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Contents

SomeThoughtsAbout SingingJazz,p. 5

Love Is HereTo Stay

- Introduction,p. 9
- Song,p. 13

A FoggyDay
- Introduction,p. 1Z
- Song,p. 2l

Nice WorkIf You CanGet It

- Introduction,p- 25
- Song,p. 28

l. A CottageFor Sale
2. My Funny Valentine
- Introduction,p. J2
- SongNo. I, p. 35
- SongNo. 2, p. 39

Lover
- Introduction,p. 43
- Song,p. 46

The SongIs You

- Introduction,p. 50
- Song,p. 52

For all works containedheteir:

InternationalCopyright Secured.ALL RIGHTS RESERVED.printed in U-S,A.
Unauthorizedcopying,atranging,adapting,recordingor public performanceis an infringementof CopyriSht.
Iniringersare liable under the law.

ri
 Some
Thoughts
AboutSINGII\G JAZZ

We tend to say that jazz is improvisation on

ty to improvise, technical knowledge*can be devel_
the melody or chord progressionsof a tune. yet jazz
o p ed .
singers like Louis Armstrong, Ella Fitzgerald, and
Actual voice quaiity may be totally irrclevant.
Chet Baker often sing perfectly straigJrt,while Barbra
Anything goes, frorn the growl of pianist_singer
Streisand,who often changesthe melody, is strictly
Jimmy Rowles to the near-operaticinstrument
non-jaz.z.People like Frank Sinatra and peggy Lee, of
Sarah Vaughan,as long as it expressesthe individual
rvlto seem to straddlc the fence, are perhaps jazz_
conception. Develop the style that goes with yozir
oriented singers.
voice.When style and voicc ntatch, you can forge
t the
volce, at lcast in performance,and become
Basic to the processof makingjazz is a sense involveci
with the nrusic.In private,vocalizingto develop
of freedom relative to the melody, the harmony, the rangc
and to create different qualities can give you
rhythm, the tone color, and the lyric. But havine the a very
valuable tool. A wide range and good breath
t r e e d o m t o i n : p r o v i s e t. h e j a z z s i n g e r / m u s i c i a m control
n ay rvili enableyou to cary out a phrasethe way you
ihoose not to.The jazz musicianinsistson expressing in-
tend and will also help your intonation.
.rot just his "personality" but his individuality, which
Good intonation, i.e., the ability to sing in
:omes from deep insideand may or may not result in
tune, is of prime importance.The vocal cords are
;urface brilliance. He insists upon maintaining, de_ tiny
muscles% to % of an inch long; the entire range
reloping and exploring the relationshipbetween him- of
vocal soundsis produced by means of minute adjust-
;elf and the music. And it is that relationship which
ments in these muscles,which are not under direct
re offers to his audience.This beginsto explain the
control but respond to the ear. you can help
lifference between the jazz singerand the pop singer. thcse
muscles to respond through practice. Strangely
fhe jazz singerusesan indiv.idualisticstyle to present e_
nough, there are musically-giftedsingerswho
ris music to the audience. singjust
slightly below pitch all the tinre. And yet this
fault
The jazz singer is always creatively involved can be correctedif you listen to the accompaniment
tith the music of the song. Good musicianship then,
with p.itch-accuracy in mind, feeting the pitch,
s the first requisite. The various elements of good and
relating the soundsinside your head to the
nusicianship-intonation,time, harmonic sense.abili- sound of
the accompaniment.Feel that you are ..on
top,, of
the pitch. Your voice,like the instrumentsin an or-
chestra,can be "tuned up" eachtime you sing-and
may haveto be.
A more difficult problemis intonationwhich
is basicallygood but faulty in spots.Two kinds of
exercise arerecommended:
l. Practicescales,arpeggiopatterns,and intervals-
thirds and sixths; fourths and fifths; sevenths,
whole tones, and semitones.Feel the intervals.
Practicervith a tunedpiano,payingstrictattention
until your voiceobeysyour ear.
2. Practiceeachsongthe sameway,phraseby phrase.
You will probablydiscoverspecificplaceswhere
you are likely to go olT. For example: on semi-
tones,or on the first note of a phrase,or in a suc-
cessionof repeatednotes,or on a note that is not
.in the basicscaleof the piece,or wherethe melody
turnsbackon a largeskip.
It will probablytakesometime to correctthis
problem. It may never be completelysolved,but
good improvementcan come quickly. You are re-
sponsiblefor your intonationand for everyaspectof
your singing.
Many peopledon't like the ideaof practicing.
But anotherword for "practice"is "sing,"andif you
don't like the ideaof singing,betterforgetthe whole
thing.The prime rule must be: SING.Singand sing
andsing.
There are other important aspectsof good
musicianship. Good "time." the precise,intimate
relation to the beat, is vital. If your rhythmic co-
ordinationis poor, the remedyis the famiLiarone:
listen deeply and practice.The study of Dalcroze
Eurhythmicscan help to improve your rhythmic
expression.
Technicalknowledgeis essential. You should
have a knowledgeof keys and their sigrratures, of
scales,chords, and chord symbols.Keep a list of
songs.Know your keys.(It is a good ideato staybe-
tween I sharp [G] and 4 flats [Ab ], unlessyou are
sureof havingvery skilled accompanists.) Both ear-
are
training and sight-reading important. Leam to use
the piano, no matter how haltingly.You are way
aheadif you canpick out melodiesand chords,trans-
late chord symbols,and really understandharmonies.
All this will give you a valuableindependence that
will be especiallyhelpful when learningand perform-
ing a new song.You will be able to find your own
keys,developyour own routine,and evenmakeyour
own leadsheets.
When adding a songto your repertoire,there
ares('veraI
basicconsidcrations:
l. How does the tune relate to your vocalrange?
What sonorityis desirablcfor your interpretation?
Do you want to increasethe brillianceby raising
the key or soilen it by lorveringthe key? Will
you want to changekeysat any point?(lf the tune
is too rangy,notescaneasilybe substitutedto con-
densethe span.)
2. Whensettingthe routineof a song,considerwheth-
er you wish to singone or morechoruses, to leave
spacefor instrumentalchoruses,to add a "tag"
(an addedsectionof perhaps4 or 8 bars,or cven
more) at the end. If you aregoingto do two cho-
ruses,what's the differencebetweenthefirst and
the second?If there is no difference,rvhy do the
second?
3. Do you want to singthe verse? Will your acconpa-
nist know the verscs,or obscuresongs?Some
musicianslove good songsand seekthemout; oth-
ers prefer to re-workthe samefew tunesover and
over.
4. Do you want to kecp the sametempo tlrrough-
out? Do you want to take some passages out of
tempo ("ad lib." or "rubato") or use the tradi-
tional tempo? You can provide a difi-erentef-
fect by changingthe tcmpo singinga ballad in
a bouncy tempo,or an "up tune" slowly.You can
make this more effective by takirg the time to
think of a correspondingly changed dramatic
attitude. For example,a sorrowfulballadcan be
changedfrom "poor me" to "dammit!" "I love
you and it's pure poetry" can become"I loveyou
and it's a gas!"Of course,the tempocanbe changed
without justilicationbut your performance wrll be
more interestingand compellingif you matchthe
attitude expressed in the lyric to the musicalone.
Don't neglectthe lyric in the nameof jazz or you
will rob yourself and your audienceof musical
valuesas well as direct emotionalcontent.Billie
Holiday often used improvisation to point up a
lyric, giving a little twist to lend emphasisto cer-
tain words. In addition, the soundsof the lyric
have their own music, and the consonantshave
their own rhythm. You curtail your own enjoy-
ment as well as your expressive possibilities
if you
ignore this aspectof the words.Take a lessonfrom
songwriters-often the simplest, most effective
singerswho leameclto singin orderto demonstrate
their songsto publishers.They really want that
lyric and that melodyto be heard.
5. Will you improvise?How much?Can you deliver,
the lyric while improvising?
Improvisation is unquestionablyone of the
key elementsin jaz.z and it is unique to this form.

