UITA

THE COMPLETE CHORD MELODY METHOD
STEP-BY-STEPESSONS AND 20 SONGS INCLUDING L All the Things You Are, Bluesette, In a Sentimental Mood, and Stella by Starlight BY Bill HART

About the Author Introduction Chord Melody Concepts Diatonic Substitution Minor Third Substitution Chord-Note Back Cycling The V Chord Chord Scales with Tension (using 71>9) Modal Chord Scales (Lydian, Dorian, Mixolydian) Ascending and Descending Bass Harmony Contrary Motion Walking Bass Lines Lines in the Spaces Chord Melody Songs All the Things You Are Blue in Green Bluesette Cherokee 500 Miles High Giant Steps Here's That Rainy Day ~ How Insensitive I Could Write a Book In a Sentimental Mood :

4 5

6 7 8 9 10 11 12 12 14 15 17

19 2.2 23 25 28 30 31 33 36 38 40 42 45 ' 48 50 52 54 56 59 62

Like Someone in Love My Favorite Things My Funny Valentine My One and Only Love My Romance Stella by Starlight There Is No Greater Love There Will Never Be Another You Windows Yesterdays

3

C.

'

anadian born and raised, Bill Hart started out listening and playing blues. At 15 years of age, he moved to the U.S. (Jacksonville, Florida) where he played in jam sesplayers including Alan Collins University with

sions with many professional

and the Van Zants. From there, his deep interest in musk led him to pursue music studies at Jacksonville Gary Starling, head of the guitar department. Bill then decided to move to Los Angeles to study at the Guitar Institute of Technology (GIT). Working his way through school as a pit orchestra player, Bill studied all types of music from rock, pop, and funk to Latin, Cuban, fusion, and jazz. Dedicated and driven to learn all GIT had to teach in music, Bill graduated with honors to start his career, Ready to move to New York City his plans when Steve Bill changed

Freeman, Presi.dent of Atlanta Institute of Music (AIM), called him and offered him a position as guitar instructor at his school in Atlanta, Georgia. Bill began teaching at AIM and is now the head of the guitar department. some of music's finest players, such as Peter Erskine., Chuck Silverman, sessions for Atlanta-based for the recording producers He has done seminars with

Robbin Dimagio, Jimmy Herring
IS

(Aquarium Rescue Unit), and Shane Theriot (Neville Brothers guitarist). He has played on several recording Randy Hoexter, Huston Singletary,. and Tom Kidd. He Jazz Festival). and Wayne and the guitarist group Liquid Blue, who have opened for Mike Stern, Dave Weckl, Lou Rawls, Joey

DeFrancesco, Acoustic Alchemy, and the Yellow Jackets (Jacksonville

Bill continues to study music with jazz legends Mike Stem, Steve Khan, Scott Henderson, your growth as a musician. Studying and playing guitar for 25 years, Bill Hart's music is a compilation contacted at: Atlanta I.nstitute of Musk CIO Bill Hart 6145- D Northbelt Parkway Norcross, GA 30071-2972 email: canuck@mindspring .. om c

Krantz. As an instructor, he knows that continued study enhances your playing, teaching, composition,

of the many styles he enjoys ..

His current vision is to continue recording and tour as a side man with a major recording group. He can be

4

NTRODUCTION
have taught guitar at the Atlanta Institute of Music for the last 10 years, where one of my master classes focuses on the study of chord melody. Through this course, I have found that studying chord melody and reharmonizing chord melody. The first eleven units cover a variety of chord melody techniques first step is to study each technique extensively. understand the concept of improvising cake has several ingredients, harmonizing with an explanation of each one. The of these techUnits 12 through 31 then use a combination tunes is one of the strongest music-learning experiences available. I have taught students from all over the world, with interests in all styles of music, and have seen them all benefit from studying

niques in twenty familiar jazz standards. One of the analogies I use in my master jazz class to help students is to compare soloing and reharmonizing tunes to making a cake. A one being salt. Making a cake with nothing but salt would be the same as re-

or soloing with only one concept. Feel free to take the liberty to enhance any of the techniques

in the songs. For example, if you have a chord on a quarter note with three quarter notes following, try voicing the chord to play through the whole measure, giving you the harmony with the melody over it. Some other examples would be to try using false harmonics as the melody or to play single bass notes with the melody on top to create implied harmony. Jazz is wide open; the main rule to follow is: if your ear likes it, it's right.

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5

CHORD ME OOV CONCEPTS
DIATONIC SUBSTITUTION
iatonic substitutions
occur when chords in a harmonized are: scale are used to substitute for each other. The types of diatonic substitutions • II subs for IV, and vice versa • V subs for VII, and vice versa • I, III, and VI chords are all interchangeable

Substituting 1/ for IV and IV for 1/
Using Fmaj7 in place of Om7 creates a Om9 sound. Conversely, ate an F6 sound. In Fig. 1, we have a I-VI-II-V progression. to substitute for Om? (the II chord). Fig. 1
maj7 Am7 Dm?

using Om? in place of Fmaj? will cre-

Measure 3 uses Fmaj? and Fmaj13 (the IV chord)

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Substituting Vfar VII and VII for V
Using G? in place of Bm-n,5 creates a Bm7b5#5 sound. Conversely, using Bm?~5 in place of G? will create a G9 sound. In Fig. 2, we again have a J-VI-II-V progression. The first half note in measure 3 uses Fmaj? (the IV chord) to substitute for Dm? (the II chord). In measure 4, the first half note is Bm-n,5 (the VII chord), substituting for G? (the V chord), creating a G9 sound. Fig.2
'maj? Am7 Om?
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maj 7 Am7

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Substituting /, 11/,and V/ interchangeably
Using Cma]7 in place of

Em? creates a Em7~5 sound. Conversely, using Em? in place of Cmaj? creemaj?/E. Using Am? in place of Gmaj? creates a C6 sound. Conversely,

ates a.first inversion of Cmajl-or

6

!: n ~ -------3 u 7 . "7 III sub.. .using emaj7 in place of Am7 creates an Am9 sound. Fig.V7 Minor 3rd Substitution Am7 . ~ . I substituted the II chard (Am?) up a minor 3rd to em?. II in G major. I've substituted In measure the I-VI-II-V using Am7 and Crna]? and Em11 for Am7 (the VI chord)..J . 'T' v A ! u ::I -....II .._.. Grnaj7 --------------- ~ • I_~ -~ I ~~ minor 3rd sub.... the first half note uses Fmaj7 (the IV chord) to substitute for Om7 (the II chord).J . Gmaj7 -"1- ~ I I II -----=======----u- .. In measure 2. VTI IT G7 I~ II Ij . and finally to Gmaj7 (the I chord).. .. D9 ~I • . sub. then takes eithe r th e II ch ord.J r Am7 r Em7 IF Cmaj7 I Emil Fmaj7 9- r Dmll n f-' G7 g Bm7P5 i.. ~ I sub.. Fig .?f____________ ~ " "7 "T 8- -5 5 i! r: -B A " " :. Fig. ~ I -€i• VI OJ sub "T u " A ! .. 3.J ... Fig. II I~ . creating a G9 sound.J • minor 3rd sub. IV ~ :: U e @ . . resolv- D7 I Gmaj7 -.3 -[ Cmaj? Dill 7 ~ . In Fig.4 -lIm7 Minor 3rd Substitution AJn7 I D7 Gmaj7 . a r both th e II and V up or dawn ami no r to 07 (the V Chard).- Fig. ..:: ~ . 5 . 4 has a II-V-I progression in G major. In measure Am7 4..sub. I'" em7 ._. Am7 _. F7 ._. 3..! e w ~ " " ::I . . the V chord.J I ~ sub. " ~ u Ed ! ~ MINOR THIRD SUBSTITUTION A minor 3rd substitution 3rd before resolving to I. I've reharmonized Em7 to sub for emaj7 (the I chord). 5 has the same II-V-I progression ing to Gmaj7 (the I chord). the first half note uses Bm7~5 (the VII chord) to substitute for G7 (the V chord)..e v ~ )I v . v x 1 " '7 . only I've substituted F7 for 07 (the V chord).

