julian lee and kerrie biddell: the art of vocal accompaniment
TRANSCRIPT
Julian Lee and Kerrie Biddell:
The Art Of Vocal Accompaniment
Michael Bartolomei
A Thesis
Submitted in partial fulfilment
of the requirements for the degree or
Master of Music in Jazz Performance
Conservatorium Of Music
Jazz Unit
University of Sydney
2016
Declaration
I declare that the research presented here is my own original work that has not been
submitted to any other institution for the award of a degree
Ethical approval has been granted for the study presented in this thesis from the
Sydney University ethics Committee. Participants were required to read an
information statement and sign a consent form prior to the collection of data.
Signed:
Date:
3
Acknowledgements
I would like to thank, Cassandra Bartolomei, for her love, enthusiasm, patience and
support without which this endeavour would have been impossible. Special mention
is due to my friend Mark Winters for his encouragement and recognition of my
passion in this particular topic. His advice and guidance was invaluable. I would like
to thank my supervisor Dr Simon Barker for his patience and persistence in guiding
my efforts. Last but not least, my three sons William, Lewis and James for their
constant comic relief, which was a vital element in maintaining the equilibrium
necessary for this study.
4
Abstract
The collaboration between pianist Julian Lee and singer Kerrie Biddell exemplifies
the highest qualities of song interpretation in a jazz setting. Through the transcription
and analysis of their work I hope to inspire and inform musicians of the possibilities
that can emerge when interpreting songs. As is always the case in the jazz idiom,
slavish mimicry is ideally only a stepping-stone to a deeper and more personal
interpretation of songs. Noted jazz trumpeter and educator Clark Terry stated that the
three stages of learning were imitation, internalization and innovation. While the third
stage may seem a lofty ideal for most, it is certainly true that as accompanists and
singers there are many ways, through analysis and practice, to hone our skills.
Understanding Julian Lees’ contribution to the jazz piano literature through his vocal
accompaniment is important for all musicians in their collaboration with singers. This
aspect of piano playing in general has been neglected in analytical literature.
Lee’s work with Biddell is particularly interesting in the way he weaves his classical
influences and arranging expertise to create spontaneous orchestral accompaniments.
The career experience and exceptional talent of both of these artists combined in the
later stage of their careers to produce art of sublime maturity. This work seeks to
exploit their knowledge to the benefit of all musicians.
5
Table of Contents Chapter 1 .................................................................................................................................... 10
1.1 Introduction ..................................................................................................................................... 10
1.2 Background History and Interest ........................................................................................... 10
1.3 Aims ..................................................................................................................................................... 12
1.4 Methodology .................................................................................................................................... 13
Chapter 2 .................................................................................................................................... 15
2.1 Setting The Tone ............................................................................................................................ 15
2.2 The absence of educational literatures on jazz accompaniment for singers. ...... 17
Chapter 3 .................................................................................................................................... 20
3.1 Who is Julian Lee? .......................................................................................................................... 20
3.2 Kerrie Biddell .................................................................................................................................. 31
Chapter 4 .................................................................................................................................... 36
4.1 The Two Streams ........................................................................................................................... 36
4.2 The Word ........................................................................................................................................... 37
4.3 Narrative ............................................................................................................................................ 39
4.4 Harmony – Chords and substitutions. .................................................................................. 41
Chapter 5 .................................................................................................................................... 44
5.1 A Case Study ..................................................................................................................................... 44
Chapter 6 .................................................................................................................................... 50
Song Analysis ............................................................................................................................ 50
6.1 Introductions ................................................................................................................................... 50
6.2 Bridge Sections ............................................................................................................................... 59
6.3 Song Endings ................................................................................................................................... 77
Chapter 7 .................................................................................................................................... 81
7.0 Conclusion ........................................................................................................................................ 81
Appendix A – Song Transcriptions ..................................................................................... 83
6
You Go To My Head V1 ........................................................................................................... 83
You Go To My Head V2 ........................................................................................................... 94
You Go To My Head V3 ......................................................................................................... 102
References ................................................................................................................................ 109
7
List of Figures
Figure 1 Teddy Wilson's original chords. Accompanying CD (¤ Track 1). ................ 43
Figure 2 V1 song introduction. Accompanying CD (¤ Track 2). ................................ 50
Figure 3 V3 song introduction. Accompanying CD (¤ Track 3). ................................ 50
Figure 4 V1 support for “spinning round in my brain”. Accompanying CD (¤ Track
4). ................................................................................................................................. 51
Figure 5 V3 V2 asymmetrical seven-note motif. Accompanying CD (¤ Track 5). ..... 52
Figure 6 V3 chromatic fantasy as placed in V3. Accompanying CD (¤ Track 6). ...... 53
Figure 7 V1 chromatic fantasy as placed in V1. Accompanying CD (¤ Track 7). ...... 53
Figure 8 V2 ascending triads with descending bass. Accompanying CD (¤ Track 8).54
Figure 9 V1 use of major scale diatonic harmony. Accompanying CD (¤ Track 9). .. 54
Figure 10 V3 major scale diatonic harmony in crochet triplet. Accompanying CD (¤
Track 10). ..................................................................................................................... 55
Figure 11 V1 counter melody under rhyming lyrics. Accompanying CD (¤ Track 11).
...................................................................................................................................... 56
Figure 12 V2 Lee plays different counter melodies under the same part of song.
Accompanying CD (¤ Track 12). ................................................................................. 56
Figure 13 V1 alternating diminished 7th to Bb6 to harmonise a melodic line. ........... 57
Figure 14 V2 harmonic variation, C/Bb –Bb with melody. Accompanying CD (¤
Track 14). ..................................................................................................................... 57
Figure 15 V3 the C/Db chord with melody. Tri-tone substitution. Accompanying CD
(¤ Track 15). ................................................................................................................. 58
Figure 16 V1 Bridge 1. Accompanying CD (¤ Track 16). .......................................... 60
Figure 17 V2 Bridge 1. Accompanying CD (¤ Track 17). .......................................... 61
8
Figure 18 V3 Bridge, harmonization of counter melody. Accompanying CD (¤ Track
18). ............................................................................................................................... 62
Figure 19 V3 isolated counter melody from Figure 6.17. Accompanying CD (¤ Track
19). ............................................................................................................................... 63
Figure 20 V1 range variation of voicings. Accompanying CD (¤ Track 20). ............. 64
Figure 21 V1 inner voice guide tones. Accompanying CD (¤ Track 21). ................... 65
Figure 22 V2 high counter melody. Accompanying CD (¤ Track 22). ....................... 66
Figure 23 V3 rising fills to match lyric. Accompanying CD (¤ Track 23). ................. 67
Figure 24 V1 Mood change of Ab7 to Cø. Accompanying CD (¤ Track 24). ............ 69
Figure 25 V2 Left hand voicing. Accompanying CD (¤ Track 25). ............................ 70
Figure 26 V3 use of triads as chord extensions. Accompanying CD (¤ Track 26). .... 71
Figure 27 V1 use of space. Accompanying CD (¤ Track 27). ..................................... 73
Figure 28 V1 substitute harmonies. Accompanying CD (¤ Track 28). ....................... 75
Figure 29 V1 Letter D. Listening for the breath. Accompanying CD (¤ Track 29). ... 77
Figure 30 V1 ending. Accompanying CD (¤ Track 30). ............................................. 78
Figure 31 V2 ending. Accompanying CD (¤ Track 31). ............................................. 79
Figure 32 V3 ending. Accompanying CD (¤ Track 32). ............................................. 80
Figure 33 You Go To My Head V1. Accompanying CD (¤ Track 33). ...................... 83
Figure 34 You Go To My Head V2. Accompanying CD (¤ Track 34). ...................... 94
Figure 35 You Go To My Head V3. Accompanying CD (¤ Track 35). .................... 102
9
List of Images
Image 1 Julian Lee featuring on trumpet in New Zealand. Courtesy of
Audioculture.co.nz ....................................................................................................... 21
Image 2 Review of Julian Lee’s work with “The Three Sounds”. .............................. 24
Image 3 Roger Frampton, Lee Konitz, Bob Bertles and Julian Lee on flugelhorn
performing in 1985 at the Basement in Sydney. This was a Lee Konitz concert.
Photograph by Jane March. .......................................................................................... 28
Image 4 Michael Bartolomei and Julian Lee at The Basement. Photograph by Jane
March ........................................................................................................................... 29
Image 5 Kerrie Biddell performing in Las Vegas. ....................................................... 33
Image 6 Kerrie Biddell with Count Basie .................................................................... 33
Image 7 Kerrie Biddell with Lou Rawles (right) ......................................................... 33
Image 8 Kerrie Biddell and Julian Lee performing on the Midday Show, 1st
September 1987 ........................................................................................................... 34
List of Tables
Table 1 chord comparison. ........................................................................................... 74
10
. Chapter 1
1.1 Introduction
How does music create such a kaleidoscope of emotions? Why is music such a
powerful backdrop to the narrative of our everyday lives? These are questions that
form the dark matter that surrounds and gives meaning to our research and analysis of
this art form. In music and theatre, creativity only exists in the moment of its
performance (Juslin and Timmers 2010) and it is this creative collaboration that
produces the “whole that is greater than the sum of its parts”. Improvising jazz
musicians are not mearly interpreters, they become the creative agents (Sawyer,
2006). The connection between music, emotions, lyrics, singers and their piano
accompanists is at the core of this review.
1.2 Background History and Interest
I have been a professional musician for forty-one years and in that time the majority
of my work has involved accompanying singers. My initial exposure was exclusively
to jazz. My mother was a singer, and father a drummer. My mother’s record
collection included Ella Fitzgerald, Carmen McRea, Nancy Wilson, Sarah Vaughn
and my father’s favourites were the Oscar Peterson Trio, Art Blakely and the Jazz
Messengers, Miles Davis and his various coteries.
My first professional engagement as a pianist was accompanying my mother. At
fifteen years old I spent Saturday mornings accompanying the students of a singing
teacher. Despite these beginnings I soon formed an opinion of singers concurrent with
that of my peers. Working with singers was viewed as a financial necessity. Rarely
could they be considered as equal to the musicians.
11
At eighteen years of age I worked my way to Sydney to audition for the Sydney
Conservatorium of Music jazz course, which at that time was directed by Howie
Smith. My two disjoint semesters of study, theoretical and practical, concentrated on
instrumental jazz. The two ensemble classes I attended in my time there were
instrumental only.
In my early twenties I joined the group “Compared To What”. The band’s leader was
Kerrie Biddell, a singer who challenged every aspect of my musicianship and identity.
This was a singer who demanded musical respect and had the talent, training and
experience to warrant it. The bands repertoire was very eclectic, ranging from pop to
jazz standards and included original compositions. In 1981 I received an Australian
Fellowship Grant to study music in New York. After returning to Sydney I would
hear Biddell performing with her new band comprising of John Hoffman on trumpet,
Alan Turnbull on drums, Craig Scott on bass and Julian Lee on piano. This group of
musicians were totally at home with the standard repertoire and Lee’s piano playing
had completely captured my attention. I would also hear Biddell and Lee together
performing as a duo. I soon realized that there were no set arrangements. The duo
would perform the same song differently every time. Lee’s accompaniments were
intriguingly variable. To this point in my musical development I had focused on
instrumental music. Hearing Julian Lee and Kerrie Biddell weave their magic
crystalized my desire to learn all I could about vocal accompaniment and song
interpretation.
12
1.3 Aims
The aim of this study is to inform musicians generally and pianists in particular about
vocal accompaniment, specifically in a duo setting. It can be argued that the duo is the
most demanding format, as the accompanist has to provide all of the elements of
support as well as featuring as a soloist. It is also true to say that the duo is a format
that allows the greatest freedoms in structure, harmony and rhythm.
I hope through this thesis to illuminate the various techniques, sensibilities and
experience that Julian Lee brought to the art of vocal accompaniment.
Exactly how one may approach the accompaniment, both harmonically and
rhythmically, of a singer and the songs narrative.
Pedagogically the study can benefit jazz musicians in their role of accompanists and
also be an invaluably resource for classically trained piano students that wish to study
jazz but have no working knowledge of how to interpret lead sheets. A lead sheet will
typically have the notated melody with chord symbols and often no introductions or
endings. Chord symbols are notational shorthand that presumes harmonic structural
knowledge and at best should be described as general guides with minimal detail.
Furthermore, as Monson states in Saying Something, all jazz musicians use substitute
chords, alterations and chromatic voice leading so that the original chord changes are
in effect only a starting point for creative harmonic interplay (Monson, 2009).
Listening to the recordings and reading the transcriptions that accompany this work
will be of value to musicians and singers on many levels. The knowledge gained from
the analysis of Lee’s accompaniment can be adapted and used by musicians to inform
their work in other genres. Vocalists can benefit in three ways. First, by understanding
ideally what they should look for in an accompanist. Second, understanding what the
13
musicians might expect from the singer. Thirdly, when needed, to be able to direct
musicians in an informed and professional manner.
My analysis of Lee’s piano accompaniments presents examples of the various
elements required when accompanying jazz vocalists.
1. Creating introductions
2. Colla voce accompaniment
3. Chord choices and textures
4. Avoiding conflicts with the melody
5. Melodic embellishments
6. Lyrical awareness
7. Rhythmic support
8. Constructing thematic or recapitulated endings
My expectation of the outcomes of this study is to engender a new respect for the
singer, the song narrative, and the specialised skills required by the accompanist to
produce successful collaborations. In conjunction with this analytical description will
be the fascinating story of these master musicians careers and their intersection with
some of the legendary jazz icons of the era.
1.4 Methodology
The following procedures were used in the course of this research. I felt that it was of
paramount importance that I gain ethics approvals as soon as possible as Julian Lee
was 90 years old when this process began.
Once the ethics committee approvals had been granted and participant information
and consent forms had been signed, I contacted Julian and organised suitable times to
14
interview him in his home in Moss Vale, NSW. Given Julian’s age I felt his comfort
and familiarity with his home environment would be very important.
Prior to the interviews I searched for any information on Lee including articles, radio
programs and interviews. Lee’s talents were held in the highest regard within the
music industry in New Zealand, Australia and overseas, however, he was not a
household name. I felt it important to build a case in the choice of Lee as the
centerpoint of this study by giving as complete a career biography as possible and
making evident Lee’s consummate musicianship.
Before proceeding with the interviews I felt it necessary to make decisions regarding
which duo performances of Lee and Biddell would be the subject of this dissertation.
Having made the choice I then set about transcribing the three versions of the duo’s
performance of “You Go To My Head”, composed in 1938 by Fred Cootes and Haven
Gillespie. After completing the transcriptions of these performances I interviewed Lee
and asked a range of questions designed to reveal the method involved in the
harmonic, aesthetic and collaborative musical choices. A gap of approximately 30
years separated Lee and Biddell’s live performances of this song to when I played Lee
the recordings at the first interview on the 19th of October 2014.
These three performances of “You Go To My Head” were never intended for
commercial release. I was fortunate to receive a copy of the ABC radio broadcast
version from an old friend, Graham Jesse, who was the saxophonist in Biddell’s band
Compared To What. This was a recording taken straight from the mixing desk at the
Sydney Opera House and as a result has some challenging sonic properties. I
transferred this audio into Logic Pro software on my Apple Mac computer and was
then able to apply equalization to assist in my transcription. The initial copy I had of
The Midday Show television performance was recorded by Biddell onto her VHS
15
analog tape recorder. This was pre-digital television and the video and audio was of a
poor quality. I established the location and date of the The Midday Show footage, 1st
September 1987, and contacted TCN Archives. I was told I would need to get the
permissions of the performers before they could release a DVD copy to me. This was
made more complex by the tragically unexpected death of my dearest friend Kerrie
Biddell on September 4th 2014. After receiving the DVD from TCN Archives I
extracted and transferred it to Logic Pro software on my Mac computer.
The third version of the song was on a cassette tape, which was also transferred to
Logic Pro. This recording was approximately a quartertone under A440. I was able to
adjust this with Logic Pro software.
Having three versions of “You Go To My Head” enable me to show how Lee changes
his treatment of the accompaniment. This is important pedagogically in terms of jazz
vocal accompaniment. It underlines the necessity of complete harmonic and rhythmic
fluency as the improvising musician’s ideal. It also demonstrates the importance of
narrative awareness in setting the tone of the accompaniment. Not just a series of
notes but a line of emotional connection to the composition via the singer and
ultimately to the audience.
Chapter 2
2.1 Setting The Tone
It is important to note that the educational mainstreaming of jazz began quietly with a
jazz band established in 1947 at the North Texas State College. The success of the
college’s One O’Clock Lab Band and subsequent course offerings eventually
persuaded North Texas State College in 1956 to become the first institution to offer a
16
major in jazz (Marquis 1998). In Australia the NSW Conservatorium of Music
opened its jazz studies program in 1973.
Prior to the institutional dominance of jazz education musicians were taught by
private tuition and by developing relationships with experienced mentors and peers.
The move to institutional jazz education occurred at a time when many of the
educators were products of the post-bop era and as a consequence there was a
tendency to privilege the instrumental model of jazz over the vocal.
In establishing their musical and cultural identities, young jazz musicians put great
importance on being accepted by their peers (MacDonald and Wilson, 2005). Jazz
music became a way to gain social acceptance or to express rejection of societal
norms and parental values (Berliner 1994). This desire for peer acceptance or social
rebellion was often associated with jazz and in particular with the emergent style
known as be-bop. Bebop and the emergent post-bop schools in the 1960s and into the
1970s were, in hindsight, natural evolutionary developments in jazz. In The Silent
Theme Tradition in Jazz, Frank Tirro reports how the technical proficiencies needed
to deal with the complex harmonies, fast tempos and polyrhythmic drumming of
bebop had the effect at the time of marginalising not only most singers but also jazz
musicians from the swing school (Tiro, 1967).
The legacy of the 1960’s post-bop bands under the leaderships of Miles Davis, John
Coltrane and Ornette Coleman exemplified the improvisational framework that
allowed musicians the opportunity of attaining the nirvana like state of “flow” in an
instrumental setting (Brown, 2011). MacDonald and Wilson also describe this
transcendental state of flow:
An absence of thinking, instead relying on “feelings”:
A focus on the present -no longer aware of past or future
17
(MacDonald and Wilson, 2006)
Compositions can be stretched and manipulated instrumentally in ways totally
unsuited to the delivery of song lyrics. This trend also continued in to the seventies
with the ‘jazz fusion’ phenomenon, whereby high energy, virtuoso music
incorporating electric instruments and rock rhythms continued to be a vehicle for
instrumentalists to explore the possibilities of complex soloing and collective
improvisation.
The schism between some singers and musicians is often exacerbated by the all too
common experience of working with musically illiterate singers. In With One Note
Bring Me Home, Thomas Conrad relates:
To become minimally functional at a jam session requires years of study for a
horn player, but only a nice voice and nerve for a singer (Conrad 2010).
Perhaps this explains the tendency of some pianists to ignore or take for granted skills
required to accompany singers even when it is the singers who are getting the lion’s
share of the work. Gerald Moore contends that another key to this attitude may be the
assumption that the accompanist’s role is one of mere support, lacking the glamour
and glory of the solo pianist (Moore, 1943). Pianist Fred Hersch points out that the
voice will always command the audience’s attention. This does not suit everyone’s
sense of ego (Hersch, Conrad 2010).
2.2 The absence of educational literatures on jazz accompaniment for
singers.
Despite the dominance of the voice as an ongoing cultural force I could not have been
more surprised at the paucity of detailed scholarly study of the art of vocal
accompaniment. The absence of piano transcriptions of accompanists’ work with
vocalists’ is puzzling. This underlines not only the educational bias but also the
18
musicians’ blind spot to the importance and relevance of vocal accompaniment, and
establishes the need to redress this imbalance.
Note for note transcriptions of piano solos by jazz legends Art Tatum, Bud Powell,
Herbie Hancock, Chick Corea, Clare Fischer, Keith Jarrett, to name a few, have been
available for some time. Jim McNeeley’s The Art of Comping, while informative, is
primarily focused on playing for instrumental soloists (McNeely 1992). Many would
argue that there is a different set of considerations involved when accompanying a
human voice and lyrics.
The literature on piano techniques is formidable and exhaustive in scope; however no
such attention has been given to transcribing piano accompaniment for jazz singers in
the necessary detail. This is a notable gap in jazz education.
There is a wealth of interviews with pianists known for their accompanying expertise.
There are journal articles and theses on the nature of group creativity, musical
identities of jazz musicians, instrumental jazz rubato, rehearsal talk in duos,
improvisation and the creative process, investigations into brain functions and musical
perceptions. These are just some of the topics available to research and indicate just
the tip of the academic iceberg. Literatures on accompaniment however, are still fairly
rare and in many cases underdeveloped.
Despite the institutionalisation of musical education the only relevant thesis on jazz
vocal accompaniment is by Christopher White.
In The Art of Accompanying the Jazz Vocalist: A Survey of Piano Styles and
Techniques, White examined the work of several piano players and their
accompaniment of singers. He examines the different approaches and opinions of the
various pianists’ to all facets of crafting an accompaniment including: introductions,
endings, lyrical awareness, key changes, chord voicing, avoiding conflicts with the
19
melody, colla voce etc. White’s generalised and overarching view of the different
pianists approach to accompaniment is very worthwhile, specifically in the breadth of
his contrasting examples. Designed as a survey, White’s work stops short of
transcribed examples of precisely what the given pianist played in the body of the
song. There is no transcription of an accompaniment in its entirety. White’s approach
is primarily confined to examples of introductions. Other song segments are analysed
in terms of structural elements including colla voce, counter melody and walking bass
lines.
Following on from White, I would argue that to study the accompaniment of an entire
song would surely render to the aspiring pianist a rich harvest of knowledge that
would transcend the example song. It would show how a great accompanist goes
about his work.
20
Chapter 3
3.1 Who is Julian Lee?
Materials in this biography emerged both through interviews conducted with Julian
Lee and my personal experience working with him in concert and recording
performances.
Lee was born in Dunedin in 1923 to Emily and James Arthur Lee. At five years of age
he became a boarder at the Royal New Zealand Foundation For The Blind. At five
years of age, Lee travelled the eight hundred miles from Dunedin to Auckland
unaccompanied. This commute included two trains and a ferry and continued until the
conclusion of his schooling.
His piano studies began at age six and included being taught music by Braille. Lee
absorbed the classical repertoire of Bach, Beethoven, Chopin, Rachmaninoff and his
personal favourites Debussy, Ravel and Satie. At eight years of age he took up the
cornet and joined the school’s brass band. At fifteen years old he was proficient
enough to perform the “Rachmaninoff Prelude Op 23 N05 in G minor” in his final
school concert.
His first exposure to jazz at around thirteen years of age was Benny Goodman playing
“Bach Goes to Town” and Tommy Dorsey playing “Whispering”.
After completing is education at the Foundation, Lee returned to Dunedin during the
war years and worked as a radio operator and announcer and hosted two radio
programs. One was called “Stump Julian” in which he had to play live to air the
callers’ requests and the other was named “Julian Lee Entertains”.
21
Wishing to continue his education Lee began a Bachelor of Music degree at Auckland
University in 1946 only to be told by a professor that there was nothing he could
teach him.
Around that time Lee completed a course in piano tuning. Given the poor condition of
many of the instruments provided at venues this was very handy indeed. Lee worked
in the Auckland Radio Band and then towards the end of the 1940s he became a
musical director at the newly established Stebbing Recording Studios. Among the
many artists that Lee played and arranged for was Mavis Rivers who went on to have
a very successful career in the USA. Whilst at Stebbing, Lee “had to play everything”,
including singing popular songs of the day and humorous boogaloo and country and
western songs (Radio NZ, Blue Smoke season 4,episode 2). Lee dismissed his singing
abilities and never mentioned these recordings. Even Kerrie Biddell a singer of
renown and Lee’s friend of thirty odd years was unaware of these recordings. When I
played Biddell a recording of Lee singing a song called “Gomen- Nasai”, a 1953 hit
for Harry Belafonte, with the Don Grant Trio (Cosy By the Fire, Archive Series 1945-
1956 Vol6), Biddell was amazed and exclaimed his singing to be perfect.
Image 1 Julian Lee featuring on trumpet in New Zealand. Courtesy of Audioculture.co.nz
22
Feeling like he had accomplished everything he could in New Zealand, and
encouraged by visiting Sydney pianist Terry Wilkinson, Lee moved to Sydney in
1956, the very year that television was introduced to Australia and coincidentally the
year of my birth.
Lee soon began arranging for the ABC orchestra and around 1958 started working in
television for Channel 7 as a staff arranger under Tommy Tycho. Lee arranged for a
large orchestra and occasionally featured as a pianist on a show called Review 61.
In 1961 fellow blind pianist George Shearing came to Sydney to record a series of
shows for Channel 7 where he heard Lee’s arranging and was duly impressed.
Shearing advised Lee that he should move to the USA however Lee, by this stage was
established and doing very well in Sydney and told Shearing so.
Lee gave Shearing one or two of his recorded arrangements to take back with him and
apparently Frank Sinatra heard them.