Thereforemost of this book is devotedto it. The
initial statemcntof a theme may be playedstraight
dr nearll so (there is almostalwayssome freedom
with the phrasing,a note or two of alteredmelody).
But come the secondchorus,or the second8-bar
section, and the jazzmanis generallyturning things
inside out, exploringthe impicationsof the melody
or the chords. So even if you have no intention of
being a full-fledgedirnprovisingjazz singer,it may be
worth while to developsome ability along this line.
Broadeningyour experienceis always productive, if
only to know what you arerejecting.
Improvising is in some ways more difficult
for the singerthan for the instrumentalist.Once an
instrumentalist learns the chord progressionsof a
particular tune or certain standardpattems, he has
mechanicalaids (keys, frets, finger pattems) to help
him play what is "correct"; the singer has only his
ear. More important, the singeris to a greateror lesser
extent bound by the lyric, which imposesa distinct
economy.
Specific su€gestionsfor improvisation are
" understanding.The key, as always,is singing.Remem-
included with each song in this book, but a few
general tips may help you get started. Look at the
chords in the accompaniment (the changes are
indicated abovethe melody line, with greateror les
accuracy).As long as a given chord remains,instead
of singing the melody note written, you can sing
any other note in the chord. Nor are you restricted
to the chord as written. The jazz pianist often adds
a 6th, a 7th, or a 9th to a simpletriad; you cantoo.
It is possiblethoughnot easyto useany note in the
scaleto which the chord belongs,and somechromatic
tones.The choiceis largelydictatedby the duration
of the note which is relatedto the speedof the pae
sage.Herearesomewaysto begin:
O Pick any note in the written chord and start
your phrasethere.
O Start your phraseon the melodynote but pro-
ceedto a differentnote.
O Reversethe contour of the melody line. When
the melodygoesup, try goingdown.
O Usea notean octaveaboyeor belowthe melody.
O Add bendsto a predominantlystraigJrtmelodic
line.
O Simplifya complicated melodicline into a series
of swingrngrepeatednotes(asBillieHoiidaydid
so wonderfully on tunes ltke "Them There
Eyes"and "MissBrownto You").
O Usea rhythm which stronglycontrastswith the
written one. Start on a differentbeat.This can
be particularly effectiveif the tune you aresing-
ing falls into a numberof short phrasesso that
you are, in effect, singing"answers"to the writ-
7
ten melody.
In the interest of swinging,and/or of building an
O
interesting ryhthmic pattern, add extra notes
(which may mean adding extra words, repeating
a word or two, or singing more than one note
per syllable; this can be done in either a fresh
or clichd fashion).
O Omit a few notes (and words).
Jazz musicianstend to increasethe complex-
ity of their improvisationsfrom chorus to chorus or
throughout one chorus-perhaps until the last 8-bar
section, when they may suddenly simplify by using
many repeatednotes.This strips the melody of every-
thing but rhythm and attack; it createswhat used to
be called "hot" ph-rasing. The word has gone out of
style but happily the practiceremains.
You can create, on paper or in your head, a
dozen different melodies to one song. Devising
improvisational melodies will sharpen your ear,
develop your imagination, and deepen your musical
ber that prime rule: SING. Sing your improvised
melodiesuntil thcy becomehabitual. Than use these
as a jumping-off point for more.
Don't be afraid of doing something wrong.
Someonehas said, "Experienceis nothing but a series
of mistakes." And jazz pianist Marian McPartland
says, "Heavens, I don't think a rJ,ay'scomplete
unless I've donc soniething wrong." (The National
Public Radio series"Marian McPartland'sPiano J azz"
is highly recontncnded listening.) Perhapsthe great-
est wrong may be to avotd trying something that
might be right for you becauseof fear.
On the other hand, don't think you MUST
improvise. A lot of the "jazz" in jazz singing derives
fronr the intonation, tone quality, attack, and phrae
ing or swinging.The jazz singer,like the jazz instru-
mentalist, almost ncver usesthe phrasingthat is writ-
ten, partly becausehe learnsmost of the tunes by ear
fronr otlrers who also learnedit by ear.J azz phrasing
abounds in anticipations and delays, syncopations
and tied notes. The rhythnts may approach those of
speech.These rhythms, however, are not at all hap-
hazard or arhythntic. They are very precise,but dif-
ficult to write. In a ballad, he usually phrasesbehind
the beat; the important word tends to fall on beat 2,
with an unimportant precedingword such as "the" or
"to" on beat l. Strangely,this doesn't throw a false
emphasis;rather it tends to smooth out the phrase.
In general,landing on beats 2 and 4 (in the
4-beat measurecustomarilyemployed in jazz) sw.ings;
landing on I and 3 doesn't (except perhapsat very
fast tempos).
 8

Unlessthe basicbeat is some kind of Latin or rock rhythm, a succession

of eighth notes is invariabl
played as a dotted rhythm. or more accuratelyas /riplet figures:
-J ---- - 3 -=-
) ) ) ) a,,d.l) .NJ ) p l a y e da s
J )J.l)
The lazz singer'stendencyto introduceail sortsof little syncopations
andto singin f ratherthan !
resultsin subtle but distinctchanges.
For example,Lee wiley changedRodgersand Hart'ssmoothlyflowingj
ballad"Herein My Anrs" into a gentlysrvinging t:ottodby introducingone
f, smalldottedrhythnt andseveral
anticipations
.inthc first phrase.

As wnttcn:

q' d
)- |
)
|
)
|

l" ) )
J

lt . Jt-_LJ
IJere in my arms it's a - dor - a ble -

As sung:

4l il . r\ . ) f rl
4 o----'
Herc- in nty
.-Jd
artrs _
l,
aa
it's a
I
l_l_J) L;-_l-J
dor-a ble

Sirc gavea similar lift to vi'cent younans' "riise ir" Srrine" r. thc secondphrasc.