Il. 7 . You can experiment II-V line over Cm7 and F7 and resolve it to Gmaj7. -8" "T ..~ .. -5 !.::.. Fig.. :t § u ----s 4 a ~ u -----i x .. Fig._ Ie -. .Ohord-Note-Note-Note Dm7 1\ b~ I G7 Cmaj7 • 1 +r"'" Cmaj7 •• I • ~~ -fL -:r:Cg6 -!:: if.... or three single melody notes. . 8 has a 1with this in a 4/4 time signature to create in 3/4 using this concept.. -#- . 6. I: 2 ~ " ~ ~ I creFor i Play through these examples and let your ears be the judge..__ ~ • -.. playa of a diminished Remember: this concept is endless. I ~--J:j ~-. Try experimenting feels. followed by one..J .J. CHORD-NOTE Chord-note playing is just like it sounds: you hit a chord.it with soloing using the same concept.J 1\ II . I've substituted the Am7 and 07 (the II-V) up a minor 3rd using Cm7 and F7.In Fig. A chord followed by three notes (chord-note-note-note) V-I progression using this concept. • . Cm7 6. -I' .. ---l.~ F7 • J -- I.- 3 --~ . two. Dm7 G13~9 " . -- minor' 3rd sub. "T )! )( Y ~ ~ .:: Cm7 ...! --L" .. " '7 'Y In 'w Playing a chord followed by two notes (Chord-nate-note) VI-II-V progression some interesting three-against-four-type Fig.z u 5 :. By moving in minor 3rds. c w .I. 8 . sound.. 7 has a 11- Fig.. works well with uptempo tunes. F13b9 F7 Om7 I • 01 .J 1\ 1\ I • B~U1aj7 -fL ~ _..." [nino!' 3 r d sub.r- ~ v u " :: v 'J ~ ~ ::! II U e Y 7- n ~ :..Chord-Note-Note B~maj7 Gm7 sounds best with tunes in 3/4. ~ "T -B B 4 x " u 6. before resolving to Gmaj7 (the I chord).J b . _ • _" b~ .Um7 and V7 Minor 3rd Substitution Am7 1\ I0Io D7 Gruaj? . 6 . iI ~ Gmaj7 J.Il... ates somewhat example. This is a very hip way to create some different sounds for a II-V-I progression. Fig.__ . ~ em? oJ [g -iI 1 h. f: f: f'L ~ -1:1 .

G7 is the V of C and Om7 is the II chord.f u 11 " ~ ~ ~ u 9 .. :. .. 'v . .:: w -1 w 't ~ Fig. .------.... " v BO I c. Fig... 11 ... s-----------.~~-G- - ____j_J -T~ 11 n w _n_ -:.. 9 has a II-V-I progression Fig. 4 J .f:: _..1ons Dm7 G7 _tt.. .. --========-- ri: .. .. ~ ll( e: ~ .. ~ T }:t J.-..---tl ._ -('- - 1:C6 9 f- -f- l' Dm7 Gl3~9 " oJ I b_. 10 ._ I .Back Cycling with Trltone Substitul. ".J R'" Em7 n ~v. . :: )l .. The D~9 in measure 2 is subbing for G7." -3:~-&'l mtcne suh. '!i . .- Cmaj7 J • _. .ll b_. 'v BACK CYCLING The key to back cycling is imagining the chord you will be resolving to and counting backwards via the V chord. )( u . .. 9 .. ':l .. and the ilar to a big band sound. .Back CycHllg from I Dm7 to put a chord over each note. oJ =* Dm G _.i=!. 6--ffi( .. I start at C and work my way backwards cept with as many notes as you want depending FIg.: . 10.. I ~ 0 ~ E~ . I have a II-V-I in C major. Eb 9 in measure 1 is subbing for A7... except I replaced the dominant chord with a tritone substitution. til r'..Chord-Note Dm7 using this concept. Fig.. You can use this conon how busy you want the harmony. G7 Cmaj7 " 0) IICo' g ~'U~u Em A75 Dm9 G7'S maj9 " oJ 0 :6j. A7 is called VIII and Em? is the IINil1... '!i }I ~ )( . . )( _. -: . 11 is exactly the same as Fig... creating chromatic harmony sim- Cmaj7 .Alternating between chords and single notes (chord-note) works well with a tune that has a lot of melody notes at a slower tempo. 10. A W ~ 6 X 5 ~ x._ I .t rnaj? Cmaj71. eitone sub.. In Fig. Another concept to experiment with would be changing the minor chords to dominant chords...f"- ::: Cmaj7 ~ . . 0) Dm9 " D~9 I Cmaj9 .

~ ~ ':I 7l! 1 -ill .J .If I • G9 • 07 Cmaj7 G7 C~ G9 ·t I Cmaj7 GIl Cmajl J " ·oJ . -e . the next note is F#: over a maj7 chord we have to raise the 4th a half step (F to F#). 10 ... except the dominant chords have all been changed to maj7 chords.V7 of Ionian (Major) Cmaj7 " . 14 and 15 use the exact same concept as Fig. Dorian.. . creating Lydian. 12 .:: _. creating a softer sound and resolution to I. 6 '7. The first chord is C6. the 13th of G. the 9th of Cmaj7. With C as the melody note. Fig. which is the 5th of a G7. maj7 maj7 tritonesub. 15.Fig. A.Back Cycling with Maj7 Tritone Substitutions Dill7 . ~ 3 :! 3 " . 1:1 ~ ~ "1 ~ )( x ~ ::' .. 131 except the Dorian scale is used in Fig .. 14 and the Mixolydian scale is used in Fig.0. The next note is 0. or Mixolydian scale and places the V chord on every other note. better known as the C major scale. . " ~ ~ :: 013 Cmaj9iJ 1 8va -" . The next note is C-only C6/9.. the next note. the 3rd of Cmaj7. and resolves to Cmaj7. :. -e-~-e- T A ~ !:.. 12 is the same as Fig. the next melody note is 0. starting with C on top. then there's 8." h v " -6 ~ l'X f .... .I (Satter Sound) Cmaj7 07 tt'" Em7 E~maj9 D1l19 D~maj9 I ~'V~ ..~ '" Figs.I 0 v tritone sub.~ . C6 I .. the F note is the Fl1 over a emaj7 chord b7... THE V CHORD The V chord concept we'll examine takes the Ionian. v :. The V chord can always resolve to I. this gives us G 11.1'1 . Cmaj9 ~. n II . the next note is E. then G.. • ~ l :. (An sounds ugly.~ I~ 1':1' ~. 13 .. Fig.. the 5th of CmaJ7. ~ '" :.. " ~ 10 . iIo.n " . 11. the ~7 of G7. the root of a G9 chord. 13 is the C Ionian scale.. giving tension in the scale and releasing back to the chord used in the scale or mode. . next is F.) The last note is G. which is the 7th of this time we have a G7 chord instead of Cmaj7. is the 9th of G7. On a G7. x ~ 4 .-----------------"---. Fig. the next note is E....

16 C6 D07 C6 D"7 C6 0 C6 -e-b-e-e ... . ... .. 14 .'> ::. A 'I v . X !j '" v " ~ " . x ~ :: v a '> ::: v 'i 5 x . 16 and 17 use chord scales harmonizing C6 and Cm6.0. t: ~ --i 1 ...fl .0- Hi ~~-5 "Key signature denotes C Dorian. I :..J b -e-- Cm6 D07 _o._ -e-- -ue -e-- .. 15 ._ G13 Cll Sva -------------------------. respectively.~ I It 11 .: ~ ~ ~ n 5 J. strongly wanting to resolve to I.¥ *Key signature denotes C Mixolydian. G7 C7 G7 • 1 C9 G9 if" C7 C7 GIl C9 " .: 0- .....: ~ ~ v --iii ~ --<I ~15~ .9- . Fig.: --<I T • . The 7~g chord creates a lot more tension. .." 1. In these figures.. G7~519 COlli G9 oJ ::" ': . 11 -10 ...... Cm7 -#- .. G9 ~ ~ :: 4 3 :> .."" 1-5 Hi! J~ " .- .J '-iI- . te " Cm6 ~ ~ Cm6 0 A 0"7 fa Ib-e-- If :::: II: Fig. ~ '" 'i -~- ..... n ::. " oJ -e-.... '" § ")( 8 !j Hl ~ ':" .. 'a " V ~ ~ ~ ~ . the V chord is again alternated with the I-in this case creating a 7~g sound.: f.._. A diminished chord is the same as a 7~9 chord with no root (0°7 = G7~g without the root). A T ~ "' )( )( x . Fig.... 17 Cm6 " .I .. " CHORD SC.V7 of Dortan ----L..."" '" 11 "" .. ~ s:__ -1" a til .V7 of Mixolydian " .. l3 H II .AlES WITH TENSION Figs. _IL 8va ----------------------.. X Ii! u n't ..: 'i A 4. ~ .._) " * -- Cm7 1 .. A . '" ):' 9 "... G7 Cm? G7 Cmll G9 • 1 ~ Cm7 " oil Cm7 IL Gl'I -~ Cm9 I ~ ."n l!l +0 iJ\ ._.. • L1 Loll . T 'i ..Fig... '-iI ..