Lee recalled that in 1961 Frank Sinatra summoned him before his concert in Sydney
to encourage him to come to the USA so his talents could be fostered, and so in 1963
Lee relocated to Los Angeles, USA.
At this point it should be noted that to think of Lee as just a jazz musician would be
doing him a disservice. Musicians will work in all areas of the industry to make a
living and Lee was no exception. Both in New Zealand, Australia and the USA Lee
played and arranged for all styles of music. Survival has always been paramount in
the music industry.
George Shearing helped Julian’s immigration status by hiring him to transcribe his
arrangements in braille. Between 1964 and 1968 Lee arranged and orchestrated for
the following six George Shearing albums:
23
George Shearing, Deep Velvet (World Record Club, ST972, 1964), [This recording
included one of Lee’s compositions entitled “One Love”].
The George Shearing Quintet, Here & Now (Capitol, ST2372, 1965),
George Shearing, New Look (Capitol, ST2637, 1966),
George Shearing, Fresh Feeling (Capitol, ST2567, 1967),
George Shearing, Shearing Today (Capitol, ST2699, 1968),
George Shearing, As Requested The George Shearing Quintet (Sheba Records,
ST105, 1972).
Lee arranged two albums for Gene Harris’s Trio, The Three Sounds:
The Three Sounds, The Three Moods (Limelight, LM82014, 1965),
The Three Sounds, Beautiful Friendship (Limelight, LS86026, 1965).
24
Image 2 Review of Julian Lee’s work with “The Three Sounds”.
The Sydney Morning Herald – Nov21, 1965
Marty Paich and Lee were both working on arrangements for big band leader Stan
Kenton in which Lee wrote a three-movement composition called “Jazz Stralia” that
was performed at the Music Centre in Los Angeles.
Lee was very busy in the mid 1960s arranging, producing and playing for artists such
as saxophonist Gerry Mulligan and trumpet legend Harry Sweets Edison [Gerry
Mulligan, Feelin’ Good (Limelight, LS86030, 1965), Harry Sweets Edison, When
Lights Are Low (Liberty Records, LRP3484, 1965)].
25
In 1966 Lee co-arranged the album Quietly There for singer, trumpeter Chet Baker
[Chet Baker Quietly There (World Pacific, WP1847, 1966)].
1966 also saw Lee working on the very popular television series, The Pat Boone
Show, and being featured in season 1, episode 37 playing Antonio Carlos Jobim’s
composition, “Quiet Nights”. Lee worked on this show for approximately one year
arranging and performing on a weekly basis1.
Shearing and Sinatra’s connections opened many doors that eventually saw Lee
become staff arranger/producer at Capitol Records from 1971 to mid 1974.
In Lee’s time at Capitol, he produced albums for his good friend Billy May.
Lee also arranged for country artists such as Vicki Carr [Vicki Carr, Nashville by
Carr (Liberty, LST-11001, 1970), Vicky Carr, Don’t Break My Pretty Balloon
(Liberty, LST7565, 1968)].
Peggy Lee, Roger Miller and Liberace are other non-jazz artists that he recalls
arranging and producing for [Liberace, Liberace’s Greatest Hits Volume 2 (RCA,
VAL1 0216, 1977)].
Lee’s versatility saw him playing organ and piano on two recordings for guitarist Joe
Pass that were later released as a single package [Joe Pass, Simplicity/A Sign of the
Times (Pacific Jazz/World Pacific, 1966-1967)].
Apart from his work relationships it’s obvious that Lee was friendly with and
interacted with many icons of the era. Working at Capital Records brought him into
contact with singer Nancy Wilson, saxophonist Julian “Cannonball” Adderley, pianist
Joe Zawinul, arranger Nelson Riddle, husband and wife team Paul and Joe Stafford,
otherwise known as “Jonathan and Darlene Edwards”.
1(http://www.tv.com/shows/the-pat-boone-show/december-7-1966-1266643/) accessed 03/02/2015
26
He would socialise with Nat King Cole and his daughter Natalie.
The many musicians who worked with Lee nicknamed him “golden ears” for his
ability to identify wrong notes or mistakes in parts of an arrangement long before
anyone else.
Apart from his arranging work Lee played in such jazz clubs as Shelley’s Manne Hole
and China Trader. He would deputise for renowned pianists Victor Feldman and
Jimmy Rowles and led a quintet that included guitarist Joe Pass at a well-known jazz
club called Dantes.
Conducting orchestras was another of Lee’s skills. On one occasion Lee shared
conducting duties with Henry Mancini at a farewell concert at the Hollywood
Palladium. Lee also conducted the Minneapolis Symphony Orchestra performing his
own arrangements for George Shearing.
Shearing and Lee would attend club appearances by the Bill Evans trio, which at the
time included Paul Motion on drums and Chuck Isreals on bass. On a number of
occasions Shearing would invite Evans and Lee back to his residence where they
would talk and play for one another (Lee interview 19/10/14 01:20:30).
Lee recounts the time when he was “hanging out” at jazz critic, Leonard Feather’s
place along with George Shearing, saxophonist Benny Carter and the legendary
trumpeter Miles Davis. Lee reminded me that Miles Davis had recorded a version of
Benny Carter’s composition, “When Lights Are Low”, in which Davis had not used
Carter’s bridge but had reused the A section transposed up a fourth. Upon being
introduced to Benny Carter, Lee, with cheeky delight said, “it was very nice to be in a
house with the two composers of “When Lights Are Low”. This elicited one of Miles
Davis’s famous profanities to the great amusement of the gathering (Lee interview
19/10/14 00:50:15).
27
The Arab oil embargo and changing musical tastes of the record buying public
resulted in a paucity of work for the great arrangers of the 1950s and 60s. Lee
returned to New Zealand in 1975 and was appointed director for the Neophonic
Orchestra as well as the Auckland Radio Orchestra. Lee was the director of the
Auckland Jazz Festivals of 1976 and 1977 and was instrumental in booking his
friends and American musicians of note including trumpeter Chuck Findley,
saxophonist Don Menza, trombonist Carl Fontana and drummer Nic Ceroli. Also on
the bill were the Judy Bailey Trio, pianist Mike Nock and singer Kerrie Biddell. This
was possibly the first physical meeting of Lee and Biddell although they had both
heard of each other’s reputation.
Lee’s trio with bassist Andy Brown and drummer Frank Gibson Jr. colluded with
saxophonist Don Burrows and guitarist George Golla in forming the group,
“The Tasman Connection”. Lee’s compositions, “Judo”, “Get Into It” and “Long
White Cloud” were featured on this recording [Don Burrows Presents the Tasman
Connection (Cherie Pie, L3664, 1976)].
28
Image 3 Roger Frampton, Lee Konitz, Bob Bertles and Julian Lee on flugelhorn performing in 1985 at the Basement in Sydney. This was a Lee Konitz concert. Photograph by Jane March.
Lee also arranged and conducted the strings for the album Bonfa Burrows Brazil, on
which Don Burrows and George Golla joined with renowned Brazilian guitarist and
composer Luiz Bonfa [Bonfa Burrows Brazil (Cherie Pie, 5720230, 1978)].
Lee’s contract with the Neophonic Orchestra and the Auckland Radio Orchestra
expired in 1979 coinciding with his desire to return to Sydney.
Back in Sydney Lee was kept busy working for Channel 10 as head of audio for the
“The John Singelton Show” and arranging for various ABC projects including an
album featuring The Julian Lee Orchestra (BAT 2072, 1980).
Lee composed and recorded an album for UNESCO called For the Love of Man
(UNESCO, 1971), which featured American singers Mel Torme, Sue Raney, Joe
Williams, Tommy Leonetti, Robert Goulet, Jimmy Witherspoon and Lainie Kazan.
29
Featured Australian singers were Johnny Farnham, Judy Stone, Rim D. Paul, Neil
Williams, and Arch McCurdy.
In 1979 Julian Lee invited me to play in his group, “Julian Lee and Friends”. I played
the Fender Rhodes electric piano and Lee was on the acoustic piano. At this point in
time I was tragically unaware of the totality of Lee’s accomplishments and knew him
as a great pianist and musician who always supported and encouraged my musicality.
Despite the hours in conversation and rehearsal Lee never mentioned his multi-
instrumental background. He would choose a night at Sydney’s ‘The Basement’ jazz
club to surprise me. The photograph below captures the precise moment of my
realization that Lee was in fact simultaneously playing the piano and flugelhorn … in
harmony!
Image 4 Michael Bartolomei and Julian Lee at The Basement. Photograph by Jane March
Lee arranged and conducted for an album with French singer Philippe Gabbay
[Philippe Gabbay with the Julian Lee Orchestra (ABC, ABC LPX 0006, 1980)].
There were two recordings that Lee was very fond of, the first being Ricky May Fats
Enough with the Julian Lee Orchestra (ABC, L60011/2, 1983). The second album
30
was a tribute to Louis Armstrong featuring Australian trumpeter Bob Barnard [Ricky
May, Just Foolin Around (ABC-L60027, 1987)].
Pianist Grant Foster contracted Lee to arrange and conduct the Sydney Symphony
Orchestra for a recording of ‘Rhapsody for Piano and Orchestra’ [Rhapsody for Piano
and Orchestra Composed by Grant Foster (Grant Foster, 1988)].
Lee arranged, conducted and played on a project for Don Burrows in 1990. This was a
trilogy, the first record comprised of duets with members of the quintet, the second
record featured the quintet performing, and the third record featured the group with an
orchestra [The Don Burrows Quintet Babinda Trilogy (WEA: 903172627-2,
903172628-2, 903172626-2)].
From 1983 – 1992 Lee was working four nights a week at the Supper Club in the
Regent Hotel in Sydney as a duo with acoustic bass. Before retiring he played solo
piano for a number of years at the Intercontinental Hotel.
Kerrie Biddell’s last recorded output in 1995 was an album called The Singer. I was
fortunate to share the piano and arranging chair on this project with Julian Lee. Lee
was also co-producer on the album. Hearing Lee’s accompaniment in a studio
environment was truly educational. Four of the tracks were piano and vocal duets
with subsequent takes of each song yielding varying accompaniments. The highlight
track is the song “Taking a Chance On Love”. Lee’s vocal arrangement for Biddell’s
multi-tracked voice is a master class in vocal arranging [Kerrie Biddell, The Singer
(Origin, 015, 1995)].
It was Julian’s early studies of the classical literature and his later work as an arranger
that gave his piano accompaniments an unmistakeable quality. Heralded arranger
Marty Paich, made many insightful comments on working with singers’. He
contended that there was too much arranging that caused bands to get in the singers
31
way. He speaks of his preference of making sure of the mutual understanding of their
musical intentions and taking time to study the singers past recordings and voice
qualities. All of this preparation is necessary before beginning to write the
arrangement (Navidad, 2005).
The jazz pianist must attempt to capture this same attention to detail that Paich talks
about, however, unlike the arranger who can spend days or weeks working on the
arrangement of a song, the piano player is expected to do this in real time.
Julian and Kerrie’s collaboration spanned 30 years, and in that time each came to
know the other’s style and abilities intimately. In Rehearsal talk: Familiarity and
expertise in singer-pianist duos, Ginsborg demonstrates that the more experienced
and expert duos rehearsed more efficiently and therefore required less rehearsal time.
The economy of communication and rehearsal time required by Lee and Biddell
supports this study (Ginsborg, 2012).
3.2 Kerrie Biddell
Kerrie Biddell was born in 1947 in Kings Cross, Sydney. Her mother Kathleen was an
accomplished pianist and her father a part time player as well. At 16 years of age after
suffering from a collapsed lung Biddell was then beset with rheumatoid arthritis. Her
plans to become a professional pianist were thwarted by the disease’s effects,
especially on her hands. Passionately musical, Biddell turned to singing.
Her first live performance was as backing vocalist for Dusty Springfield’s 1967
Australian tour. Biddell then joined a local band called The Affair, which also
featured the great Australian guitarist Jim Kelly. The Affair won the 1969 National
Battle of the Sounds vocal group category. The prize was a trip to London to record.
32
After returning from London in 1970 the Daly Wilson Big Band recorded an album
with Kerrie Biddell as the featured performer [The Exciting Daly-Wilson Big Band
featuring Kerrie Biddell, (Festival Records, SFL-934453, 1975)].
Upon leaving the big band Biddell toured with Dudley Moore, Cilla Black and Buddy
Rich. Biddell recorded the album Kerrie Biddell (Bootleg, BLA-030, 1973) and in
1975 she won an Australian Records Awards, now known as the ARIA, for her
album, Kerrie Biddell Only The Beginning (EMI, EMA 314, 1975).
In 1972 Biddell married David Glyde, formerly saxophonist with ‘Sounds
Incorporated’, The Beatles’ touring support act. Moving to Canada in 1974 Biddell
soon became an in-demand studio session singer. Next came Las Vegas where work
in a small club soon became an offer to work at the newly opened MGM Grand Hotel
under a three-year contract for a substantial sum of money. Frank Sinatra’s band,
Count Basie and Lou Rawles recognized her formidable talents. Mel Torme invited
her to a recording session. Biddell performed on Merv Griffith’s Tonight Show to a
standing ovation. Although desperate to be a star, Biddell quickly became
disillusioned with Las Vegas and ultimately came to despise the demands of the Las
Vegas show business system.
33
Image 5 Kerrie Biddell performing in Las Vegas.
Image 6 Kerrie Biddell with Count Basie
Image 7 Kerrie Biddell with Lou Rawles (right)
Cancelling her contract with MGM Biddell returned to Sydney. Realizing her need to
become a better musician in order to become the best singer, Biddell enrolled at the
34
Sydney Conservatorium. Biddell quickly became one of Sydney’s most in demand
session singers. The Australian Vocal Ensemble, a four-piece acapella group under
Biddell’s leadership featured on various television variety shows and concerts.
For a decade the band, Compared To What, under Biddell’s stewardship, featured
many of Australia’s best musicians and played a wide variety of musical styles. I was
the third pianist to join the band and in 1979 participated in recording Australia’s first
digital album at EMI studios: Compared To What featuring Kerrie Biddell (EMI
Studios 301, SS301, 1979).
In 1983 Biddell joined the faculty of the jazz course at the Conservatorium of New
South Wales. Her work with Julian Lee won the “Bicentennial Music Award” in 1988
for best jazz vocalist and a “Mo Award” for best jazz vocalist in 1990.
In 1992 Biddell wrote and stared in the theatre show “Legends” and was musical
director for the play “Lipstick”. Another “Mo Award” for best female jazz performer
in 1994 preceded her residency at Sydney’s Tilbury Hotel in a duo format with pianist
Julian Lee.
Image 8 Kerrie Biddell and Julian Lee performing on the Midday Show, 1st September 1987
35
In 1996 Biddell, appeared as a cast member in the highly acclaimed Sydney Theatre
Company production of Shakespeare’s “As You Like It”. Biddell was featured
singing several songs I was commissioned to compose to Shakespeare’s lyrics.
As mentioned in Julian Lee’s biography, Biddell’s last recording was in 1995.
Kerrie Biddell, The Singer (Origin, 015, 1995).
Retiring from live performance for health reasons, Biddell continued to teach at the
Sydney Conservatorium of Music and give vocal workshops until her untimely death
on September 4th 2014.
36
Chapter 4
Technique/Execution/Creative Expression
4.1 The Two Streams
Vocal accompaniment is a highly specialised skill and is largely ignored in musicians
training. It is presumed that if you can play the piano then you will know how to play
for a vocalist, however, it cannot be taken for granted that a great instrument soloist
will make a great accompanist (Israels, 2014). If your developmental musical training
and listening has been primarily of instrumental jazz, then you are less likely to be a
natural accompanist. The most commercially successful jazz performers are generally
singers and most singers depend deeply on their piano accompanists to support the
narrative with harmonic and rhythmic underpinnings (Conrad, 2010).
The existing studies about vocal accompaniment are divided into two streams,
classical and jazz, and while both these disciplines have much in common there are
also significant differences. In classical music the accompanist is interpreting a
composition that is completely notated, usually with expression and dynamics
markings. That is in no way meant to make light of the classical pianists job because
as Gerald Moore makes clear in The Unashamed Accompanist, beyond the notes and
directions there is a world of interpretation (Moore, 1943). However, in the jazz idiom
there are extra dimensions to the job.
Cooper notes that as a result of the jazz vocalist’s expressions of individuality,
deviations will occur in the singer’s interpretation of the composer’s original melody
(Cooper, 1992). In Accompanying the Jazz Vocalist, Paul Hofmann contends that the
jazz piano accompanist must decide if it is necessary, and how to respond to the
vocalist’s melodic and rhythmic variations. He or she may need to adjust harmonies
37
and syncopation all in real time (Hofmann, 1997). Introductions and endings may be
pre-determined or have a structural template or can be freely improvised. Solos on
part or all of the form are to be expected. In vocalist Roseanna Vitro’s interview with
Fred Hersch, pianist Hersch emphasises the importance of the jazz pianist being
comfortable playing in all key signatures. Instant transposition is a required and
essential skill (Vitro, 2013). Furthermore, circumstances can range from fully to
partially notated arrangements. Often there is only a chord chart or no music at all.
Different vocalists will require the same songs in varying feels, tempos and time
signatures.
4.2 The Word
Universal consensus on the principles of vocal accompaniment in both jazz and
classical fields is to be expected. The purpose, vocal accompaniment, after all is the
shared goal. It could be argued that the most agreed upon theme is the importance of
understanding the narrative. As Gerald Moore in the Unashamed Accompanist puts it:
“The first thing an accompanist should study when he has to play a new song
is the words. It is stupid to pretend to play a song with any understanding if he
does not know what it is all about” (Moore, 1943).
Cooper contends that jazz vocalists will often seek a personal expression of the lyrics
and therefore it would follow that pianists would need to acquaint themselves with the
singer’s personal interpretation. Philippa Cook put it that within any given
performance setting a thorough contextual understanding of the range of the meanings
inherent in any song lyric is of the utmost necessity (Cook, 2006). The argument for
the importance of understanding the narrative of the song can also be reverse
engineered. Many singing teachers have commented on the frustration of hearing a
technically good vocal performance completely undermined by the singer’s lack of
38
narrative awareness. The result can be inappropriate emphases on connective words,
or incongruous dynamics on some words and the sense of the phrase lost because of
badly timed breaths. These dislocated narrative manifestations are typically a result of
taking a fragmented, word-by-word approach as opposed to embracing the depth and
breadth of the narrative as a whole.
I also hope this work will inform singers and their accompanists about the art of colla
voce. Vocalists can utilize colla voce to enhance the emotive power of the song by
moving through some narrative more quickly while retarding other sections.
Unfortunately the perception among the majority of singers is that colla voce means
to sing more slowly. This often leaves the pianist waiting uncomfortably for the
singer to move on so the next harmonic step can be played or sows the habit of
pianists to apply every substitute chord they have up their sleeve in order to fill in
these ill conceived expanses. Only by understanding the narrative of a song can colla
voce be utilized properly. This applies to singer and musician alike.
From a neuro-psychological perspective, studies have indicated that our memory of
vocal music, melody and lyric, is a result of two separate processes of the brain (M.
Besson, 1998). In Musicophilia Oliver Sacks talks about the phonatory and
articulatory mechanisms necessary for language and music recognition and the brain
processes that analyse their complex rhythms:
“And yet there are major differences (and some overlaps) in the processing of
speech and song in the brain” (Sacks 2007).
Following on from Besson’s Singing In the Brain it could be said that at a basic
neurological level the reason as to why many jazz musicians don’t understand the
importance of the song narrative is because they have not developed the neuro-
39
linguistic pathways necessary to fully execute the interpretive dimension of the song.
This can often be as a result of their developmental emergence in instrumental music
and with it the concomitant neglect of the cognitive and aesthetic faculties necessary
to perform the accompanist’s art at a high level. Their uncounted hours of practice are
alone and wordless (M. Besson, 1998).
The renowned pianist Bill Evans was primarily known as a player of instrumental
music. He rarely recorded with vocalists. In Peter Pettinger’s book Evans is quoted as
saying:
“I never listen to lyrics. I’m seldom conscious of them at all. The vocalist
might as well be a horn as far as I am concerned”
(Evans cited in Pettinger, 1998).
However when Evans talks about his seminal recordings with singer Tony Bennett in
Keith Shadwick’s, Bill Evans Everything Happens To Me-a musical biography he
states:
“I wasn’t too happy with my contribution to the album. I should have spent a
little more time and taken more care” (Evans cited in Shadwick, 2002).
Keith Shadwick then goes on to quote Helen Keane, Evans manager, recalling that:
“Evans quite correctly regarded the accompaniment of singing as a highly
specialised art, and one where very few pianists achieve greatness whether
jazz or classical” (Keane cited in Shadwick, 2002).
Perhaps Evans’ feelings express the dichotomy felt unconsciously by many jazz
musicians regarding singers and the lyric.
4.3 Narrative
You Go To My Head is a popular song composed in 1938 by J. Fred Cootes with
lyrics by Haven Gillespie. Pianist Teddy Wilson recorded the song in 1938 with a
40
vocal by Nan Wynn. Since then the song has been recorded and performed
extensively by numerous artists.
The songs structure is A A B C D and each section comprises eight bars. The
introduction and ending is at the discretion of the pianist or in some cases may be pre-
arranged. The dominant theme of the lyrics is one of infatuation. In the first two A
sections the protagonist’s object of desire “lingers like a haunting refrain”, a section
of melody or verse you can’t stop hearing, cannot let go of. The intensity of desire is
compared to the effects of drinking alcoholic beverages. The three similes being,
“like the bubbles in a glass of Champagne”, “like a sip of sparkling Burgundy brew”
and “like the kicker in a julep or two”.
In the B section the main characters rational mind is trying to talk some sense into
their hormonally charged emotional brain by saying “Get a hold of yourself, can’t you
see that it never can be”. Alas, this glimmer of common sense is short lived and
section C has the protagonist feeling the heat of desire. “You go to my head with a
smile that makes my temperature rise _ like a summer with a thousand Julys”.
The last phrase of section C refers once again to the effects of alcohol, however in
this instance at a deeper level. “You intoxicate my soul with your eyes”.
The last section D, has more a sense of resignation to the fact that this whole
infatuation is in their mind and will likely come to naught. She is “certain that this
heart of mine hasn’t a ghost of a chance in this crazy romance”.
During this research period I was fortunate enough to have a series of lessons with
Biddell. During those lessons we would discuss the reading of a songs narrative, the
characters motives and emotional investment. Biddell would write a scenario for a
song and describe all manner of detail.
What the weather was like on the day in question?
41
What was he wearing? … What colour were his eyes, his hair, his skin?
What were you thinking when you first laid eyes on him? How did he make
you feel?
What did he smell like?
No detail was too small. The narrative was totally fleshed out, rich in meaning.
Biddell lived in that world when she delivered a song. Every note, every word, every
gesture was important. This exercise was expected of her students as well.
With this methodology Biddell would ensure an intelligent and deep reading of the
narrative and was never prone to inappropriate emphasis of a lyric in order to show
off a vocal embellishment. Every musical choice was a slave to the songs narrative.
Lee stated that in collaboration “You get inspiration from the singer” and that he was
able to accompany the way he did because of Biddell’s expertise (19/10/14
interview). Lee stated “Biddell was a difficult person to accompany because she
would pause all over the place on a note and you had to adjust to those moments”
(19/10/14 interview). This is particularly evident in the ABC broadcast version (V1)
where Biddell uses points in the lyric to underline an emotion. When I questioned Lee
on whether these song points were rehearsed or planned, his reply was,
“We never talked about anything, we never did. She just said I’m going to sing so or
so and there it was” (19/10/14 interview).
4.4 Harmony – Chords and substitutions.
In Figure 1, I have transcribed the lead sheet for this song with the original chord
harmonies used by pianist Teddy Wilson in his arrangement with Nan Wynn on
vocals (Note that Wilson arranged the song in the key of Bb as the most suitable for
Wynn’s voice. This was also Kerrie Biddell’s preferred key. The standard key you
would normally find in fake books is Eb). Fake books are collections of songs used by
42
musicians to quickly learn new repertoire. Each song will have a notated melody,
chord symbols and sometimes lyrics. Usually there are no introductions or endings.
On the accompanying CD there is 30 seconds of Teddy Wilson’s arrangement that
includes letter C and D.
Most of the compositions, “standards”, used by jazz performers were written for
Broadway musicals. Jazz musicians would often adapt the harmonies and song
structure to suit their intentions. In this case “You Go To My Head” is an exception
and was not written for a musical. The first recording of this song is by American jazz
pianist Teddy Wilson. As a result Wilson’s harmonies are primarily the ones you
would see in jazz fake books
Chord symbols are notational shorthand that presumes harmonic structural knowledge
and at best should be described as general guides with minimal detail. Furthermore, as
Monson explains in Saying Something, all jazz musicians use substitute chords,
alterations and chromatic voice leading so that the original chord changes are in effect
only a starting point for creative harmonic interplay (Monson, 2009).
43
Figure 1 Teddy Wilson's original chords. Accompanying CD (¤ Track 1).
