Arranging & Reharmonization Course

Click here to get a preview:

www.gondolamusic.co/arranging-reharmonization
My new course is scheduled to be published on September 29th!

Five hours worth of video instruction covering the following topics: modulation, 3-dimensional
chord harmony, transposition, cadences, song structure, genres, transitions, polychords,
textural movement, voice leading, reharmonization hacks, arranging, and more…
Tailor this course to your exact learning goals, by choosing from multiple learning paths. Also,
each lesson is marked by difficulty so you can easily see which lessons match your level.
Guide manuals. Written homework. Video lessons. The course is segmented into 10 weeks of
learning, with PDF manuals to guide you as you watch the video lessons. Feel free to take as
much time as you need to complete each week, and skip around to different weeks should they
be more relevant to your practice.
This course was created with input from leading piano instructors from around the globe.
Included is Timothy Gondola’s Jazz Starter Book, the 25-page essential jazz guide for every jazz
learner.
Each week is comprised of:
- 2-6 video lessons
- Key Familiarity Exercise
- Lesson Guides (PDF)
- Homework assignments (PDF)
- Exercises (PDF)
 Mary Poppins Medley
As Played By Martin Spitznagel

Composed by Transcribed by Timothy Gondola


Richard and Robert Sherman tgondolamusic@gmail.com

                
  
 = Swing Fm Fm/E A♭/E B♭/D

       
 

  
 



      
          
D♭ Fm/C G7 C

 
6

     
         
     



             
  
10 Fm Fm/E A♭/E B♭/D

   
          



  
          
D♭ Fm/C G7 C7 Fm

 
14

     
    
    
 

www.timothygondola.com www.patreon.com/timothygondola

          

   
D♭maj7 Fm/C C /G


18


    
      
  







     
  
     
 
21



   
F B♭/F F

    
   


        
      
  



25

 C 
    
 
B♭/F F


G7

    
 


            
  

 
29 F

        
   
       
3





 

         
 
 
33 E♭

    
            





2 www.timothygondola.com www.patreon.com/timothygondola
 


       
     
 
38 D♭

        
             





  
     
     
 
43

     
   
Gø7 C

  
 





    

47 F7 Gø7 C7 F7 Gø7 C7

         

          
     
  


   C7/E    
    F7   B♭m7
 
              

 
51
Fm

    
        
  
    
   


       
                 
   
 
     

    
B♭m7 C7


55 A♭6 G /B

          

        
   
    
www.timothygondola.com www.patreon.com/timothygondola 3

      
    F7   B♭m7
 
                     
C7/E

 
59
Fm

         

   
    
  



    A♭6 
   
                     C  
      
      
63 B♭m7 Gadd♭6 Fm7

         

  
     
  
     


               
               
B♭m7/D♭ /E♭ C7


Fm7

    
67

      

        
   
  




     
Fm

 
70 Fm7/E♭ B♭m7/D♭ C7 Fm Fm7/E♭ B♭m7/D♭ C7

         

         
    
   


              
                           

  
74 Fm C7/E F7 B♭m7

  
      
        
   
    
  

4 www.timothygondola.com www.patreon.com/timothygondola

   A♭6       
                 

 
      
    
B♭m7 C7


78 G /B


 
          
        
  
     


  
 
  C7/E     
   
    

 
                                
82 Fm F7 B♭m7

        

    
     
   


    A♭6
      
                     
     
B♭m7

  
86 G Fm7

     

    
         
   
    


   /E♭ 
  
              
          
B♭m7/D♭ C7


Fm7


    
90

   
        
 

   
  


F
     
 
93 Dm G C7 F Dm G C7

             

         
    
   
www.timothygondola.com www.patreon.com/timothygondola 5

       
          F
      
          
  
  
97


F7   
       
           

B♭ Bο7 C7

       




     
        

   
          

  
     
 
101

Bο7  C7 
     
G7 
 
                   
C7

     
B♭ Dm7

   



    
          
                   
    
           
105


F7 
   
                       
B♭ A7

        


          
         

      
      

     
109 B♭ Bο7 F7/C F A7

             

   
          
  




    
              

        
         
Dø7 A7/E Dø7 A7/E


113


         

   
  
 



    
   
6 www.timothygondola.com www.patreon.com/timothygondola

 A7
   /E 
                                      
   
117 Dø7 F6 C7

 
             
          
    
   


         
              
        
C7/G

              

C7/G

 
F F

   
121


        
          
 
     
   


 F7
     A7

                     
   
C7

        
Dm7

          
125

            

                   
     




              
   
    
           
       
B♭


   
129 F7 A7

 
           
              
  
    


    
      

 

    
    
      
133 B♭ Bο7 F /C C7

         



 
 
 
 



    
 
www.timothygondola.com www.patreon.com/timothygondola 7

    C7
 D♭7
                

              
136 Fm7 B♭m7/E♭ D♭7 C7 Fm7 B♭m7/E♭


         
                
    
   


    
                   
   
B♭m7


140 Fm C7/E F7


 
         
       
    
   


                 
            
          
144 B♭m7 A♭6/C G /D C7


            
      
 
      


       B♭7 
         
        
                                

 
148 Fm C7/E F7

           

      
  
    
   