Generally. and major. 11th.Mixolydian C9 C7 C7 Cll (no 3[d) G9 C13 -e- ! C7 A~ II B ~i ~i C7 -eCII A (no 3ed) 19 i dQl .Lydian C6 _/j_ Cmaj9 Cmaj7 Cmaj9ill If C6 9 _O Cmaj 13i II -a. Practice playing up and down these scales just as you would sequencing the guitar neck. so four bass notes can be played. 20 . chromatically ascending. ~11th.. Fig. m7. On maj? chords. The three remaining notes of the scale are embellished and 13th.Dorian Cm7 Cm9 Cm7 Cmll CmIl Cm7 Cm7 . there are four melody notes before Cmaj?. HI I. i Cm9 ~ . use this until you resolve to the I chord (melody permitting). -e. Fig. The next step is to harmonize the bass with the melody.MODAL CHORD SCALES There are seven notes in a scale.. The difference is that you can approach below. that resolve to Cmaj7. -e-- Cmaj7hl !fA C6 9 Cmaj13 -e-e-- CmaJ9 Cmaj7~ll :g: -e-- ll= -e-- -0- ~:B: -0- ... 11 ~ 1-4 -xHi I Fig.t'h2o T\ ~ _'4 X .. minor. 20 uses C Mixolydian.g . I have given three examples using dominant..I ~ ~ ~ 3 -e- -e- -e- .. Cm7 -e- Cmll A (no 3rd) --e6 ! Fig. .:>: * ~ >l 10 3 3 ~ ~ _l!: X ~1 12 " " ~ " 8 1"0 Hi I'!' i':i' Hi . dam? depending on the scale). 12 . or 13th. r-B -4 ~ c.. and 13th. you can add the 9th. which indicates how many bass notes will be used. count how many melody notes there are. or tones-the 9th. 18 uses C Lydian. All examples use a II-V-I in Cmaj? The \I and the V are the chords that will be reharmonized on the way to Cmaj7. minor. ~ 3. 11th. an exercise. ASCENDING AND DESCENDING BASS HARMONY Ascending/descending bass harmony uses three qualities of chords: major. you can take the liberty of adding the 9th. This your key chord from above or concept is much like back cycling. This will help you learn many voicings of the same quality allover Fig.e--e-- 11 C9 -e-- C9 :B: ~ ::: 11 § JI :::' v . and dominant. 19 uses C Dorian. ~ '" ~ a 2 s Cm13 . A 8 ~ ~ f.~ u " x :: v ~ !.!.!. When seeing the symbol m7 and dom7. -e. try to stay with one quality-meaning that if you decide to use dominant. ~ 3 ~ )! 1:! ~ . and Fig. four of which make up a corresponding seventh chord (maj7. First.. 1B ."". For example. 19 .

and dam? Fig. II ~ ~ ~ except that the bass will obviously be descending.-... ~l t~ I Harmony I 07 Bomn ~ I i B- II Fig. creating a minor 3rd (or@9jinterval.: . " ~.ill tell you which ones work.:.Minor Asc'endingBass. The figures show what the chord quality would be using maj7. If J interval Ths second melody note is C and the were using maj?. creating a ~5 sound resolv.Major AscendIng Bass Harmony Cmaj9 I~. which creates a 6th or 13th sound... -e. 22 . --+-----11 -1'1 . Dm7 Clllaj7 -0 ~ fl I=qi_ ------+------'b!Ir. and the bass note is ~-a~5 bass note isA. The third melody note is G with B~ in the bass. B1maJI3 Bmaj7~5 Cmaj9 " ~ or A ! I If&- In: J.ing to emajl. II ----1It""------l--F+--i Cmaj7 . The fourth melody note is F with B in the bass. ·oJ Dm7 G7 ~ A~maj7i5 Arn(maj7) . Try experimenting with ascending and descending bass lines. min?.0' . bass harmony works exactly the same way as ascending bass harmony 13 .. but really use your ears because some of these will fall in the pocket and some will not work at all-your ears w. 21 .Harmonizing the bass and the melody The first melody note is E. 0 ----------- ---========---- . 23 . Fig.___________ - ----------I ·11 -0- or ! B Q.' q.Dominant Ascending Bass H'armony Dm7 fI 07 ·1 Cmaj7 &J ~ #719(15) () ft A719 b~ B~13 t: B7~5 Cmaj9 fI h'~ - g I &J bi:: 1·2 ~-2 ~-z. \:! V f. r could still use the minor 3rd by creating a m(maj7) chord.r B U 11 Descending -~ "-1 .

J " r-. ~~ Em7 E~m13 Dmll D~9 I Cmaj9 • -r-e- ~" .1'- I~ " -fk ..: --------------! _I_ -e _.J. may be a little more challenging.I HI ~ e . Fig....Minor Descending' 'Bass Harmony Dm7 G7 -I--L_I. and the bass is ascending._________.. -" u _1 a _~!l ----8-::.e-- -----------------·1 .. CJD D~maj9 I .. . 26.~- _If:~ r ----n--A CI - g R :~. r--.. 1" A o· . the melody is desoending. 28. f1 1 . In Fig. 27. 25 . the melody is ascending. . Cmaj9 r' -0- £6 9 . ." _i:: 19 '" Fig.Fig.t --I I I! '" ---------------------1 II - +I -0- ~ CONTRARY MOnON Contrary motion is like ascending or descending bass harmony.1 " -E~majl3 ~~ G7 Crnaj7 -----r---- •.. except that the melody and bass line move in contrary motion (in opposite directions). ln Fig..J E9 If!!~ : ol e ~ I CJD I Cmaj9 i -- II Fig.Major Descending Bass Harmony Dm7 I-®-00...('.Domiinan. Cma]7 1---".tDescending Bass Harmony Drn7 07 Crnaj7 . i" 2 ii. 29 contains a mixture of both. and the bass is descending. You take the same concept that applies to ascending and descendlng bass harmony-harmonizing the bass with the melody-but the direction of the melody will dietate the direction of the bass movement. and.24 ..

. L~ I"~ ~ . B~ll I ______________ 1-1 Bm9 Am7 #13 ~ Gmaj9 Jo! " aJ Jo! ~ ~ c..J --~ !+~-e-~-e- --. or backbeats. They will create the sound of another player walking underneath your harmonies and melodies.I ~ " :.I v D7 Gmaj7 .Fig.J T . I. approach the target chord from either a half step above or below. I 89 Cmaj9 " . On the backbeat.MIxed Contrary Motion I Dill 7 CI7h9kS " . then the harmany on the last eighth note of a triplet.. On the downbeats of 1 and 3...J J.. and the weak beats. 15 . .Melody Ascending. b:6 ~:6 bi iI . #13 A7 Bb 11 ...Harmony Ascending. 29 . " x X x ~ . ~ ~ ~-4I ~' ~=c: BI3bg E7b9bS 'Gb7b9 G7 Cmaj7 b~ b . are on 2 and 4. b?7 ~ b:::' ~ -u- ______________ -u- • A T ~ "7 . 4 Dm7 07 ~ Fig.J I C13 I i G7 I i F7#9 I ~ I Cmaj7 I Fig. 28 .. L. Melody Descending Cmaj7 " .J [)'-' ~u ______________ . 27 .~ • A ~ -- x )=: ~ a 4 '. Dm7 A . -e-- . The triplet is what makes it swing. :( WALKING BASS LINES Walking bass lines are an essential part of playing chord melody.. Harmony Descending Am7 " .. use the bass note on 1. f. '.: 9 ii -~ :: :. The strong beats are on '1 and 3.. ~ -------------=======------------- _--G- . v r " ~=: " v ....

The exception to this is when there arelwo would use chcrd-note-cbord-note.11 ~:J: 7 ~- " • ~ #:1 ~. 1- . 32 is a combinatton.. ~ ~ qT . D· 4 " ! 4 5 6 I .The following figures use a I-VI~II·V progression...- • J! .- 3 -I -:jJ e 1 b~ '" ~ G7~5 . " Cmaj9 r3 11:: -...- 3 - ....~ Am7 r 31 p--E Dm9 r 3 -:i ~ . . LJ" r> .'----oJ Cmaj9 r..- I: ---- Walking Bass Lines in F Blues This is an example of walking a bass line through an F blues using a chord-note-note-note with the. Fig.-'-+..----- ~ - 3 -------. -- Fig 32 --'j'. -~ 5-------" " " " Am? ~ :0 " ~ _X · · Fig 31 Cmaj9 " oJ T _A 0 . 31 approaches Fig. or -! A r"I 'L"I ..- 3 r'I LJ" . -1 A .4 § ~ " .. below. I ~ .... " +-- "1 bT . 3 0715 ---. 4-. " " 1 b:ot 5-- r 3 -.. Dm9 r b ~_.. Dm7from below.... " " -r- . . 33 approaches Crna]? from above.___.- ------5-- ~-. Fig 30 (.- .. chords in one measure.. 2 -s.J4 B. · · ..- 3 ~ : LJ'"' J===:!' .. 33 -_-&.... Fig..r #=i S q~ ~- . " a ..- -r · - ..- . Dm7 from above. note being the bass note.I- -f- #::i 7~ ... .. Am7 from below..I- "1 : -. you 16 .... " ·oJ - : LJ_ . 2-- ~:t " .. ..- -. . A...... " 07'5 - . " ':I -- . -7. approach.. . 30 approaches each chord from a half step above. " 3- 11 r-" 3 ---.... and G7 from below. " r= 3 ~ bT Am? r 31 -iiJ- Om9 . Fig.. · Fl'g. and G7 from above.. Am? from above. approaching emaj7 from each chord from a half step below...3 - Am7 r'l r 3 -~ Dm9 " . .. " .

the first melody note is played as a half note and filled in with a sixteenth-note line that corresponds with the chord qualities....· .! L-- I- jl :3 ~ ~ ... L... ~~ t• . -t .Fig..: ~ .. l. ..... A ~+ -_'_ : :1 _j l.- 3 _.... F9 " . e " " <0 u " u " u '" v .- 3 _. 34 . r . ~--G qT J{ " t: v . D? Gm9 JoI " . . LINES IN THE SPACES Lines in the spaces works well with a tune that uses a lot of half notes and whole notes.! ~+ ...- 3 -.n 'v 8' e n '" :~ iA " 'v '" OL . Fig... I"t A.. Gm9 ~ ~ ~ ~ x ~ --" ~:i . ..! F13 ._._ ~ . and resolves into the melody notes. where the melody note is a whole note tied to a half note in measures 1 and 2. giving you a lot of space... re '" n " B . _. - b ...! +11> b_ ~-t bi I L- ~. 17 ..- . n u li' l..1 ~ 3 __j 6 D v .. Here. L-- ~ B I :3 I T .F Blues with Walking Bass Line F9 . C?~5 ._ L. 35 is a II·V-I in C major.- riA 3 . ". '" t1 'v 9 . You can fill in the spaces with lines to create more movement in the tune.. IX u D 'au " '" C7 9 '" .. F9 I ~ . " D v ~ ~ v " " -r 1 n u t B 9 Cm? 0 H T9 '" " ~ " '" u " ~ D . B u :.- 3 J' il :. " ~ I . n .

