I Left My Heart In San Francisco: Tony Bennett







I LEFT MY HEART IN SAN FRANCISCO
(Tony Bennett)
 
The loveliness of Paris
Seems somehow sadly gay
The glory that was Rome
Is of another day
I've been terribly alone
And forgotten in Manhattan
I'm going home to my city by the bay.

I left my heart in San Francisco
High on a hill, it calls to me.
To be where little cable cars
Climb halfway to the stars!
The morning fog may chill the air
I don't care!
My love waits there in San Francisco
Above the blue and windy sea
When I come home to you, San Francisco,
Your golden sun will shine for me! 


S.F. Photos on YouTube 


   Bm7           AM7           D      D9    AM7
The loveliness of Paris seems somehow sadly gay;

      Bm7          F#m    Bm7-5      Cdim      E7
The glory that was Rome is  of  an - oth - er day;

           Fdim                   Bm7-5     AM7      F#m7
I've been terribly alone and for - got -ten in Man - hat - ten;

  D        Bm7      Bm7-5 Cdim      E7
I'm going home to my city  by  the bay.


A  Fdim  Cdim  AM7  Cdim AM7     F#m      Bm    Bm+7
I  left  my  heart            in San Francisco;

           E    Bm7-5 E7     Cdim     AM7    Fdim    AM7
High on a hill,           it calls to me

E7 Bm7-5      AM7   Bm7-5  AM7     Cdim   AM7
To  be where little cable cars

 F#m   C#m             G#7
Climb halfway to the stars;

             A       B7        E7
The morning fog may chill the air,

Fdim       E7
I   don't care.



A  Fdim  Cdim  AM7  Cdim AM7   F#m      Bm   Bm+7
My love waits there,        in San Francisco,

Bm7  D9       E7  Bm7-5  E7      Bm7-5  F#7   Gdim   F#7
A - bove the blue            and windy sea;

F7  F#7      Bm7   Fdim          A       AM7    F#m
When I come home to you, San Francisco,

    F#m/E D  D9        E6  E7/6  A    Cdim   Fdim   AM7
Your golden sun will shine  on  me 
 










Monday Music Quote: Bonnie Raitt

"I'm certain that it was an incredible gift for me to not only be friends with some of the greatest blues people who've ever lived, but to learn how they played, how they sang, how they lived their lives, ran their marriages, and talked to their kids." --   Bonnie Raitt



Here's my favorite Bonnie Raitt song. What's yours?


Dm7 Em7   G Am7   F  F/G G 	C   C 

	
	Dm7		    | Em7                   |
	A friend of mine she cries at night, and she
	F           | F/G |
	Calls me on the phone
	Dm7		| Em7                  |
	Sees babies everywhere she goes and she 
	F		| F/G |
	Wants one of her own.
	Dm7		  | Em7          |
	She's waited long enough she says 
	F		   |  F/G  |
	And still she can't decide
	Dm7		  | Em7	                |  Abdim	     | Am   |
	Pretty soon she'll have to choose and it tears her up inside...
	F        |  F/G               G     | C |
	She's scared...scared she'll run out of time.

	
	I see my folks, they're getting old, I watch their bodies change...
	I know they see the same in me,  And it makes us both feel strange...
	No matter how you tell yourself, It's what we all go through...
	Those eyes are pretty hard to take when they're staring' back at you.
	Scared you'll run out of time.

	
	Bb		    |  F        |
	When did the choices get so hard?
	C                         |  C  |
	With so much more at stake.
	Dm7		|  Em7	              | Abdim        | Am  |
	Life gets mighty precious when there's less of it to waste.
	F    |  F/G		   G	|  C  |  C  |
	Hummmm...Scared she'll run out of time.

	Just when I thought I'd had enough
	All my tears were shed...
	No promise left unbroken,
	There were no painful words unsaid.
	You came along and showed me
	How to leave it all behind....
	You opened up my heart again and then much to my surprise.

    I found love, Love in the Nick of Time. 

	 Dm7 Em7 | G Am7 | F | F/G G  C



The roots of the blues are preserved in earlier recordings, which are definitely recommended listening for any blues lover. The light they shed on more recent blues is not to be underestimated1 In much of early blues, the meter was anything but strict. Beats and bars were added and omitted freely, according to the whim of the performer. In fact, it could be said that early blues performers felt the music as a flow of beats rather than regular meter and phrase lengths. Today’s blues are rigid and predictable in comparison.