As written: As strrrg:
I rll '
,h
\ 'r a
I . d_l ll 4 t tt
t,). il) | ll
. la . I n i . o i ._ tr
Stand up and take it. Stanrl up antl take jt. _

This is the kind of inflectionthat happensby instinct.It canalsobe developed.

In general,
you wil
swingbetterby keepingthe wholefeellight. Learnhow to force a rhythrn
alongby givingir a genle push.

This shouldnot be construedas work-it's singing,and singingis as

much lun as any activity yor
canname.So hereagainis that primerule: SING.

Sing all the time sing with the radio,with records,with the cannecl
musicin grocerystoresan(
elevators'sing with the piano.Singto your own accompanirnent. sing without accompanrment.
Singall the time
If singingis not first natureto you, singand singuntil it is secondnature.

My secondrule is: PRACTICE.sing,and practicesingilg,until it bccomes

your naturalexpression
asnaturaland inescapable
asbreathing.

The basicrepertoireofjazz singingis prctty well established.

It consists
mos y oi..standardsand
showtunes" plus a few "originals"by jazzmusicians. Explorethis world of classicsongs,both well-knownand far-
out-it's a greatpleasure.

Tliis book containsa selectionof greatsongsall of which are very popular

tn the jazzrepertoire.
some take a lot of improvising,somevery little. Eachis precedecl
by somesuggestions for rmprovising,alongwith
examplesfrom recordedperformances. All examplesare transposecl into the song,spublishedkey for your con-
venience.

Standardsongstend to be 32 barslong,built.in four S-barsections.

Thesesectionsarereferredtots
the first 8, the second8, the bridge,or release,
or channel,(or "second16," il the tunehasno bridge-see..A
gy Day" and "Love Is Hereto Stay") and the last 8 (which Fog-
may be extendedby 2, 4, or more barsbut is still
calledthe last8-see "A FoggyDay,'and ..My Funny Valentine,,).
Introduetion
Tb Love Is Here To Stay

George Gershwin was a very prolific and inventive improviser known

to have tossed off fifty or
mote chorusesof his own works. "Love Is Here to Stay," his last composition,
was sungas a tender romantic ballacl
by Kenny Baker in The Goldwyn Follies and by Gene Kelly in An American
itt Paris.However, it is usually turncd
into a jump tune by jazz singersard instrumentalistsalike. The lyric expresses
supremejoy and confidence in a
cheerfttl, outgoing way. The syncopatedrhythm lends itself to the "swing"
treatment; the kind of emphasisand
rlteration thal jazz performerscustomarilyinclude in their performance.

The most prominent or essentialrhythmic featuresare: (l) in the first

and third g-bar sections,the
)attern of rhythmic pick-ups in bars 0, 2, 4, 6 followed by the strongly
emphasizedwhole-notedownbeatsin bars
| ' 3' 5'7:(2) in the secondS-barsection,the samepattem in diminution (reduced
time value);(3) thc syncopation
)N thE titlE PhTASC ANditS EChOS. ALL OF THESE NOTABLE FEATURES ARE ALTERED BY
TORMER! The THE JAZZ PER.
lazz singertends to sing everythingin I insteadof almost never lantlssquarely on a downbeat
! ,
Lnd almost never singsthe kind of two-beat syncopation spelledout
in the title phrase,pref'erringa more subtle
:ind of syncopationin relation to 4 beats.when typical rhythms are written
out, it becomesapparent how thejazz
inger'sphrasingis made up of little anticipations,suspensions, ancldelays.whether performing this tune as a ballad
rr in a medium uptempo, the jazz singerwould render the rhythms
somethinglike this:
AnticiPations --.------___-_, Delay.
. -,_/
1)..D)
It's ver " v
t_l-- lJ j J LJ l) l_JLjJ ll
clear_ Our love is here_ to stav:

Suspension Dclay,
,
). J J._j) |'1
tl
ad. lv i .Dlj. l.l)Li.__Lj ll
It's ver - y__ Our love is
"ti-,- here lo stay;

The phrasingof "to stay" invariablythrows "to" on the downbeatseeminglygiving

it a falseempha-
s Actually' the device servesto de-emphasizethe downbeat, because
the important word and held note occur o.
.:at 2 The four beatsare equaiizedand the whole concept "To
STAy!', is giorifie<1.

In bars ll-13, the quarternotcs are broken up into groups

w h i c h a p p r o x i m a t et h e r h y t h m s o f
t t u r a ls p e e c h :

-3 -----
b I I h abr[
..:aa. la
/
.:_a lbh
a a ). $J ll-Ji J ,r)J lf.._LJll
mov -ics- that we know Ilay- just be pass- ing _ fan - cies,_ And in time may go. -_-

r- 3 -__,_r
4llll lh il[ j__Lj ) ) ) l) ir_l-J
4 d.aa
know May just be
l.
pass
)
lng
aa
; And in
lt
rime may Bo._

It's almosta rule_that the rhythm is neversungstraightwhileswinging,

and conversely,
that you can
rverswingwhile singingthe rhythm straight.By listeningto
recordedexamplesby a wide rangeof traditional
zz singersyou will find this appliesin nearly all cases.
 10
The mclodicline of "Love Is Hereto Stay" illustratesan interestingfeature
of manypopularso;
and their relationto jazz singing.The wholenotesin bars 1, 3, 5 and (repeated
7 in bars17, 19,21 and23) arc
strongand contpellingthat in listeningto jazz singers,sometimeswith
two choruses,I founclonly two barswh
the notesperformedrveredifferentfrom thosewritten, and in those
instancesthe writtennotewassungfirst i
then slurreddownwardto a rowero'e. what doesvary arethe notesapproaching
thesewholetones.
FrankSinatra
(first l6)

Ottr love licre- to s t a y ;_ herc lo stay; __

Our love herc ro __ slayi Our love is here

BobbyShort

Our lovc is hcre to s l a y :_

Ella Fitzgerald
(first l6) ( s e c o n d1 6 )

Our_ love _ is _ here _ to stav: Our luve is l r c r e_ to stav:

Of course,it is possibleto vary the whole notes. In measure I (and

measurel 7 ) w e m i g l r t l a n d o
any note in the G9 chord. However,somc choicesare more interestingthan
others.
Dependson phrasing

It's clear Its It's ver clear

C resolutionsoundsawkward D is better Mostinteresting

l-r I
It's vcr - y clear It's ver Y cleal I t's ver - y clear
The most interestingchoices would probably involvethe
Bl, sinceit is this alteredtone whicf
throwsthe piecetemporarilyinto C.