. ~ .. a 4 'F_ 5 12 ~ it v ~ _J...l 1'1__ ~ _.J E719 1'1 ... Gm9 LI • 3 5 i -...~ .J r------- · Bb6 A71S Abl3 'rl----f'~ ... 1 1t 11_ JoI. IV.. --------n~n~ ~ -e- --- D~ . ~ _ .. -1:.. u v ~ ~ l--- 3 ------' _r> u ~ s.500 MILES HIGH Samba Lyric by NEVILLE POTTER Music by CHICK COREA Gm7 ... INC.~ -.J _ .. A Division of UNIVERSAL STUDIOS.. Am 11 Bbmajl3 n _k_ -~I ttl t.. !! 12 u ~ ~ It ~ 5 Bm7~5 - lL J!_ .. Amll II I. " ~ ~ 1ftv J. .. _\.------- 3 ----------. ~ " © Copyright 1972 MCA MUSIC PUBLISHING.. -------. t f ~ · · 'J • I ~ [J b~ II ~~~ b-U" :( b' s _~ . International Copyrigh1 Secured All Rights Reserved MCA Music Publishing 28 . Am7 .f '~ijlki&~ B7~S!9 Eml l --===========-- -- Dm6 E~m(maj7) Gm6 -"F A f-8 EP -.

.: . -c:~~ .....1- Tl) wi pick and flngers ---------- - u A _. 'n 8 ~ ~ Y 19 ~ s:~ .J !l- I ~ I I ...-e..----------..9 #7#9 " 1O::::::.~ :~ Ii' 1~2-~ '1 ToI'~ n em7 " .. e ~ ~ b ~ .. ~ ~b~ L b .____ -I ~ -------------I~ !!" !! " x l!! u . .... B7alt to .J JJ I I I Gb9 J F9 I~ G7~9 . e-~.--.1U ~ ------------- ~ )( l( X U - ~ .[.Q-~:C: ~ ~ ... g------------_______ ~ qt 3 h-a- .. to ... .f..n '"v 8 :.----.." ~ ~~ &:~&: . 'IJ 29 .___... e:=::e: V ..e-e-----------1 --------------- &--------1 J-e i'"..J li - -e- 8715(19) fI-' Ior-.. .J JJ · ~ Sbm 13 FI7~915 fl3 I A7.Fm7 " ._ l- b~ bf- q~ v ----- . :: .n '" n n v .~ .J '-' · · ~.

__.~ ' .~~! 4 J~ 'f ~~~ I!r~ bC:~~ '" 1-8 1 ·i~ q~~: 44 1'6 U JJ~J . . Am9 ~Q_ G~ ~_ll_ chn9 ~~:~ b...J " B Fm7 " ft I . ~b~ ) _~ . flwi ~ . ~ FI7 ~.! . J..::1 v ~ 2- ... Am7 .GIANT STEPS Fast B ft By JOHN COLTRANE Am7 07 D7 G I J..101 .J I ':! 10 9 ~ 5 . J_ B~ " . .n D9 Gmaj7 B~13 Eb6 ...:. S 1~ J:g ..' " " 9 ::: n " elm7 x ~ " ..:... "T" 1'4 'I: i -8 G ~i ~ .I G ~.--.~ Fm9 o-u ~ ~: 1. 't Fm9 Bbll E!>~ ~~i ~ " :: J:' )! ------1 " C~m7 .._..--. 9 Am9 Dll .. " I :::. Copyright © 1974 JOWCOL MUSIC lnternatlonal Copyright Secured All Rights ReservEid 30 .--... . 'Ebh 9~ C#rnll .." 'v .n ~ '. )! )! " Fm7 s--:::::'1 .~ 17 -. r G6 9 Bb9 EJ>maj7 o FIl3 " ..." 1.J I b~ b-Q_ '" ~v ~ " )! .. • _______... -----a : ~ ~~-: ~ f: L .~~ I r I .~ ~ .e- #~." :'':! J)! . .J I fl· . #r iio- B6 '=" -f J! .·44--- ' . B6 9 _fJ_ J ~. ..J b-..~ ~ .~~.. : I · · · .. .. .../ .D7 G " .J I I · on - B ~ -" . .I.. .J I .. -----7 :! )! '~ 5 :! )! . Fill . 7 . -s--- to -f.... ... )~ _o_ I0Io .J ::0 I~ I .. :: !! .-.

and Music Sales Corporation (ASCAP) Copyrlllht Renewed Internalionai Copyright Secured All Rights Reserved Reprinted by Permission 31 . . :'! . =r:. -fL b_.. . ::! -.-·~~ 5 " )! e _.. ~ .x 101 ftc -- r--. .' . =i 1.. t: . v ~_ D~9 C DP2 j b-#: ~ 't . l. .. h a_. q'#~ q P~- 01 s ~ " . r:: -i-u 1:1 n B7P5 B~715 II A7 "!7 • ~H " " b'=:-t~=4i -I..-. X !! " Bl>m7 " oJ I -(j. . ..1 or _ri A w ~ )! l: u ~ )I ----5 ~ ._ " Copyright C 1953 by Bourne Co.~ ~ ':! 1 IU !:! . :::- B~m b7 oJ -9-' ._ ..HERE'S THAT RAINY DAY Words by JOHNNY BURKE Music by JIMMY VAN HEUSEN Medium Fro ~I::I 7fE " 4' . Omll B~o7 E07 0"7 (L . B 1:1_ " F' • ... .- t. D6~9 I -I Fm E+ A~7/Eh I " I-~ oJ J · · · __ I ..: p-. _Jjq :. Ff7~5 Fm? L -I I B~Dl7 " oJ -s- -e.J_ '! ~ 1------g ~ :: !. I D7 D~maj7 Cm7 ~_ -#- .J . I alom7 n ~ I I Pmaj m7 F7 " oJ -1- Fmaj7 11 -@- Cm13 I F7 ?-. " 6 :-.

..4 #~ I Fmaj7 B i 0 +0 t- ~ 2.... .T .---- --- --- J J '! ~ ::.? " .. ~._ F1715 I 0 " ..• . Am7 Gm7 -=-61. " oJ -'i ~ ~ iI'n .: ~ .J .. Eh D9 D~maj7 -I17 U II" F..::: ~ !. ~ P-: 0 0 II!7 6D~_ =i... .....: ~ ~ w G07 --Cl3 F6 ---. '.\ .. 0 : ~#~ g {.~ ~ ~ ~ ~ . 8 ~ ru . U * U ~ .J ~. . IL CD b~~ " 't . .. 0 Dmll 0- Omll n• : 1. " '" 6--- :. " oJ C7 -# Fmaj7 C7 C7 ab07 bOl ~ .. ·~-(e u -te--1-1~ " Am.7 Nmaj9 " oJ I~: 0 Gm7bS C7 -II"I-- Ab7~5 G7~5 6D~: ~. t II 1 Om7 Om7 i I ~ Gm7~5 0 C7 0 0 B~maj7 0 C7 I " oJ Fmaj9 " oJ -e-~~o - .: J * l! " ~ . oJ Hmaj7 0 D~maj7 C7 I I D~13 I --." j:! . -=6 • . X w " 32 x . • l·l· ~: HI ~ -I: .

1-... A ~ " 5 ~ ~.. e- . 1:. 1964 Antonio Carlos Jobim and Vlnicills de Moraes Ellglish Words © Copyrighl1 963 Norman Gimbel Copyright Renewed All Rights tor de Morass and Jobim in English Speaking Countries Controlled and Administered by MCA . ~ :.J ---..lstered by NEW THUNDER MUSIC. INC.. J I I I ~~~ I Cm13 . -v ~ Original Words and Music © Copyright 1963.._ - ~ " :: ~ -X " " I"': q ~ j----4-II ~~~ ~ . ~ ~ - " X . ..J ~~~ 6 I !f~~-e-~ ~ ~ 'i :I -'I -----f ...! Bm7~5(j5) Bhnaj13 CIo ~ .. '-' b. International Copyright Secured All Rights Reserved 33 . ~. .' I f' f' Bm13 Cm13 3 ----.._ .! ~ '" " G7!B B~maj7 " .. ~ " • . [)-.DUCHESS MUSIC CORPORATION All Rights for Norman Gimbel Admln. -5 1 '1 X ).::::::::r: ~-u" x ~ ~ b-o- ~ ~ ~ x .~ '-'..L ~~ .. " o...1 ~ t.---I""-~... ...HOW INSENSITIVE (Insensatez) Original Words by VINICIUS DE MORAES Music by ANTONIO CARLOS JOBIM English Words by NORMAN GIMBEL Bossa Dm7 II .J I ~r---~ I C~7(1519) Dm9 II -e-~~ ._ .-e-~ .... .... " II ~ Cm6 " ._ ~~ :::-- ~-../ ... . '-""iL .