You go to
B¨
my head
D‹7 E¨‹9
and you linger
A¨7
like a haunting
D¨²
refrain
GØ7 C7
and I find
F7
you spinning
AA
round
B¨‹7
in my brain
GØ7 C7
like the bubbles
F7
in a glass
B¨6
of champainge
C‹7 F7
you go to
B¨
my head
D‹7
AA
5
E¨‹9
like a sip
A¨7
of sparkling burgundy
D¨²
brew
GØ7 C7
sand I find
F7
the very mention
B¨‹7
of you
GØ710
C7
like a kicker
F7
in a julep
B¨6
or two
F‹7 B¨7
the thrill of
E¨6
the thought that you
BB
14
might
Eº7
give a thought to my plea
B¨/F
cast a spell over me
B¨6
yet I say
E‹9
to myself
A7
get a
18
hold
D²
of yourself can't you see
E‹7
that this nevr
A7
could be
D² F7
You go to
B¨
my head
D‹7
CC22
E¨‹9
with a smile
A¨7
that makes my tempetature
D¨²
rise
GØ7 C7
like a summer
F7
with a thousand
B¨‹9
July's
GØ726
C7
you intoxicate
F7
my soul
B¨6
with your eyes
F‹7 B¨7
Yes I'm certain
E¨6
that this heart
A¨9
of mine
DD
30
hasn't
B¨Œ„Š7
a ghost
D‹7
of a chance
G‹7
in this crazy
D‹7
romance
D¨º7 C‹7 Bº7 C‹7
You go
F7
to my head
B¨Œ„Š735
4
4&
b
b
Composer J. Fred Cootes
You Go To My Head
Lyricist Haven Gillespie
&
b
b
&
b
b
&
b
b
&
b
b
3 3
&
b
b
3 3
3 3
&
b
b
&
b
b
&
b
b
3 3
33
3
œ
œ œ œ œ ˙
Œ
œ œœ œ
œ œ
œ œœœ ˙
Œ
œ œ
œb œœ œ
œ œœœ ˙
Œ
œ œ
œb œœ œ œ
œ œ œ ˙ œ
Œ Œ
œ
œ œ œ œ ˙
Œ
œ œœ œ
œ œ
œ œœœ ˙
Œ
œ œ
œb œœ œ œ œ
œœ ˙
Œ
œ œ
œb œœ œ œ
œ œ œ ˙ œ
Œ Œ
œœ œ œ
œ œ œ œ
œb œ œ
œ œ œ œœ
œn
œ
œ
œ
œ
œ ˙™
œœ
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ ˙™
œ
œ œ œ œ ˙
Œ
œ œœ œ
œ œ
œ œœœ ˙
Œ
œ œ
œb œœ œ œ œ
œœ ˙
Œ
œ œ
œb œœ œ œ œ
œ
œ ˙ ˙ ™ œ œ#œ
œœ
œ
œ
j
œ
œ
j
˙
œ
œ
œ
œ
œ
œœ
œ
œœ œ
œw œ œ œ œ œ w ˙
Œ Œ
44
Chapter 5
5.1 A Case Study
I received a copy of a live radio broadcast by ABC FM Stereo from the Sydney Opera
House. The series name was “Music for a March Morning”. It was a one-hour
broadcast and this particular performance featured Kerrie Biddell, Julian Lee and
bassist Craig Scott. From these several tracks I choose the duo performance of “You
Go To My Head” as an ideal song to be the centrepiece of my dissertation.
Fortunately I was also in possession of a second performance of this song by the duo.
On the 1st September 1987 Biddell and Lee performed “You Go To My Head” in a
Channel 9-television/ Hayden production called “The Midday Show”. This was a live
to air broadcast.
The outlook became even more interesting when I discovered the existence of a third
performance of “You Go To My Head”.
This version is an accompaniment performed by Julian Lee at Biddell’s request, to be
used for her singing students. A favour often granted by Lee. In this performance
there was no vocal for Lee to follow other than his inner singer. This was recorded at
Lee’s home on his Steinway Grand Piano with a hand held cassette recorder. Biddell
would tell Julian what arrangement of the song she needed for her teaching and would
then count him in at the desired tempo. This performance demonstrates Julian Lee’s
connection to the songs lyrics, despite there being no singer for him to accompany. In
this version Julian makes musical statements in similar places in the song as the other
two versions in response to the same narrative moments. Clearly his inner singer is
unconsciously guiding his playing.
45
This was the perfect scenario for me to be able to compare the differences in Lee’s
accompaniment in the three versions.
Lee knew the lyrics to so many songs, and came from a generation that grew up with
the musicals from which these compositions emerged. In the same way many people
who experienced the music of say the 60s or 70s can recall the lyrics to songs of that
era without even being musical or professional musicians.
Lee’s familiarity with the lyrics and overarching narrative are ingrained in such a way
as to have an unconscious effect on Lee’s choices in accompaniment.
The main value of the student accompaniment version of “You Go To My Head” lies
in its demonstration of Lee’s unconscious acknowledgement of the songs narrative.
To hear the track without the vocal demonstrates how a piano accompaniment should
be valid musically in it own right.
The difference in these performances serves to demonstrate the flexibility of this duo.
For the sake of simplicity I will refer to the three versions of this song as: …
V1 = ABC broadcast.
V2 = Midday Show.
V3 = piano only student accompaniment.
As mentioned before, the songs form is 40 measures long comprising of 5 sections,
AABCD with each section being 8 measures. The complete song form of 40 bars is
referred to as a chorus.
For complete clarity I will label the two A sections as A1 and A2.
Structurally V1 begins with a 4 bar introduction then completes two choruses of the
song. Biddell sings the first chorus before Lee solos on A1 and A2 of the second
chorus. Biddell re-enters on B and completes the song form, C and D. There is an
additional 2 bars that are part of Lee’s ending.
46
In V1 there is one anomaly in the transcription. At the end of B after the piano solo I
have added an extra bar to best deal with the extreme way Biddell extends the lyric
“be” through bars 68 and 69.
V2 is shorter due to time constraints of television. The sequence of V2 is A1 A2 B C
D, first chorus, then B C D. There is no introduction on V2. Biddell sings the first
chorus, then Lee solos on B with Biddell re-entering to complete the form, C and D.
There are also form anomalies in the transcription of V2. There is a 2/4 bar in A1 due
to the colla voce interaction of the performers. In the last D section there is a 2/4 and
3/4 bar that best reflect Lee’s phrasing of the ending.
V3 also has a 4 bar introduction. The sequence of V3 is the same as V2, A1 A2 B C
D, then B C D. There is no piano solo so at the completion of the first chorus the
vocals continue to B then the song form completes with C and D. As there is no
vocalist on this version I have included the published melody and lyrics as a guide.
These form differences highlight the skills and experience needed to re-arrange songs
to suit different situations without rehearsal. From my many years of working with
Biddell and interviewing Lee I can confirm that they rarely rehearsed.
In his study of classical duos, Rehearsal talk: Familiarity and expertise in singer-
pianist duos, Ginsborg indicates that rehearsals are less necessary the more expert the
individuals are at their craft and knowledgeable of the repertoire (Ginsborg, 2012).
In the two versions with Biddell singing, the most striking thing is that Biddell clearly
had a vocal template organized for this song. The same phrases with identical notes
occur at certain points in both performances. These re-occurring phrases are often
stretched or compressed in their place in time but are still unmistakably recognizable.
This is not intended as a criticism of Biddell’s performance. I know from my own
performing and listening experience that when playing the melody of compositions in
47
the jazz idiom, it is useful for your performance to have certain parts of a song
arranged. Within these arrangements, over time, often there will emerge variations on
the original idea. This can be viewed as the development of composition and
improvisational themes.
Having a template or arrangement in place when preparing a song would have
obvious major advantages. Consistency of performance would be one. Before
interviewing Lee, my other thought was that Biddell’s template method would have
allowed Lee even greater latitude in crafting the accompaniment as he would know
more or less what was coming.
After questioning Lee about this I’ve realized this assumption was incorrect. Lee was
surprised and unaware that Biddell had been singing these same phrases at the same
points in the song. This was not surprising as they both had so many songs in
common that they knew and could perform without need of rehearsal. Their choice of
repertoire in varying work situations was often different. Often tailored for specific
audiences.
Also in those years they were both working furiously, individually, in various areas of
the music industry. The demand for their talents meant that their collaboration was
just one element of their work schedule.
In other words, Biddell would have known, more or less, how she was going to
deliver a song, however, my interviews with Lee indicate that he had no expectations
about how the song might have been performed previously.
The many years I spent working and learning from Biddell gave me insights into her
determined analytical intelligence. Biddell adopted this methodical approach to
overcome her physical handicaps. Namely, singing her whole career with only one
lung and dealing with the ravages of Rheumatoid Arthritis, which at times left her in a
48
wheelchair. Biddell’s formidable technique evolved over many years of listening and
analysing, through trial and error. Biddell also stated often to me how much she had
learnt from Lee. During our lessons Biddell revealed to me that not long into their
collaboration, Lee told her he could “hear her thinking and that she had to stop that, as
it would get her nowhere”. Lee was saying that Biddell was fully prepared and
experienced and should just let go and find the “zone” and just sing. Lee was
encouraging Biddell to find the “flow”. This concept was referred to in section 2.2
(MacDonald and Wilson, 2006).
Julian Lee was a pianist who knew and understood the lyrics and could support the
singer’s intentions in the most appropriate and unconscious way. Lee’s intuitive
approach to performing was guided by his “golden ears”, the nickname the American
musicians gave him.
In Kerrie Biddell, Lee had a passionate singer that could deliver a song with
unequalled narrative and vocal control.
In my analysis of Lee’s accompaniment I will be talking about certain musical points
and how they relate to the songs narrative. Some of these musical points will be
obvious, however, many could be classed as subjective interpretation. The reason why
singers will always dominate the general audiences attention is because they are
communicating with words. The abstract melding of words and music is not an exact
science. Listeners will form their personal interpretation of what they hear. This is
often seen as the point of most art forms. In my discussions with Lee he was often
surprised by my interpretations of certain passages of his accompaniment in
performance with Biddell. He could agree with my point of view even though it had
never been his intent in that moment of the performance.
49
Almost all of Lee’s work for various singers was arranging for orchestra and jazz big
band. I was completely amazed when told, in the interviews with Lee, that he had
rarely worked in the duo format of vocal and piano. Thus, I have formed the opinion
that it is Lee’s countless hours of arranging for singers that has principally informed
his accompaniment style. His musical training, experience and sonic acuity were such
that if he conceived music in his mind, he could play it on the piano.
I believe that in listening to the performances as a whole, rather than the examples by
themselves, you are better able to get a sense of the connection between the lyric and
accompaniment.
In Chapter 6, I will compare sections of the three performances in order to offer
insights into Lee’s accompaniment.
50
Chapter 6
Song Analysis
6.1 Introductions
As appears in In Figure 2 V1, Lee, in the traditional way, offers a 4 bar introduction
in the key of Bb consisting of downward triadic movements over the F in the left hand
and coming to a pause on the 5th degree suspended dominant harmony.
Figure 2 V1 song introduction. Accompanying CD (¤ Track 2).
In V3 the introduction paraphrases the opening melody “You go to my head, and you
linger like a haunting refrain”, whilst using a triadic movement over an F bass to
eventually come to rest on the F7 (Figure 3).
Figure 3 V3 song introduction. Accompanying CD (¤ Track 3).
In both of these introductions Lee makes use of triads over the 5th degree pedal point.
{
{
{
Voice
Piano
You
D‹/F C‹/F B¨/F D¨/F B/F G¨/F D¨/F G¨/F F7(“4)
Voice
Pno.
go to my head and you linger like a haunting refrain
A1A1
5
Voice
Pno.
and I find you spinninground in my brain like the bubbles in a
8
4
4
4
4
4
4
&
b
b
∑ ∑ ∑
Lyricist Haven Gellespie
Piano Julian Lee
Vocal Kerrie Biddell
You Go To My Head
Transcription Michael Bartolomei
composer J.Fred Coots
&
b
b
b
b
b
U
?
b
b
&
b
b
&
b
b
∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏
?
b
b
∏
&
b
b
&
b
b
b
n
∏∏∏∏∏∏∏∏∏∏∏∏
b
n
b
∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏
3
?
b
b
Ó Œ
œ
Ó ‰
œ
œ
œ
J
œ
œ
œ
œ
œ
œ œ
œ
œb
b
™™
™
œ
œ
œn
b
j
œ
œ
œb
b ™
™™
œ
œ
œ
j
Ϫ
˙
˙
œ
j
œ˙
˙
œ
œ
w
w
w
w
w
Œ
˙™
œ ˙ œ œ ˙™
w
œ ™ œ œ œ ˙
Œ ‰
œ œœ œ
œ ™ œ
œœbœ
œ ˙
Œ ‰
œ
j
œ
œ
œœ
˙˙
˙
˙b
b
Œ
Ó
œœ
œœ
Œ ‰
œ
j œ
œ
b
œ
œ
œ
œ
œ
œ
œ
˙™
˙
˙b
b
˙b
œb
œb
œb
˙™
Œ
œ œ
œb œ œ ™œ œ
™œ
œ
œ
˙ œ
‰
œ œ
œb œ ™
‰
œ œ
œ
˙
˙
œ
œ
œ
˙
œ
œb
b
‰
œ
j
œb
œ
œ
œ
œ
œ
˙
˙
˙
b
b
b
Œœ
œ
œ
bœ
œ
b
Œ
œ
œœ
œ
n
b
b
˙
˙
˙
˙
‰
˙
œ
J
œb
‰
œ
Ϫ
˙
˙
˙
n
Œ
Ϫ
œ
˙
œ
œ
n
b
51
Lee’s paraphrasing of the opening melody is a perfect example of how to assist a
singer’s entry into a song, especially if inexperience and nerves are a factor.
In the 2nd bar of Figure 4 we find Lee subtly linking with the lyric, “Spinning round in
my brain”, by having an ascending melodic structure in the right hand with the left
hand creating a brief contrapuntal line by moving from the Bb-maj7 to Bb-7 on beat
2. The shape of the melodic line created by Lee as he moves through Bbm to Gø in
bar 2, helps to support the word “spinning” that is contained in the sentence.
Figure 4 V1 support for “spinning round in my brain”. Accompanying CD (¤ Track 4).
In V2 Figure 5, I am completely surprised by the audacity of Lee’s accompaniment
and timing of entry. There is no piano introduction and Biddell is left to her own
devices for the first two and a half bars. The seven quaver-note motif Lee introduces
from the word “refrain”, forms an asymmetrical pattern, perfectly supporting the
lyrics, “and I find you spinning round in my brain”. This improvised idea of the seven
quaver-note motif, seems so perfect that I questioned Lee on whether this was
rehearsed or planned to some degree. Apparently Biddell’s only instruction was that
she would begin the song unaccompanied. For a live performance on national
television this is a very bold manoeuvre. Such was the confidence of the artists in
each other and of themselves.
{
{
{
Voice
Piano
You
D‹/F C‹/F B¨/F D¨/F B/F G¨/F D¨/F G¨/F F7(“4)
Voice
Pno.
go to my head and you linger like a haunting refrain
A1A1
Voice
Pno.
and I find you spinninground in my brain like the bubbles in a
B¨‹(Œ„Š9) B¨‹7 G‹11(b5) C7½
4
4
4
4
4
4
&
b
b
∑ ∑ ∑
Lyricist Haven Gellespie
Piano Julian Lee
Vocal Kerrie Biddell
You Go To My Head
Transcription Michael Bartolomei
composer J.Fred Coots
&
b
b
b
b
b
U
?
b
b
&
b
b
&
b
b
∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏
?
b
b
∏
&
b
b
&
b
b
b
n
∏∏∏∏∏∏∏∏∏∏∏∏
b
n
b
∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏
3
?
b
b
Ó Œ
œ
Ó ‰
œ
œ
œ
J
œ
œ
œ
œ
œ
œ œ
œ
œb
b
™™
™
œ
œ
œn
b
j
œ
œ
œb
b ™
™™
œ
œ
œ
j
Ϫ
˙
˙
œ
j
œ˙
˙
œ
œ
w
w
w
w
w
Œ
˙™
œ ˙ œ œ ˙™
w
œ ™ œ œ œ ˙
Œ ‰
œ œœ œ
œ ™ œ
œœbœ
œ ˙
Œ ‰
œ
j
œ
œ
œœ
˙˙
˙
˙b
b
Œ
Ó
œœ
œœ
Œ ‰
œ
j œ
œ
b
œ
œ
œ
œ
œ
œ
œ
˙™
˙
˙b
b
˙b
œb
œb
œb
˙™
Œ
œ œ
œb œ œ ™œ œ
™œ
œ
œ
˙ œ
‰
œ œ
œb œ ™
‰
œ œ
œ
˙
˙
œ
œ
œ
˙
œ
œb
b
‰
œ
j
œb
œ
œ
œ
œ
œ
˙
˙
˙
b
b
b
Œœ
œ
œ
bœ
œ
b
Œ
œ
œœ
œ
n
b
b
˙
˙
˙
˙
‰
˙
œ
J
œb
‰
œ
Ϫ
˙
˙
˙
n
Œ
Ϫ
œ
˙
œ
œ
n
b
52
Figure 5 V2 asymmetrical seven-note motif. Accompanying CD (¤ Track 5).
The Go7 and Eo7 on beats 1 and 2 of Figure 6 have a classical sound rather than the
more commonly used Cm7b5 or C7b9. Note that these first two diminished 7th
harmonies would both form a C7b9 if Lee had included a C root note.
In answer to the lyric “spinning round in my brain”, Figure 6 V3 bar 2, Lee plays a
chromatic fantasy that simulates the feeling of spinning or swirling. Lee uses the same
idea in Figure 7 V1, although in V1 the chromatic fantasy was played at the
conclusion of the sentence “glass of Champagne”. This demonstrates that this
chromatic fantasy that Lee plays can musically alliterate the idea of “spinning round
in my brain” and the swirling of “bubbles in a glass of Champagne”. As mentioned
earlier, the connection between words and music is not an exact science. The abstract
coupling of these two forms of communication can elicit multiple points of subjective
{
{
{
Voice
Piano
You go to my head ands you linger like a haunting refrain
A1A1
Voice
Pno.
ands I find you spinning round in my brain Like the bubbles in a
5
Voice
Pno.
glass of champagne You go to my heads
A2A2
8
2
4
4
4
2
4
4
4
2
4
4
4
4
4
4
4
4
4
&
b
b
Transcription: Michael Bartolomei
3 3
Piano Julian Lee
Vocal Kerrie Biddell
You Go To My Head
Version 2
composer J.Fred Coots
Lyricist Haven Gillespie
&
b
b
∑ ∑ ∑
?
b
b∑ ∑ ∑ ∑
&
b
b
3 3
&
b
b
?
b
b∑ ∑ ∑
&
b
b
&
b
b
?
b
b
Ó Œ™
œ
jœ œ œ ˙
Œ Œ ‰
œ œœ œ
œ ™œ
œ œœ
œ ˙
Œ Œœœb
œ
œb
Œ ‰
œ œ
œb œœ œ œ œ
œ
œœ œ
‰ ≈
œ œ
œb œ ™ œœ œ
œ
œœ
œœb
œ
œ
œœœ
œœb
œ
œbœ
œœ
œœb
œ
œœ œ œ ˙ ˙
Œ ‰
œ
j
œ
j
œbœœ# œ œn œ ™
œ
œn
œ
œ
œ
œ
œ
œ
œ
b
bœ
œ
œ
b
œ
œ
œ#
n
n
œ
œ
œnœ
œ
œ
b
b
œ
œ
œ
n
n
n
œ
œ
œ
b
b
œ
œ
œ
#
n
n
œ
œ
œ
n
b
b œ
œ
œ
n
n
œ
œ
œn
n œ
œ
œ
œ
œ
œ
œ
‰™
œ
R
œ œ
J
Ϫ
œœ œb
œœ#
w
Œ
œœ
œ
n œœ
œ
Œ
53
interpretation. In this particular instance, these lyrics and the fast chromatic line Lee
plays provide a very obvious and non-subjective example of the connection between
narrative and music. It’s worth noting that Lee plays this chromatic fantasy in the
space between vocal phrases so as not to crowd the singer (Figure 6 and Figure 7).
In Figure 6 Lee continues with the bubbly drink theme half way through bar 4 by
playing a fill using 5th, 4th and 3rd intervals that cascade into the next bar.
Figure 6 V3 chromatic fantasy as placed in V3. Accompanying CD (¤ Track 6).
Figure 7 V1 chromatic fantasy as placed in V1. Accompanying CD (¤ Track 7).
{
{
{
{
Voice
Pno.
glass of champagne You
11
Voice
Pno.
go to my head like a sip of sparkling burgundy brew
AA
13
Voice
Pno.
and i find the very mention you slike a kicker in a
16
Voice
Pno.
julep or two s The thrill of the thought that you
BB
19
&
b
b
&
b
b∑ ∑
?
b
b
&
b
b
&
b
b
?
b
b
b
&
b
b
&
b
b
?
b
b n
b
b
&
b
b
3 33
&
b
b
?
b
b
œœ œ œ ˙ ˙
Œ ‰
œ
j
Ó
œ
œn œb
œn
œ# œn œ
œ
œ
œn œb
œ
œ# œn
œb œn
œ œn
œ
œb
œ
œœ œb
œ
œ
œ
œ
œ
œ
n
n
#
œ
œ
œ
Ϫ
œ
œ
œ
œœ
œœ
˙
˙
˙
œ ™ œœ œœ
˙
Œ ‰
œ œ œœ œ œ
œ œ œ
j
œ œœbœ
˙
œ
œ
œ
œ
œœ
˙b
œ
œœ
œ
œœ
œœb
™œ
œœ
œ
œœ
œ
Œ
Œ
Œ
œ
œ
œ ˙
˙
˙
˙b
œ
œb
œ
˙
œb
œ
Œ
œ
œœ
œœ
œœ
œœ
œ
˙
˙
œb œ
˙
œ
w
w
w
b
b
œ
≈
œ œ
œb œœ
™œ
œbœ œ
œ
œ˙
Ϊ
œ œ
œb
Ϫ
‰ ≈
œ œ
˙
˙˙
bœ
œb
n œ
œ
Œ
œ
œ
œ
œ
œ
œ
˙
˙
˙b
b
Œ
œ
œb
œœ
œ
œ
œ
˙
˙
œ˙
˙b
˙
˙
˙b
™
™
™
˙b
œbœn
‰œn ™ ˙
˙
œœ œ ˙ ˙
Œ ‰≈≈
œ
r
œ œœnœ
œ œœ#
œ
Ó ‰
œ
œœ
œ
b
j
œ
œœ
œ
n œœ
œ
œ
b
œ
œ
œœ
œ
œœ
œ
nb
œ
œœœ
n
œ
œ
œ
œ
œ
œ
œ
œ
b
b
œ
œ
œ
n
œ
œ
œ
œ
œ
œ
œ
œ
œ™™™™
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
œœ
™™™™
œ
œ
œ
œ
œœ
œ
œbœ
œnœ
œbœœ
œb
n
˙
˙b
Œœ
œœ
œ
˙
˙
Œœ
œœ
2
54
On the second bar of Figure 8 Lee continues the glass of champaign theme by using
2nd inversion ascending major triads, being in the nature of bubbles to rise, against a
descending bass line. In the written music the indicated harmony for this bar would be
Cm7 – F7. The original chord changes are in effect only a starting point for creative
harmonic interplay.
Figure 8 V2 ascending triads with descending bass. Accompanying CD (¤ Track 8).
In Figure 9 the tempo settles at approximately 72 bpm. Lee demonstrates how a
pianist can create harmonic and rhythmic development by using the first three steps of
Bb diatonic harmony, Bb∆ – Cm7 – Dm7, to lead to Ebm7. Lee instead plays an
Eb7#9 for a beat before resolving to an Ebm7. I believe this movement to be a
creative error and Lee agreed with me.
Figure 9 V1 use of major scale diatonic harmony. Accompanying CD (¤ Track 9).
