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town the

sun \\.as

-i

A C7

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where.

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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

'Neathastar-ry

night -

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 -

mid - niglrt

hands

Hold

tng

hands

llold

ing

hands

H,rld - ino

Hold

at

nlid

huds

ing

hands al

nlgrt _

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

Wait - ing

at

tl)c

3 _

r

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-

y - thing more?

an

get

Won't_ you

it,_

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 tiresome. rt

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

Stroll

the

1Ilg

Won't

you

tell -

me

how? j

r-3--

Lov

ing "Loving

Lov

ing

one

who -

loves-

you, And

tak - ing

then

that

vow,

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

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

Nice

work

8et

3 ------

Nice work

ir

Nice work

Nice

ii

Nice

work

g€t_

work

you

if

get

8€t

it'

ir

And-

Nice work

you

get

Nice work

8et

Finally, sonle phrasesfrom thc Andrews Sisters. youdon'tthinkof If thesemetrical shifts. It's quintessentialjazz singingof a certain vanetv.

8et

themas a jazz .ooup,look at

you _

(Second

you _._

you

try.

(Bridge)

Wlro

could

(Last8

get

ask

thing

more?-

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

it,

oh ._-

Won,t you tell

me

h o w ?-

I'm

C.)

hold - ing

hands at

mid _ niglit

Here the arrangementgoes into a special new nlelody and lyric, compatible with and suggestedby thc original song.

l

28

I\ice Work If YouCan Get It Musicby GEORGEGERSHWIN/Lgics by IRA GERSHWII

l\[oderato

Piano

IF IF \t-

G

G6 im far

i.i'l-# rffltr

The man who on - ly lives for

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C6

D7

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nec

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f-t

Ffft-H

Fl-# ftfF

D7

ffiI+t tf]-ffl trtr

i-ffi-F

nrak- ing mon_ey

G6 ----l

C6 rlUC

e s - s e - r i - l y s u n -n y .

Like-wise

th:Lt

D7

ffitrffi r-rrrF n_Trr the man

nTm

copyrisht o 1937by GERSHWNpUBLISHtNccoRpoRATIoN CopyrightRenewed,assigned to CH.q?pELL& CO.,INC. lnternational CoDvrieht Secrlred

li fe

sr,s.4

Bdim.?

rneres no g u a r - a n- t e e t h a t

Lives a

time wont

whr.r

works for

9 D7

A7 t:rrD ftttH

sFm

e - rase his

name.

Gmai.7 G6

ffiffiffi rrrrF

fftrH

fame,

29 Gmi.6

D+

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H#

ffi ftl'|rl

The fact

the on - ly work that real - ly

Grnaj.7

Emi.6

A6 1? ffiffi riffl'1 fl-tth

ffi

E-rm

Is

the kind th;t is for

ffi

D7 EEEID ftffH

ffitrffi tfffH ffffH

joy -ment

brings

D6

c6

A.l

^T,. uitcn m . 7

FtrR ftfth

Emi.8

ffi Iill"t-n

girl and boy meant, tr'all in love you won't re - g;et it,

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(smoothly)

Hold - ing hands at

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mid - night

9

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ETEM

fl+]+

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e!

A7

trtrFr

ffi fffi-l]

H+H

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Sigh- ing sigh aft - er

one girl,

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1-1't jl

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Wheretwo hearts be - come one_ Whocould ask for 4--=--.>

B7

eq

B7

>

T.n ffif,

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e

t7

mlmmm who

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loves J0u,

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Wotit you tell me ----l----------

r

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 irnprovisation. 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

The simplifying teclxtique might rvork well:

we

were proud

of

Here are altemate versionsof the climax of the oiece:

key's

gaze up - on _

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 ugstionable the whole practiceof improvisation.The lyric and the rnelodyfit each otherperf'ectly, and the conrurs aresimplyexquisite. irst 8 --^ ridge

/4--

*

Second8 _/\

\r^J

\,\-

v-'--

^

Last 8

,l\--'---/

---/

)-

,,-/'-

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 neglecting the 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 ..-

\-:

fig - ure

rnouth -

lit - tle

a

weak,

-..-::=

\J

for-

your

F a c h-

d a y-

V a l - e n , t i l c ' s-

day.

( s e c o n dchorus)

(cchoin gP&;#i;il','?ii J"r)

I

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

Un'pho-to

my

g r a p h- a - b l e , -

Your looks

you're

m),

laugh

'rite

-

work -

of _

a

ble,

Each day,

-

day. --

Is

your_

each day

fig - ure

Is

is

Val

your-

en

tine's_

mouth_

lit - tle weak,

Are

you

hair

smart?

for

d o n ' t-

fr€,

Stay lit - tle

Each day aTnis meansp o r t dm en t o.