.---.._. x -- '" *'" -j- ~-- .-- --• __. " F!B~ b~ b -r: I~- " 34 .--.. '-" Dm[L <.J _U ... __...f-4-~e . ....- ...:.I I I r a l' " " .... I · · · ... ----I _.. ~~ -e- ----- 'i '" 'l '1 XI.. 1\ ~ ... " II -2 ~l( 'Ii li! ~ " Em7l>S A7~9 Dm7 1- " Fill..--.. ..- ..J . . ~ ~ 3 . 1\ ~ .-'11 .. oJ -. -(I>- -----o~ .---..~ !! 101· s-. \! em7 1---110...1 ----._.D ... oJ B07 b-. D" " '" ~D ~ ...-..- " F..--h . ----._.U" -=::::_II f) .-./ ~---·n-.~- .. oJ ----.. oJ- ../ ....._ D~7 I 17 .! !I-I'lL: b. m7"S ~- .1 ·_'l A13b9 J..: .r=J oJ '-_.. ........" : I ------==---->--:1 --J . DmlL . ~ ~ • --. ml l --- .-+-ELmaj711 ~ J Dmaj7 .... Ft-I...D---...fIt- r- .r>....t ~ ---== Bbmaj7 -k- __..

. ~ " 5 .... <i:» II - ..... I -#-.. Dm7 0r. _<J oJ "6- D '~ " V "- ..__. _..: 5 F7 I!' ~ :< 't 'I '" m7 1\ ~ . u Dm9 \. -" v : - 1\ .-------_. F9 F7 ~~ F9 ..-.... " ~ :: 'i! w )! :: li' " 35 ..o II3 I I 7 Dm? " oJ .____... ) "~iI- -------....a !:' '" l' :4 :IC -I B~maj7'll ) ---.- H:.. Bm l l -C ...__ D~7 -j I/V " -.J Cmll 1\ -l-f I - _f Bm7 J ___.. .... Em7~5 ..~... ----------9 . oJ I ]( )! " r-..-~ __. Dm7 oJ . II ~ " ..J .A? Dm7 I1m7 " .

" .1\ _.p- 13 maj7 • ==: --------. l r: . i! ~ ------------ -- ... I x e )(' v .. l: " v 4--- . l! J. .n . :.J 1\ m9 ._ G7 1\ Dm7 G7 Am7 oJ 07 D7~9 I . '! " -_ @ Copyright All Rights 1940 by Williamson on MUSic and The Estate or Lorenz Hart In the United States Copyright Renewed behalf of The Estate Of Lorenz H'art Admlnis1ered by WB Music Corp... Cmaj7 G7 Cmaj7 Dm7 oJ '--' . w 7 . c.. G7 ..: ." b v . ~ ~ .. . 0... h .: C....II. ... J. e . " " '-ill ~ ::: e . x't " ~ .do.. J.~ cg & I A~7 Dmll 07 ~ .. ~ ii :.: . l . -e-~--- == c.:. - ----=====-----...{. Am7 -6 D7b9 I'?- 1\ h:& ~ ~: I :6 I :: 7 .l---=--Ot3 _""- I • Drn l l l- C6 'I n t-L. . International Copynghl Securerl All Algt1\:s Reserved 36 .:I . Gl3 Cmaj7 ....f*Q I G7 I.. '-ill =: . . X .~ .. ---(1-\ \ :... _" " :.. 013 Cmaj7 C~ ~ C#"7 Dmll .I COULD WRITE A BOOK Words by LORENZ HART Music by RICHARD RODGERS Ballad _ll Cmaj7 Am7 Dm7 7 Cmaj7 j..L'> 1\ ~ _. " " v e ::..---.. ::: X ~ .-iI • • oJ =: ~ ...

~ Dmll to G7 Am(maj7) ooJ Dmll G7 Gl3 Am Am(maj7) " oJ .c Am7 -rr_ D7 101 .x f! o J( ~ . .. x X Cmaj? A7 Dm7 G? C6 " el ..j. '7 i= v :..J G6 9 " Em7 B~13 . X . \:! )! _J( ~ :...f I Q " el Q - ~ -"- ~ .. u " '"' .ll n X ':: " X " . ~ v r . u • .- . II ..n g ~ ~ }I X ~ " ~ )! _J( .. Cmaj7 I A7 Dm ll G7 d ~ " oJ -tS ~ ~ :6 8 )! .U X . U " ~ j:: ~ n j:: l! '1_ U Am7 Am6 Gm? C7 Fmaj7 I Fro? " ooJ I I I Am? Am7sus4 Am9 IlL Gm7 C7~9 Fmaj? Fm l S Bb9 " ooJ ~ ~ bR- • R- ~ • I I ~ J( :::! l! 5 \..Gmaj7 _h_ B7 Em7 Am7 D7 .. 0 37 ... n )l .. ~ : ~ _. 0 ~ '7 :. " ..

.. Dnl? b_.SA Rights for the world outside the U. u ll. . u " . " " 'n .... ow ou _~c u Gill Gm(maj7) 1 Gm7 _I Gm6 .. e ·o--H! ow e- 1" IX ~' u I'::" 13 15 1" '" .J ~ '~\' '" IX 1n ov -~ 1t-0~~.n " v i'~ \. ~ Gm9(maj7) u ____________ . Dm(maj7) Dm7 DmSLls4 H-I oo! " .U " {" ' .~: If:~.11 - r '1'5 '1'.. " ~ Gm9 - A7 Dm I -. t Fmaj7 : I I G~7 L Fmaj9 " eJ .... ------to fa " x -8 9 B '6-'\-2 1G-----1~ la-Hi- 9 . Controlled by I:MI Mills Music Inc.n . D9 Gm7 e:- • I ~ ~ f: -~ : .S...J .4 u v 'T _ n Iol .. and Warner Bros. " I · · ~ n -------------. ~ ~ 'n ...... x ~ X _~ w " ~ .A. . Dm6 - 11. Copyright © 1935 (Renewed 1963) and Assigned to Famous Music Corporation in the U.. -- .. Publications InG..... v To Coda D7 Gm7 -$I. o~ . " .. e-1~ ~ f: f= · i r g r ~rm J"'" n q....<:» -(II- ~ ~ b-(ll- .IN A SENTIMENTAL MOOD By DUKE ELLINGTON Ballad Dm . Intemational Copyright Secured All Rights Reserved 38 ... " .. w "~ '" ov .

- ~ B~mll B~m9 D~6 E~9(15) #71915 h.. J:: f: '1 .~ L- -f'- I. Grn7 C7 D. .----I Dbmaj7111 ~ ~ b-f'. . al Coda ...J bl #13 I • Groll -"'*" -u- . ~ . 44 l..:. B ~ u i 9 6 6 ..~ L------- D~maj7 I ." ~ ~ " " -IT .~"" ~y 9 " ."'....g b:F __j ~ h~-=" L------- ~ 3 b~ ____...J !.." -$-Coda . . E~rn9 Ah l.. IV ." 9 'ft" " ~ OJ" ~ 'I 6 1..S..A .... " ...( I . ... b :..J U I·• F6 .Fmaj7 D~maj7 B~m7 I E~m7 .f'-I 17 .q:r-: bb i: b ~ ~ .. '!' 1"1 " u .~ ~- :r-: . .J L3 B~715 10 __j a ----'- . I 'b' ~ n °b~ v :..... a ---' c u " L- " . D~maj7 I L'V I . " 0 ~ D~maj7111 Bmll "f'B~m9 E~m9 F6 II 0 0 #7 I NI3 . :r-: ~ t= 'n b~ I- ~ ~ ... .n ~~ ~ .!... bJ ~. 'ft .J o 39 . . o . t5 '" .l..A ..... : == 0 ~:r-: bb~ b~ I~ ~ ~ l.r v ~ '1 :! Ii ~ 4 •v .- ...

.. P- f n ":!. 12 l)l III l'l l. t §f! I j4 ~f ._ ~~ 9 v ~f:: b:6 16 IIi .. v II I Am? Am l l I D? iI Gm? I I I " .. _._ Am71S A~13 ...~ '" © 1944 by Bourne Co...<.~ I _" ~ s.J I • C7~9 Gm? " e! I ~. D7~9 Gm? ~ I f .~ .f ~ ~l{ ~t ..s l~ c. A Division of Music Sales Corporation International Copyright Renewed CopYrlght Secured All Rights Reserved 40 .. ~ -8 \1 x u :.. ~ :: "..~u 1 16 'sv L Nmaj7 Dill? " e! I _- G7 Cmaj7 ¥~bb B~mll Nmaj13#LJ b:B: ~ g I . Music. I Cm11 " .I: . l" :{ )! n ::: )! l.... . 't * 0 C6 I r~ l ~~ ~ . g ] Hi Copyright l)l IX . !! 1-1 .LIKE SOMEONE IN LOVE Words by JOHNNY BURKE Music by JIMMY VAN HEUSEN Medium E~maj7 G71D Cm? Am7 " .J I &maj7 Dmll f') Cmll ~ -iI .___.J I . PI Dmll G13 ~ :.. Gm7 C7 ! II " Fm7 Fm? I . ~:a . and Dorsey Bros..