{
{
{
Voice
Piano
You go to my head ands you linger like a haunting refrain
A1A1
Voice
Pno.
ands I find you spinning round in my brain Like the bubbles in a
5
Voice
Pno.
glass of champagne You go to my heads
A2A2
8
2
4
4
4
2
4
4
4
2
4
4
4
4
4
4
4
4
4
&
b
b
Transcription: Michael Bartolomei
3 3
Piano Julian Lee
Vocal Kerrie Biddell
You Go To My Head
Version 2
composer J.Fred Coots
Lyricist Haven Gillespie
&
b
b
∑ ∑ ∑
?
b
b∑ ∑ ∑ ∑
&
b
b
3 3
&
b
b
?
b
b∑ ∑ ∑
&
b
b
&
b
b
?
b
b
Ó Œ™
œ
jœ œ œ ˙
Œ Œ ‰
œ œœ œ
œ ™œ
œ œœ
œ ˙
Œ Œœœb
œ
œb
Œ ‰
œ œ
œb œœ œ œ œ
œ
œœ œ
‰ ≈
œ œ
œb œ ™ œœ œ
œ
œœ
œœb
œ
œ
œœœ
œœb
œ
œbœ
œœ
œœb
œ
œœ œ œ ˙ ˙
Œ ‰
œ
j
œ
j
œbœœ# œ œn œ ™
œ
œn
œ
œ
œ
œ
œ
œ
œ
b
bœ
œ
œ
b
œ
œ
œ#
n
n
œ
œ
œnœ
œ
œ
b
b
œ
œ
œ
n
n
n
œ
œ
œ
b
b
œ
œ
œ
#
n
n
œ
œ
œ
n
b
b œ
œ
œ
n
n
œ
œ
œn
n œ
œ
œ
œ
œ
œ
œ
‰™
œ
R
œ œ
J
Ϫ
œœ œb
œœ#
w
Œ
œœ
œ
n œœ
œ
Œ
{
{
{
{
Voice
Pno.
glass of champagne You
11
Voice
Pno.
go to my head like a sip of sparkling
A2A2
13
B¨² B¨² C‹7 D‹7 E¨7(#9) E¨‹7 A¨13 A¨9
Voice
Pno.
burgundy brew and i find the
15
Voice
Pno.
very mention you slike a kicker in a julep ortwo
17
&
b
b
&
b
b∑ ∑
?
b
b
&
b
b
&
b
b
?
b
b
b
&
b
b
&
b
b
?
b
b n
b
&
b
b
&
b
b
?
b
b b
œœ œ œ ˙ ˙
Œ ‰
œ
j
Ó
œ
œn œb
œn
œ# œn œ
œ
œ
œn œb
œ
œ# œn
œb œn
œ œn
œ
œb
œ
œœ œb
œ
œ
œ
œ
œ
œ
n
n
#
œ
œ
œ
Ϫ
œ
œ
œ
œœ
œœ
˙
˙
˙
œ ™ œ œ œœ
˙
Œ ‰
œ œ œœ œ œ
œ œ
œ
œ
œ
œ
œœ
˙b
œ
œœ
œ
œœ
œœb
™œ
œœ
œ
œœ
œ
œ
Œ
œ
œœ
œœ
œœ
œœ
œ
˙
˙
œb œ
˙
œ
œ
j
œ œœb
œ
˙ œ
≈
œ œ
œb œœ
™
Œ
Œ
Œ
œ
œ
œ ˙
˙
˙
˙b
œ
œb
œ
˙
œb˙
˙˙
bœ
œb
n œ
œ
w
w
w
b
b
œ
˙
˙
œ˙
˙b
œœbœ œ
œ
œ˙
Ϊ
œ œ
œb
Ϫ
‰ ≈
œ œ œœ œ ˙
Œ
œ
œ
œ
œ
œ
œ
˙
˙
˙b
b
Œ
œ
œb
œœ
œ
œ
Ó ‰
œ
œœ
œ
b
j
œ
œœ
œ
n œœ
œ
œ
b
˙
˙
˙b
™
™
™
˙b
œbœn
‰œn ™ ˙
˙
œ
œ
œ
œ
œœ
œ
œb
2
55
In Figure 10 V3, Lee once again uses the diatonic chords of Bb major, Bb∆9 – C-7 –
D-7, to travel to the Eb-7 chord on bar 14. This time starting on beat 3 as crochet
(quarter note) triplets.
Figure 10 V3 major scale diatonic harmony in crochet triplet. Accompanying CD (¤ Track 10).
On the lyric “Burgundy Brew” Lee plays a high counter melody starting on beat 2
which is then echoed on the rhyming lyric “mention of you” (Figure 11 V1). Also
worth noting is the manner in which Lee uses dynamics to highlight these statements.
In bar 2 of Figure 11 V1, the C7#11 is voiced with the left hand playing a b5 interval
as foundation to the chord. This is a very dark and rich voicing that subjectively
thinking might be Lee’s idea of a match with the “Burgundy Brew”.
In Figure 12 V2, Lee offers similar support for the same lyric by playing an ascending
octave counter melody beginning on beat 2 of bar 1. Both these figures have Lee
playing an ascending line possibly because an alcoholic beverage might mimic the
light-headedness that intense feelings of desire may cause. Again, as in Figure 11 V1,
this idea is mirrored in bar 14 after the rhyming lyric “mention of you” (Figure 12
V2).
{
{
{
{
Voice
Pno.
like the bubblesin a glass of
champainge
you
10
Voice
Pno.
go to my head like a sip of sparkling
A2A2
13
B¨^9B¨^9
C‹7
D‹7
E¨‹7
A¨13
A¨9
Voice
Pno.
burgandy brew sand I find the very mention of you
15
Voice
Pno.
like a kicker in a julep or two the
18
&
b
b
&
b
b
n
?
b
b
&
b
b
&
b
b
3
?
b
b
3
3
&
b
b
&
b
b
?
b
b
&
b
b
&
b
b
?
b
b n b
Œ
œ œ
œb œœ œ œ
œ œ œ ˙ œ
Œ Œ
œ
œb
œ
œ
b
Œ
œ
œ
œ
#
œ
˙
˙
œ
Ó
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ
œ™™
œ
œ
œ
œ
˙
˙
˙
˙
˙
˙
n
‰™œ
r
œ
œn
#
˙
‰™
œb
r
œ
œ
˙
˙˙
˙
œ
œ
œ
œ
˙
œ œ
œ
œ
œ
˙
˙
Œ
œ
œ œ œ œ ˙
Œ
œ œœ œ
œ œ
˙˙
˙
˙
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙b
b
b
˙
˙b
œ
œ
˙
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œb
œ
œ
œ
œb
b
œ
œœ
œ
œ
œœ
œ œœ
œ ˙
Œ
œ œ
œb œœ œ œ œ
œœ ˙
œ
œ
œn
nœ
œ
œb
b
œ
œ
œ
b
œ
œ
œb
˙
˙
˙
b
bœ
œn
œ
œ
œ
œ ™
™œ
œ
b
J
œ
œ ™™
œ
œ
n
j
œ
œb
b
œ
œ
b
œ
œ
œ
œ
œ
œ
b
‰
œ
œn
b
j
œ
œ
œ
œ
œ
œ
n
b
œ
œ
bœ
œ
b
œ
œ œ
Ϫ
™
œn œ
œ
Œ
œ œ
œb œœ œ œ
œ œ œ ˙ œ
Œ Œ
œ
œb
˙
˙
b
œ
œ
œ
œ
œ
b
œ
œ
œœ
œ
œ
œ
œ
n
nœ
œ
œ
n
œ
œ
œ
n
œ
œ
œ
œ
nœb
œ
œ
œ
œ œ
œ
œ
œ
œ
œ
˙
œ
œ
Œ
œ
œ
œ
œn
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
n
#
œ
œ
œ
b
b
n
œ
œ
œ
œ œ
œ
œœ
2
56
Figure 11 V1 counter melody under rhyming lyrics. Accompanying CD (¤ Track 11).
Figure 12 V2 Lee plays different counter melodies under the same part of song. Accompanying CD (¤ Track 12).
In Figure 13 in bar 1 beat 3 and 4 Lee plays the F7sus4 to F7 instead of F7 for the two
beats. This simple inner voice movement of the Bb – A gives harmonic purpose to the
quarter note rhythmic pulse.
After “Julep or two” Lee creates a harmonized diatonic melody. Using alternate
diminished 7th chords to inversions of Bb6 chord, arriving at the Ab∆9 – Bb13b9 on
beats 3 &4 to set up the resolve to the Eb∆ of letter B. During these one-and-a-half
bars Lee intuitively performs a slight accelerando into letter B and the oncoming
lyric, “The thrill of the thought”. Perhaps it is Lee’s overarching familiarity with the
narrative that enables him to pre-empt the lyric itself and impart a sense of excitement
that our protagonist is feeling. The performance of V1 in general is replete with
{
{
{
{
Voice
Pno.
glass of champagne You
11
Voice
Pno.
go to my head like a sip of sparkling
A2A2
13
B¨² B¨² C‹7 D‹7 E¨7(#9) E¨‹7 A¨13 A¨9
Voice
Pno.
burgundy brew
andi find
the
verymention
you
15
D¨^13
C7(#11) F7(b13) B¨‹9
Voice
Pno.
slike a kicker in a julep or two s The
18
&
b
b
&
b
b∑ ∑
?
b
b
&
b
b
&
b
b
?
b
b
b
&
b
b
&
b
b
?
b
b n
b
&
b
b
3
&
b
b
?
b
b b
œœ œ œ ˙ ˙
Œ ‰
œ
j
Ó
œ
œn œb
œn
œ# œn œ
œ
œ
œn œb
œ
œ# œn
œb œn
œ œn
œ
œb
œ
œœ œb
œ
œ
œ
œ
œ
œ
n
n
#
œ
œ
œ
Ϫ
œ
œ
œ
œœ
œœ
˙
˙
˙
œ ™ œ œ œœ
˙
Œ ‰
œ œ œœ œ œ
œ œ
œ
œ
œ
œ
œœ
˙b
œ
œœ
œ
œœ
œœb
™œ
œœ
œ
œœ
œ
œ
Œ
œ
œœ
œœ
œœ
œœ
œ
˙
˙
œb œ
˙
œ
œ
j
œ œœbœ
˙ œ
≈
œ œ
œb œœ
™œ
œbœ œ
œ
œ˙
Œ
Œ
Œ
œ
œ
œ ˙
˙
˙
˙b
œ
œb
œ
˙
œb˙
˙˙
bœ
œb
n œ
œ
Œ
œ
œ
œ
œ
œ
œ
˙
˙
˙b
b
w
w
w
b
b
œ
˙
˙
œ˙
˙b
˙
˙
˙b
™
™
™
œbœn
Ϊ
œ œ
œb
Ϫ
‰ ≈
œ œ œœ œ ˙ ˙
Œ ‰ ≈≈
œ
r
Œ
œ
œb
œœ
œ
œ
Ó ‰
œ
œœ
œ
b
j
œ
œœ
œ
n œœ
œ
œ
b
œ
œ
œœ
œ
œœ
œ
nb
œ
œœœ
n
œ
œ
œ
œ
œ
œ
œ
œ
b
b
œ
œ
œ
n
œ
˙b
‰œn ™ ˙
˙
œ
œ
œ
œ
œœ
œ
œbœ
œnœ
œbœœ
œb
n
2
{
{
{
Voice
Pno.
go to my heads like a sip of sparkling
A2A2
10
E¨‹7 A¨13(b9)
Voice
Pno.
burgundy brew and I find the very mention of you
12
D¨^9
C7[áÆ]
F7(b13)
F7(b9)
B¨‹(Œ„Š7)
B¨‹9
Voice
Pno.
like the kicker in a julep or two
15
&
b
b
&
b
b
?
b
b
&
b
b
&
b
b
n
b
?
b
b
&
b
b
&
b
b
?
b
b
œ
j
œbœ
œ# œ œn œ ™
Œ ‰
œ œ œœ œ œ
œ œ
œ
œ
œ
n
b
b œ
œ
œ
n
n
œ
œ
œn
n œ
œ
œ
œ
œ
œ
œ
Œ
˙
˙
˙
b
œ
œ
œ
n
w
Œ
œœ
œ
n œœ
œ
Œ
˙
˙
˙b ˙
˙
˙b
œ
j
œ œœbœ
˙ œ
‰
œ œ
œb œœ œ œ
‰
œ
j
œ œœ˙
œ
œ
œb
bœ
œ
œ
œ
œ
œb
b
œ
œ
œ
œ
b
˙
˙
b
b
œ
œœ
œ
b
b
b
˙
œ
œ
œ
œ
œ
b
œ
œn
b œ
œ
œœ
œ
œ
œ
œ
œ
œ
b
œ
œ
n
œ
œ
œ
œb
b
œ
œ
œ
œ
œœb
œb
˙
Œ œ
œœ
œ
b
b
b
˙n
Œœ
œn œ
w
œ ˙
˙
Ϊ
≈
œ
r
œ œ
œb
œ
œ œ œœ œ œ ˙
œ
œ
œœ
œ
œb
nœ
œ
œ
œb
b
#
n
œ
œ
nœ
œ
œ
œ
n
œ
œ
œ
œ
n
n
œ
œ
œ œ
œ
œœ
œ
œ
œœ
œ
#
#
˙#
‰œn ™
˙n
‰œb ™
w
Œ ˙n œ
œ
2
57
examples of colla voce. The effortless flow from slight to extreme retards and
accelerando exemplifies two artists in synchronicity.
Figure 13 V1 alternating diminished 7th to Bb6 to harmonise a melodic line.
Accompanying CD (¤ Track 13).
On beat 1 in the first bar of Figure 14, Lee plays a C/Bb rather than the usual Bb∆.
The standard chord for this bar is Bb. Lee’s variation on the first beat of the bar
provides both harmonic and rhythmic forward motion that helps to maintain the
listeners surprise and interest. The C/Bb also aligns with the melody note of C
perfectly. Lee’s melodic line starting on the last two quavers of bar 1 after the lyric
“julep or two” is supported harmonically in its first three steps with a Gm7-Gbm7 to
Fm7/Bb on the 2nd bar.
Figure 14 V2 harmonic variation, C/Bb –Bb with melody. Accompanying CD (¤ Track 14).
{
{
{
{
Voice
Pno.
glass of champagne You
Voice
Pno.
go to my head like a sip of sparkling
A2A2
B¨Œ„Š7 B¨Œ„Š7 C‹7 D‹7 E¨7(#9) E¨‹7 A¨13 A¨9
Voice
Pno.
burgundy brew
andi find
the
verymention
you
C7(#11) F7(b13) B¨‹9
Voice
Pno.
slike a kicker in a julep or two s The
Cº7
B¨6E¨º7
B¨6
Eº7 B¨ A¨^9 B¨13(b9)
F7(“4) F7 B¨6
&
b
b
&
b
b∑ ∑
?
b
b
&
b
b
&
b
b
?
b
b
b
&
b
b
&
b
b
?
b
b n
b
&
b
b
3
&
b
b
?
b
b b
œœ œ œ ˙ ˙
Œ ‰
œ
j
Ó
œ
œn œb
œn
œ# œn œ
œ
œ
œn œb
œ
œ# œn
œb œn
œ œn
œ
œb
œ
œœ œb
œ
œ
œ
œ
œ
œ
n
n
#
œ
œ
œ
Ϫ
œ
œ
œ
œœ
œœ
˙
˙
˙
œ ™ œ œ œœ
˙
Œ ‰
œ œ œœ œ œ
œ œ
œ
œ
œ
œ
œœ
˙b
œ
œœ
œ
œœ
œœb
™œ
œœ
œ
œœ
œ
œ
Œ
œ
œœ
œœ
œœ
œœ
œ
˙
˙
œb œ
˙
œ
œ
j
œ œœbœ
˙ œ
≈
œ œ
œb œœ
™œ
œbœ œ
œ
œ˙
Œ
Œ
Œ
œ
œ
œ ˙
˙
˙
˙b
œ
œb
œ
˙
œb˙
˙˙
bœ
œb
n œ
œ
Œ
œ
œ
œ
œ
œ
œ
˙
˙
˙b
b
w
w
w
b
b
œ
˙
˙
œ˙
˙b
˙
˙
˙b
™
™
™
œbœn
Ϊ
œ œ
œb
Ϫ
‰ ≈
œ œ œœ œ ˙ ˙
Œ ‰ ≈≈
œ
r
Œ
œ
œb
œœ
œ
œ
Ó ‰
œ
œœ
œ
b
j
œ
œœ
œ
n œœ
œ
œ
b
œ
œ
œœ
œ
œœ
œ
nb
œ
œœœ
n
œ
œ
œ
œ
œ
œ
œ
œ
b
b
œ
œ
œ
n
œ
˙b
‰œn ™ ˙
˙
œ
œ
œ
œ
œœ
œ
œbœ
œnœ
œbœœ
œb
n
2
{
{
{
{
Voice
Pno.
go to my heads like a sip of sparkling burgundy brew
A2A2
10
E¨‹7 A¨13(b9)
D¨^9
Voice
Pno.
and I find the very mention of you
13
Voice
Pno.
like the kicker in a
15
Voice
Pno.
julep or two s the
16
C/B¨B¨
G‹7 G¨‹7 F‹7/B¨ B¨13
&
b
b
&
b
b
?
b
b
&
b
b
&
b
b
n
b
?
b
b
&
b
b
&
b
b
?
b
b
&
b
b
&
b
b
?
b
b
b
œ
j
œbœœ# œ œn œ ™
Œ ‰
œ œ œœ œ œ
œ œ œ
j
œ œœbœ
˙
œ
œ
œ
n
b
b œ
œ
œ
n
n
œ
œ
œn
n œ
œ
œ
œ
œ
œ
œ
Œ
˙
˙
˙
b
œ
œ
œ
n
œ
œ
œb
bœ
œ
œ
œ
œ
œb
b
œ
œ
œ
œ
b
w
Œ
œœ
œ
n œœ
œ
Œ
˙
˙
˙b ˙
˙
˙b
œ
œb
b
œ
œ
œ
œ
œœb
œb
œ
‰
œ œ
œb œœ œ œ
‰
œ
j
œ œœ
˙
˙
˙
b
b
œ
œœ
œ
b
b
b
˙
œ
œ
œ
œ
œ
b
œ
œn
b œ
œ
œœ
œ
œ
œ
œ
œ
œ
b
œ
œ
n
œ
œ
˙
Œ œ
œœ
œ
b
b
b
˙n
Œœ
œn œ
w
œ ˙
˙
Ϊ
≈
œ
r
œ œ
œb
œ
œ œ
œ
œ
œœ
œ
œb
nœ
œ
œ
œb
b
#
n
œ
œ
n
˙#
‰œn ™
˙n
‰œb ™
œœ œ œ ˙ ˙
Œ ‰
œ
j
œ
œ
œ
œ
n
œ
œ
œ
œ
n
n
œ
œ
œ œ
œ
œœ
œ
œ
œœ
œ
#
# œ
œœ
œb
n
nb
œn
œ
œ
œb
œ
œ
œ
nœn
œ
œ
œ
œ
w
Œ ˙n œ
œ œ
˙
œ
œ
œœ
˙
Œ
œ
œœ
œ
2
58
In Figure 15 V3, on the first beat, Lee plays a C/Db chord. With the melody on C the
dissonant bi-tonal tension of C/Db is very effective.
In the first half of the second bar, instead of the original C7, Lee plays a Gb7b5, the
tri-tone substitution. Make note of the interesting voicing of the rootless Bbm(maj7)
in bar 2. The implied whole tone sound of the Gb7b5 and rootless chords of the
subsequent bars lend a dreamy quality the to lyric “and I find the very mention of
you”. In bar 18 rather than the normal C7 Lee plays a rootless C7b9b5. On beats 3
and 4 where the original chords were F7, Lee adds a Cø – F7b9 (Figure 15).
Once again, as in Figure 14 V2, on the lyric “Julep”, Lee plays a C/Bb and then
resolves to the Bb6.
Beat 1 of bar 20 has Lee superimposing two triads, Bb major over a left hand Ab
major. Functionally this should be viewed as a rootless Fm11 to the Bb13 to move to
the Eb6 of bar 21(Figure 15).
Figure 15 V3 the C/Db chord with melody. Tri-tone substitution. Accompanying CD (¤ Track 15).
{
{
{
{
Voice
Pno.
like the bubblesin a glass of
champainge
you
10
Voice
Pno.
goto my head like a sip of sparkling
A2A2
13
B¨^9B¨^9
C‹7 D‹7
E¨‹7
A¨13
A¨9
Voice
Pno.
burgandy brew sand I find the very mention of you
15
C/D¨
G¨7(b5)
B¨‹(Œ„Š11)
G‹11(b5)
Voice
Pno.
like a kicker in a julep or two the
18
C7[áÁ]
CØ7
F7(b9)
C/B¨
B¨6
G‹7
G¨‹13
F‹11
B¨13
&
b
b
&
b
b
n
?
b
b
&
b
b
&
b
b
3
?
b
b
3
3
&
b
b
&
b
b
?
b
b
&
b
b
&
b
b
?
b
b n b
Œ
œ œ
œb œœ œ œ
œ œ œ ˙ œ
Œ Œ
œ
œb
œ
œ
b
Œ
œ
œ
œ
#
œ
˙
˙
œ
Ó
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ
œ™™
œ
œ
œ
œ
˙
˙
˙
˙
˙
˙
n
‰™œ
r
œ
œn
#
˙
‰™
œb
r
œ
œ
˙
˙˙
˙
œ
œ
œ
œ
˙
œ œ
œ
œ
œ
˙
˙
Œ
œ
œ œ œ œ ˙
Œ
œ œœ œ
œ œ
˙˙
˙
˙
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙b
b
b
˙
˙b
œ
œ
˙
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œb
œ
œ
œ
œb
b
œ
œœ
œ
œ
œœ
œ œœ
œ ˙
Œ
œ œ
œb œœ œ œ œ
œœ ˙
œ
œ
œn
nœ
œ
œb
b
œ
œ
œ
b
œ
œ
œb
˙
˙
˙
b
bœ
œn
œ
œ
œ
œ ™
™œ
œ
b
J
œ
œ ™™
œ
œ
n
j
œ
œb
b
œ
œ
b
œ
œ
œ
œ
œ
œ
b
‰
œ
œn
b
j
œ
œ
œ
œ
œ
œ
n
b
œ
œ
bœ
œ
b
œ
œ œ
Ϫ
™
œn œ
œ
Œ
œ œ
œb œœ œ œ
œ œ œ ˙ œ
Œ Œ
œ
œb
˙
˙
b
œ
œ
œ
œ
œ
b
œ
œ
œœ
œ
œ
œ
œ
n
nœ
œ
œ
n
œ
œ
œ
n
œ
œ
œ
œ
nœb
œ
œ
œ
œ œ
œ
œ
œ
œ
œ
˙
œ
œ
Œ
œ
œ
œ
œn
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
n
#
œ
œ
œ
b
b
n
œ
œ
œ
œ œ
œ
œœ
2
59
6.2 Bridge Sections
The tempo steadies again at letter B, Figure 16, at approximately 72bpm for the first
four bars.
On the second half of bar 24 Lee modulates to the new key centre of D major by the
use of tenth intervals. These tenths fleshed out into seventh chords would be
Bb∆ – Am7 – Gm7 – Fm7 to the Em7 on bar 25.
Then on bars 25 and 26 the tempo nudges up to 75bpm on the lyric “I say to myself,
get a hold of yourself”. The combination of key centre change and tempo lift could be
viewed as underscoring the characters inner confusion. In bar 27 and 28 the characters
resignation … “can’t you see that this never can be” is aided by the relaxation of the
tempo back to 72bpm with a uncomplicated Dadd2 to F11 to harmonically move into
letter C and the return to original key centre of Bb.
60
Figure 16 V1 Bridge 1. Accompanying CD (¤ Track 16).
In Figure 17 the first two bars of letter B see the lyrics, “The thrill of the thought that
you might give a thought to my pleas”, supported by the circuitous movement of the
eighth note countermelody in thirds. This seems to perfectly match the character’s
state of mind.
Lee moves to the new key centre of D major via a melodic single note run to the last
quaver triplet of bar 21 playing an Fm11 to the Em11 of bar 111. In the second half of
bar 23 Lee uses the tri-tone substitution F7, instead of the B7b9. In bars 24 and 25
Lee’s left hand is playing 1, b7, b10 or 1, b10 voicing’s. This left hand voicing is
{
{
{
{
Voice
Pno.
thrill of the thought that you might give a thought to my pleas cast a
BB
21
Voice
Pno.
spell over me yet I say to myself get a
24
B¨²
A‹7G‹7
E‹7
F‹7
Voice
Pno.
hold of yourself cantyou seethatthis nevercan be
26
D(„ˆˆ2)
C‹11/F
Voice
Pno.
you go to my head with a smile that makes my
CC
29
&
b
b
3
333
3 3
&
b
b
?
b
bb
b
n
&
b
b
33
3
&
b
b
?
b
b
&
b
b
3 3 33 3 3
&
b
b
?
b
b
&
b
b
3
&
b
b
?
b
b
œ œœnœ
œ œœ#
œ
œb œœœ
œ œ
j
œ
˙ œœ
j
œ
j
œn
œ
œ
œ
œ
œ
œ
œ
œ™™™™
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
œœ
™™™™
‰
œ
œ
œ#
n
J
œ
œ
œ
œ
œ
œ ™™™ œ
œœ
œ
b
n
œ
œœ
œ
ÓÓ
œ
œ
œœ
n
n
b
J
œ
œ
œœ
n
™™™
™
˙
˙b
Œœ
œœ
œ
˙
˙
Œœ
œœ
œ
œ
œ
˙
˙™
™
œ
œ
˙
˙
˙
˙b
n
œ
Œ
˙
œ
œœœ
œœ
œœ
b
Ó
œ
œœ
œ
˙
‰
œœ
œ œ œ œ‰
œœ#
Œ
œ
œ
œœ
œœœ
œb
Œ
œ
œ
œ
œ
n
#
Œ
œ
œœ
œ
#
#
n
˙
˙
œœ
œœ
˙
˙
˙
n
œ
œ
œ
œ
#Œ
˙
Œ
œœ
œ
#n
≈
œn
œ#œn
œœ
œ#
œ
œ
j
œn
Œ ‰ ‰
œ
j
œ
j
œn
œ œœnœ#œ
j
˙
˙n
œ
œ
# œ
œ
œ
œ
œ
n
n
œ
œœ#
Œ
œ
œ
œ
œn
#
œœ
œ#
n# œ
œœ
œ
#n
™™™ œ
j
˙
˙
˙
˙b
b
b
œ
œ
œ
œ#
#
n œ
œ
œ
œ
œ
œ
#
#
œ
œ
œ
#
n
œ
œ
œ
œ
œ
n
œ
œ
œ
œ
#
n
n
˙
˙
œ
œ
œ#
œn
œ
œb
œ
Œ
œ œ
œ œ
jœ
‰ Œ™
œ œœ œ
œ œ
œœ
œn
œ
œœ
œ
n
œœ
œ
œœ
œ
œ
œ
œ
b
bœ
œœ
œ
b
œ
œ
œn
n
œ
œ
œb
œ
œ
n
œ
œ
œ
œœ
œ
œœ
œ
b
b
œ
œœ
œ
œnœb
3
61
very full and rich sounding and is derived from the stride piano style. The stride style
is a vital technique to master when playing solo piano or when in a duo setting with
another instrument. When performing with an electric or acoustic bass this full left
hand stride style should be used more sparingly as it would often conflict with the roll
of the bass.