Two main elements make up the blues: the blues scale and the chord changes.

There are zillions of sets of  “blues changes.” Having said that, let’s get back to reality: There is a single, commonly accepted set of three-chord blues changes, more or less unchanged since the earliest days of jazz, and still played today.

All of these chords-C7, F7, and G7-are dominant 7th chords. We’ll call them (relative to C) I, IV, and V. Some good examples of three-chord blues include songs by Miles Davis and Thelonious Monk.

Blues changes evolved slightly in the 1930’s. The additions of the IV chord (F7) in the second bar, and the V chord (G7) in the last bar.

More complex set of blues changes came into being during the bebop era. Now we’ve added tritone substitutions and descending chromatic progressions. A quick note about what it is: Tritone substitution means substituting a V chord a tritone away for the original V chord (F#7 for C7).

So which version of the blues do you play when soloing or comping on a blues?

1.    The original three-chord basic blues?
2.    The variation from the 1930s?
3.    Any of the various bebop-era changes?

The answer is all of the above. Today’s jazz musician s freely mix all versions of the blues, borrowing and switching even in the middle of the chorus.
You might just play C7, F7, C7 on the first four bars (from the 1930s version), play F7 and C7 on the second four-bar phrase from (the basic blues) and then play II-V-I changes on the last four bars (the changes from the bebop era). If you are soloing, you can do whatever your ear, mind and soul tell you to do. If you’re comping, (the pianist, guitarist, or bassist), your job is to listen and follow.

How do you master all this variety? Start simple, with the three-chord blues, and add each new chord or substitution when you can hear it  and feel ready to play it.

Best,
-- LadyD

Passing Chords






(Thanks to jazz violinist Aaron Weinstein for submitting this quote.)
Billy Taylor to Bucky Pizzarelli: "In the early days when you were
playing with the bands...now you started 'In A Mellow Tone', which we
played, in a rather special way. You said, 'Check out Freddie Green'.
Now what were you doing when you did that?"

Bucky Pizzarelli: "Well, I was playing rhythm the way Freddie
did... trying to play like Freddie Green and nobody could, you know. A
guy that played with you, Barry Galbraith, could. Remember Barry?"

Billy Taylor: "Oh, very well."
Bucky Pizzarelli: "Instead of playing a full chord like when you learn
the guitar... [Bucky plays a six note Bb7 chord at the 6th fret.] You've
got three Bb's in there. See, that's no good. You have to cut it down
to maybe a few notes. Actually I only play one or two notes. You're
holding the other ones down [i.e., muting the other strings]."

Billy Taylor: "You get the essence of the chord."
Bucky Pizzarelli: "Yeah, right."
Billy Taylor: "And that way you really get the rhythm going."
Bucky Pizzarelli: "Oh definitely. You don't have many notes to hit.
The minute you start hitting six strings at one time, the band stops!"
(Both laugh.) http://www.freddiegreen.org/technique/mp_quotes.html

I have learned so much from a friend, Hammondman. When it comes to passing chords, he has shared some very cool info.

" Passing chords help you get from one chord to another smoothly. Certain passing chords do just that. Some will lead you to the 4th scale degree and some will bring you to the 5th scale degree. three or more chords to do the same thing is called a progression.


The simplest passing chord is the 7th with the 3rd scale degree in the l.h., which will bring you to the 4.


C/C  or CG/C
E/C7 or EBb/C7
F/F    or FC/F

There's another chord, the 13th(b9) which is a jazzier passing chord:


CG/C
CBb/A (13 b9)
FC/Am7


or


CG/BbM7
EBb/BbM7(b5)
FC/Am


These are going to the 4th scale degree, if you were in the key of C. You can also use these as a five going to the one if you were in the key of F. These passing chords and progressions are all in relation to the scale degree that they're in at the time, like above... the examples were in C for going to the 4 but it's the same thing if that example was the 5 going to the 1 in F because C is the 5th of the key of F."

Hope the info is helpful.


Best,
-- LadyD

5 Music Apps for Kids


music apps http://creativemamma.com



Here is a list of some favorite music apps. These apps work with both iPhones and iPads.