I 8 ~ .- Fm7 B~7:5 101 A~maj13:11 " oJ I -u'ft x : == --- ~ .- Gm7 ~ fL .em? F? " ._ '!9- F9 ~ Fl3 b~ ~ C= f:J .. .. C6 Flo7 b P-'..~ G7 Fm7 " oJ I ..J I Cm? -(.. 8 1-(l ..~ JX 1-1 41' IX 'v + . -<I ._ -<'! -<I I Fm7 I:. ]'2-------1 1 Ix ..- -a 12 t6- 1'"6 Hi w Cmaj? " oJ Gm7 I • I f f2-- F C7~9 I " oJ .. .. .. -0- ~ w~ e. I B~7 "'_" ~ t I I! I I oJ Fm7 " oJ I I~ J 1" lX Eb~ -e- == ::n:: x ~::: J~ 'v ~ .... 'X v '"v u :: ~ ~ ... Dm7 . :::.~U ~X ---w -u it 41 . J-4 1..~ h!' IL Dm l l G13 ~ II ~ --" x 1" _H..._ ~~ ~i !: ~i .J '--' '~ .- " I ':~.. . .~ .

MY FAVORITE THINGS Lyrics by OSCAR HAMMERSTEIN II Music by RICHARD RODGERS Moderately Fast _11_ _JoI oJ Em7 Em? Flm7 I I -. II- .....x 'i 51 ... ~ II. -ill ~ ~ ~ " .. - . . x. I .e. ~ ~ Am7 * I I I Cmaj7 " oJ lo! I I T. . ~ ~ 1= II.. u -i -6 :f tf . :! 4l . . e :. . .... 5 5 " Copyright © 1959 By Richard Rodgers and Oscar Harnrnersteln II Copyright Renewed WILLIAMSON MUSIC owner 01 publication and allied rights throughout the world International Copyright Secured . n I( ...}- Em? plm7 Em7 P#m? " oJ 110 .oJ 110 . '} ~ ._ .. v x a " oJ Cmaj7 01 B7 maj7 Flm7 : I flU' I I Cmaj7 " oJ II -ill . . _':I 7-. v l( " :. 5 2 5 (I :0... a ).. .l- " :t :0. Cmaj9111 Cmaj7 Cmaj9#11 Cmaj7 Am7 I Cmaj7 " . . .s._ _.. n F#m?bS B7 "(If- E6 ~ ---Z. II }. ..AU Rights Reserved 42 . -<51-' -..A '" '" ....a.. :: I ...:! " ~ ~_ '" .". u S n "i! X u 2 x X n ... .. u 9 "i! 'i x .. u ~ :! u . ..1Gmaj9 + .oJ _01 .... " V C6 :: ll' 'I ~ .__ . '" r- . '" '" " ~ f...-_ 111 -i .. G6 -('- . Gmaj7 " al 07 01· Gmaj7 Cmaj7 . '} 8 X ~ :: :. .. D9 . ~- plm7 : .__ .: I.. ..

. " \. .._.- I -4 :.- 5 ~ " Am? " oJ D7 Gmaj7 II TA~ Amaj13 A6 Am7 1 " .- ~ .-aj7 11 I C6 " -~. D9 G6 ~ • ~ ~ 6 4- ~ • T T 9 1 " ~ . ->! >l u . • - r~r' .. .J II -G-' TGmaj9 -#- .J II -i. '1 ..._.-t'.. 7-'--7 . Crr.' · · . 'r - I': . 5 ..! ~ ::! Ii! '1.. :. . ."n .:. :. ...:i.1. . ~ x !1 ~ " :: ~ " F~m7~5 Em7 fI ..Emaj? Amaj? " oJ II TE Ftm? I I A6 fl-fl- Amajl3 " o] II I I y ~ 'f ~ .... " .. n r~ 7-7~. " ~ ~ -9 ~ " 1. .... F#m7~5 . 1jl-1.." 43 .(} " " " " •"n 'i' ... .1 87 fI'- Em7 oJ I I I EmIl Flm7~5 B7 Em7 " 0] II -t -t ~ - I ~ ~ ..... 6--6 4 " Gmaj7 ~ " ! Cmaj7 ~ I I B7~9 813~9 5 S I Cmaj7 " ..>( ~ " s: ~ ~ 6 !o! ~ -.I . oJ 1'~ 5- .. u -II- ~1""' n-.

X ~ n n n ~ ~ q ·Fermma on fine only.. ~ . - 87#9 1 ~ =i ~ . : • oJ ~r' - -.... al Fine (wI repeal) Gmaj7 Cmaj1 =~. ~-l! : ... ... C. ~ r- • i9" • _-- .. • ~-: it- '" '" lJ" . " . . .. ... ... ... .~ . :. : .v.: :.---:=:=---. a --------------I I Cmaj911 . : <:. • >6 -<II -. 4--lt oJ Cmaj7 B7 D.. . . ~ 5- plm11'5 __. .. .A L ::: ~ 44 .t 5 2 5 I ~ I Gmaj7 ~ I maj7 i u 5 ~ .. .... lC ..l ...II A9 Gmaj7 CO .:f!::. oJ " ~ ~ 11 . -) " .s: _It oJ t ...n L .Cmaj1 _"'iI oJ -. oJ A7 I_ I I A1 " oJ . .. ---------Am7 t': ~. ~-6 : • · · ... -f'- ~:~~: ~...n. .. I-I • .._ " ¥ . " . J! !:l ...... .1""'\ 06 Fine Cmaj7 G6 Cmaj7 · 06 *1'7'1 Dl3 -~-j_ oJ C6 GIB a-: P" . . l..z I -I 1!i .... ..}- Cmaj7 Jl loI . u 9 --=====-- r _ " . 01 . oJ .

. )Ii 'f u .I 1 _. International COpyrrgMI Sscured All RightS Reserved 45 .A ! oJ m(maj7) m7 . )! .__... .. " u . I( 1 . ~ i" " ~ ~ ~ ~ . ~ x u 't m6 1\ Fm7 I . ... 'f " '"l: b-f "T' _!. ... . ~ • ...tf9.J ~ ~ b=6 .. Cm? 8°? 8°7 B~mll " .... I Am l l II I Arn7loS Arn l l Nmaj9 Fmll Pm? Fm9 Dm7~5 -- --- r> : ~~ " p... ~~ '"l: • bi: 4 !:i q"v '-t ..orenz Hart Administered by WB Music Corp. ~ ~ ...'l... " ~ . I( A . . H )! ::! v ~ 4 em . . em 8°7 B~~ " oJ I .( II ~' ~ :t '." t. ... .I . H ...J '-6- .... '... !. u u " Copyrlght © 1937 by Williamson -s ~ ~ OJ K Music arid The EstBte of 'Lorenz Hartlrl the United Slates Copyright Renewed All Rights on behalf of The Estate Of l.J ..I A 1 :t ... ~ .J I J.~ v ~ ~ ~..MY FUNNY VALENTINE Lyrics by LORENZ HART Music by RICHARD RODGERS Ballad Cm Cm(maj7) em? " 0.1 I -6. ..

..! I -e- ~ .: 1\ 0715 Cm7 Bbm7 A7 APmaj9 T'r :..... )( x ~ . =6 A?6 bV~ ~ x Gill? Ff7j. Fm? I ~ I n '1 ~ ~ i I Om? 8 I Pm? Fm? :3 I Om? Fm? E~maj7 Fm? " oJ I .! I · Am7!S J " -4'"1" oJ · · ~~ . E~maj7 '_' " .! i. Fm13 I ::: Fml l El>7~5 · · · ~ .. .. IIL : I .! I . u " ~ . ~ " )( n v ... Gm71s Fm? ..maj? G7 Cm A7 #maj7 " . -----*4 46 .-..maj13hl ~.. '~A · · · _b]l~ ~ " u . : I ~ I I .Cm6 A~\l1aj? Fm? ....:: *" .• 1It-. . A~ll1 BQ7 e .:: . x D X . ~.. I iJ ~ " ~- I J J " u g.... x . ..:: .' ~ I . J3.. ~ :. a 6 -J!:..9 .. 'n" -fl' II 1q~ " )( K X b":O: ::: X 4 u - :3 S " " .J I . I " . .. Fro? Om?IS .( " i E~maj7 9maj7 ·6 8 i Fm7 ~ APm6 " oJ I I ..