Figure 17 V2 Bridge 1. Accompanying CD (¤ Track 17).
{
{
{
{
Voice
Pno.
thrill of the thought that you
mightgive
a
thoughtto
my
BB
18
Voice
Pno.
pleas
casts
a
spell
over me
yet
F11
I
E‹11
say
to myself you
20
Voice
Pno.
gotto get hold of yourself
F7
can'tyouseethatthis never can be You
23
Voice
Pno.
go to my head with a
smile
that
CC
26
&
b
b
33
33
&
b
b
?
b
b
&
b
b
3 33
3
&
b
b
3
3
?
b
b
3
3
&
b
b
3
3
3
3
3
&
b
b
?
b
b
Left hand stride piano voicings
#
&
b
b
3
&
b
b
?
b
b
œ œœn
œ
œ œœ#
œ
˙b œ œ
œ œ œœ
œœ
œ
œ
œ
œ
œ œ
œ
œ
œ
œ
œb
œ
œ
nœ
œ
œ
œn
#
œ
œ
œ
œb
nœ
œb
bœ
œœ
œ
œ
œ
nœ
œ
b
w
œ œ
˙ ™ w
w
w
#
n
Œ
˙
˙#
™
™
˙
≈
œn ™
j
œ
j
œ œ
œ
œ
˙
‰
œœœ œ œ œ œ
‰œ
j
œ
œ
œ
œ
n
œ
œn
œœ
œ
œ
b
n
œ
œw
w
w
w
Œ
œœœœœœ
œœ
œ
œ
œ
œ
œœ
œ
œ
œ
#
œ
œ
œ
œn
#
œ
œn
œ
œœ
œ
#œb
j
œ
œ
œœ
œ œ
œ
b
b
˙
˙
™
™
œ
œ
˙
˙nœ
œ
j Œ
œ
œ
œ
œ#
n
Ó
œ
œ#
œ
œ
œ
œn
j
œ
œœn
œ#
œœn
œ
˙
‰
œ œ
œœ
j
œ#
j
œ œœ
œ
˙
Œ
œnœœœ
œ œ
œ
œ
œ
n
#
œ
œn
œ
œ
œœ
œ
nb
œ
œ
œn
œ
œ
œ
œ
#
œ
œn
œ
œœ
œ#
#
œ
œœ
œ
œ
#
#
n
œ
œœ
œ
#
#
n
œ
œ
œ
œœ
œ
œ
œ
œ
œ œ
œ
˙
˙n
# ˙
˙b
nœ
œ
œ
n
œ
œ
œ
œ
#
n
˙
˙#
˙
˙
œ™œœ
˙
˙
˙
b
n
Ó
œœ
œ œnœ œ
œ
œ œ
Ϊ
œ œœb
‰
œ
j‰
œœ
nœ
œ
œ
n
œœ
œ
˙
˙
˙
˙
b
b
œœb
Œ
Ó
œ
œ
œb œ
œ
n
n
œ
œ
œ
œ
œ
œ#
#
œ
œ
n
œœ
œ
œ
œ
œœ
˙
˙
b
Œ
œ
œ
œ
œ
b
b
˙b
Œœœ
œ
œ
n
3
62
In Figure 18 V3 “The thrill of the thought that you might give a thought to my pleas”
is given a slightly more subdued treatment. Lee’s left hand is playing an Eb6 arpeggio
as the right hand, starting on beat 2, plays Bb, Cm, F and Eb triads. This is all based
on Bb diatonic harmony. Bar 2 is all E diminished scale harmony.
Figure 18 V3 Bridge, harmonization of counter melody. Accompanying CD (¤ Track 18).
{
{
{
{
Voice
Pno.
B¨^
°
Voice
Pno.
thrill of the thought that you might give a thought to my plea cast a spell over me
BB
E¨6
Eº7
B¨/F F9(“4)
Voice
Pno.
yet I say to myself get a hold of yourself can't you
B¨^
E‹11
A13
F©‹7 F7
Voice
Pno.
see that this nevr could be You
E‹11G/A
A7(b9)
D^ D6
C‹11F13
&
b
b
∑
&
b
b
∑
22
?
b
b
‘“
&
b
b
&
b
b
?
b
b
&
b
b
3 3 3 3
&
b
b
?
b
b n
n
b
n
3
&
b
b
3 3
&
b
b
?
b
b
∑
Œ
œ
œ
œn
œn
œ
œn
œ
œn
œn
œ
œn
œ
œn
œn
œ
œn
œ
œn
œn
œ
œn
œn
Œ
w
w
w
w
w
n
b œ
j
‰ Œ Ó
œ œ œ
œ œ œ œ
œb œ œ
œ œ œ œœ
œn
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
n
œ
œ
œ
œ
b
œ
œ
#
#
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
b œ
œ
œ
w
œ
œ
œ
œœ
œ
œ
œ
œ
œ#
n
jœ
œ ™
™
œ
œ
b
œn
œ
œ
n
˙
˙
˙
n
œ
œ
œ
œ
˙™
œœ
œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙n
#
˙
˙
˙
˙
#
˙
˙
˙
˙
#
#˙
˙n
w
w
Œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
œ
œ
œ
œ#
˙
Œœ
j
œ
œ
œ
#
˙#
Œ
œ
œ
œn
#
œ
˙
œ
j
œ
œ
œ
œ
b
n
œ œ œ œ œ œ ˙™
œ
œ
œ
œ
œn
# œ
œ
œ
œ
œ
œ
œ
œ
œ
n
#
œ
œ
œ
#
#
#
œ
œ
œ
n
œ
œ
œ
œ
n
b
œ
œ
n
Œ
Æœn
J
˙
˙
n
œ
j
˙
˙
˙
n
˙
œ
œn
b
œ
œ#
œ
œ
œ
œ
œ
œ
œ
œb
7
63
Figure 19 shows the same first four bars as in Figure 6.17. Here I have extracted the
melody Lee creates under Biddell. The melodies in bars 1 and 2 have the same
rhythmic placement. This demonstrates the compositional development that is
essential in accompaniment. Both bar 1 and 2 are reminiscent of something Debussy
would compose.
Figure 19 V3 isolated counter melody from Figure 6.17. Accompanying CD (¤ Track 19).
Despite there being no singer in V3, Lee crafts a sumptuous and sophisticated
accompaniment. Knowing inexperienced students will be singing over the backing
Lee acts as a guide by giving melodic hints in different points of the song.
Note that in all three versions, Lee plays something to command the listeners
attention in the bar that precedes the lyric, “yet I say to myself, get a hold of
yourself”.
Pianists must be aware of the melody so they will play suitably between vocal phrases
and not over the vocalist. They must also create parts under the vocal that are
independently valid. As pianist Chick Corea stated, “a good accompaniment should
be able to stand on it’s own as a melody”(Corea, 1979). Having an understanding of
the narrative as a whole and in its particulars will hopefully insure that what they do
play will be appropriate. All three versions of this song have accompaniments by Lee
that can stand on their own.
{
{
Voice
Pno.
You go to my head The
B7
B%(#11)
Voice
Pno.
thrill of the thought that youmight give a thought to my plea cast a spell over me yet I
B¨C‹ F
E¨
E¨6 arp
Eº7
B¨/F F11 B¨^
&
b
b
3
&
b
b
?
b
b
3
&
b
b
&
b
b
?
b
b∑ ∑ ∑ ∑
œ œ œ œ œ w ˙
Œ
œ
‰
œ
œ
œ
b
b
j
œ
œ
œ
b
b œ
œ
œ
œn
œ
œ
œ
œ
n
™™™™ œ
j
Ϫ
œ
Jœ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ#
œ
œn
œ#
œ
œ
œ
™
™
™
˙
˙
˙
œ
œn
b
œ
œn
œb
œ
œn
œb
˙
˙
œ
j
˙
˙
b
œ œ œ
œ œ œ œ
œb œ œ
œ œ œ œœ
œn
œ
œ
œ
œ
œ ˙™
œœ
Œ
œnœ
œœ œ
œœ
œ
œ#œ
œ
œ
œ œ
œœœœœœ
9
64
The next section of interest is the last verse before the piano solo. In Figure 20 in the
second bar after the lyric “you go to my head”, the high voiced, rootless Ebm11 drops
dramatically to an unexpected G7 on the lyric “smile” and then slides up to the
expected harmony of Ab7 on beat 4. The G7 harmony helps to articulate musically
the passion and desire that the word smile slyly alludes to.
In the last bar of the example the standard harmony is 2 beats each of Db∆ – Gø. Lee
holds the Db∆ for 3 beats and then plays a harmony consisting of a superimposed 2nd
inversion Ab triad over a Gb major triad. This could be called a Gb69b5 although the
Ab/Gb does give a more precise picture of Lee’s voicing.
Figure 20 V1 range variation of voicings. Accompanying CD (¤ Track 20).
In the first bar of Figure 21 on beat 3 Lee adds an Ebm/F before resolving to the F7b9
on beat 4. This allows the inner voice movement of the notes Bb – A.
In bar 2 of Figure 21 Lee uses a Bbm(maj7) rather than two beats each of Bbm7 – Gø.
Staying on the Bbm(maj7) for the whole bar seems to create a more languid feeling
that a summer heat can induce. This works well with the lyric, “your like a summer
with a thousand July’s”.
{
{
{
{
Voice
Pno.
thrill of the thought that you might give a thought to my pleas cast a
BB
21
Voice
Pno.
spell over me yet I say to myself get a
24
B¨²
A‹7G‹7
E‹7
F‹7
Voice
Pno.
hold of yourself cantyou seethatthis nevercan be
26
D(„ˆˆ2)
C‹11/F
Voice
Pno.
you go
tomy
head with a smile that makes my temperature rise
CC
29
E¨‹11
G7
A¨7
D¨^9 A¨/G¨
&
b
b
3
333
3 3
&
b
b
?
b
bb
b
n
&
b
b
33
3
&
b
b
?
b
b
&
b
b
3 3 33 3 3
&
b
b
?
b
b
&
b
b
33 3
&
b
b
3
?
b
b
œ œœnœ
œ œœ#
œ
œb œœœ
œ œ
j
œ
˙ œœ
j
œ
j
œn
œ
œ
œ
œ
œ
œ
œ
œ™™™™
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
œœ
™™™™
‰
œ
œ
œ#
n
J
œ
œ
œ
œ
œ
œ ™™™ œ
œœ
œ
b
n
œ
œœ
œ
ÓÓ
œ
œ
œœ
n
n
b
J
œ
œ
œœ
n
™™™
™
˙
˙b
Œœ
œœ
œ
˙
˙
Œœ
œœ
œ
œ
œ
˙
˙™
™
œ
œ
˙
˙
˙
˙b
n
œ
Œ
˙
œ
œœœ
œœ
œœ
b
Ó
œ
œœ
œ
˙
‰
œœ
œ œ œ œ‰
œœ#
Œ
œ
œ
œœ
œœœ
œb
Œ
œ
œ
œ
œ
n
#
Œ
œ
œœ
œ
#
#
n
˙
˙
œœ
œœ
˙
˙
˙
n
œ
œ
œ
œ
#Œ
˙
Œ
œœ
œ
#n
≈
œn
œ#œn
œœ
œ#
œ
œ
j
œn
Œ ‰ ‰
œ
j
œ
j
œn
œ œœnœ#œ
j
˙
˙n
œ
œ
# œ
œ
œ
œ
œ
n
n
œ
œœ#
Œ
œ
œ
œ
œn
#
œœ
œ#
n# œ
œœ
œ
#n
™™™ œ
j
˙
˙
˙
˙b
b
b
œ
œ
œ
œ#
#
n œ
œ
œ
œ
œ
œ
#
#
œ
œ
œ
#
n
œ
œ
œ
œ
œ
n
œ
œ
œ
œ
#
n
n
˙
˙
œ
œ
œ#
œn
œ
œb
œ
Œ
œ œ
œ œ
jœ
‰ Œ™
œ œœ œ
œ œ œ
j
œ œœœb
˙
œœ
œn
œ
œœ
œ
n
œœ
œ
œœ
œ
œ
œ
œ
b
bœ
œœ
œ
b
œ
œ
œn
n
œ
œ
œb
œœ
œ
œ
b
œ
œœ
œ
œœœ
œ
œœbœœb
œ
œ
n
œ
œ
œ
œœ
œ
œœ
œ
b
b
œ
œœ
œ
œnœb
œb ™
œ
œb œœ
œ
œ
b
b
3
65
The other harmonic device worth noticing is the semitone slip in bar 5. The first right
hand quaver of beat 2 is an Eb∆. Lee then moves up a semitone for a quaver to E∆
then to the Bb13 on beat 3.
Figure 21 V1 inner voice guide tones. Accompanying CD (¤ Track 21).
•
In Figure 22, beginning in bar 27 Lee plays a high octave counter melody that
continues through until near to the end of bar 29. At the outset this could be viewed as
interfering with the vocalist’s melody, however it does underpin the lyric, “makes my
temperature rise like a summer with a thousand Julys”. Lee demonstrates that there
are many ways to connect musically with the songs narrative.
In my interviews with Lee he noted that on the Channel 9 recording of this
performance the piano was recorded in such a way as to accentuate the mid to high
range. The result being that the octave countermelodies appeared on the recording to
{
{
{
{
Voice
Pno.
your like a summer with a thousand July's
E¨‹/F F7(b9)
B¨‹(Œ„Š7)
Voice
Pno.
you intoxicate my soul with your eyes
G‹7 G¨13 F‹9 E¨²/F E²/F B¨13 B¨7(#5)
Voice
Pno.
I am certain that this heart of mine hasn't a ghost of a
DD
Voice
Pno.
chance in this romance you go
&
b
b
3 3 3
&
b
b
b
b
b
3
?
b
b
&
b
b
33 3
&
b
b
?
b
b
&
b
b
3 33
3 3 3
&
b
b
?
b
b
&
b
b
3
3 3
&
b
b
?
b
b
œ™™
œ
r
œ œ
œbœ œ
œœ
œ œœb
œ
˙
œ ™
‰
œ
œb
n™™
œ
œ
œœ
J
˙
œ
œœn
œ
œ
œ
b ™™™
œœ
œ
œb œ
œ
œ
œ
œœ
œ
œ
‰
˙
œ
œn
J
œ
œ
˙
œœn œ
œ
œ
œ
œ
œœb
™™™
œ
Œ ‰
œ œ
œb
j
œœœ
j
œ
œœ
˙ ˙ ™
Œ
œ
œb
n
œb
œ
œ
œ
b
n œ
œ
‰
œ
j
œ
œ
œœ œ
œ
œ
n
œ
œœ
œb
bb
œ
œ
œ
œ
b
œ
œ
œ
œ
œn
œ
œœ
œb
n
nb
œ
œ
œ
œ
b
n œ
œ
œ
#
˙
˙
˙
n
˙
˙b
˙
Œ
Ó
œ
œ
œœ
œ
œ
œn
b˙
˙b
œ
œ
b œ
œ
œœœœœœœœœœ
œœ
œ
j
œœ
™ œ
j
œ# œnœ
™
‰
œ œ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œœ
œ
œ
œœ
œ
œ
œ
b œ
œ
œ
œœ
œ
œb
œœ
œ
œ
œ
œ
œ
œ
œb
œ
œ
œœœ
œ
œ
œ
n
œ
œ
œ
œ
œ
œ
w
w
˙
˙
œ
œ
bœ
œ
œ
œœ ˙
œ
Œœ
œ
œ
œ
j
œ ™ œ œœ
œ˙
Œ
œ
œ
j
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙
˙
˙
˙
˙
bœ
œ
œ
œœ
œ
œ
œœ
œ™™™™
œ
j
w
œ œ
œœ
œ
œ
bœœ
œ
œ
4
66
be too loud and harsh and that this did not reflect the sound acoustically at the time of
the performance. Also I know myself from having often played this piano that it was
not a good instrument, especially for a duo setting. Lee concurred with this opinion.
Figure 22 V2 high counter melody. Accompanying CD (¤ Track 22).
{
{
{
{
be
You
go to my head with a
smile
that
CC
25
makes my
temperature rise like the summer with a thousand July's s
28
You intoxicate my soul with your eyes well
31
34
&
b
b
Version 2
3
&
b
b
?
b
b#
&
b
b
33 3 3 3
&
b
b
3
?
b
b
&
b
b
3 3 3
&
b
b
7
3
?
b
b
3
&
b
b
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
b
b
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
b
b∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
˙
Œ
œœœœ
œœœ œn
œ œ
œ
œ œ
Ϊ
œ œœb
‰
œ
j‰
œ
œœ
œ
œ
#
#
n
œ
œœ
œ
#
#
n
œ
œ
œ
œ œ
œ
œ
œ
œ
œ œ
œœœ
nœ
œ
œ
n
œœ
œ
˙
˙
˙
˙
b
b
œœb
Œ
Ó
œ
œ
œb œ
œ
n
n
œ
œ
œ
œ
œ
œ#
#
˙
˙
œ™œ œ
˙
˙
˙n
Ó
œ
œ
n
œœ
œ
œ
œ
œœ
˙
˙
b
Œ
œ
œ
œ
œ
b
b
˙b
Œœœ
œ
œ
n
œ# œn
œœbœ
˙
Œ ‰ ‰
œ
j
œ
œb œ
Œ ‰
œ œ œ œ
j
œ
j
œ œ
œ
œ
n
n
œ
œ
˙
˙
b
b
œ
œ
œ
œb
b œ
œn
n
J
œ
œ
#
#
œ
œ
J
œ
œ
n
n
J
œ
œ
n
n
œn
j˙
˙
˙
b
‰œ
œ
J
œ
œ
bœ
œ
œ
œ
wb
Œ œ
œ
œ
œ
b
œ
œ
œ
œ
œ
œ
œ
œ
˙
Œ
œœ
œ
œn
#
#
Œ
˙
˙
˙˙n
n
n
œn
˙
˙
n
Œ
Ó
œ™œb
œ
j
œ
œ
œ
œ
b
™™™™
Ó
œ œ
œb œœœ œ œ œ
œœ
˙ ˙ ™
‰
œ
j
œ
œ
œ
b
bœ
œ
œ
œbœ
œb
œ
œœ
œ
b
n
œ
œœœn
œ
œ
œ
œ
n œ
œ
™™
œ
œn
œ
œ
œ
œ
œ
œ
œn
œ
œ
œ
œ
œœb
œ
œ
œ œ
œ
œ
œ
œ
œ
˙
˙˙
˙w
w
Œ
œ ˙
˙
‰
œb
j
˙
œ
œ
œ
‰
œ
j œ
2
67
In the second half of bar 29 of Figure 23 Lee plays an ascending countermelody in
semiquavers. This perfectly aligns with the lyric “You go to my head”. This idea is
then mirrored compositionally in bar 31 after the lyric “temperature rise”.
In the last two quavers of bar 35 Lee uses a Gm7 – Gbm11 to arrive at Fm7 on bar 36.
The chromatic voice leading in these passing harmonies makes for smooth transitions
and are not part of the original chord set.
Figure 23 V3 rising fills to match lyric. Accompanying CD (¤ Track 23).
{
{
{
{
be You go to my head with a smile that makes my
CC
28
tempetature rise like a summer with a thousand July's
31
you intoxicate my soul with your eyes Yes I'm
34
38
&
b
b
Version 3
&
b
b
?
b
b
&
b
b
&
b
b
3
?
b
b
n
n
b
n
&
b
b
∑
&
b
b
∑
3
3
?
b
b∑
&
b
b
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
b
b
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
b
b∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
˙™
œ
œ œ œ œ ˙
Œ
œ œœ œ
œ œ
œ
œ
œ
#
#
#
œ
œ
œ
n
œ
œ
œ
œ
n
b
œ
œ
n
œœ
œ
nœ
œ
œ
b ™™™œœœnœ
œ
œ
œ
œb
œ
œn
œ
œ
œ
œ
b
b
œ
œ
œ
bœ
œ
b œ
œ
œ
œ#
œ
œ
œ
œ
œ
œ
œ
œ˙
˙
n
œ
œ
œ
œ
œ
œ
œ
œb
œ
œ
œ
œ
b
œ
œb
œ
œœ
œ
œ œœœ ˙
Œ
œ œ
œb œœ œ œ œ
œœ ˙
˙
˙
˙
˙
b‰
œbœœœœ
œ
œb
Œ
˙
˙b
b
™
™
œ
œ
œ
œb
b
b
œ
œœ
œ
n
œ
œ
œ
œœ
n
b
œ
œœ
œ
œ
œ
n
œ
œ
œ
œ
œœ
œ
œ
œb
b
œ
j
œ
œ
œ
œ
b
œ
œœb
J
œ ™
˙
Œ œ
œœ
b
bœ
˙
œ
œ
œ
œb
n
œ
˙
˙
œ
œ
˙
œ
œ
œ
Œ
œ œ
œb œœ œ œ œ
œ
œ ˙ ˙ ™ œ œ#
œ
œ
œ
œœ
œ
b
Jœ
œ
œœ
œ
œ
#
œ
œ
œ
œ
n
n ™™™™
œ
œ
jœ
œ
n
œœœn
œ
œ
b
œ
œ
œbœ
œœ
œ
œ#
œ
œn
œ
œœ
œ
b
bb
œ
œb
n
œ
œ
n œ
œ
œn
œ
œ
œ
œ
œ
œ
œ
œn
b˙
˙
˙b
œ
œ
b
œ
œ
œ
#
2
68
In Figure 24 extra harmonic forward motion is created in bar 88 by playing Eb∆ to
Eb6 rather than just Eb∆ for the bar. In bar 89 Lee varies the standard chords by
playing a Cø for a half bar and then Ebm7 – Ebm6 on beats 3 and 4. The Cø is
effectively Ab7 with the third in the root. By altering the original harmony from Ab7
to Cø on the word “heart”, a darker more solemn feeling is created that supports the
narrative intent. Namely, that the character, despite being realistic about their chances,
cannot deny feeling heartbroken and forlorn.
In bars 94 and 95 Lee begins playing eight note F9sus chords as a setup to begin his
solo. His right hand melodic entry phrase in the second half of bar 95 is truly striking.
Lee raises the dynamic of the piano to a whole new level. He is aided in this by the
quality of the instrument supplied for this performance, a Steinway concert grand
piano.
69
Figure 24 V1 Mood change of Ab7 to Cø. Accompanying CD (¤ Track 24).
Figure 25 bar 2 shows how to play a rich sounding Eb-6 with the left hand, leaving
the right hand free to create a counter melody.
In bar 3 where the original chords are Bb∆ to Cm7, Lee plays Bb∆9 for two beats
then Eø – Ebm as an alternative harmonic path to the Dm7 on bar 4.
In bar 5 Lee creates extra harmonic movement by playing a Bo7 in the second half of
the bar. The original chords have a Cm7 for the whole bar. Instead of a F7 for bar 6
Lee plays a Cø to F7b9. This use of alternate harmony allows for fluid rhythmic
momentum and support of the melodic line. Once again we see use of a semitone slip
in bar 7 moving from Gm7 – Gbm7 – Fm11. Lee’s opening statement in the piano
{
{
{
{
Voice
Pno.
I am certain that this heart of mine hasn't a ghost of a
DD
88
E¨^9
E¨‹7 E¨‹6
E¨6
CØ7
Voice
Pno.
chance in this romance you go
91
Voice
Pno.
to my head
94
Voice
Pno.