It's ver_y clear

Here are some possible resolutir,rns:

0ur love here to Our love is here Our love is here to

 l1
I find that Bl prettyjubilant,ard if I hit it I'd feellike movingimmediately:
Personally,

It's vcr -y clear, ir's clear, it's clear our love is here to
The altered tonality introduced by the Bi canbe exploited in many ways:

clcar, it's clear, il's clear

It's ver - y clcar, it's clear, it's clear- our love is here to

L e l ' s c o n s i d e ra variationon the flowingpassage

in bars8-13.First, we might approach each down-
beat from below insteadof from above:

and - the phone and the

mov - ics that we knorv Nlay just be pass ing fan. cies,

It is easy but a little boring to carry this device through to the end of the phrase.The question is
when to break thc sequence.I rvorrldn't do it rnore than three times as far as the word "movies." But then jf wc
stop improvisingand return to the written mclody, it soundslike a breakdown of imagination.We might introduce
a rising figure in bar 12 anclretum to our sequcncein bar l3:

-l

les tnal know May just be pass ing fan - cjcs

Some parls of this tune seem absolutely irresistibleto jazz-orientedsingers.Take the simple four-
note phrasc"But, oh my dear." In the first public performanceof this song,Larry Carr sang:

Ah, but oh - ho - ho my_ dear,_

He was followed by Ella Logan in the first commercial recordrng:

(first chorus)

but oh ho my - hy dear, But, oh my_

and a host of others:
Bobby Short

nh A^4. But, oh - But, oh - my dear,

my dear,-
 12
Ella,with LouisArmstrongharmonizing

Bu- hut, o h - h o - h o - h o - h o my dear, B u - h u t , o h ' h o - h o- h o " h o ho my-dear,

Afte r all this ernbroidery,it's narvellously refreshing to come upon Louis
Arnrstrong's simple, in tenscly swingin
HOT phrase:

But, oh my dear

Another seeminglyirresistible
spot is "long, long" jtt bar 22. The two quarter notes
clongated or embroideredor both, pointing up the are either ver
v c r y l o - o - o - o - o - o - nwga y t h c h a p p y c o u p l ew i l l b e g o i n g t r
g e t he r :

JoeWilliams
FrankSinatra(both choruses)

go - ing a lorg, - long - way._ go - ing a long, long_ way.

Larry Carr

go - ing a long, long way, go ing long way.

Ella Fitzgerald(first chorus) (secondchorus)

go - ing long,- long way, go ho - ing a long, long way.

Ella Fitzgerald,anotherversion Ella, with Louis Armstrongharmonizing

go - ing a long, _ long _ way. '-- go - lng a long,_ long_ way.

Don't ignore the.verseof this tune.It's very well
written, introducingthe paradoxicalnotionsof
pernanenceand impermanence in a delightful,conversationalway, with a nice play in two meanrngsof..affair.,,
It is usuallysungad rib. thoughElla Logansangit in the
sameeasv"i she,;;;J;;i";;;;r.
 l3

Love Is Here To Stav

Musicby GEORGEGERSIIWIN/Lyrics
by IRA GERSHWIN

Con anima

o4-
,np-<-
rr I
,lf
I

*; - , /'719 ?
T-

more read the pa - pers The less I com-pre - hend

.^ r
m? te6g. ero
tfl t rt'r tlq#
'l toF-
I

C dirr

world and all its c&- Ders And how it all will end. Noth-ingseems
to be

opylishro 1938by GERSHWINPUBLISHINGCORPORATION

opyrightRenewed, assigned
to CHAIPELL & CO.,lNC.
rternationalCopydghtSecured
14

last - ing, But that is - nt We've got some- thi-ng

r-_----;----_-r

npi-rna-nont T ,'"..'----./
meajr ln u1e wav

I ti*

Refrain
 l)

the tel - e - phono

F rn^j7

mov - 1es that know Muy just be fan - cies,

6 \-rL
I
.Be
I
7 /ilnJ 7

Alrd in time dear,

qu
-
z't1f,J- (q)7
f 5 + qTT r T
?-
,----'---------- l

Our love here stayi geth

l6

In time the Rock - ies may crum-ble. Gib - ral - tar may tum - ble,

F'bg D7 D dim F Cn7 C9

'lheyre
on- ly made of clay, But our love is here to
81rg- -
)

ovvt- (J
1.r
I
ryp'.
=- r---fl:l t.t la

+
'nf-=_:__ 1!p delicat
\l
e+
 t1

Introduction
TirA Foggy Day

Here is anotherballad-turned-jurnp-tune.
The lyric expresses
mock sadness
and uncertaintyuntil
thejubilantchange
of moodat "suddenly"in bar 25;rvecan'twaitlongto swing.

Like "Love Is Hereto Stay," "A FoggyDay" is built on a very distinctiverhythm wliich is always
disregarded in jazz performance:pattemsof pickupnotesapproachnotesheldfor four beats(or longer).Looking
at the sheetmusic,however,you may be surprisedto find that the writtenrhythm is not at all that whichyou
have
usuallyheard.This tune is almosta lessonin what swingsand what doesn't.The only placewherethe
written
rhythmic pattemis varied-on"I viewedthe" in bar 9-is the only spotthat swingsaswritten,and it is this
rhythm
that is the basisof all jazz interpretationof this tune, eitherinstrumental
or vocal.Thusthe rhythm is commonly
rendered:

xt))) A fog -gy

l- duy
lr j )) l.
in Lon-don town'
l^ jJlo l-lllrr
t..loll
Had me low had me down.

(andperhapsdelays):
but with anticipations . N I \ \r
t 1' . a a a
I lo I i' t) |
X
A lo8 - gy day _ etc.
Don't try to avoid somethinglike this just becauseit's common. It's common because,
in a marnstreamjazz context,
it's ight. Feel free to acceptit and do your improvising from there.

The melody is built on short repeatedmotifs wllch skip up in the first 8 measurcs(up
a minor thircl
to a note not in the scale,then up a fifth; this repeated twice on differcnt degreesof the scale)and
then down in
the second 8 (with the D in bar l6 often mis-rendcredas Db which is perfectly satisfactory from jazzpoint
a of
view as long as singerand accompanistare together). The entire pattern beginsagainat bar 17
with, however,a risc
to a welfplaced rnelodic climax on "suddenly" at bar 25, and thc endingextendedby two bars
which introduce a
totally different melodic quality accompanyinga change in lyrical feeling.Recognizi'g features
like this mav helo
),ou to coRstructjazz choruses which are meaningful rather than ranciom.

