PG Music - Jazz Pianist

@001 As Time Goes By, written by H. Hupfield, is performed in a solo stride style which incorporates
many of the pianistic elements of Fats 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
cliché 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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