97
&
b
b
3 33
3 3 3
&
b
b
?
b
b
&
b
b
3
3 3
&
b
b
?
b
b
&
b
b
Piano Solo
∑
3
&
b
b
∑
?
b
b∑
&
b
b
∑ ∑ ∑ ∑ ∑ ∑ ∑
&
b
b
∑ ∑ ∑ ∑ ∑ ∑ ∑
?
b
b∑ ∑ ∑ ∑ ∑ ∑ ∑
œœœœœœœœœœœ
œœ
j
œœ
™ œ
j
œ# œnœ
™
‰
œ œ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œœ
œ
œ
œœ
œ
œ
œ
b œ
œ
œ
œœ
œ
œb
œœ
œ
œ
œ
œ
œ
œ
œb
œ
œ
œœœ
œ
œ
œ
n
œ
œ
œ
œ
œ
œ
w
w
˙
˙
œ
œ
bœ
œ
œ
œœ ˙
œ
Œœ
œ
œ
œ
j
œ ™ œ œœœ
˙
Œ
œ
œ
j
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙
˙
˙
˙
˙
bœ
œ
œ
œœ
œ
œ
œœ
œ™™™™
œ
j
w
œ œ
œœ
œ
œ
bœœ
œ
œ
œ
œ œ
˙ ™ ˙
Ó
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
Ó ≈
œ
œœ
Ϫ
œ
œ
œ œ œ œ œ œ
œ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
11
70
solo makes use of the Bb altered scale while playing a shell voicing (root and
dominant seventh) with the left hand.
Figure 25 V2 Left hand voicing. Accompanying CD (¤ Track 25).
Bar 6 of Figure 26 has Lee playing a descending run, reminiscent of the legendary
pianist Art Tatum, during a long held melody note. The fact that no one is singing
once again demonstrates Lee’s internalized knowledge of the song.
{
{
{
{
Voice
Pno.
head
Voice
Pno.
I'm certain that this heart of mine hasn't a ghost of a
DD
E¨‹6
B¨^9 EØ7
E¨‹
Voice
Pno.
chance in this crazy
romance
you go to my
D‹7
C‹7
Bº7
CØ7
F13
Voice
Pno.
head
G‹7
G¨‹7 F‹11
B¨7
&
b
b
Piano Solo
∑ ∑ ∑
&
b
b
3
∑ ∑ ∑
33
3
3
?
b
b b
n
∑ ∑ ∑
3
&
b
b
3 33 3 3
&
b
b
3
3
?
b
b
b
n
&
b
b
&
b
b
?
b
b
&
b
b
Piano Solo
&
b
b
3
33
3
3
?
b
b b
n
3
œ
jœ ™ ˙
Ó Ó
œ
œ
œ
œ
n œ
œœ
œ
n
œ
œœ
œ ‰
œ
œœ
œœ
œ
œ
œ
œ
j
œ
‰
œ
œ#
œ
œbœnœnœœn
œ
œ
œ
œ
n œ
œ
œ
œ
nœ
œn
#
j
œ
˙
œ
œœ
œ
b œ
˙
œ
œ#
j
œ
œ
j
˙
‰
œ œ
‰
œœ
˙
‰
œ œ
œ
œ
‰
œ œ
œ
œ
Ó ‰
œ
J
œœ
œœ
œ ˙
‰
œb
œ
œ
œ
œ
œ
œ
œœ
œ
n
œ
œ
œ
œ
Œ
w
w
Œœ
œœœ œ
œœ
œ
œ
œ
œ
œ
œ
w
w
œ
œ
œ
œ
œœ
œ
œœ
˙
˙
Œ œ
œ
œ œb
œb
œ
‰
œ
j
œœ œ
œ
œœ
œœ
œœ
œœ
œœ œ
j
Ϫ
œ
Œ ‰
œ
j
œ
œ œ
œ
œœ
œ
œ
œ
œ
œ
œb
b
j
œ
œ
J
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œn
#
n
n
œ
œn
œn
œœ
n
œ
œ
b
b
œ
œœ
œœ
œ
œ
œœ
œ
™™™
™œb
J
Ó
˙
˙˙
˙
n
#
Œ
œ
œ
œb
n
˙
˙
b
n
Œœœ
œ
œ
b
n
˙
˙
n
n
Œ
œ
œbœ
œ
œ
œ
b
b
œ
œœ
œœ
œ
œ
n œ
œ
œ
jœ ™ ˙
Ó Ó
œ
œ
œ
œ
n œ
œœ
œ
n
œ
œœ
œ ‰
œ
œœ
œœ
œ
œ
œ
œ
j
œ
‰
œ
œ#
œ
œbœn
œnœ
œn
œ
œ
œ
œ
n œ
œ
œ
œ
nœ
œn
#
j
œ
˙
œ
œœ
œ
b œ
˙
œ
9
71
In bar 7, instead of an F7 Lee plays a B69#4 for a quaver by simply superimposing a
2nd inversion Db triad over a left hand B triad. That chord is then converted to a B
major for two beats by moving the Db triad down one tone. With the melody note in
this bar being F the chord is effectively a Bmaj#4. On the last crotchet Lee plays an A
note to convert the Bmaj#4 into a B7b5 with Biddell singing the b5 of F note. The last
beat becoming the tri-tone substitution for the F7.
Figure 26 V3 use of triads as chord extensions. Accompanying CD (¤ Track 26).
{
{
{
{
Voice
Pno.
head The
Voice
Pno.
Yes I'm certain that this heart of mine hasn't a ghost of a
DD
E¨‹(Œ„Š7)
E¨‹6
Voice
Pno.
chance in this crazy romance
Voice
Pno.
You go to my head The
B7
B%(#11)
&
b
b
&
b
b
?
b
b
&
b
b
Version 3
3 3
&
b
b
3
?
b
b
&
b
b
33
&
b
b
∏∏∏∏∏
6
3
?
b
b
&
b
b
3
&
b
b
?
b
b
3
w ˙
Œ
œ
œ
œ
œ
œ
n
™™™™ œ
j
Ϫ
œ
Jœ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ#
œ
œ
œn
b
œ
œn
œb
œ
œn
œb
˙
˙
œ
j
˙
˙
b
˙ ™ œ œ#œ
œœ
œ
œ
j
œ
œ
j
˙œ
œ
œ
œ
œ
œ
œ
œ
b
œ
œ
œœ
œœn
œ
œ#œ
œ
œ
œ
œ
œ
œ
œ™™™™œ
œœ
œ
n
n
J
œ
œ ™™
˙
˙
˙b
˙
˙˙
˙
˙
˙
˙
˙
œ
œ
œ
n œ
œ
œ
˙
˙
˙
œ
œ
b
œ
œ
œ
#
w
w
Œœ
œ
œœ
œ
œ
œœ
œ
œœ
œ
w
œb œ
œ
œ
œ
œ
œ
œ
œ
˙
œ ˙
˙
Œœn
œ
œ
œœ œ
œw
˙˙
˙˙
œœ
œ
œ
n
#
œ
œ
œœ
n
#
œ
œ
œ
œ
œ
œ
œ
œ™™™™
œ
œb
œ
œn
œ
œ
œ
œb
œ
œn
œ
œ
œœ
œ
˙
˙
n
#
˙
˙
b
n
Œ
œ
œœ
œb
n
Ó
œœ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ w ˙
Œ
œ
‰
œ
œ
œ
b
b
j
œ
œ
œ
b
b œ
œ
œ
œn
œ
œ
œ
œ
n
™™™™ œ
j
Ϫ
œ
Jœ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ#
œ
œn
œ#
œ
œ
œ
™
™
™
˙
˙
˙
œ
œn
b
œ
œn
œb
œ
œn
œb
˙
˙
œ
j
˙
˙
b
8
72
Although I have transcribed the two piano solos from V1 and V2 I will not be
commenting on them specifically as this work is about vocal accompaniment. The
complete transcriptions of the three performances, including the piano solo, will be
included in the appendix A.
Preceding Figure 27 Lee has been playing his solo at a steady tempo. Rather than stay
at that tempo or even begin there, Biddell immediately and dramatically accelerates
the lyrics “The thrill of the thought that you might give a thought to my pleas casts a
spell”. There is a pause on the word “spell” where Biddell performs an elaborate
appoggiatura. Lee seamlessly re-calibrates, and on the last word of the phrase, “casts
a spell over me”, plays a Bb∆6/9 arpeggio over 4 octaves (bar 64). Then comes a
beautiful example of the use of space with Lee answering harmonically between the
next two vocal phrases. Lee intuitively knows when not to play. Notice in bar 66 the
F#m7 normally played for the first two beats is absent and Lee allows Biddell that
space before answering with a B7b9b5. The trust in each other’s abilities to carry this
off on a live to air broadcast without rehearsal is remarkable and truly a tribute to
Lee’s “golden ears”.
In our interviews Lee remarked, “Biddell was a difficult person to accompany
because she would pause all over the place on a note and you had to adjust to those
moments”(19/10/14interview). This passage exemplifies Lee’s statement.
73
Figure 27 V1 use of space. Accompanying CD (¤ Track 27).
{
{
{
{
{
the thrill of the thought that you might give a thought to my
BB
61
plea cast a
spell
over me yet I
63
say to myself you just got to get a hold of yourself Oh can't you
65
see that this never would be
67
You
69
&
b
b
Version 1 after solo
33
3
&
b
b
∏∏∏∏∏
∑
?
b
b
&
b
b
&
b
b
U
∏∏∏∏∏∏
19
?
b
b
∏
&
b
b
.
&
b
b
?
b
b
&
b
b
&
b
b
?
b
b
&
b
b
∑
&
b
b
”“
∑
?
b
b∑
‰
œ
j
œ œ œ
œ œ
j
œ œ
œb œ œb œ
œ œœ
œ
œ
œ
œ
™™™™
‰
˙
˙
˙
˙
Ó
œ
œ Œ
œœ
œ
˙
œ
œœ
œ
˙
˙
˙
˙
n
#
œ
œ
œ
œ
œ
œ
œ
œ
œ œœœœœœ œn
œ
œœ
œn
œœœœ ˙
‰
œœ
™
œ
œ
™™œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙
Œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
‰
œ
œ
Ó
œœ
œ
œ˙˙
˙˙
œ
œ
œœ
Œ Ó
œ ™œ œ œ˙‰œb œn
œ
œœnœ œ#
œnœnœ
œ
≈
œ œb œn
Œ
œ
œ
œ
œ
#
n œœ
œ
œ
#œœ
œ
œŒ Ó ‰
œ
œn
œ
œ
n
œ
œ
n
œ
œŒ
Œ
œ
œ
œ
œ
œ
œ
Œ
Ó
Ó
®
≈
œn ™ œ
Œ
œ
œ
œ
™
™™
j
Œ
œnœ
œ#œœœœœœœn
˙œbœnœœœ œn
œ
œ
œ
œn
#
œ
œ
œb
n
œ
œ
œ
n
œ
œœ
œ#
#
‰™
œ
rœ
œœ#n
œ
œ
œ
œœ#n
œ
œ
œœ
R
≈ ‰ ‰
œb
œb
œ
œ
œ
œ
œn
# œ
œb
nœ
œ
n
œ
œ
œ
œ#™
≈
œn
œ
œb
œ
œ
œ
®
œ
œ
˙‰
œœ
œœ
œbœ
˙
˙
˙
‰™
œ
r
œ
œ
‰
œ
J
‰
‰
Œ
Œ
˙
˙
Ó
3
74
In Figure 28 Lee spontaneously re-configures the harmonic structure of C from the
second bar. In Table1 I set out the standard chords alongside Lee’s harmonic
variations for comparison. The top row displays the original chords and the bottom
rows contain Lee’s substitutes. An emerging key to Lee’s substitutions is the
chromatic descending root notes. The original progression moves in fourth intervals
(Bb – Eb – Ab – Db), whereas in Lee’s progression the bass notes descend in
semitones.
1. The Gb/Bb omits the Eb of Ebm7.
2. The Ao7 would form a Ab7b9 were there a Ab as the root.
3. The Ab6 is missing the Db to make a Db∆9.
4. Biddell is singing a note that is in common with both chords.
5. The Gb9#11 is a tri-tone away from the Cø.
6. The progression coalesces on F7alt.
7. Bbm, same as the original.
8. Bbm/Ab works with Biddell’s melodic variations and clearly has a step-wise
purpose of leading to the next chord.
9. The Gb13 is a tri-tone away from the Cø.
Clearly the original chords and Lee’s chords are related. Most importantly, they work
with Biddell’s melodic rendition.
Table 1 chord comparison.
Bb∆ Ebm7 Ab7 Db∆ Gø Cø F7alt Bbm Gø Cø
Bb∆ Gb/Bb Ao7 Ab6 G7sus G7
Gb9#11 F7alt Bbm Bbm/Ab Gb13
0 1 2 3 4 5 6 7 8 9
Lee plays this chord sequence in a dreamy style with gentle arpeggios that reflect and
enhance Biddell’s interpretation. In bar 7 of letter C there is a dramatic turn with a
75
harmonic build into the lyric “Don’t you know that I’m certain” sung over a
shimmering Bb13b9 arpeggio by Lee.
Figure 28 V1 substitute harmonies. Accompanying CD (¤ Track 28).
{
{
{
{
Voice
Pno.
You go to my head with a smile that makes
CC
B¨^13
G¨/B¨
Aº7
Voice
Pno.
my temperature rise your like a summer with a thousand july's
A¨6 G7(“4)
G7 G¨9(#11) F7[áÆ] B¨‹ B¨‹/A¨
Voice
Pno.
You intoxicate my soul with your eyes
G¨13
F7(#5)
Voice
Pno.
Don't you know
that I'm
&
b
b
3
&
b
b
”“
U
?
b
b
&
b
b
3 3 3 3
&
b
b
b
?
b
b
b
&
b
b
3 3 3
&
b
b
?
b
b
&
b
b
&
b
b
?
b
b
˙‰
œœœœœœ
œ
œœœ ˙
Ϊ
œ œœ œ œ
œ
˙
˙
˙
‰™
œ
r
œ
œ
‰
œ
J
‰
‰
Œ
Œ
Ó
œ
œ
œ
™™™
œ
œ
œ
j
œ
œ
œ
b
b™™™
œ
œ
œ
J
œ
œ
œ ™™™ œ
œ
œ
J
˙
˙
Ó
œ
œœ
œ œ
œ
œ ˙
‰œb
j œb
˙
˙
b
‰
œ
j
œ
œ
œ
œ
j
œœbœ
˙
Œ ≈
œ œ œ
œb
Ϫ
Œ
œ œ œ œ
œ
j
œ
j
Ϫ
œ
œ
œb ™™™ œ
œ
œ
J œ
œ
™™
œ
j
œ
œ
œ
b
n™™™
œb
j Œ
œ
œœ
œb
n
bœ ™˙
˙
œ
œœ
™
˙
˙
œ
j
˙b
‰ œ
j œ
˙n
‰ œ
jœn
˙b
‰œn
j œb
˙
‰œb œ
j
˙
œ œ
˙
œ œ
Œ ‰
œœ
œb œœ œ
œ
j
œ
œœ
˙
‰
wb
œ
œœ
b
b
™™™
‰œ
œ
b
n™
™
Ϊ
œ
œ
j
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œb
˙b
Ó
˙
‰œ ™
‰
Ϫ
œ
œ
œ
œ
œ
œ
n œ
œn
b
œ œœ
œ ‰ œœ
œœ œ
Ó
‰
œ
œ
œ
œ
b
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙˙
˙
˙
nb
œb
œb œn
œ
œn
œb
œb œn
œ
œ
œb
œb œn
œ
œn
œb
œb œn
œ
œn
œ
œ
œ
œ
˙
˙
11
76
In Figure 29, Biddell holds a long F note on the lyric “romance”. Under this vocal
note Lee constructs the chord sequence of F – F/Eb then a Db chord to Dbadd9
arpeggio. Lee sustains this arpeggio until he hears Biddell begin her breath intake and
then plays a B7b9#11. This demonstrates the importance of listening for the singers’
breaths in order to judge vocal entries or points at which an accompaniment statement
can be made. Vocalists must coordinate their breathing with the phrasing of the
music. Thus it is fundamentally vital the accompanist is aware of, and in sync with the
singer’s breath.
Biddell’s descending line on the word “go” contains a Bb note against Lee’s B7b9#11
chord causing a momentary clash between the dominant 7th (A) of the harmony and
Biddell’s Bb. When playing this recording to Lee he noticed this immediately. Biddell
sings an almost identical phrase in the same part of the song in V2, however, because
Lee is playing a B∆9#11there is no clash. This confirms Lee’s assertion, mentioned in
Chapter 5, that he was unaware of Biddell singing very similar phrases in the both V1
and V2.
77
Figure 29 V1 Letter D. Listening for the breath. Accompanying CD (¤ Track 29).
6.3 Song Endings
The final comparison I will make will be on the song’s ending. In the performance of
standard repertoire in the jazz idiom, it is expected that accompanists will often use
chord substitutions, however, there is a harmonic map that needs to be respected to
one degree or another.
Endings, however, can take many harmonic paths, especially in a duo where the
pianist can extemporize without concern or thought to other members of a band. The
{
{
{
{
Voice
Pno.
chance in this crazy ro
G‹7
C13[âÅ]
Voice
Pno.
mance
F F/E¨
D¨
Voice
Pno.
you go to my head
B7[åÅ]
Voice
Pno.
° *
&
b
b
3
&
b
b
U
?
b
b
&
b
b
&
b
b
3
?
b
b
3
3
&
b
b
T
&
b
b
U
?
b
b
&
b
b
∑
&
b
b
10
12
?
b
b
‘“
7
œ œ
œ
œœ œb œn
œœ
œb œn
˙ ˙
˙˙
˙˙
b
bn
˙
˙˙
˙
n
˙ ™
Œ
Ó
‰
œ
œ
œ
≈
œ
œœnœ
œ
˙
˙
˙
˙
b
b
œ
œb
œb
œb
œ
œb
œb
œb
œ
œb
œb
œ œ
œ
‰
œ
r
‰
œb
‰
œ
r‰
˙
˙
b
b
Ó
‰
œ
j
œbœb
œœb
œœb
œ œ œ œ™
w w
w
w
w
n
n
œ
œ œ œ œ
œ œ
‰
w
ww
w
b
œb
J
œ
œ œ
œ œ
œ
w
w
n
œ
œœœ
bb
œ
œœœ
œ
œœœ
œ
œœœ
Œ
w
w
w
b
b
œ
œ
œ
œb
b
œ
œ
œ
œ
œ
œ
œ
œ
˙
Ó
˙
˙
˙
˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœ
œœ
œœœ
œœ
œœ
w
Œ
w
w
w
œ
œn
œ
œ
œn
œ
œn
Ó
˙
˙
˙
œ
Œ
10
78
pianist needs only to be aware of the singer’s last note and of course the songs
context. In the three versions of this song Julian demonstrates this admirably.
In Figure 30 V1 Biddell sings the last note with the lyric ”head” and Lee plays the
harmonic progression Ab – Gb∆ – Bb6. The style is very reminiscent of a big
orchestral ending concluding with a shimmering four-octave arpeggio finale.
Figure 30 V1 ending. Accompanying CD (¤ Track 30).
In Figure 31 V2, after Biddell has sung the last note Lee plays a 6-2-5-1 harmonic
movement … Bbm7 – Ebm7 – Ab13 – Db∆6/9.
Lee sustains the last chord arpeggio and finally superimposes four Eb triads in
different inversions to create a Db∆6/9 +4 harmony.
Through this ending harmonic movement Lee paraphrases the opening part of the
songs melody … “You go to my head, and you linger like a haunting refrain”.
{
{
{
{
Voice
Pno.
chance in this crazy ro
Voice
Pno.
mance
Voice
Pno.
you go to my head
A¨(„ˆˆ2)
G¨^13
Voice
Pno.
B¨6
° *
&
b
b
3
&
b
b
U
?
b
b
&
b
b
&
b
b
3
?
b
b
3
3
&
b
b
T
&
b
b
U
?
b
b
&
b
b
∑
&
b
b
10
12
?
b
b
‘“
7
œ œ
œ
œœ œb œn
œœ
œb œn
˙ ˙
˙˙
˙˙
b
bn
˙
˙˙
˙
n
˙ ™
Œ
Ó
‰
œ
œ
œ
≈
œ
œœnœ
œ
˙
˙
˙
˙
b
b
œ
œb
œb
œb
œ
œb
œb
œb
œ
œb
œb
œ œ
œ
‰
œ
r
‰
œb
‰
œ
r‰
˙
˙
b
b
Ó
‰
œ
j
œbœb
œœb
œœb
œ œ œ œ™
w w
w
w
w
n
n
œ
œ œ œ œ
œ œ
‰
w
ww
w
b
œb
J
œ
œ œ
œ œ
œ
w
w
n
œ
œœœ
bb
œ
œœœ
œ
œœœ
œ
œœœ
Œ
w
w
w
b
b
œ
œ
œ
œb
b
œ
œ
œ
œ
œ
œ
œ
œ
˙
Ó
˙
˙
˙
˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœ
œœ
œœœ
œœ
œœ
w
Œ
w
w
w
œ
œn
œ
œ
œn
œ
œn
Ó
˙
˙
˙
œ
Œ
10
79
This melodic quote is a haunting bookend to this song and my personal favourite of
the three performance versions.
Figure 31 V2 ending. Accompanying CD (¤ Track 31).
In keeping with the purpose of being a student accompaniment, Figure 32 V3, as you
might expect, feels less involved emotionally. In this version Lee has no collaborator
from witch to gauge an emotional content. Nevertheless this ending is an elegant
denouement. The last vocal note heralds a single then octave then cascading thirds
over a harmonic sequence of Bb – Gb∆9#11 – B∆9#11 – Bb∆. Finally a four octave
Bb6 arpeggio.
{
{
{
{
Voice
Pno.
gos to my head
B¨‹9
Voice
Pno.E¨‹9 A¨13 D¨^13
Voice
Pno.
I'm certain
Voice
Pno.
that this heart of mine hasn't a ghost of a chance in this crazy
2
4
3
4
4
4
2
4
3
4
4
4
2
4
3
4
4
4
4
4
4
4
4
4
&
b
b
U3
3
&
b
b
?
b
b∑
3
3
&
b
b
∑
&
b
b
”“
?
b
b
3
3
&
b
b
∑ ∑ ∑ ∑ ∑ ∑
&
b
b
∑
“< >
∑ ∑ ∑ ∑ ∑
?
b
b∑ ∑ ∑ ∑ ∑ ∑
&
b
b
3 33 3 3
&
b
b
3
3
?
b
b
b
n
œœœ ˙
œ œ#
œb
˙n ˙ ™
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
Œ
œ
œ
˙
˙
œ
œ
w
w<#>
<n>
œ
œ
œb™œb ™
œœ
œ
œ
œ
w w w
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
w
w
w
œ
œ
œb œœœb
œb
œ
œ
œ
œ
œ
œb™
‰
≈œb
r
œ
œ
œ
j
‰
œ
œ
b
b
J
˙
˙
w
w
œ
œbœœ
œœ
Œ Ó
w
w
œ#
j
œ
œ
j
˙
Ó ‰
œ
J
œœ
w
w
Œœ
œœœ œ
œœ
œ
œ
œ
œ
œ
‰
œ œ
‰
œœ
˙
‰
œ œ
œ
œ
‰
œ œ
œ
œœ
‰
œ
j
œœ œ
œ
œœ
œœ
œ ˙
‰
œb
œ
œ
œ
œ
œ
œ
œœ
œ
n
œ
œ
œ
œ
Œ
œ
œœ
œ
œ
œ
œ
œ
œb
b
j
œ
œ
J
œ
w
w
œ
œ
œ
œ
œœ
œ
œœ
˙
˙
Œ œ
œ
œ œb
œb
Ó
˙
˙˙
˙
n
#
Œ
œ
œ
œb
n
8
80
Figure 32 V3 ending. Accompanying CD (¤ Track 32).
{
{
{
{
Voice
Pno.
You go to my head
B¨
G¨^9(#11)
B^9(#11)
Voice
Pno.
B¨^
°
Voice
Pno.
certain that this heart of mine
Voice
Pno.
hasn't a ghost of a chance in this crazy romance
&
b
b
3
&
b
b
“< >
U
?
b
b
b
n
&
b
b
∑
&
b
b
∑
22
?
b
b
‘“
&
b
b
∑ ∑ ∑ ∑ ∑
&
b
b
∑ ∑ ∑ ∑ ∑
?
b
b∑ ∑ ∑ ∑ ∑
&
b
b
3 3
33
&
b
b
∏∏∏∏∏
6
3
?
b
b
œ œ œ œ œ w ˙
Ó
œ
œ
œ
#˙˙
˙
™™™
‰
Œ
œ ™
œ œ ˙œœœnœ
œ
œ
œ
bœ
œ
bœ
œ
œ
œ
œ
œ
bœ
œ
b
œ
œ
b
œ
œ
œ
b
wn
wb
Ó
˙b
œœœœb
Œ‰
œb™
œ
˙
˙
Ó
∑
Œ
œ
œ
œn
œn
œ
œn
œ
œn
œn
œ
œn
œ
œn
œn
œ
œn
œ
œn
œn
œ
œn
œn
Œ
w
w
w
w
w
n
b œ
j
‰ Œ Ó
œ
œœ
œ
œ
j
œ
œ
j
˙
œ
œ
œ
œ
œ
œ
œ
œ™™™™œ
œœ
œ
J
œ
œ ™™
˙
˙
˙
#
˙
˙˙
˙
w
w
Œœ
œ
œœ
œ
œ
œœ
œ
œœ
œ
w
œb œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œœ œ
œw
˙
˙
˙
˙
n
œ
œ
œ
œ
œ
œ
˙˙
˙˙
œœ
œ
œ
n
#
œ
œ
œœ
n
#
œ
œ
œ
œ
œ
œ
œ
œ™™™™
œ
œb
œ
œn
œ
œ
œ
œb
œ
œn
œ
œ
œ
˙
œ ˙
˙
Œœn
œœœ
˙
˙
n
#
˙
˙
b
n
Œ
œ
œœ
œb
n
Ó
œœ
œ
œ
œ
œ
œ
œ
7
81
Chapter 7
7.0 Conclusion
The collaboration between Julian Lee and Kerrie Biddell was a showcase for two
artists at the peak of abilities. The depth and maturity of their performances was an
inspiration to many who were fortunate enough to be in an audience.