This tune is a lessoni11the riSht notes, as well as the right rhythms. Sincethe pickup
notes are re-
peated, there are only sixteen differcnt notes in the first 16 bars. The notes
Gershwin has landed on after his
quarter-noteanticipations(E t, A, Ab, D, C, F, C, D) are very characteristicof the piece
and very right; they are
almost never varied. Kceping them will give you security. Improvisingsingersconcentrateon
varying the approach-
ing pickup notes.Herc are severalways of approachingjust the first sustainednote:

foB
r
8v day fog BY day
----1----

l-
fo8 gv day fog cv fog
 t8
Ijere is how this Eb was approachedin some notewodhy
recordings:

Ella Fitzgerald

A fbg
How- long,- [_ won- dered,_

LouisAmstrong
Mel Tormd (a slow, fbggy interpretation)

log gy day __- t, l'^u' ,s, - 1 , . ,r.l^l i

ru - l_ won-dp'p4

L e t ' s l o o k a t s o m ew a y so f l a n d t n go n o t h e r n o t e s
i n t h i s s a m ec h o r d : G i r , C , l l r .

A fbg - gy d"y A
..
log gy day
-)
r
fog " 8Y day
T h c G b ( a b o v e )i s t r i c k y , a s i t t e n d st o t l u o w
t h e p i e c ci n t o t h c k e y o f D b . T h e C ( b e l o w )
tonds to swing; stripping the mclody down sonrehow
to repeatednotes will rcinforce this tcndency,
notes can usually be sung for the next phraseas rvcll: and in fact the same

A fog - gy day A fog - gy day

(In Lon - don town) (In Lon - don town)
The B b is probablythe mostinteresting
of thesepossibilities,
because
it is this note whichsaves
the
chordfrom the clich6E dimT whichan Al would create.

A fog gy day A fog gy day

None of these seemsas rcwardingas Gershwin'sEb, a nysterious
-notes
tonalityof the piecewhichperhaps early departurefrom the
evencreatesthe atm"osphere
ol lbg,

Hereis an improviseci-
chorusfrom Ella Fitzgerald,utilizing the ,,right,,
Gershwiit,
andimprovising sustarned
noteswdtten by
on thepickupnotes:

In Lon - don

down. I vjewed the morn - ing

 The Brit ish Mu had lo-ho-ho-ho-

how long, I could this thing last?

But thc age of mlr had n't For,

//--- ):

saw you there _ And through fog gy I-on - don town _

where._

Ella usually usesmelismatics(more than one note per syllable)

to open up a tune lor improvisation.
\nother metllod is to embroider the lyrics. Hcre are some possibilities: the first
is completely standard;theseconcl
rasa Iittle more individuality.

ir olo don town _

And h a d- low ald d o w n .-

real_
day-

Lon ' don had me feel lng low, brought me right down.
20

carmen McRaehastakenthe oppositeapproach

and omitted wordsand notes,flatteningout
melodv while NormanSimmonsandthe trio plav tll
like thi wind.A chorus ,rrit;;;o; t so, o, =
takesabout 25 seconds'Notescannotconveythe d^= rr, ft , ) xt
"t
singer'svery subtleattack,
Ilere aresomenotablepassages which makesthe whole thing worl
from the secondchoruJ:

town,

Viewed ths morn ulg

won - dered Could_ it l a s t ?- Age of mir-a-cles h a d. n ' t passed.

 21

A F"ggyDuy
Musicby GEORGEGERSHWIN/Lyrics
by IRA GERSHWIN

N l u d tr a t o

Piano (

IJ J
(s i{?,?.'.

4D ./.El'!. 'I)
F-
rulher Frr:Lj7

I w a s a s t r a n g - e ri n t h e c i t - y . _ Out of townwerethe per-r

ple I knew.

tr
r-l

'-,:v
Guilrt r
F'
l d c eI

I had that feel-ing of self pi - ty, _ \\'hat to do?\\}at to dr?\\lat to dr? The

opyrishto 1937by GERSHWIN PUBLISHING

CORpORATtoN
opylightRenewed, assigned10CHAPPELL& CO.,INC.
lternationalCopyrightSecured
22
0 lt1 .t ' K
ti

C7$9) C7+(t9) FmajT Ffi Am D9

out -look was de- cid-ed-ly blue.- But as I walkedthroughthefog-g:ystreetsa_lone, It

>>'

.)' a -
l4' ,\
Am um/ c7$)

turned out luck - iest day I?e known.

D{t
cTFEl o
Refrain (lrighter hut warmly)
ttm/

Lon - don town -

t.
OJ'L' LI
iml
 23
I
'l> 4 ,
(-./)
,; '.
t,t (,
FmajT E7(bb) F9 BbmajT

'
T viewed the', morn- ing \irith larm,-

D ll /- 4
Fma D9 Ggk) G9+ C9

The Brit - ish Mu - se lost

:>

How long, won dered, could this thirg last?-

'J>'*

p trf"<- .e
ql.r ra
,T ? t$-----
t"--

i>

I f r F -r'r r r \a "7 I

(!)
 I 6 I
F 7 r l 9 ) B fr n aj 7 ( ; 1 1 ( ; )r )

sud dcn - ly, _-

.lr::i y0u there.
>'
>

b li
I
l. u 1,6 I lJ l/
G9

And throush gv Lon- don town the sun \\.as shil rns

-i

A
C7 | [Ii{l /

where.

nf,-_

trmaj7
Il l,rnti I ir n ; 1 7

grlr11.____,,-

,,lf 'dr,,.
 25

I'rroduction
Tirl\ice Worh If You Can Get It

This tune is in strongcontrastto "A FoggyDay" and "Love Is Hereto Stay." Rhythnically
it is
written without tricky syncopations, it is sung much ntore nearlyas written, but with some a:rticipations
and
delays:

Hold - ing hands- at mrd night - 'Neathastar-ry

sky,-
As written by the Gershwins, this songexpresses
romanticimagesi' the first lbur barsof eachmain
sectionin a smoothrhythm which contrastsstronglywith the
explodingrhythm of the recuqng slangexpressio'
which follows.It mightbe niceto restorethis contrast.

Harmonically,too, this tune contrastsstronglywith.,A Foggy

Day,,and .,LoveIs Here to Stay.,,
passingthroughsevenkeys in four bars (E minor, A
minor, D minor, G, c, F, and D) on lts way to thc home
tonalitv of G' The releaseis in E minor, D majorand minor,and
G. Hereare;";.;;.;i"; possibilities;
seewhere
they takeyou. (Usea pianoto checkthe harmonies..)

Hold ing - hands mid - niglrt H,rld - ino huds

Hold tng hands Hold ing hands al nlgrt _

llold ing hands at nlid nlght _

Turning to recortled exarnples,again we find that ntany jazz singersimprov.iscvery

little. E.ltaL.itz_
gerald makesonly thesesiight alterations-and they are in the secondchorus.