You

you

Val-en-tine,

Val - en

tine's

dare-

cale _

to

change--

for

mc,

a

J)

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

Morlerat o

PIANO

T

'I

'l'ir:tt

ill

l-rx e 1l :I b u n I ) o I irn - ilg

rcacll'

high on a or is it

hill,. rcal,

T,'l tl

l a s Uti' 5()nte-o rl i s

\\'itl,

rrt: h;.rrl s t i tr r rI - r r g b e

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

ga-1ou' ine it

Sccurcd

Now it's :r b u n - ga- lox' S l r a ri r r g t h e s o r - row anti

36

ffi ffiffi trfn mn rff1 emp- ty and \ t i t l sad- n€;ss I

Need-ing 1'our 1o.r.e_ to com What is this new_ hope in

manci it. side me.

m

cHoRUS H# gone,_

clratvn,

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

ot - tage Fbr

mv heart

37

proud_

beau- ti

1'ouplant - etl ios

Salei'

way, _

'I'lic

ueeds sec'lr tr.r

From ev - 'ry

srn-gle rvindorv,

Cot-tage For

But rvhen I

a

rvi nclol',

,----F--..

ffiffi H+t H-ft told on the

A

*m m ffiffi Cot-tageFor

l'ale-

39

VIyFun

Valentine Musicby RICHARDRODGERS/Lyrics by LORENZHART

Moderato

delicato

Be -hold the way our fine-feath-ered friend his t.t,t i., .1..i.r-

vir - tue doth pa --i L'-.r-,'i1...,,.

rade. Thou /'i\ )).1)_

malto semlolice d tempa

know- est not, my

dim-wit - ted friend,The

pic - ture thou hast

f'...

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

made.

Tt'v

i ,-il ,-.

40

i. iU: I

] i.r.r-,

!.i 11(

Cm

't-,'

v& - calrt btow zrnd thy

no - blt-.,up - right,

tous - led

con - ceal

truth -fuJ, sin -cere and

thy

slight - ly

good in -

dop - ey

Refrainrstt,totg,zotth much ezpre.\.s2o )t)

J r r

en - tine,

fI

tent.

Thou

gent, you're

4l

looks

rft

I F IqF

Yet,

----

you're my

fav - 'rite work

BbTtEb) Bb7

J1)Ur

ulc

loss tlrin

of

B t ? rE b ) B 1 7

Gr' rk;

I

) our

l f,b,v

-:

---

.= ---

Eb'".j?

mouth

a

lit - tle

rveak,

e

r v hr n

]'o'r

b-T-

pt_.n 1t

spt'ak, Arc

ZL

-

a

l5'

al

t'

)ou

Aa

AL"

A bmajT

smi rt?-

t

don't

L1U

I rr t._r

d

!

c m ( B !)

ff-r a# ' l - l \r

change a

4?>

tF{

hair

for

a)

r

pl

r[€ r

rl,,__.--------_t-...--.-----.-_,-'

Dt bs

Nct

d

if

y.ru

for

care

Dp,

cTrI

rir*

trlr

al.l '

lit - tle

Stay .-

'J

Ar'ma i7

stay ! -

uaJ

rt

att f

motto ctpr.

i+t l' ,7

2gL

-t-

)

c

un - tln.,,

:_r---=4

n o c j a n o c o c7esc.

-t--

T-

V*l -

,hJ

Bb7

-'

f I

"11

rf

-

en- tlnes

rf

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 hc haswritten is widerpenand irresistibleThe little melodicpattem built of the tonic andleadingtone descends crrromatically tru.ough cveralkeys (now a classic jazz progression) to rest in 4 barsofc major.The bridgefeaturesrepetrtions ofan ascndingthree-notepatternin E majorand G major.The tune is occasionally perfornredin its origina1 i-,-or, -",, 'ften in a racingdoubled f . The prototype,pegey Lee'sstartlinghit of the early 50,s,conslstsol.three driving horusesin threekeys with an orchestration whichsoundsra rerlike a rapidlymovingtrain.peggy,s gutsyintensi_ y left no doubt of the kind of loverthat wasbeingrhapsodized. 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 t J reorchestration.)

it's

two _

Lov - er.

Iips

lov - er,

irr

ntor

but

why

quar

of

plcase bc

ten - der,

when you're

rel

with

bliss,

say, "Tire

Dev

fcars-

de

(3rd chorus)

Soft

you

breathc,

you

breathe,

44

PeggyLee'sphrasing

Lov

€r,

please

ten - der,

be

Normal phrasing

Lov

please

a-)

when you're

ten - der

fears

I fears

de

de

tcn

when you're

ten

-

der,

part,

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

say, "The

ten - der, _

we're

Dev

il

der,

you,"

in -

And

to

tears de - part,-

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 melodic 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) -

Lov

er,-

when I'm >

Aot.

t77r near

you-

and

I

rrfT you - speak my

hear

nalIle

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

Doo - doo-doo,

yoll

ear

Doo

-

breathe a

doo-doo,

flame.

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

And it's alnost straight melody to thc end. A marvelous,lightJreartedinterpretation, runningthe gamutfrom tendemessto ebullience: jazz with taste,charm, and a rationale.

Lover by LORENZHART l\{usicby RICHARDRODGERS/Lyrics

Ve

e-Broadly

Eml

D6

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ffi

ffin rmIl

did - nt havo iime to

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NewYork,N.Y. copyightol932, 1933by r"\\lOUS lt[JSICCOltPOlt-^.TION, CORPORATION Renewed I959, 1960by f r\llOIJSNIUSIC Copyrigbt Usedby PerrnGsion CopydghtO 1965lly FAXIOUSlnISIC CORPORATION Thisarrangement lntemationalCopyrightSecured.trladeil U.S.,\.Ail RightsResened . . '.",.J.

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love'st\r o -

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