Kerrie Biddell’s crystal clear vision of how she would interpret a song, coupled with
her formidable technique, created a perfect setting for Julian Lee to weave his
beautiful accompaniments. The three versions of “You Go to My Head” that my
thesis is built upon give evidence that this song was performed differently every time.
I can attest to the fact that the same applied for their entire repertoire. Both of these
artists, over many years in the music industry had acquired an enormous volume of
song repertoire. This allowed Biddell to draw from this repertoire and perform a song
without need of rehearsal. The fact that Lee might not have played a song previously
was no hindrance, as Biddell would sing it to him backstage. If Lee could remember a
song, his “golden ears” would guide him and provide all the detail he required.
Young, aspiring pianists and singers should rest assured that this level of
musicianship is not achieved overnight. Undoubtedly these two musicians had an
abundance of natural ability however, only years of practice and experience can hope
to achieve such superlative performances. As in most of life there is always a degree
of luck involved. There were so many life factors that might have conspired to keep
this duo apart. Julian Lee is a musician who could accompany any singer well,
however, it is the quality and experience of these two musicians that makes their work
together so special. Lee’s work with Biddell was his only real foray into the duo
82
format. This makes this coupling all the more impressive. All the years Lee spent
arranging for singers seems to indicate a best practice scenario if one wanted to
prepare for the role of accompanist. The way Lee would arrange was by dictating into
a cassette recorder so that a copyist could later put pen to paper. Lee could retain all
this information in his memory. The work of methodically arranging songs for
orchestras and big bands over many years let the compositions and all their variations
become completely absorbed organically. This allowed Lee to draw upon this
reservoir of knowledge in an unconscious way.
Sadly this duo rarely recorded. There were four tracks of duos on Biddell’s last
recording “The Singer”. Other performances were radio or television live to air
broadcasts.
Julian Lee and Kerrie Biddell’s impressive careers spanning the USA, New Zealand
and Australia deserve the recognition and pride of place on our antipodean
mantelpiece. The collaboration of Julian Lee and Kerrie Biddell is undoubtedly
worthy of great acclaim and further academic scrutiny.
83
Appendix A – Song Transcriptions
You Go To My Head V1
Figure 33 You Go To My Head V1. Accompanying CD (¤ Track 33).
{
{
{
Voice
Piano
You
Voice
Pno.
go to my head and you linger like a haunting refrain
A1A1
5
Voice
Pno.
and I find you spinninground in my brain like the bubbles in a
8
4
4
4
4
4
4
&
b
b
∑ ∑ ∑
Lyricist Haven Gellespie
Piano Julian Lee
Vocal Kerrie Biddell
You Go To My Head
Transcription Michael Bartolomei
composer J.Fred Coots
&
b
b
b
b
b
U
?
b
b
&
b
b
&
b
b
∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏
?
b
b
∏
&
b
b
&
b
b
b
n
∏∏∏∏∏∏∏∏∏∏∏∏
b
n
b
∏∏∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏
3
?
b
b
Ó Œ
œ
Ó ‰
œ
œ
œ
J
œ
œ
œ
œ
œ
œ œ
œ
œb
b
™™
™
œ
œ
œn
b
j
œ
œ
œb
b ™
™™
œ
œ
œ
j
Ϫ
˙
˙
œ
j
œ˙
˙
œ
œ
w
w
w
w
w
Œ
˙™
œ ˙ œ œ ˙™
w
œ ™ œ œ œ ˙
Œ ‰
œ œœ œ
œ ™ œ
œœbœ
œ ˙
Œ ‰
œ
j
œ
œ
œœ
˙˙
˙
˙b
b
Œ
Ó
œœ
œœ
Œ ‰
œ
j œ
œ
b
œ
œ
œ
œ
œ
œ
œ
˙™
˙
˙b
b
˙b
œb
œb
œb
˙™
Œ
œ œ
œb œ œ ™œ œ
™œ
œ
œ
˙ œ
‰
œ œ
œb œ ™
‰
œ œ
œ
˙
˙
œ
œ
œ
˙
œ
œb
b
‰
œ
j
œb
œ
œ
œ
œ
œ
˙
˙
˙
b
b
b
Œœ
œ
œ
bœ
œ
b
Œ
œ
œœ
œ
n
b
b
˙
˙
˙
˙
‰
˙
œ
J
œb
‰
œ
Ϫ
˙
˙
˙
n
Œ
Ϫ
œ
˙
œ
œ
n
b
84
{
{
{
{
Voice
Pno.
glass of champagne You
11
Voice
Pno.
go to my head like a sip of sparkling
A2A2
13
Voice
Pno.
burgundy brew
andi find
the
verymention
you
15
Voice
Pno.
slike a kicker in a julep or two s The
18
&
b
b
&
b
b∑ ∑
?
b
b
&
b
b
&
b
b
?
b
b
b
&
b
b
&
b
b
?
b
b n
b
&
b
b
3
&
b
b
?
b
b b
œœ œ œ ˙ ˙
Œ ‰
œ
j
Ó
œ
œn œb
œn
œ# œn œ
œ
œ
œn œb
œ
œ# œn
œb œn
œ œn
œ
œb
œ
œœ œb
œ
œ
œ
œ
œ
œ
n
n
#
œ
œ
œ
Ϫ
œ
œ
œ
œœ
œœ
˙
˙
˙
œ ™ œ œ œœ
˙
Œ ‰
œ œ œœ œ œ
œ œ
œ
œ
œ
œ
œœ
˙b
œ
œœ
œ
œœ
œœb
™œ
œœ
œ
œœ
œ
œ
Œ
œ
œœ
œœ
œœ
œœ
œ
˙
˙
œb œ
˙
œ
œ
j
œ œœbœ
˙ œ
≈
œ œ
œb œœ
™œ
œbœ œ
œ
œ˙
Œ
Œ
Œ
œ
œ
œ ˙
˙
˙
˙b
œ
œb
œ
˙
œb˙
˙˙
bœ
œb
n œ
œ
Œ
œ
œ
œ
œ
œ
œ
˙
˙
˙b
b
w
w
w
b
b
œ
˙
˙
œ˙
˙b
˙
˙
˙b
™
™
™
œbœn
Ϊ
œ œ
œb
Ϫ
‰ ≈
œ œ œœ œ ˙ ˙
Œ ‰ ≈≈
œ
r
Œ
œ
œb
œœ
œ
œ
Ó ‰
œ
œœ
œ
b
j
œ
œœ
œ
n œœ
œ
œ
b
œ
œ
œœ
œ
œœ
œ
nb
œ
œœœ
n
œ
œ
œ
œ
œ
œ
œ
œ
b
b
œ
œ
œ
n
œ
˙b
‰œn ™ ˙
˙
œ
œ
œ
œ
œœ
œ
œbœ
œnœ
œbœœ
œb
n
2
85
{
{
{
{
Voice
Pno.
thrill of the thought that you might give a thought to my pleas cast a
BB
21
Voice
Pno.
spell over me yet I say to myself get a
24
Voice
Pno.
hold of yourself cantyou seethatthis nevercan be
26
Voice
Pno.
you go to my head with a smile that makes my
CC
29
&
b
b
3
333
3 3
&
b
b
?
b
bb
b
n
&
b
b
33
3
&
b
b
?
b
b
&
b
b
3 3 33 3 3
&
b
b
?
b
b
&
b
b
3
&
b
b
?
b
b
œ œœnœ
œ œœ#
œ
œb œœœ
œ œ
j
œ
˙ œœ
j
œ
j
œn
œ
œ
œ
œ
œ
œ
œ
œ™™™™
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
œœ
™™™™
‰
œ
œ
œ#
n
J
œ
œ
œ
œ
œ
œ ™™™ œ
œœ
œ
b
n
œ
œœ
œ
ÓÓ
œ
œ
œœ
n
n
b
J
œ
œ
œœ
n
™™™
™
˙
˙b
Œœ
œœ
œ
˙
˙
Œœ
œœ
œ
œ
œ
˙
˙™
™
œ
œ
˙
˙
˙
˙b
n
œ
Œ
˙
œ
œœœ
œœ
œœ
b
Ó
œ
œœ
œ
˙
‰
œœ
œ œ œ œ‰
œœ#
Œ
œ
œ
œœ
œœœ
œb
Œ
œ
œ
œ
œ
n
#
Œ
œ
œœ
œ
#
#
n
˙
˙
œœ
œœ
˙
˙
˙
n
œ
œ
œ
œ
#Œ
˙
Œ
œœ
œ
#n
≈
œn
œ#œn
œœ
œ#
œ
œ
j
œn
Œ ‰ ‰
œ
j
œ
j
œn
œ œœnœ#œ
j
˙
˙n
œ
œ
# œ
œ
œ
œ
œ
n
n
œ
œœ#
Œ
œ
œ
œ
œn
#
œœ
œ#
n# œ
œœ
œ
#n
™™™ œ
j
˙
˙
˙
˙b
b
b
œ
œ
œ
œ#
#
n œ
œ
œ
œ
œ
œ
#
#
œ
œ
œ
#
n
œ
œ
œ
œ
œ
n
œ
œ
œ
œ
#
n
n
˙
˙
œ
œ
œ#
œn
œ
œb
œ
Œ
œ œ
œ œ
jœ
‰ Œ™
œ œœ œ
œ œ
œœ
œn
œ
œœ
œ
n
œœ
œ
œœ
œ
œ
œ
œ
b
bœ
œœ
œ
b
œ
œ
œn
n
œ
œ
œb
œ
œ
n
œ
œ
œ
œœ
œ
œœ
œ
b
b
œ
œœ
œ
œnœb
3
86
{
{
{
{
Voice
Pno.
temperature rise your like a summer with a
31
E¨‹/F F7(b9)
Voice
Pno.
thousand July's you intoxicate my
33
Voice
Pno.
soul with your eyes
35
Voice
Pno.
I am certain that this heart of mine hasn't a ghost of a
DD
37
&
b
b
3 3 3 3
&
b
b
b
b
b
3
?
b
b
&
b
b
33 3 3
&
b
b
3
?
b
b
&
b
b
&
b
b
?
b
b
&
b
b
3 33
3 3 3
&
b
b
?
b
b
œ
j
œ œœ
œb
˙ œ™™
œ
r
œ œ
œbœ œ
œœ
œœ
œ
œ
b
œ
œœ
œ
œœ
œ ™
‰
œ
œb
n™™
œ
œ
œœ
J
˙
œ
œœn
œ
œ
œœbœœb
œb ™
œ
œb œœ
œ
œ
œ
b
b
b
‰
˙
œ
œn
J
œ
œ
˙
œœn
œ œœb
œ
˙
Œ ‰
œ œ
œb
j
œœ
œ
j
œ
œ
œ
b ™™™
œœ
œ
œb œ
œ
œ
œ
œœ
œ
œ
œ
œb
n
œb
œ
œ
œ
b
n œ
œ
œ
œ
œ
œ
œ
œœb
™™™
œ
˙
˙
˙
n
˙
˙b
œ
œœ
˙ ˙ ™
Œ
‰
œ
j
œ
œ
œœ œ
œ
œ
n
œ
œœ
œb
bb
œ
œ
œ
œ
b
œ
œ
œ
œ
œn
œ
œœ
œb
n
nb
œ
œ
œ
œ
b
n œ
œ
œ
#
˙
Œ
Ó
œ
œ
œœ
œ
œ
œn
b˙
˙b
œ
œ
b œ
œ
œœœœœœœœœœ
œœ
œ
j
œœ
™ œ
j
œ# œnœ
™
‰
œ œ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œœ
œ
œ
œœ
œ
œ
œ
b œ
œ
œ
œœ
œ
œb
œœ
œ
œ
œ
œ
œ
œ
œb
œ
œ
œœœ
œ
œ
œ
n
œ
œ
œ
œ
œ
œ
w
w
˙
˙
œ
œ
bœ
œ
œ
œœ ˙
4
87
{
{
{
{
Voice
Pno.
chance in this romance you go
40
Voice
Pno.
to my head
43
Voice
Pno.
A1A1
45
Voice
Pno.
47
&
b
b
3
3 3
&
b
b
?
b
b
&
b
b
Piano Solo
3
&
b
b
?
b
b
&
b
b
∑ ∑
&
b
b
?
b
b
&
b
b
∑ ∑
&
b
b
?
b
b
n
n
b
œ
Œœ
œ
œ
œ
j
œ ™ œ œœ
œ˙
Œ
œ
œ
j
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙
˙
˙
˙
˙
bœ
œ
œ
œœ
œ
œ
œœ
œ™™™™
œ
j
w
œ œ
œœ
œ
œ
bœœ
œ
œ
œ
œ œ
˙ ™ ˙
Ó
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
Ó ≈
œ
œœ
Ϫ
œ
œ
œ œ œ œ œ œ
œ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
œ
œœ
œœ
œ
≈
œ
œœœœœ
œœœœœ
≈
œ
œœœ
œ
œ
b
œb
≈
œb™
œ
œ
œ
œb
≈
œb ™ œ
œ
œ
œ
≈
Ϫ
œœ ™ œ
œ
œ
n
œ
œ
œ
œœ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œ
≈
œ
œb œ≈
œ
œ œ
œ
Ϫ
œb
œb
œ
œ
œœ
œ
b
b
Œ
Œ
˙
œ
œ
œ
œ
œb
œ
œb
œ
œ
œb
œ
œb
œ
‰
œœ
œ‰
œ
œ
œœ
b
n
œ
J œ
œœ
œb
b
n
™™™
™
œ
œ
#
j
œb
œb
œ
œ œ œ
œ
œb
œbœ œ
œn
‰œ
œ
n ™
™
œ
œ
œ œœb
Æ
œ
J
œ
œ
œb
5
88
{
{
{
{
Voice
Pno.
49
Voice
Pno.
A2A2
52
Voice
Pno.
54
Voice
Pno.
56
&
b
b
∑ ∑ ∑
&
b
b
7:4e
?
b
b
&
b
b
∑ ∑
&
b
b
3
3
3
3
3
?
b
b
3
&
b
b
∑ ∑
&
b
b?
33 3 3
?
b
b
3
3
3
&
b
b
∑ ∑
?
b
b
&
b
n
&
?
b
b
n
œ
œ
n œ
œœ
œœb
œœ
™™œ
j
œœbœœ œ
œœ
œbœb
œb
œn
œ
œ
œb
b ™
™
™œn
œ
œ
œ
œ
œ
œœ
œnœ
œœ
œ
œ
œ
œ
œ
œ
œ œ
œ™™œ
œ
œ
œ
œ
œœ
œ
b œ
œ
œ
œn
œ
œ
œ
œ
œ
œœ
œ
œb
˙
œ
Ϫ
™
œ œœœœ ™
‰™
˙
˙
˙
œ
œ
œ
R
œ
œ
œ œ
œ
œ œ
œ
œ
œ
œ
œ œ
œ
‰
œbœb
œb
œnœbœœ
œ
œœœœœœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
‰
˙
œ
œœ
œ
J
œ
œœ
œ
œ
œœ
œ ™™™™
Œ
˙
œ
œ
œœ
b
œ
œœ
œ
œ
˙
˙
œœœ
œ
œ
œ
œœ
n
œ
œ
œb
b
b
œ
œ
œ
J
œ
œ
œ
b
œ
œ
œ
J
œ
œ
œ
œ
œ
œ
J
œ
œ
œ
œ
œ
œ
J
œ
œ
œ
œ
bœ
œ
œ
œ
œb
œ
œ
œb
œ
œ
œb
œb
œ
œ
œb
œ
œ
œb
œb
Ϫ
œ
œ
œ
j
œ
‰
œ
œ
œb‰
œb
œ
œb ≈
œb
œ
œ
‰œ
œ
œb ™
œb
œ
œb™
˙ œ
œ
œ
Œ
œ
œœ
œ
b
b
b
œ Ó
œ
œbœb
œ œ ™œb
j
œn
œ œ
œnœ
œ
œœb
œb
œnœn
œ
œnœ
œbœ
˙
˙
Œ œ
œœ
œ
b
b
b
Œ
œœn
œn
œ
œœ
œ
œ
œ
Œ
˙
˙
˙
b
b
œ
œ
œ
n
b
b
Œ
˙
˙
˙
œ
œ
œ
6
89
{
{
{
{
Voice
Pno.
58
Voice
Pno.
59
Voice
Pno.
the thrill of the thought that you might give a thought to my
molto accel. molto accel. BB
61
Voice
Pno.
plea cast a spell over
molto rall. molto rall.
63
&
b
b
∑
&
b
b
3
3
3
?
b
b
3
3
&
b
b
∑ ∑
&
b
b
n
n
n
b
3
3
?
b
b
33
&
b
b
33
3
&
b
b
∏∏∏∏∏
∑
?
b
b
&
b
b
&
b
b
U
∏∏∏∏∏∏
?
b
b
∏
œb™
œb
œb
jœœ
œn œ
œb
œb
œn
œb
œb
œn
œb
œbœ
œ
˙b
‰œn
œ œ
œ
œ
œb
b
b
˙n
‰œb
r
œn™
Ó
œ ™œ
œb œn
œ
œ
œ
œ
œb
œ
œ
œœ
˙
˙
˙
˙
b‰
œ
œ
œ
œ
œ
œn
#
#
œ
œ
œ
œ
œ
œn
œ
œ
œ
œn
n
œ
œ
œ
œ
œ
œ
n
œn
œn œœ ™ œ
˙
˙œ
œ
œ
œn
b
‰™
œ
r
œ
œ
œ
œ
b
˙
‰
œ
œ
œ
œ
nœ
œ
œ
œ
œ
œ
b
‰
œ
j
œ œ œ
œ œ
j
œ œ
œb œ œb œ
œ œœ
œ
œ
œ
œ
™™™™
‰
˙
˙
˙
˙
Ó
œ
œ Œ
œœ
œ
˙
œ
œœ
œ
˙
˙
˙
˙
n
#
œ
œ
œ
œ
œ
œ
œ
œ
œ œœ
œœ
œœ œn
œ
œœ
œn
œ
œ
™™
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙
˙
‰
œ
œ
Ó
œœ
œ
œ˙˙
˙˙
7
90
{
{
{
{
Voice
Pno.
me yet I
accel. accel.
64
Voice
Pno.
say to myself you just
65
Voice
Pno.
got to get a hold of yourself Oh can't you
molto rall. molto rall.
66
Voice
Pno.
see that this never would be
67
&
b
b
&
b
b
19
?
b
b
&
b
b
&
b
b
?
b
b
&
b
b
.
&
b
b
?
b
b
&
b
b
&
b
b
?
b
b
œœœœ ˙
‰
œœ
™
Œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ
Œ Ó
œ ™ œ œ œ ˙‰
œb œn
Œ
œ
œ
œ
œ
#
n œœ
œ
œ
#œœ
œ
œŒ
Œ
œ
œ
œ
œ
œ
œ
Œ
œ
œœn
œ œ#
œnœn
œ
œ
≈
œ œb œn
Ó ‰œ
œn
œ
œ
n
œ
œ
n
œ
œŒ
Ó
Ó
®
≈
œn ™ œ
Œ
œ
œ
œ
™
™™
j
Œ
œnœ
œ#œœœœœœœn
˙œbœnœœœ œn
œ
œ
œ
œn
#
œ
œ
œb
n
œ
œ
œ
n
œ
œœ
œ#
#
‰™
œ
rœ
œœ#n
œ
œ
œ
œœ#n
œ
œ
œœ
R
≈ ‰ ‰
œb
œb
œ
œ
œ
œ
œn
# œ
œb
nœ
œ
n
œ
œ
œ
œ#™
≈
œn
œ
œb
œ
œ
œ
®
œ
œ
8
91
{
{
{
{
Voice
Pno.
You go to my head with a smile that makes
CC
69
Voice
Pno.
my temperature rise your like a summer
72
Voice
Pno.
with a thousand july's You intoxicate my soul with your eyes
74
Voice
Pno.
Don't you know
that I'm
77
&
b
b
3
&
b
b
”“
U
?
b
b
&
b
b
3 3
&
b
b
?
b
b
&
b
b
3 3 3 3 3
&
b
b
b
?
b
b
b
&
b
b
&
b
b
?
b
b
˙‰
œœœœœbœ
œ
œœ
œ ˙
Ϊ
œ œœ œœ
œ
˙
˙
˙
‰™
œ
r
œ
œ
‰ Œ Ó
œ
œ
œ
™™™
œ
œ
œ
j
œ
œ
œ
b
b™™™
œ
œ
œ
J
œ
œ
œ ™™™ œ
œ
œ
J
œ
J
˙
˙
Ó
œ
œœ
œ œ
œ
œ ˙
‰œb
j œb
˙
˙
b
‰
œ
j
œ
œ
œ
œ
j
œœb
œ
˙
Œ ≈
œ œ œ
œb
Ϫ
Œ
œ
œ
œb ™™™ œ
œ
œ
J œ
œ
™™
œ
j
œ
œ
œ
b
n™™™
œb
j Œ
œ
œœ
œb
n
b
˙b
‰ œ
j œ
˙n
‰ œ
jœn
˙b
‰œn
j œb
˙
‰œb œ
j
œ œ œ œ
œ
j
œ
j
Ϫ
Œ ‰
œœ
œb œœ œ
œ
j
œ
œœ
˙
œ ™˙
˙
œ
œœ
™
˙
˙‰
œ
jwb
œ
œœ
b
b
™™™
‰œ
œ
b
n™
™
Ϊ
œ
œ
j
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œb
˙
œ œ
˙
œ œ˙b
Ó
˙
‰œ ™
‰
Ϫ
œ
œ
œ
œ
œ
œ
n œ
œn
b
œ œœ
œ ‰ œœ
œœ œ
Ó
‰
œ
œ
œ
œ
b
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙˙
˙
˙
nb
œb
œb œn
œ
œn
œb
œb œn
œ
œ
œb
œb œn
œ
œn
œb
œb œn
œ
œn
œ
œ
œ
œ
˙
˙
9
92
{
{
{
{
Voice
Pno.
certain
That this heart of mine well it hasn't a ghost of a
molto accel. molto accel. DD
78
Voice
Pno.
chance in this crazy ro
81
Voice
Pno.
mance
82
Voice
Pno.
you go to my head
83
&
b
b
3
&
b
b
?
b
b
&
b
b
3
&
b
b
U
?
b
b
&
b
b
&
b
b
3
?
b
b
3
3
&
b
b
T
&
b
b
U
?
b
b
œ
J
Ϫ
œ
j
‰
œœ
œ ™œnœ
œ œ
‰
œœ
œ
œb
œ
œ œ
œ
œ
œ
œœ
œ
œœ
œ
œ
œœ
œ
œ
œ
˙
˙
˙
˙
˙
˙˙
˙
œ
œœ
œ
œb œ
œœ
œ
˙
˙
˙
˙
˙
w
w
Ó˙
˙
˙
˙
w
Ϊ
œ
j
˙Œ
œ˙
œ œ
œ
œœ œb œn
œœ
œb œn
˙ ˙
˙˙
˙˙
b
bn
˙
˙˙
˙
n
˙ ™
Œ
Ó
‰
œ
œ
œ
≈
œ
œœnœ
œ
˙
˙
˙
˙
b
b
œ
œb
œb
œb
œ
œb
œb
œb
œ
œb
œb
œ œ
œ
‰
œ
r
‰
œb
‰
œ
r‰
˙
˙
b
b
Ó
‰
œ
j
œbœb
œœb
œœb
œ œ œ œ™
w w
w
w
w
n
n
œ
œ œ œ œ
œ œ
‰
w
ww
w
b
œb
J
œ
œ œ
œ œ
œ
w
w
n
œ
œœœ
bb
œ
œœœ
œ
œœœ
œ
œœœ
Œ
w
w
w
b
b
œ
œ
œ
œb
b
œ
œ
œ
œ
œ
œ
œ
œ
10
93
{
Voice
Pno.
86
° *
&
b
b
∑
&
b
b
10
12
?
b
b
‘“
7
˙
Ó
˙
˙
˙
˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœœ
œœ
œœœ
œœ
œœ
w
Œ
w
w
w
œ
œn
œ
œ
œn
œ
œn
Ó
˙
˙
˙
œ
Œ
11
94
You Go To My Head V2
Figure 34 You Go To My Head V2. Accompanying CD (¤ Track 34).