__,____r r.-
r_3 3 _ r

Wait - ing at tl)c cot - tagc door. And then tak ing that- vow, -

N{el Torm6 in a first chorus (the second is incornplete) makes only t l r e e d e p a r t . u r e sf r o m t i r c w r i l -

t c n t u n c . F i r s t .a s i m l ) l i f i c a t i o n

Wait - ing the cot - tage door, _

26
tlren two nice, cleanly executedbits of stylizedphrasing:

Who could ask for- an y - thing more? get it,_ Won't_ you teil* me how?-
stylized rhythms can be overdone.The words "get it" occur six timesper chorus.If the rhythm
(' g.e' t l t ' ) is exaggeratedeaclt time the devicegrows increasingly
rt tiresome.

Ilere are someexamplesfrom chris connor's recorcring.I particurarryrike the first.

Stroll 1Ilg the Won't you tell - me how?

j
r-3--

Lov ing one who - loves- you, And then tak - ing that vow,

"Loving one who loves you" ls given a similar but more complex treatment by Sarah Vaughan.

Lov ing one who lovcs- you, _ And thcn tak - ing that vow, _

Here, note horv Sarah takes an 8-note phraseand, repeatingit, compresses

it into 6 notes and from
6 beatsto 4.

N i c e- work if )ou can gcl ir And you - can get if - y o u t r y .-

Another Vaughan version:

Ooh, nice work if you can get it, And you c a n g e t jt if you try. _

Just to indicatethe infinite possibilites availablc, here are somevariations-upon-variations

of just
thc titlc phrase:.

Nice work get ir Nice work g€t_ if

Nice work 8et Nice work you get ir

.. 3 ------

Nice work ii Nice work it' And-

8€t
 Nice work you get Nice work
8et

Finally, sonle phrasesfrom thc Andrews Sisters. youdon'tthinkof

If themas a jazz .ooup,look at
thesemetrical shifts. It's quintessentialjazz singingof a certain
vanetv.

8et you _

(Second

you _._
you try.
(Bridge)

Wlro could ask thing more?-

(Last8 ( H e r e b e g i n sa m o d u l a t i o nt o
C.)

get it, oh ._- Won,t you tell me h o w ?- I'm hold - ing hands at mid _ niglit
Here the arrangementgoes into a special
new nlelody and lyric, compatible with and
thc original song. suggestedby

l
 28

I\ice Work If YouCan Get It

Musicby GEORGEGERSHWIN/Lgics
by IRA GERSHWII
l\[oderato

Piano IF
IF
\t-

G G6 C6 D7
im far rlUC
i.i'l-#
rffltr
+l+!
P.fff
Fl-#
ftfF
ffiI+t tf]-ffl
i-ffi-F
trtr

The man who on - ly lives for nrak- ing mon_ey Lives a li fe th:Lt

G6 C6 D7 G+
sr,s.4 D7 Gmai.7 G6
Fm FFFI$
ffiifl Ja-e
|.-J..1# ----l
fffi-F f-t Ffft-H fftftl
it+++l
tfttf, ffitrffi
n_Trr r-rrrF
ffiffiffi
fftrH rrrrF

nec e s - s e - r i - l y s u n -n y . Like-wise the man whr.r works for fame,

9
D Bdim.? A7 D7
rtrrl
Ht+t t:rrD sFm
nTm ftttH

rneres no g u a r - a n- t e e t h a t time wont e - rase his name.

copyrisht o 1937by GERSHWNpUBLISHtNccoRpoRATIoN

CopyrightRenewed,assigned
to CH.q?pELL& CO.,INC.
lnternational
CoDvrieht
Secrlred
 29
Gmi.6 D+ G6 A.l c6 D7
H# ffi
ftl'|rl
ffitrffi EEEID
tfffH ffffH ftffH

The fact the on - ly work that real - ly brings joy -ment

Grnaj.7 Emi.6 ^T,.

A6 1? D6 uitcn m . 7 Emi.8
ffi
E-rm ffiffi
riffl'1 fl-tth
ffi FtrR ffi
ftfth Iill"t-n

Is the kind th;t is for girl and boy meant, tr'all in love you won't re - g;et it,

Cmi.6 D? G6
90 o Ami.6
sffi ||f*t
|rh-n
ffifl f1-f#
ffiffi

ql 9
B7
I
I gb
ftffi Efifi WB
rrrrn tffffi l-ft-it
D7 9 A7 A7
FFM
Refr^ : - (smoothly)
|j-tflr
F+R ETEM
fl+]+ aldn
ffffi1 I-TTTF l-ff?tt

Hold - ing hands at mid - night 'Neath

a star - ry skJ,
30
c6

if you And you

9t I
n1
B7' E1 e!
A7
ffiF trfrffit-fffi
Fi-i-i-fl t-ffffl
ffi trtrFr
fffi-l] ff-tt-f]
H+H

Strol- ling with the one girl, Sigh- ing sigh aft - er sigh,
- ? ------r

1-1't

G jl G Edrm.7
cB c
-:-:_u

t-fH+t ffiffiffiffi ffi

And youcan

Emi. 9
EETIN D+ Gmi. G6 A7
H+IF H#H ffi ffitn
F++F
 Dm i . G6 A7 3l
D G t-
Tfm
lrfff Ht lt-l EfI]
T.n
m'rH-1
l-iffH Hfl+t ffif,

Wheretwo hearts be - come one_ Whocould

ask for y-thing rnore?
4--=--.> > >

eq e
B7 B7 t7

mlmmm +FTI{
t-ffffl

who loves J0u, And then tak - ing tha"t v0w,

l-- c ----

G C6 (i iI
F7
ffilt
rt+i+{
lffi m# t-f-f+H ffirl

Nice work- if you can trt'+ il A n d i f ; ' ou get it,_ Wotit you tell me
----l---------- -

[".---r
*. l--.---..--.-l r

c+
32

IntroductionTo A Cottage For Sale

My Funny Valentine
J./

up to now we havc been considerilgjump tuncs. Jaunty in their lvrics as well

as in theirrnelodir
llow, with an "air of perntissiveness," their mcssageancl mood seem enhancedrather than impeded by irnprovisa-
tion. But ballads are generallymore carefully, spccifically,clclicatclywritten. l\{anyjazz singcrs
cloose to sacrificc
thc lyric to melodic ernbroidery Sonle may do this just to prove that they arc jazz singers a questionable
airn. It i:
a very rare singer indeed rvho can inrproviseon a ballacland still deliver the lyric. pcrhaps
the best of theseis Carol
Sloane, who neverthelesssays in thc lincr notes to her album "subway Tokens," ". .
.singerswho can bend anrj
swoop notcs and mclodics at will should use restraint,learn resewe,anclhaverespcctfbr
thc nrelodiesthey choose
to sing. Why would anyone walt to re-arrangca rneiody such as. . ."Cottagc for Salc,'.
.'1,,It is, shesays,,.perfect
just as written;" and that is thc way Carol, a beautiful
singer and virtuoso improviser,singsrt;lust as wdtten, bu1
rvith a little lift in the rhytiun, personalizingit.