~ Cm1 -e-0- B~mll BfA JO.I. ~~ : • =6 ~ ~f-: ~ ~ 6 17 ~ 19 ! A .~ -~ i I Cm .J I ~ ~- ~ 0 qc.l~ '::: x v 47 .. ::. B 8°7 Eb6 ~'i:: ~ x e '} " " - u " 1: b :t ':f' '. -u · · - c...J • [7~ · · · · X :. 113 " . ~ )( .. E07 )." '.J I 6 :3 I I 5 8 ~ :! !!: ~ I ---b.1\ ' " tl '...z."n ~ . ~ ~ :! ~ 3 ':l " " . Nmaj7 A .Dro7~S G7~9 Cm Cm(maj7) &'EV Dmll J B07 Ij Cm J J I J. J S07 I " . . Cm7 Cm6 .-..~~ . . 1-6 .J I ~:. 'vV 16 .J 1":._v . 4 -z ~ · ~-. e . ~ )( :. I I-I " .~#~ -e- . Dm7~S -- A7 G7~9 " .~ oJ A~maj7 I Fm7 · N6 Fro7 . • b-i . Bbmll Am71S " I Nmaj9 A!o6 ~-" I .....

... 1·)( x ~ .J_ II #i =ii "..MY ONE AND ONLY LOVE Lyrics by ROBERT MELLIN Music by GUY WOOD Ballad Cmaj7 C/B _A _.. " ~ ~ ::: u • " " ~ . and WAROCK CORP...._ -)! .. " ': e .t Bm7 . Controlled and Administered by COLGEMS-EMI MUSIC All Rights Reserved International Copyright Secured Used by Permission 48 . n u ~ X u 1 " :. " :2 g---s ~ ~ v . ....---._ • '1 "" ~ • • • ~ • oJ " · ¥ .] Dh7hS DOl7 .. Em7 Dmll Dm7 G13 -#- E/GI I ~.JI -t J l' F17~9 . " L 2. G7 r 3 I I © 1952.0. .. Dm? G? Em? A? DIll7 07 Dm? G7 " oJ . 0 v e v c ~ ~ "i :::- ~ " u C v 8 G7 -II. Dm? G? · · Em? P? Dml. Em? A? Dm? G7 E?!GI Am? To Coda-$D? oJ • G7 1 .. .. 1981) EMI MUSIC PUBLISHING LTD.:: u " -: l: .~ ~e J( '" '" .. .__ • ~----. All Rights for EMI MUSIC PUBLISHING LTD.: ~ ..".. .." :~L" .. G/F b~ ~ ~ _.. .. .. J .. ~ C :.1953 (Renewed 1980. 1'\ 3 :: -(.<:»ft> D 1 1 Am9 " oJ -f'~ n . s 5 INC...' . Am7 Am/G G71F 1 CIE Fmaj7 3 • AmI] Am9/G I _A I ..1 ~ . -J ~- --- . C/E • 3 = 0 v Fmaj7 .. 1:: )( 5 ~ " r ~ IV I ~ i ~ U I :II 43J i I ~ c· .~.._.

. " :: :: .. :: )..J r1 El1171D ------".J I . : ~~ : .._ • ..J . .. ...C. 3 ------r i:!: ~~ · · · : l'I'-I" ~ 1'6---i1 ffl---u . r-./ C6 Emil '" ...-' Emll ~. L Em7 " ._ . Flmll T' 87 ------Em7 Ern7/DI -'...-I b.. * L § ~ ~ i:' " )! ~ :l ': '1 ~ . 3 B7 .. I. Dm7 " ..--.J -(j-' .. J B~7 3- J 1 0 11 Cl07 D~7~9 C9 Dm7 --------.!."..1... Dm7 3 G7 D.: v ~ " X ). " " ~ .1 .. JoI J J J ~J r- --------...• F!mIJ B7 •F B7 I I -.. Gl3~9 G/A~ C9 6 I- 9-' 'T. ~ · · .. ~ .! ':: ...... 2 b. . I I 3 F~m7 B7 I Em 3 -V--. · I-:::::====::: Il'-I ~ ~ . )! v v ::: ~ 'i ... .. " '" u " X ._:::::====::: I- .. ~ If-I '---" JoI • II 3 : '( " Em/D . j! x " u . '~~ '-' v :: . 3 • 1--------.:: v a )! ~ 'i x v 9 ':J f.. " . u )! ~ .!.. -0. T 8 S! ~ ~ EI Dm7 3 A7 3 --------.. li. : 9-' "..3 D~/B r- A7#S Dm7 D~7~9 '" .~ 3 • ~~ "'l! q-il ~ .. " A ..::==::. ______.C6 Em7 3 '" . ft . " 49 ... . -$-Coda Dm7 G7 C6 " ... _____. X . al Coda '" .J ~..

. .... .. v ~ :.- . Cm? Dm7 D <>7 m? F7 " .~ ... - " B~maj7 II I D7 .) .x X " x " ~-. 0 -6' W l: ~._ . -.. T Q..: ~ :: .MY ROMANCE Lyrics by LORENZ HART Music by RICHARD RODGERS Medium Bbmaj7 . .... .r F 7~5 .--J :l'" i. Gm7/F G7~9 ... '1 . : l' " x ~ 6 i: j.. :: . _" v It :( )I v " v 1:1 ..--I F7 ----1 V' -. . ~V~ " ~ t... 1 _...J .. I I ~ B~6 Cmll F7 ---fJ. . __. : -c.: v .t X -r- -I ~ .. Dm7 D~719('5) . . 9-' : .. .. : . (. - .. ~ v " 8!maj7 B~maj7 E~rnaj7 - ~ ..~ B~7 E~maj7111 I D7i915) ~ IL I ._ Cm7 L.. in the United States Copyright ReneWed International Copyright Secured All Rights Reserved 50 ..r . BI>6 I Bhllaj9 II B>maj7111 I D7'9(15) I..J -t: · · .J I U' 77' Bb7 I -0-. -1 ::: :.J T Bb6 .. .. Copyright © 1935 by Williamson Music and Lorenz Hart Publishing Co. ~ .. u --'I 4 Gm(maj7) • • ~_ -j --01'" ~ I p. . Gm7 _fj i . al i: : i .. e Gm Gm7 G7 Cm7 F7 .: . qb~r ..

" " Cm7 CmfBb b1-=t: . I -6 · · · · · " : · · · ~: iI · : G7h == &--- .I " I I I . 'n' IJtC: " t- Cm7/F F7 " ... . A7~9 Dmll I · C13 Em7~5 I &9 ~ EmIl " oJ · · · · 7:~: 1 . _t..s: &i I · Cml l I .. Fm7 E~maj7 G7 " ~ . " a ~ " x 4 ::. I .__. l~ v 15 ---1-4 :~ +5 Ix '" t" +'" 12 ~ 'L 'n :~ 10 r~ . " .. G~7 F9 CmJl Cml l " ..P-::: : • v 9-' · · • II " ~ )( ~ 6 ~ " )! ------* F7 ~ l( :! ~ ~ _" 5 i! " ': !~- li: !._ ~ B~~ _o_ :.- u. .. I..x n ..I G . to :..- -!'- .. F7 : <....p . ._ Bm7 ~ -~ "- .~..j " Cm7 2 1 .. : D~13 ~." 'U -. ... " Cm9 _.B~maj7 Em7~5 Drn7 " &i · B~6 I i.J I I I:• F9 B~maj9 " oJ I ~-~: p-'· :x · r.I -4 --. 51 .' • · Bbll Fml3 E~maj7 ~ Q. .' Db7 A7sus4 Db lAb G1117 b:: -~ -- -- I: B-: .

. .J Em7~5 I Dm7 ._____.-' ~=~ ..J r. -~- :: ~ ::: . oJ b' -.::. .1974) by famous Music Corporation Intemational Copyrigl1t Secured All Rights Reserved 52 ....J--~ . f. • .! Copyright © 1946 (Renewed 197::1.. A~9 I • Bbll Bbmaj9 . IJ - r. )! 6 !:l .: 1 )( U "..J I '--' B~m7 I ml9 ..:: I p-' .. . v ----------- bP~ ~ v !! U '1 .. n }! u ::: e r -e- "3 * v Ii :: l' . 4¥~6it E~9 EmIl ________ I:: A7 A7~9 -e- #g~ . A71S A~13 Fm9 B~6 A7~S --co B~6 II @>maj7111 I .. A7~9 . . I T I 0-" .--.. 5 )! u Fmaj13 Fg Em7bS 0 A7b9 AmllbS _J _..J Em7~S _l I I 4£+6 ... .· · " :: :: Em7~5 A7~9 · · ~j.STELLA BY STARLIGHT Words by NED WASHINGTON Music by VICTOR YOUNG Moderately . . ~ ~ v ~ *' B>7 Fmaj7 * v " Am7bS " .:: >I v I ---------1: em7 Croll B7~S I ~ ~ )( X ~ ~ Fm7 n v 3 .. h ~~ ~ B !! v v • -. I ~L ~ ::: ~ :: v <: ~j I ~ .a: l:: .!:l :! ..-0._. u Am7bS . I I T " .x v ii 5 . J-.. b ...u.J .e.. .! l!: " E~Tnaj7 " ~ F7 _IJ I '-' ..... . . .. Fsus~ ~ I I Fmaj7 : -z:-. 'T'f 1.J .. Em71'5 Dmll " I--'-J' [J b:6 : -"- .: t u ).--..

