darn That Dream Forty Second Street Bye Bye Blackbird On The Sunny Side Of The Street When You Wish Upon A Star My Melancholy Baby It Had To Be You Between The Devil And The Deep Blue Sea 100 ESSENTIAL TUNES IN ALL!
Dick Hyman's first volume of 100 great tunes with the "secret" chord changes used by the pros was a smash hit. Ever since its publication, musicians everywhere have been asking for a sequel. "For the first time 1 know how to create those great professional sounds when 1play," wrote one of Dick's fans. "I can't wait until a second collection is available." Now it's here! Essential Songs Great Chords And it was well worth the wait! Here are 100 of the most beautiful, most requested, timeless standards, with Dick Hyman's fabulous chord substitutions! These songs are an essential part of any musician's catalog. From Alexander's Ragtime Band to Zing! Went The Strings Of My Heart,here are the ABC's of pop music as they have never been presented before! Each and every tune in this book is a winner: These Foolish Things, Who Can I Turn To, Let's Fall In Love, Here's That Rainy Day, Autumn Nocturne, Cherokee, I Could WriteABook, Solitude, Polka Dots And Moonbeams, Wrap Your Troubles In Dreams, Indiana, Willow Weep For Me, Dancing On The Ceiling, Lullaby Of Broad way and many, many more! And they all have the special chord changes used by the pros, as only Dick Hyman can give them. Your Guarantee We are sure this new volume of standards, created and annotated by musical great Dick Hyman, will earn a very special place in your music collection. But if you are dissatisfied, for any reason at all, simply return it within 30 days for a full refund. No questions asked! So order your copy TODAY!

To order, write down you name and address (including zip code), and the number of copies of ALL THE RIGHT CHANGES you want. For each volume ordered enclose check or money order for $22.50 plus $3.00 postage and handling payable to Songbooks Unlimited (NJ & IA residents please add sales tax). Or CHARGE IT to your MasterCard of Visa. Include your account number and expiration date. Mail to: SONGBOOKS UNLIMITED, P.O. Box 1950, Ridgely M.D. 21681-1950. Be sure to ask for catalog #902155. We will ship promptly with full30-day money-back guarantee.

* * * HOW TO ORDER * * *

For Fastest Service Call On Credit Card Orders Call Toll Free 24 Hours A Day, 7 Days A Week! Be Sure To Ask For Catalog #902155

1-800-641-9797

Wistful ... Romantic ... Contemplative ... Bluesy .•. 'Iranquill

PURE PIANO ENJOYMENT FROM A MASTER SONGWRITER!
By the composer of such hauntingly beautiful standards as "Angel Eyes," "Everything Happens To Me," "Violets For Your Furs," and "Let's Get Away From It All," here is a very special collection of moody ballads and soft meditations for plano. Let your mind and fingers float through this musical fantasy world, as your ears are caressed by the warm melodic and harmonic touch of the one and only Matt Dennis. A PIANIST'S COMPOSER Matt Dennis has the gift of song. His work has been recorded by Frank Sinatra, Tony Bennett, the Tommy Dorsey Orchestra, J0 Stafford and so many others. In this collection he shares his lyrical, quieter side that truly reflects his love of the piano and its many colors. This is music to treasure by one of today's genuine masters. YOUR GUARANTEE We are sure you will be delighted with Matt Dennis' Midnight Piano Moods. But if, within 30 days of receiving your copy, you do not wish to keep it, simply return it for a full refund. No questions asked! You have absolutely nothing to lose. So order your copy TODAY!

INCLUDES 12 SPECTACULAR ORIGINAL PIANO COMPOSITIONS!
A Time Within Warm Colors Liquid Wind In The Soul To Be In Love A Pensive Mood Comes Over Me Where Is My Yesterday Last Love Spring Isn't Spring Anymore A Chorus Of The Blues Illusion Where Are You Now?
To order, write down your name and address (including zip code), and the number of copies of Midnight Piano Moods you want. For each volume ordered enclose check or money order for $9.95 plus $2.00 shipping and handling payable to Songbooks Unlimited (N] & IA residents please add sales tax). Or CHARGE IT to your MasterCard or Visa. Include your account number and expiration date. Mail to: SONGBOOKS UNLIMITED, P.O. Box 1950, Ridgely M.D. 21681-1950. Be sure to ask for catalog #920454. We will ship promptly with full 30-day money-back guarantee.

* * * HOW TO ORDER * * *

For Fastest Service Call On Credit Card Orders Call Toll Free 1-800-641-9797
24 Hours A Day, 7 Days A Week! Be Sure To Ask For Catalog #920454

New From Dick Hyman!

• Professional Voicings • Substitute Changes

Solo Piano Sketches *
*
By popular request, Dick Hyman has taken some of the best loved standards from his two fantastically popular fake books - the ones with lead sheets showing the special chords professionals use - and has written down, note for note, complete two-hand versions of each! Now, you can see exactly how Dick "voices" his chords when he plays these tunes .. , how he inserts countermelodies to fill out his harmonies ... how he uses bass lines to smooth out and complete his chord progressions.

Hyman's

Dick

Fully Written Out Arrangements By Dick Hyman Of Songs From His Fakebooks! Complete Voicings And All The Professional Touches! 20 Golden Standards!

Includes
Bye Bye Blackbird Memories Of You Darn That Dream But Beautiful All Of Me I've Got The World On A String The Boy Next Door April In Paris Body And Soul Dancing In The Dark Embraceable You I Only Have Eyes For You I'll See You Again It Had To Be You Lonely Town Poor Butterfly What's New You And The Night And The Music You Are Too Beautiful Alone Together

*

You'll be thrilled with these basic but professionally polished versions of your favorite tunes. They are easy to play, but filled with the sophisticated musical charm that only Dick Hyman can produce! We are sure you will be thrilled with Dick Hyman's Solo Piano Sketches. But if you are unsatisfied for any reason at all, simply return it within 30 days for a full refund. No questions asked. You have absolutely nothing to lose, so order your copy TODAY!

Your Guarantee

To order, write down your name and address (including zip code), and the number of copies of Dick Hyman's Solo Piano Sketches you want. For each volume ordered enclose check or money order for $12.95 plus $2.00 shipping and handling payable to Songbooks Unlimited (NJ & IA residents please add sales tax). Or CHARGE IT to your MasterCard or Visa. Include your account number and expiration date. Mail to: SONGBOOKS UNLIMITED, P.O. Box 1950, Ridgely M.D. 21681-1950. Be sure to ask for catalog #909051. We will ship promptly with full 30-day money-back guarantee.

* * * HOW TO ORDER * * *

For Fastest Service Call On Credit Card Orders Call Toll Free 1-800-641-9797
24 Hours A Day, 7 Days A Week! Be Sure To Ask For Catalog #909051

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