A few simplethingsmight be donewith this melodywithout seriouslydisturbingit.

Frank Sinatra Likesto drop down to the bottom of his ranse:

The shadesare all drarvn,_ And my heart js gaze up - on _

The simplifying teclxtique might rvork well:

we were proud of

Here are altemate versionsof the climax of the oiece:

key's
 JJ
RichardRodgersis known to objectvery stronglyto eventlle slightest
alterationof his songs.His
My Funny valentine"is a magnilicentachievement, with a kind of simplicity,balance,ancleconomywhichmake
ugstionablethe whole practiceof improvisation.The lyric and the rnelodyfit each
otherperf'ectly,and the con-
rurs aresimplyexquisite.

irst 8 --^ *
/4--
Second8
_/\ ^ ,l\--'---/
ridge \r^J \,\-
v-'-- Last 8 ,,-/'- )- ---/

You might take a lessonfrom Chet Baker'srecordingof this tune.

Chetsingsthe melodyperfectly
raight,listeningvery intenselyto the accompaninent,minglinghis voicc
with the instrumentallines,controlling
s sonorityso that his intonationseemssontehowmore than perfect.His
concentration is entlrelyon the music,
rt without neglectingthe lyric; he deliversthe lyric throughthe mediumof the music.

For interest,let's rook at two iniprovisationalrenditions,by Anita

o,Day and carmen McRae.
Anita O'Day(first chorus)

Is ..- your fig - ure rnouth - a lit - tle weak,

\-: \J -..-::=
for- F a c h- d a y- V a l - e n , t i l c ' s- day.
( s e c o n dchorus)

I
(cchoin
gP&;#i;il','?ii
J"r) chartge a halr for me, Not i - i-if you_ c a r e for nre.
/:\

r o r -_
for b a c l r day
Each d a y__ is Val _ en - tinc's_ day. -

A nice thing about Anita's rccord is the interaction between

Yolce and accompanimcnt.

CarmenlvlcRae

with my Your looks laugh a ble,

Un'pho-to g r a p h- a - b l e , - you're m), 'rite

- work - of _
 Each day, each day is Val en tine's_

- day. -- Is your_ fig - ure Is your- mouth_ a

lit - tle weak,

Are you smart? d o n ' t- dare-

You to change--

hair for fr€, you cale _ for mc,

Stay lit - tle Val-en-tine,

Each day Val - en tine's

aTnis meansp o r t dm en t o.
 J)

A CottageFor Sale
i\Iusicby \YILLAItD ROIIISON/L,r
ricsby LARRy CONLEY

Morlerat o

PIANO

l-rx e 1l :I b u n ga-1ou' high on a hill,.

'I I ) o I irn - ilg
ill rcacll' ine it or is it rcal,

'l'ir:tt
l a s Uti'
T,'l tl
\\'itl, rrt: h;.rrl
Now it's :r b u n - ga- lox'
5()nte-o rl i s s t i tr r rI - r r g b e
S l r a ri r r g t h e s o r - row anti

)yriShr
o 1930bi,DesyLV-^,IlRowN& IItiNDtRsoNINc.
'yrightRencwcd,
assigned
to C App|LL & CO.,INC.
'rnationai Copyrie|t
Sccurcd
36

ffi ffiffi
trfn mn rff1

emp- ty and \ t i t l Need-ing 1'our 1o.r.e_ to com

sad- n€;ss I manci it.
What is this new_ hope in side me.

m
cHoRUS H#

gone,_

clratvn, mv heart

----,--r----'.--.

ot - tage Fbr
 37

proud_

beau- ti
way, _

'I'lic
1'ouplant - etl ios ueeds sec'lr tr.r
Cot-tage For

Salei' From ev - 'ry srn-gle rvindorv,

 But rvhen I a rvi nclol',

,----F--..

*m
ffiffi
H+t H-ft m ffiffi
told on the A Cot-tageFor l'ale-
 39

VIyFun Valentine
Musicby RICHARDRODGERS/Lyrics
by LORENZHART

Moderato

delicato

Be -hold the way our fine-feath-ered friend his vir - tue doth pa rade. Thou
t.t,t i., .1..i.r- --i /'i\
L'-.r-,'i1...,,. )).1)_

malto semlolice
d tempa

know- est not, my dim-wit - ted friend,The pic - ture thou hast made. Tt'v
f'... i ,-il ,-.

dght@ t93? by CHAPPET,L & CO..I^"C.

right Renewed.InternationalCopyrightSecured
40 i. iU: I

] i.r.r-,
!.i 11(
't-,'
Cm

v& - calrt btow zrnd thy tous - led con - ceal thy good in - tent. Thou

no - blt-.,up - right, truth -fuJ, sin -cere and slight - ly dop - ey gent, you're

Refrainrstt,totg,zotth much ezpre.\.s2o

)t)

J r r

en - tine,

fI
 4l

looks

I F IqF rft ----

Yet, you're my fav - 'rite work of

BbTtEb) Bb7 B t ? rE b ) B 1 7

J1)Ur ulc loss tlrin Gr' rk; I ) our

l f,b,v .= ---
-: ---

Eb'".j?

mouth a lit - tle rveak, r v hr n ]'o'r pt_.n 1t spt'ak, Arc )ou

e b-T- ZL - t'
a
al
l5'
Aa

A bmajT AL" c m ( B !) !

smi rt?- L1U t don't change a hair for r[€ r

d I rr t._r ff-r a#
' l - l \r
4?> a)

pl
tF{ r
rl,,__.--------_t-...--.--

----.-_,-'

Dt bs

Nct if y.ru care for Dp, Stay lit - tle V*l - un - tln.,,
.-

d rir* cTrI
:_r---=4
trlr al.l '
n o c j a n o c o c7esc.
-t--
T- 'J ,hJ

Ar'ma i7 Bb7

stay ! - uaJ
-' "11 - en- tlnes

att
f motto ctpr.
2gL
rt i+t
,7
l'
f
I rf rf
-t-
)
c
lntroductionTb Lover

The simplicitvof "Lover" is entirely different from that of "My

Funny Valentine,,'andif jazz
nusiciansimproviseendlessly on this tune Mr. Rodgershasonly himselfto blame: what
rpenand irresistibleThe little melodicpattem built of hc haswritten is wide-
the tonic andleadingtone descends crrromaticallytru.ough
cveralkeys (now a classic jazz progression)to rest in 4 barsofc major.The bridgefeaturesrepetrtions
cndingthree-notepatternin E majorand G major.The tune ofan as-
is occasionally
perfornredin its origina1
'ften in a racingdoubled f . The prototype,pegey i-,-or, -",,
Lee'sstartlinghit of the early 50,s,conslstsol.three driving
horusesin threekeys with an orchestration whichsoundsra rerlike a rapidlymovingtrain.peggy,s
y left no doubt of the kind of loverthat wasbeingrhapsodized. gutsyintensi_
Shestayedfairly closeto the melodybut phrased
cry far behindthe beat-at times2 measures. This cxtremelydelayedphrasingnecessitates someadjustments. For
xample,in the "last 8" (actuallythe last 16 in the tune as written,
and the last 32 as doubledhere),the first
tender" would havebeena B!, but arriving1%barslate it
must becomea Bb. Hereare somequotationsfrom
:ggy'srecording,with the "last 8" shownin contrastwith.the
normalphrasing(asadjustedt" tfr" A"rff"J
reorchestration.) t J

it's irr ntor but why quar rel with bliss,

two _ Iips of
say, "Tire Dev

Lov - er. lov - er, plcase bc ten - der, when you're fcars- de

(3rd chorus)

