Another song that uses bVI7 is Out of Nowhere.Īs shown by the Roman numerals and arrows, secondary dominants are used to propel us to II, IV, V and VI. In the original 1950 Jenkins recording, one chorus uses Gb7 (from Cb major, Bb Locrian) and another uses Gbmaj7 (from either Bb harmonic minor or Bb natural minor, Aeolian). This can be viewed as modal interchange (M.I.), being borrowed from another mode rooted on Bb. At bar 26 (second bar of the C section) there is a bVI (Gb) chord.This modulation is not common one of the few other standards I can think of that do this is Stella by Starlight, also by Victor Young. The difference is so subtle that many might not notice it. In bars 13-15 there is a genuine modulation to key V.In my opinion, the only two interesting things about the original harmony are also both quite weak: The harmony is conventional, even boring, in the main, but we need to know it so that we can understand the magic that Evans performed in his arrangement. If you are new to harmonic analysis, read my overview article which explains the techniques and gives a further reading list. I’m going to put all changes in the key of Bb for ease of comparison, though the recording is in E and Ab. It’s a song of two halves, the form is ABAC (8-8-8-8). I don’t have the original sheet music and Real Books are notoriously prone to ‘group think’, so I went to the most successful early recording by the Gordon Jenkins Orchestra in 1950 and transcribed the chords. Bill Evans replaced the boring harmony to make it a jazz standard to die for. My Foolish Heart was written by Victor Young in 1949. (wich is good for covering time)Some song s like tune up or blue in green are very short só i adjust the repetitions from 3 to 5 or 7.following this pattern:first time i play it normally second time i improvise and this pattern repeats until the song ends.This week i got in touch with a lot of restaurants owners and for what i can tell they like a guy who can play a at leats 3 hours of piano playing…só for me to get closer to that goal i m forced to abuse the art of improvisation lol …at least for now. i play it only with seventh chords or invertions of this seventh chords…and i use all the improvisation tools i learned from the 12 bar blues lessons.What do you think of my approach? I m organazing my songs to play them live só this approach makes a good portion of the songs last at least 6 minutes.

i play all of them using the irealpro app…só i set the song to repeat 3 times.the first one i play it normaly and with the third one i do the same thing.but on the second one i improvise all the song. Hello Hayden good night to you, hope you are doing great.Talking about personal touch.this couple days i have been organazing all the standard i have learned. Make your melodies sing, and your audience will love it. It takes someone with jazz knowledge/experience to appreciate and comprehend a chord voicing containing upper extensions/alterations etc… A strong melody of a song that they know is something everyone can relate to. That is the one thing that your audience will notice, and that they will be able to connect to.

make sure the melody of the song is clear, stands out, and is instantly recognisable.

The key Ivan… is to play the melody with conviction. Don’t get me wrong, they are enjoying the ambiance you are creating, but they are not listening intently to what you are playing.įurthermore, the vast majority of your audience will have no understanding of jazz harmony, and so they will not be able to tell the difference between a basic R-3-7 voicing, or something more harmonically complex. They are busy eating/drinking/having conversation. a concert hall kinda setting, then you are just playing background music, and 95%+ of people will not be listening to you.

Understand that unless you are on a stage, ie. Learn the chord changes by memory and have fun. I’d recommend building a list of tunes that you are 100% comfortable with so that you do not need the lead sheets. That’s exciting Ivan…and I’m excited for you 🙂

Beautiful love bill evans transcription