  • Baa Baa Black Sheep by Duck Duck Moose ($1.99 – iphone) – Explore the island of Baa Baa, where you can row-row your boat, see Baa Baa and his friends, explore 3 underwater worlds, all while looking for matching puzzle pieces hidden throughout the island!  – This app combines two songs and it’s fun and interactive – Music plus puzzles equals lots of fun!   

  • Twinkle Twinkle Little Star by Kiboomu ($.99 – iphone) – Aspiring toddler & preschool pianists now have a new way to take piano lessons. Kids will love the song and they will love to “play” the piano along with the song.

  • Kids Song Machine by Genera Kids ($1.99 – iphone, there’s a free version to try) – Kids Song Machine is specially designed for young children, where they can sing and learn the song lyrics, with interactive animations by simply touching the screen. This is a fun app that has 10 songs included!  There is also cute characters that the kids can interact with.

  • Ocarina by Smule ($.99 – iphone) - One of Apple’s All-Time Top 20 Apps, Smule’s Ocarina turns your iPhone into an ancient flute. With no musical training required, you’ll blow away your friends and family with your new talent. 

  • GarageBand by apple ($4.99 – ipad) – GarageBand turns your iPad into a collection of Touch Instruments and a full-featured recording studio — so you can make music anywhere you go. Use Multi-Touch gestures to play pianos, organs, guitars, drums, and basses on your iPad. They sound and play like their counterparts, but let you do things you could never do on a real instrument. I love how this app is perfect for any age group!  Jude loves playing with the piano and the drum kits and I love the bass guitar!  The app is great because it introduces the kids to different instruments and they learn how to use them – a plus, if you are planning on having them take actual music lessons.  Do you have any favorite music apps for kids?

Monday Music Quote: Krall-All Or Nothing At All


"Love songs last because they are about feelings that don't change."-- Diana Krall





There is a song, All Or Nothing at All that was written in 1939 by Arthur Altman and the music by Jack Lawrence... do you know it?


Here's the chorus:





Am  Am+7              Am7     Am6 Am#5
All     or nothing at all;

Am   Am6  Am7           Bb9      Bb6   Bb+   Bb7
Half  a  love never appealed to me.

Gm      Em7-5 A7-9         Dm
If your heart never could yield to me,

          G7          G7+5        Cmaj7 C6  Bm7  E7
Then I'd rather have nothing  at  all.


Am  Am+7             Am7     Am6  Am#5
All    or nothing at all --

Am      Am6  Am7            Bb9          Bb6  Bb+  Bb7
If it's love,  there is no in-between.

Gm              Em7-5   A7-9           Dm
Why begin, then cry for something that might have been?

         G7         G7+5       Cmaj7 Bbm7 Eb7
No, I'd rather have nothing at all.


Bridge:

      Ab          Ab+        Ab6
But please, don't bring your lips 

    Ab+           Ab    Ab+   Ab6    Ab+
So close to my cheek;

Eb7    Ab      Ab+     C#   Ab        Eb9 Eb+ Eb7
Don't smile or I'll be lost beyond recall.

 Bbm7   Eb7
The kiss in your eyes, 

    Bbm7/F          Eb7/Gb           Bbm7    Eb7    Gm7-5
The touch of your hand makes me weak,

 C7     Fm             C#7        C7
And my heart may grow dizzy and fall.


         Am  Am+7                        Am7     Am6
And if I fell    under the spell of your call,

Am                       Bb9  Bb6   Bb+   Bb7
I would be caught in the un - der - tow;

Gm      Em7-5     A7-9       Dm  Dm+7  Dm7
So, you see, I've got to say no.

Bm7-5  E7   Am Dm7-5    G7sus4       C   C6
No,    all           or nothing at all.

So, when I play this song, here are the chords I am using:


Bb9 = BbAb/CD


Bbmaj7#5 = BF#/AD


G7#5/F/BEbG


Gm6 = E/GBbD


Eb7/G = G/DEbB


Bbm7 = Ab/DbFBb


Db9 = DbF/CbEbAb


Good Music Resources that I know of:

Jazz101 

Jazz201


Improve Your Piano Playing
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If You Can Read Simple Treble-Clef Melody Notes, You Can Quickly and Easily Learn To Play 9 Popular Songs!

Best,
D.
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