Soft you breathc, you breathe,

44

PeggyLee'sphrasing

Lov €r, please be ten - der,

Normal phrasing

Lov please tcn when you're ten - der,

a-) I
when you're ten - der fears de part,

fears de part,

Anita O'Day sings"Lover" in three tempos: ( 1) a gentle jazz-waltz, slightly rubato, improvising
directlyon the chords;(2) a veryfastdoubledI tike PeggyLee's;and (3) a simple swinging f, .
(l)

when I'M

er, when we're ten - der, _ der, tears de - part,-

say, "The Dev il in - you," And to re - sist you LOt

My favorite jazz versionof .'Lover,' is a Storvville recordingby JackieCain and Roy Kral. Jackie
singsthe first chorus in an ad lib. f, with only minor variations.In the "last 8," with substitutechords,her melod-
ic changesemphasizecertainwords:
A

I-ov - er,- please be when you're ten - der - fean part, -

 45
Roy singsthe secondchorusalmoststraight,in f,; in the third chorus, over Jackie'smelody, he singsa charming
andthey slip almostunnoticeablyinto Bb a t b a r 8 :
scattedcounter-melody
-1

T
a) t77r rrfT
Lov - er,- when I'm near you- and I hear you - speak my nalIle

>
Aot. r--
I
I

\-
Doo-doo-doo,-Doo-doo-doo-doo-doo,-Doo-doo-doo-doo-doo,-Doo-doo-doo-doo-doo-doo

Soft - ly - in my ear yoll breathe a flame.

\
Doo - doo-doo, Doo - doo-doo, You and I, to the sky

A smoothl-bar modulationslipsthem backinto C by bar

Jacksings,with harmonyby Roy

l-ov - er, when we're darc - ing - keep on

runningthe gamutfrom ten-
And it's alnost straight melody to thc end. A marvelous,lightJreartedinterpretation,
demessto ebullience: jazz with taste,charm, and a rationale.
Lover
by LORENZHART
l\{usicby RICHARDRODGERS/Lyrics

Ve e-Broadly
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fec - tion,- thoughwo did - nt havo iime to re - hosres.-

copyightol932, 1933by r"\\lOUS lt[JSICCOltPOlt-^.TION, NewYork,N.Y.

CopyrigbtRenewed I959, 1960by f r\llOIJSNIUSIC CORPORATION
ThisarrangementCopydghtO 1965lly FAXIOUSlnISIC CORPORATION Usedby PerrnGsion
lntemationalCopyrightSecured.trladeil U.S.,\.Ail RightsResened
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 47

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when I'm ne&r

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48

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you_

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Lov - er,- when ue'le danc - ing,- k e e p 0 n g l a nc in my

Lr.rv - e r )- it's im - mor - al, - b u t why q u a r wltn our

8-su!mF
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love's- 0\\ n en - tranc mu - slc

t\r o - llps of cor al- wanl to
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dies All of my fu - ture is

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 49

,i* -l]"" -&- ":* -i- J.*:,

ffiffiffi"5 ffiffiffiffi *ffi (oo E)

Prom- ise you'lI al - ways con tin - ue to be mlne. --.----

but if you did - n't con Iln I w o u ld diel-

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tcn - d c r ,- fcars h" - part . -.-' Lov , cr,-

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50

IntroductionTir The Song Is You

This romantic ballad usually played in a cooking ff tempo in which the nrusiciansdo all the work
and the singergetsall the glory-turns out to be one of the most swingingof all jazz tunes. Lyrically the adjustment
rs simple: from gentle happincssto ebullience.The main strain is built oflittle 4-note plrrasesall inCmajor. The
bridge, after this simplicity, bursts out into fascinatingharmonies: E major, Gf minor, Ft major, while the melo-
Cy takes on a nice muscular, athletic quality with skipsof a 5th and a wondcrlul major Tth in bar 19. The opcning
lncl recurring figure can be varied in countlessminor ways:

Thc possibilitiesare truly lirnitlcss,so lct's selcct some and construct a partial chorus.
-3--r

look you _

IT RIT
play,- I start,- Then melt

mu - sic when touch your hand,

frorn some en - chant - ed land,

a ' lone have heard this

 5t
This is much more irnprovisingthan is usually done. Variousartistssangthesephrases:

Frank Sinatra

you - n beau can feel it start,- Then it melts a -

Rita Reyes Frank Sinatra

Then melt way, this the day?

IreneKral

this gon - na be - the day? lone- have heard this love

MargaretWhiting
(Balladtempo) Frank Sinatra

a - lone a - lone lone glad re " frain,

Rita Reyes(first chorus) (secondchorus)

be- For - ev side of side ol

Frank Sinatra

Why can't go. - Why can't l9I you know,

Why can't let you know, - sing,- That beau

Rita Reyes

Irene Kral (first chorus) (secondchorus)

The so The song is

 )z

The Son Is You

l\Iusicby JEROMEKERN/Lyricsby OSCARHAMN{ERSTEIN
iI

Andantino semplice --'-._--'-.-.

)). 41

-=-
PIANO ,/tJ,

i-

rr hen I 1ook I,_,Lr A beau - ti - I'ul

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t h e n r oo 1 Down dcep "irr my

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copyrishro 1932by T.B.HARMSCOMPANY

Usedby permission
CopyrightRenewed.
 53

Thenmclt a - \Yay. f hear mu-sicwhen I touchyour

1 7l> 1lfirrcrr .- d-
\-.i1,

A beau- ti - ful mc1 - o - dy from some en - c h a n t - e d

.-"-7-
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land, Dovvn ddco " il riy h c:rrt, hear it
.-'-- 3-'-

2)
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say, day?

.-d-
tr:r
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 lone havc strain,

m? nolto catrtabile
./-=:--

a - l o t r e- haye heard glatl re - frain,

^Il

ust it be- For - ey - er irr sido ol r I ) { --) , whv c antt I

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'
iet it go, Why cadt I let you know, Why cint I
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 55

know the my heart u ould That b e a u - t i - f u l

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rhap- so - dy of love and youth ard The mu - slc ls

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