             C        
   C7 
     
B♭7 A♭6/

              
Fm7


152

       

             
    
  

8 www.timothygondola.com www.patreon.com/timothygondola

  /E♭        C7
     F
   
                  
B♭m7/D♭


Fm7


    
156

    
          
          
 


                            
        
B♭6 B♭7 F7

      
160

        
   

          
    
    


      B♭6   
             

                      
F7

   
164

    3      
                
    


            
  
         

                
B♭7 E♭6

 
168


              
       
      



      /E                 
                         
E♭6 C7 B♭/F B♭/D F7 B♭7
172

     
        
        
       
       

www.timothygondola.com www.patreon.com/timothygondola 9
 


 
    
             E       
C7/E C7/


B♭7

 
176
B♭/D B♭7 E♭6

        

   
         
   

       




 
                                       
C7/E

 
180 E♭6 E♭6 B♭7

           

               
        
  



                            E
            
B♭7 Fdim

 
184
C7 /

             


             
  
      
   


                           
                
A♭6


  
E♭6

  
188

        

              
     
 


      D /A      
            
   
   
      
A♭6 E♭6/B♭ E♭

         
B♭7

 
192

 
        
           
          

10 www.timothygondola.com www.patreon.com/timothygondola

  
             B♭7  /G♭
                
A♭6 A♭ο7 E♭6/B♭ E♭6/G


196

         

                 
        


   


    
 B♭7 
                
E♭6/G

            

        
200 E♭6 Fm7 F♯ο7

             

          
       
 


     
                   

E♭6/G

           
A♭6 E♭6/B♭


A♭ο7

   
204

         

                 
        



 B♭7
          E♭
      
      
         
208


      
        

   
   
      
 


                  
                     
A♭/E♭ E♭

        
212

               
                 


www.timothygondola.com www.patreon.com/timothygondola 11

      
  
 
 
 

E♭        
              
      
B♭7/D

      
   
216

   
           
               
      
  


                   
                    
A♭/E♭ E♭


         
220

               
                  



     
             E♭
B♭7/D

 
  
      

224

 
    
           
              
    


      
   A♭ο7         
                        
A♭6 E♭6/B♭


     
  
228


       
    
      
     


  B♭7/G♭    B♭7
            
                       
E♭6/G


    
231

    
       
         
    
     
 
12 www.timothygondola.com www.patreon.com/timothygondola

         
          
            
A♭6


             
E♭6 Fm7 F♯ο7 E♭6/G

  
234

  
        
     
      
     


   A♭ο7            


     

    
                
E♭6/G

     
E♭6/B♭


    
 
237

 
         
      
      
     


        
 B♭7   E♭
   
                     

E♭7/D♭


   
   
240


       
  
 
    
  
   
 


             
                        
       
243

     
    
A♭/C A♭m/C♭ B♭7 E♭

         
           

www.timothygondola.com www.patreon.com/timothygondola 13
 Transcriber’s notes
Hey! I hope you enjoy this sheet music. I transcribe entirely by ear. To me, transcriptions
ought to be both a playable score, but also a historical record of what the original
musician played. To this aim, I labor to convey the detailed melodic nuances and
articulations of the pianist. Here are a few “Timothy-isms” you may encounter in your
score.
Melodically implied ghost note Note that the pianist approached but barely hit,
in a melodic manner.

Percussively implied ghost note Note that the pianist approached but barely hit,
in a percussive manner.

Slapped notes/chords Chord that’s hit like a slap.

Octave/near-octave chord, where the palm plays

Palm clusters a cluster of notes in the middle.

It’s important to distinguish between

Appoggiatura appoggiaturas (no line) and acciaccaturas (line).
Appoggiaturas are also known as forefalls: the
notes land on the beat. Acciaccaturas on the other
Acciaccatura hand (also known as backfalls) hit before the
beat.

Stand-in for melodically and percussively implied

Implied ghost note ghost notes.

Note that the pianist meant to play, but didn’t

Implied/missed note fully press down.

I sometimes use this peculiar way of tying, to

Ties reduce clutter and notate more neatly.

Sometimes the improviser plays the notes

Delay/behind the beat slightly behind of the beat (e.g. the first f on the
left would land slightly after the first beat starts).

Ahead of/in front of the beat
Transposed Clefs
Sometimes the improviser plays the notes
slightly ahead of the beat (e.g. the first f on the
left would land slightly before the measure
starts).
Transposed clefs are sometimes a cleaner way of
designating 8va and 8vb markings. You play
everything one octave higher, or lower.

You may come across such slurred appoggiaturas

= in my older transcriptions. The slurred e is to be
Chords played with the chord, and the higher note, f in
this case, follows after the chord’s been played.

Inverted Fermatas This just means to play the opposite of the

fermata. Instead of holding the note for a little
longer, hold it for a little shorter than written
length.

Quick Rolls/Arpeggiation A very quick arpeggiation.

 24

Gondola Music Resources

Courses (gondolamusic.co/courses)

Notes (gondolamusic.co/notes)

Blog (gondolamusic.co/blog)

Modes & Scales (gondolamusic.co/shop/scales-modes)

Tutorials (gondolamusic.co/shop/tutorials)

Transcriptions (youtube.com/@timothygondola)