:: .. ' I 1...._________.v '" " ~ :: . =- ~ ..D7~9 Cm7 " oJ I D7~9 G719(15) " 1':3~ oJ '-" ~ -~ I. ~ :!' <'i v I Dm7~5 . IV 'V ~*r " oJ t~~ '-' I II! f'--.. • _~ n !..- :.- -u- ~ 53 .. ~ . A7~9 Dm7~5 " oJ 1 .~=. • -en A7 A7~9 I J n . )! -------------- :!' l!: v x l!: ~ ~ v " l!: )! ~ " Cm7~5 F7b9 B~maj7 " oJ I =bo '-' G7 G735 Cm7~5 F13b9 F7 Bb6 -.~ .":~ 10 In .. -.n 'v n v i~ 16 In .____ 3 -til ~ 'v._ -------------It I)' If: I'V !! !( U ~ t'n IV In 'A' i'n IV ... X :- X ~ /l. . I E~9 EmIl " oJ I ::~: ..------.JII ----------------======---- __________ .» =: :! iI =: ~ -en .. X '7 e iP 11- n . 9 " oJ I~ hn~.: ~ G9 CmU ~ '_V - r ~ ~~ . ~ ~::... IX ".: ~ -------------__o_. -u.F 3 -----J FI fJ'i I If r - F -f'- J ~ I I) :::> -= =-- I B~/# BbmaJ [3 :F ffl ~ ~ -f'_____. ----------------=====::--. --ne- ---------------OIl . ~ ~ ~ ~ 9 -------- h.

II 2 :( u I .. ~ Ll ~ u ~ t: '" u " :: ~ ~ )! ~ --5 c .THERE IS NO GREATER LOVE Wards by MARTY SYMES Music by ISHAM JONES Medium -.. F7 " e) I I I I I · Bbmajl3 • ). u Copyright © 1936 (Renewed) by Music Sales Corporation (ASCAP) and Bantam Music Publishing International Copyright Secured All Rights Reserved Reprirlted by Permissiorl 54 .. .J- F9 Bbg ... " I +- -~ ~ -~ +- · ..-e-~-l ~ -.. .. • ~ b~ In " (3 " :.! )! u " " . -~ +- .. ~ v -~- iJ ij--S"-'f. · r-- III • ...b9 L Eb7 -... " I ~ ~ -fL :r:.. I': 3 l' G7 C7 A 75 C9 E 7~5 zm " .! " I I I · B~maj13 • Ebg -..B~6 9 '&7 L I . _C · · · · . c .i! I': . 'v n ~ ~ .J- .1-1:..! I +v b~ n~ b:e: ------------- _~ =:s: .. 6 u X ).

I Fine i Am7·S ~ 9 1'6 i D7 _I I ~ -0· oJ J I 1 "' Ami! Crull F9 " . Flo7 A07 • t: h:::' V· ~ 11 I 5 .. ~ • C7 i h== ~~ ..~.. 8 Gm jJ.. 5 C9 Em7bS b.~ " .. al Fine " ..S.~ .i: ..- k • ~.L C7 I:... )! ." &J 1 . t: " " ~."' x '::."....:eI )! . 8 C9 .J I "' Amll 1 ..~ B :....~ . 'nil u . Gm7 I C7 D. . .J . ~ ~ 'l <I ::. := v b:e: -> -.:8: --*--u- ~ . AP7~S ..J I _J:]_ • AD? C07 Gm7 . Am7b5 D7 H '" i!l' j IV ....... ~ " " ~ e . ~..- h::: ."' "' G7 " &J 1 -- --. C X 1 " u 55 .. Gm7 -0- plo7 A07 Gm7 " . ~ * ... ---------------- : . t: ... ! Cm? I F7 I 4 I ..Ji- -..J Gm Am13 I0Io " .J I I 2_ ~ __o_"---=========----u- B~6 9 ~ q_: 19- I D x ~ :. _j D7 Gm .

THERE WILL N.I ... . '" <> 'v .~ " " Dm7~5 -I: Cm7 " . i" I B~m9 " .: v " v ~. 1> ...___ Dm7~5 ---f'- ..EVER BE ANOTHER YOU Lyric by MACK GORDON. Music by HARRY WARREN Moderately " .' a v 1>- :.I I J~rl -_ ---. I " .... .... ...._ E~maj9 ~"F ~ r -B A .. All Rights Reserved 56 ... " t-----9-----5 " v In 'v u ~ v Copyright !-! " '" " '" © 1942 (Renewed) TWENTIETH CENTURY MUSIC CORPORATION All Rights Controlled by MORLEY MUSICCO. l:' v v r 't... Cmll Cm7 -fL . :. 8 n ::! v ~ ~ ~ 't..J I · ~ ....... a .J -f'- ~ • 3 ~ 3 bt 1-1 v ~ ::: ..J I I I ..J T .: 't.... " shn7 " . !:' • ·v " .! .... " . E~6 . . v " :.. .1 I == ~ ==:· [1-' · ~ ~ -uI _l • a J .: :. " v " ::I. .... EP6 E~maj7 I " ..

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J I r-i I E~maj7 D7 I E~~ E~maj9 Gmll " .) I ~ ~ 1= .. __ ._ #~ ._ Pm7 -f" I B~13 r: E~6 i:. l' '._ • "t ~ " 9 l:t B 11- a C7 ...-b- ~.I )! i " 58 .! ~ ~ ..~ IX IX ~ ::: #._ - .-'1 ... -- .: ~ II to ~" 'v .J I .. u )..J I Cm? · I I :>j r Bbm9 -e- emil Cm7 -f'=_ " . " G7 C7 Pm7 " ._ D9 t 1- J..J I I I Gm7 C7~9 " .. u " n u · __ · .) I I-Ik.--.x ~ II a !:.--...: #maj9 ~ -I· _..: .. C9 E~~ g ~. x ~ ~ . a :.~ ~- . · ~ - "U" ..." ~ . : . · · · b. :.. 4 I- ~ .J I ~- • ~~ ~-." ~ II v 8 u 9 Gm7 " .. x ii B :: u " X x B l( " X " )( i B I v " H B~13 I Fm7~5 ~ -~ ... _.J J · E~13 I I I Fm9 ~ .!! )! 6 }i v ..

. II I II ~ _L .~. ~'.d) i F~m7 D13{no3rd) I'" -59 Copyright © 1966 by MCA MUSIC PUBUSI-IING. al Fast '" Bm7 ~ .. Glm7~5 DI719(#5) el13 lI'~: ._... . U f---+-1~--Sf-----t+----~..I'-: ...... .-~ ~ ~ II.4-i il HI '4 1-1 ~ 0:> ~-1 --1--- ==I D9(no3. :. INC. .--.-.~. .._. MCA Music Publlshlng . International A Division of UNIVERSAL Copyright Renewed Copyright Seemed All Rights Reserved STUDIOS..~ <'< ~~ ~'< ... Bm9 ~IT " :: 1"' nr #!= ~ ~ J:: .==: ~~$ . r Bm9 I . Bm7 -ft_ ~ .-D. ~-f'- . ".. #~: : oJ . cl9 Iol .. G~m7~5 .._.. al ~JoI.WINDOWS By CHICK COREA Moderately 8m7 .4 4 ~!' . oJ· I '-' Ghu9 I .. I +4 '"7 • ~ . A ~'." l~ ~ i'i i.. "b~~::::: ~ ~.:. .. f..

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A7 ~i VJ~ --- ~ 8 ~ ~ III 8 Fs X .1. • C7 Cm7 ..~~~ ~ ~:i!= ~I-' ~: : _.. I F7 E9 .. s -)f -~ u Dm 1\ Dm/CI DmiC ." <".l ~ l::: . : 013 Cl3 _n_ -e- Ie:: j9-' Cm9 ~ -u1" '.. '4" 'J' ~ 0 HI 1.~~: f-r • _. ..... I-I X ~ ._ IIb~ I .i.: · · ~ ------------ ... . ~ " " !.~ ~ 1 I F7 ...... . ... Copyright Renewed Internalional Copyright Secured Ail Rights ReseNed 62 . Ami! A~7IS Om7 01>13~9 I I I Fm7 Einl1 E~7#9(!5) If ~ _.. -x=-a U. . lnc.oJ I ~ b-t - C .! ~ 8 -" . J.... .oJ .J E7 07 G7 ...... :.._ Dm7 B1ll7~5 . ! I ! I-~ .... ~ ~ C ~.oJ I B~maj!3 Bb6 II- .YESTERDAYS Words by OTTO HARBACH Music by JEROME KERN Ballad Dm7 1\ Em7~S Dm7 Em7~5 . . ~7 X ~ 16 Ill:: -e- 17 -2 Eb rna] 7 Em7 lX 1..! r:i(-: fJ • · · e ._ If~~ : ~~. ~ -y \! -u- 1= I...! A7~9(15) -eIf_~~ • DB ~.J :: n 9 Ebmaj9 EPmaj7 Emil :J:@: F/Eb A7~5 • -~ rr ~ ~=Ii r- .9 ::: '8' x !-! f:: Dm7 I ~ ~ !! 4 x v " ~ u B~l11aj7 1\ · Dm7 -H-~I2-: .! )! :! >: >: .. " X ~ ~~ )! v X ~ X ~ il Copyright © 1933 PolyGram International Publishing. D ".:.! · Dm7 E~9 Em7~S Frnaj? . ~ ~ A71s Eb13 · · . .

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