Version 2 will also be available as a video recording (mp4) on the accompanying CD.
{
{
{
Voice
Piano
You go to my head ands you linger like a haunting refrain
A1A1
Voice
Pno.
ands I find you spinning round in my brain Like the bubbles in a
5
Voice
Pno.
glass of champagne You
8
2
4
4
4
2
4
4
4
2
4
4
4
4
4
4
4
4
4
&
b
b
Transcription: Michael Bartolomei
3 3
Piano Julian Lee
Vocal Kerrie Biddell
You Go To My Head
composer J.Fred Coots
Lyricist Haven Gillespie
&
b
b
∑ ∑ ∑
?
b
b∑ ∑ ∑ ∑
&
b
b
3 3
&
b
b
?
b
b∑ ∑ ∑
&
b
b
&
b
b
?
b
b
Ó Œ™
œ
jœ œ œ ˙
Œ Œ ‰
œ œœ œ
œ ™œ
œ œœ
œ ˙
Œ Œœœb
œ
œb
Œ ‰
œ œ
œb œœ œ œ œ
œ
œœ œ
‰ ≈
œ œ
œb œ ™ œœ œ
œ
œœ
œœb
œ
œ
œœœ
œœb
œ
œbœ
œœ
œœb
œ
œœ œ œ ˙ ˙
Œ ‰
œ
j
œ
œn
œ
œ
œ
œ
œ
œ
œ
b
bœ
œ
œ
b
œ
œ
œ#
n
n
œ
œ
œnœ
œ
œ
b
b
œ
œ
œ
n
n
n
œ
œ
œ
b
b
œ
œ
œ
#
n
n
‰™
œ
R
œ œ
J
Ϫ
œœ œb
œœ#
95
{
{
{
{
Voice
Pno.
go to my heads like a sip of sparkling burgundy brew
A2A2
10
E¨‹7
A¨13(b9)
D¨^9
Voice
Pno.
and I find the very mention of you
13
Voice
Pno.
like the kicker in a julep or two
15
Voice
Pno.
s the thrill of the thought that you
BB
17
&
b
b
&
b
b
?
b
b
&
b
b
&
b
b
n
b
?
b
b
&
b
b
&
b
b
?
b
b
&
b
b
33
&
b
b
?
b
b
b
œ
j
œbœœ# œ œn œ ™
Œ ‰
œ œ œœ œ œ
œ œ œ
j
œ œœbœ
˙
œ
œ
œ
n
b
b œ
œ
œ
n
n
œ
œ
œn
n œ
œ
œ
œ
œ
œ
œ
Œ
˙
˙
˙
b
œ
œ
œ
n
œ
œ
œb
bœ
œ
œ
œ
œ
œb
b
œ
œ
œ
œ
b
w
Œ
œœ
œ
n œœ
œ
Œ
˙
˙
˙b ˙
˙
˙b
œ
œb
b
œ
œ
œ
œ
œœb
œb
œ
‰
œ œ
œb œœ œ œ
‰
œ
j
œ œœ
˙
˙
˙
b
b
œ
œœ
œ
b
b
b
˙
œ
œ
œ
œ
œ
b
œ
œn
b œ
œ
œœ
œ
œ
œ
œ
œ
œ
b
œ
œ
n
œ
œ
˙
Œ œ
œœ
œ
b
b
b
˙n
Œœ
œn œ
w
œ ˙
˙
Ϊ
≈
œ
r
œ œ
œb
œ
œ œ œœ œ œ ˙
œ
œ
œœ
œ
œb
nœ
œ
œ
œb
b
#
n
œ
œ
nœ
œ
œ
œ
n
œ
œ
œ
œ
n
n
œ
œ
œ œ
œ
œœ
œ
œ
œœ
œ
#
#
˙#
‰œn ™
˙n
‰œb ™
w
Œ ˙n œ
œ
˙
Œ ‰
œ
j
œ œœn
œ
œ œœ#
œ
œ
œœ
œb
n
nb
œn
œ
œ
œb
œ
œ
œ
nœn
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ œ
œ
œ
œ
œ
œb
œ
œ
nœ
œ
œ
˙
œ
œ
œœ
˙
Œ
œ
œœ
œ
w
œ œ
˙ ™
2
96
{
{
{
{
Voice
Pno.
mightgive
a
thoughtto
my pleas
casts
a
spell
over me yet
19
Voice
Pno.
Isay
to myself you
got to get hold of yourself
22
Voice
Pno.
can't you see that this never can be You
24
Voice
Pno.
go to my head with a
smile
that
CC
26
&
b
b
3 333
3
&
b
b
3
?
b
b
3
&
b
b
33
&
b
b
3
?
b
b
3
&
b
b
33
3
3
&
b
b
?
b
b#
&
b
b
3
&
b
b
?
b
b
˙b œ œ
œ œ œœ
˙
≈
œn ™
j
œ
j
œ œ
œ
œ
˙
‰
œ
œ
œn
#
œ
œ
œ
œb
nœ
œb
bœ
œœ
œ
œ
œ
nœ
œ
b
œ
œ
œ
œ
n
œ
œn
œœ
œ
œ
b
n
œ
œw
w
w
w
Œ
œœœœœœ
œœ
œ
œ
œ
œ
w
w
w
#
n
Œ
˙
˙#
™
™
œ
œ
œœ
œ œ
œ
b
b
˙
˙
™
™
œ
œ œ
œ
j
œœ œ œ œ œ
‰œ
j
œ
œœn
œ#
œœn
œ
˙
œœ
œ
œ
œ
#
œ
œ
œ
œn
#
œ
œn
œ
œœ
œ
#œb
j
œ œ
œ
œ
œ
n
#
œ
œn
œ
œ
œœ
œ
nb
˙
˙n
Œ
œ
œ
œ
œ#
n
Ó
œ
œ#
œ
œ
œ
œn
j
˙
˙n
# ˙
˙b
n
‰
œ œ
œœ
j
œ#
j
œ œœ
œ
˙
Œ
œnœœœ
œ
œ
œn
œ
œ
œ
œ
#
œ
œn
œ
œœ
œ#
#
œ
œœ
œ
œ
#
#
n
œ
œœ
œ
#
#
n
œ
œ
œ
œ œ
œ
œ
œ
œ
œ œ
œ
œ
œ
œ
n
œ
œ
œ
œ
#
n
˙
˙#
˙
˙
œ™œ œ
˙
˙
˙
b
n
Ó
œœ
œ œnœ œ
œ
œ œ
Ϊ
œ œœb
‰
œ
j‰
œœ
nœ
œ
œ
n
œœ
œ
˙
˙
˙
˙
b
b
œœb
Œ
Ó
œ
œ
œb œ
œ
n
n
œ
œ
œ
œ
œ
œ#
#
œ
œ
n
œœ
œ
œ
œ
œœ
˙
˙
b
Œ
œ
œ
œ
œ
b
b
˙b
Œœœ
œ
œ
n
3
97
{
{
{
{
Voice
Pno.
makes my
temperature rise like the summer
28
Voice
Pno.
with a thousand July's s You intoxicate
30
Voice
Pno.
my soul with your eyes well
32
Voice
Pno.
I'mcertain
that this heart of mine
hasn'taghost of a
DD
34
&
b
b
3 3 3
&
b
b
?
b
b
&
b
b
33 3 3
&
b
b
3
?
b
b
&
b
b
3
&
b
b
7
3
?
b
b
3
&
b
b
3 33 3 3
&
b
b
3
3
?
b
b
b
n
œ# œn
œœb
œ
˙
Œ ‰ ‰
œ
j
œ
œb œ
Œ
œ
œ
n
n
œ
œ
˙
˙
b
b
œ
œ
œ
œb
b œ
œn
n
J
œ
œ
#
#
œ
œ
J
œ
œ
n
n
J
œ
œ
n
n
œn
j
wb
Œ œ
œ
œ
œ
b
œ
œ
œ
œ
œ
œ
œ
œ
˙
Œ
œœ
œ
œn
#
#
Œ
˙
˙
˙˙n
n
n
œn
‰
œ œ œ œ
j
œ
j
œ œ
Ó
œ œ
œb œ œœ
˙
˙
˙
b
‰œ
œ
J
œ
œ
bœ
œ
œ
œ
œ
œ
œ
b
bœ
œ
œ
œbœ
œb
œ
œœ
œ
b
n
œ
œœœn
˙
˙
n
Œ
Ó
Ϫ
œbœ
j
œ
œ
œ
œ
b
™™™™
˙
˙˙
˙
œ œ œ
œœ
˙ ˙ ™
‰
œ
j
œ
œ
œ
œ
n œ
œ
™™
œ
œn
œ
œ
œ
œ
œ
œ
œn
œ
œ
œ
œ
œœb
œ
œ
œ œ
œ
œ
œ
œ
œ
w
w
Œ
œ ˙
˙
‰
œb
j
˙
œ
œ
œ
‰
œ
j œ
œ#
j
œ
œ
j
˙
‰
œ œ
‰
œœ
˙
‰
œ œ
œ
œ
‰
œ œ
œ
œ
Ó ‰
œ
J
œœ
œœ
œ ˙
‰
œb
œ
œ
œ
œ
œ
œ
œœ
œ
n
œ
œ
œ
œ
Œ
w
w
Œœ
œœœ œ
œœ
œ
œ
œ
œ
œ
œ
w
w
œ
œ
œ
œ
œœ
œ
œœ
˙
˙
Œ œ
œ
œ œb
œb
4
98
{
{
{
{
Voice
Pno.
chance in this crazy
romance
you go
tomy
37
Voice
Pno.
head
BB
40
Voice
Pno.
43
Voice
Pno.
45
&
b
b
&
b
b
?
b
b
&
b
b
Piano Solo
∑
&
b
b
3
33
3
3
33
?
b
b b
n
3
&
b
b
∑ ∑
&
b
b
3
3
?
b
b
&
b
b
∑ ∑
Swung
&
b
b
3 3
3 3
?
b
b
œ
‰
œ
j
œœ œ
œ
œœ
œœ
œœ
œœ
œœœ
j
Ϫ
œ
Œ ‰
œ
j
œ
œ œ
œ
œœ
œ
œ
œ
œ
œ
œb
b
j
œ
œ
J
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œn
#
n
n
œ
œn
œn
œœ
n
œ
œ
b
b
œ
œœ
œœ
œ
œ
œœ
œ
™™™
™œb
J
˙
˙˙
˙
n
#
Œ
œ
œ
œb
n
˙
˙
b
n
Œœœ
œ
œ
b
n
˙
˙
n
n
Œ
œ
œbœ
œ
œ
œ
b
b
œ
œœ
œœ
œ
œ
n œ
œ
œ
jœ ™ ˙
Ó Ó
œ
œ
œ
œ
n œ
œœ
œ
n
œ
œœ
œ ‰
œ
œœ
œœ
œ
œ
œ
œ
j
œ
‰
œ
œ#
œ
œbœnœnœœn œb
œœœbœnœ
œb œ
‰
œ
œ
œ
œ
œ
œ
n œ
œ
œ
œ
nœ
œn
#
j
œ
˙
œ
œœ
œ
b œ
˙
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œœ
œœœœ#
œœœœn
œœœ œb
œbœœœ
œœœœnœœœœœn
œn
œ
œ
œœœ
œ
œ
œ
œ
œn
œ
œ
œb
œ
œ
œ
n
#
œ
œ
œ
œ
œ
n
œ
œœ
œ
n
œ
œ
œ
œ
b
n
œ
œ
œ
œ#
œ#
œ
œ
J
œ
Ϫ
™
‰
œœœb œn
œnœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
#
n ™™™™ œ
œ œ
œ
œ
œ
œ
œ#
# œ
œ
œ
œn
nœ
œ
œ
œ
œ
œ
œ
œ
#
œ
œ
œ
œ
œ
œœ
œ
œœb
œ
œœ
œn™
™
œ
œ
œ
œ
#
n
œ
œ
œ
œ ™™™™
œ
œ
#
n
œ
œ
œ
œ
œ
n
#
œ
œ
œ
#
n
œ
œ
œ
œœ
œ ™™™
5
99
{
{
{
{
Voice
Pno.
47
Voice
Pno.
You go to my head with a smile that makes
CC
49
Voice
Pno.
my temperature rise your like a summer with a
52
Voice
Pno.
thousand July's You intoxiate my
54
&
b
b
∑ ∑
&
b
b
33
?
b
b
&
b
b
∑
Straight
3
3 3
&
b
b
3
3
?
b
b
&
b
b
3 3
&
b
b
?
b
b n
&
b
b
3 3 3
&
b
b
∏∏∏∏∏∏∏
?
b
b
œ
œ
<#>
<#>œ
œ
œ
n
n
œœn œ
œ œbœœn
œ
œ
œ
œ
œ
n
n
œ
œ
œ
œn
œ
œ
n
œ
œ
#
#
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
# œ
œ
œ
œ
œ
n
#
œ
œ
œ
œ™™™™
œ
œ
œb
œ
œ
œ
œ# ™
œœ
œ
#b
œn
˙
˙
n
œ
œ#
œ
œœ
œ
#
n#
‰
œœœœœœœ
œœ
œ
Œ ‰
œ œœ œ œ
œ
œ
œ
œ
œ
n
#
œ
œ
œ
œ
j
œ
œ
œ
n
n
œ
œœ
œb
œ
œœ
œ
J
œ
œ
œ
n œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
b
b
˙
˙
˙
˙
b
œ
œ
œ
œ
b
n
œ
œ
œ#
œ
œ
œ
n
n
œ
œn
n
œ
œ
œ
b
n
œ
œ
œb
œ
œ
œ
œ
œ
œ
œ˙
˙
b
Œ
œ
œœ
œb
b
˙
Œ
œn
œ
œ
j
œœb
œ
˙
Œ ≈
œ œ œ
œb
Ϫ
‰
œ œ
˙
˙˙b
™™™
œ
œœb
œ
œœ
œ
œ
œ
b
œ
œ
œ
b
b
œœ
œ
bœ
œbœn
‰
Œ
œb ™
œ
œ
˙
‰ œ
j œ
‰
˙
œ ™
œ
œ
j
œœ
œ
bb
b
‰
˙
œb ™‰
‰ œn
œ œ œœ
˙
Œ ‰
œœ œ
œb œœ
œ
œ
œ
œ
œ
n
n œ
œ
œ
b
œ
œb
n
œ
œ
œ
œ
b
œ
œ
œ
œ
b
œ
œ
œ ™
™
™œ
œn
n
J
œ
œb
b œ
œ
œ
œn œb
œn
œ
œ
œ
œ
œ
œ
n
œ
œ
œ
œ
b
n
œ
œn
œ
œ
œ
b
œ
œ
œ
b
œ
œœ
œ
b
b
6
100
{
{
{
{
Voice
Pno.
souls with your eyes don;t you know that I'm
56
Voice
Pno.
certain
That this heart of mine well it
DD
58
Voice
Pno.
hasn't a ghost of a chance in this crazy romance
molto rall. molto rall.
60
Voice
Pno.
you gos to my head
62
2
4
3
4
2
4
3
4
2
4
3
4
&
b
b
U
3
&
b
b ∏∏∏∏∏
?
b
b
&
b
b
3 3
&
b
b
?
b
b
b
&
b
b
3 3
&
b
b
?
b
b
&
b
b
U5 3
3
&
b
b
?
b
b∑
œ
œœ
˙ œ ™
‰ œœ
œœ œ
œ
œ
œ
œb
b
Œ
œ
œ
œn
œb
œ
œn
œ
œ
œ
œn
œ
œ
œ
œ
œ
œ
œ
œb
œnœ
œ
œ
œ
n
œ
œ
œœ
œ
n
œ
œ
œœ
œ
œœ
œ˙
˙
‰
œ
œ
œ
œ
b
˙
œn
j
‰
Ϫ
œœœ
Ϫ
œ
j
‰
œœ
œ
œnœ
œ œ
‰
œœ
Œ
˙
˙
˙
˙≈
œ
œ
œ
˙
˙
Ó
‰
œ
œ
œ
#
j
œ
œ
œn œ œ#
œbœœœœœn œ#
œbœœ
œœ
œ
œ
w
˙™
w
‰
œ
j
˙
œ
œœ
œ
b
œ
œb
œ
œ
œ
œœ
œ
œœœbœ œ œb
œ˙ ™
Œ
œ
œ
œ
œ
n
n
‰
œ
œœ
œ
b
j
œ
œœ
œ
nœ
œœ
œn
bn
Œ œœ
œn
œ
œ
œ
œ
n
œ
œ
n
œ
œ
œœ
œœ
œ
œ
œn
#
Œ
œ
œ
œ
œ
b
n
œ
œ
œ
œ
œœ
œ
œ
b
Ó œœb
œœœb
œœb
œœœ ˙
œ œ#
œb
˙n
w
w
w
w
b
b
Ó
‰
œ
œ
j
œœ
œ œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
Œ
œ
œ
w
w
#
n
Œ
œn
œn
œb
j
‰ Œ
w
w
7
101
{
{
Voice
Pno.
65
Voice
Pno.
67
3
4
4
4
3
4
4
4
3
4
4
4
&
b
b
&
b
b
?
b
b
3
3
3
3
&
b
b
∑
&
b
b
”“
?
b
b
˙ ™ w
˙
˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œb™œb ™
œœ
œ
œ
œ
œ
œ
œb œ œœb
œb
œ
œ
œ
œ
œ
w w
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
w
w
w
œb™
‰
≈œb
r
œ
œ
œ
j
‰
œ
œ
b
b
J
˙
˙
w
w
œ
œbœ
œ
œœ
Œ Ó
w
w
8
102
You Go To My Head V3
Figure 35 You Go To My Head V3. Accompanying CD (¤ Track 35).
{
{
{
Voice
Piano
You
F9
Voice
Pno.
go to my head and you linger like a haunting refrain
A1A1
5
Voice
Pno.
and I find you spinninground in my brain
8
4
4
4
4
4
4
&
b
b
∑ ∑ ∑
Piano Julian Lee
Transcription Michael Bartolomei
Composer Fred Cootes
You Go To My Head
Lyricist Haven Gillespie
&
b
b
∏∏∏∏∏
b
b b b
bn
n
b
n
∏∏∏∏∏
?
b
b
&
b
b
&
b
b
?
b
b
&
b
b
&
b
b
9
?
b
b
Ó Œ
œ
œ
˙
˙
˙
œ œ ˙˙
˙
˙
˙
˙
Œ
œ œ
˙
˙
œ œ
œ œœ
˙
˙˙
œ œ˙
˙˙
œ
j
œb™
œ
˙
˙
˙™™™
œbœ
œ
œ
œ
œœ
˙
˙
˙
˙
˙
˙
˙
˙
Œ
˙ œ œ œ
œ
œ
œ œ œ œ ˙
Œ
œ œœ œ
œ œ
œ œœœ ˙
w
w
w
w
œ
œ
œ
œ
b
b
œ
œ
œ
œ
b
b
b
œœ
œ
œ
œ
œ
œ
œŒ
œ
œ
œ
œ
bœ
œ
œ
œ
b
œœ
œ
œ
œ
œ
œ
œ
œ
œœ
˙
˙
b
Œ œœ
œ
œ
b
b˙
˙
b
b
Œ
œ
œœ
œ
b
w
wb
b
Œ
œ œ
œb œœ œ œ œ
œœ ˙
œ
œ
œœn
bœ
œ
œ
œb
˙
˙˙
˙
n
b
b
œ
œ
œ
œ
b
œ
œ
œ
œ
œn œb
œn œb œn
œ œn
œ
œ œb
œ œb œn
œ œn
œ
Ó
œ
œ
œ
œ
œ
œ
œ
Ϫ
™œ œ œ
œ
œ
œ
œ
œ
œ
b
103
{
{
{
{
Voice
Pno.
like the bubblesin a glass of
champainge
you
10
Voice
Pno.
goto my head like a sip of sparkling
A2A213
Voice
Pno.
burgandy brew sand I find the very mention of you
15
Voice
Pno.
like a kicker in a julep or
two
the
18
&
b
b
&
b
b
n
?
b
b
&
b
b
&
b
b
3
?
b
b
3
3
&
b
b
&
b
b
?
b
b
&
b
b
&
b
b
?
b
b n b
Œ
œ œ
œb œœ œ œ
œ œ œ ˙ œ
Œ Œ
œ
œb
œ
œ
b
Œ
œ
œ
œ
#
œ
˙
˙
œ
Ó
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ
œ™™
œ
œ
œ
œ
˙
˙
˙
˙
˙
˙
n
‰™œ
r
œ
œn
#
˙
‰™
œb
r
œ
œ
˙
˙˙
˙
œ
œ
œ
œ
˙
œ œ
œ
œ
œ
˙
˙
Œ
œ
œ œ œ œ ˙
Œ
œ œœ œ
œ œ
˙˙
˙
˙
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙b
b
b
˙
˙b
œ
œ
˙
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œb
œ
œ
œ
œb
b
œ
œœ
œ
œ
œœ
œ œœ
œ ˙
Œ
œ œ
œb œœ œ œ œ
œœ ˙
œ
œ
œn
nœ
œ
œb
b
œ
œ
œ
b
œ
œ
œb
˙
˙
˙
b
bœ
œn
œ
œ
œ
œ ™
™œ
œ
b
J
œ
œ ™™
œ
œ
n
j
œ
œb
b
œ
œ
b
œ
œ
œ
œ
œ
œ
b
‰
œ
œn
b
j
œ
œ
œ
œ
œ
œ
n
b
œ
œ
bœ
œ
b
œ
œ œ
Ϫ
™
œn œ
œ
Œ
œ œ
œb œœ œ œ
œ œ œ ˙ œ
Œ Œ
œ
œb
˙
˙
b
œ
œ
œ
œ
œ
b
œ
œ
œœ
œ
œ
œ
œ
n
nœ
œ
œ
n
œ
œ
œ
n
œ
œ
œ
œ
nœb
œ
œ
œ
œ œ
œ
œ
œ
œ
œ
˙
œ
œ
Œ
œ
œ
œ
œn
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
n
#
œ
œ
œ
b
b
n
œ
œ
œ
œ œ
œ
œœ
2
104
{
{
{
{
Voice
Pno.
thrill of the thought that you might give a thought to my plea cast aspell over me
BB
21
Voice
Pno.
yet I say to myself get a hold of yourself can't you
24
Voice
Pno.
see that this nevr could be You go to my head
CC
27
Voice
Pno.
with a smile that makes my tempetature rise
30
&
b
b
&
b
b
?
b
b
&
b
b
3 3 3 3
&
b
b
?
b
b n
n
b
n
3
&
b
b
3 3
&
b
b
?
b
b
&
b
b
&
b
b
?
b
b
œ œ œ
œ œ œ œ
œb œ œ
œ œ œ œœ
œn
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
n
œ
œ
œ
œ
bœ
œ
b
œ
œ
œ
œn
n
œ
œ
œœ
œ
œ
œ
b œ
œ
œ
w
œ
œ
œ
œœ
œ
œ
œ
œ
œb
n
j
œ
œ™™
œ
œ
b
œn
œ
œ
n
˙
˙
˙
n
œ
œ
œ
œ
˙™
œœ
œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
˙n
#
˙
˙
˙
˙
#
˙
˙
˙
˙
#
#˙
˙n
w
w
Œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
œ
œ
œ
œ#
˙
Œœ
j
œ
œ
œ
#
˙#
Œ
œ
œ
œn
#
œ
˙
œ
j
œ
œ
œ
œ
b
n
œ œ œ œ œ œ ˙™
œ
œ œ œ œ ˙
œ
œ
œ
œn
# œ
œ
œ
œ
œ
œ
œ
œ
œ
n
#
œ
œ
œ
#
#
#
œ
œ
œ
n
œ
œ
œ
œ
n
b
œ
œ
n
œœ
œ
nœ
œ
œ
b ™™™œœœnœ
œ
œ
œ
œb
œ
œn
Œ
Æœn
J
˙
˙
n
œ
j
˙
˙
˙
n
˙
œ
œn
b
œ
œ#
œ
œ
œ
œ
œ
œ
œ
œb˙
˙
n
œ
œ
œ
œ
œ
œ
Œ
œ œœ œ
œ œ
œ œœ
œ ˙
œ
œ
œ
œ
b
b
œ
œ
œ
bœ
œ
b œ
œ
˙
˙
˙
˙
b‰
œbœœœ
œ
œ
œb
œ
œb
œ
œ
œ
œ
b
œ
œb
œ
œœ
œ
œ
œb
b
œ
j
œ
œ
œ
œ
b
œ
œœb
J
œ ™
3
105
{
{
{
{
Voice
Pno.
like a summer with a thousand July's you intoxicate my
32
Voice
Pno.
soul with your eyes Yes I'm certain that this
DD
35
Voice
Pno.
heart of mine hasn't a ghost of a chance in this crazy romance
38
Voice
Pno.
You go to my head
41
&
b
b
&
b
b
3
3
?
b
b
n
n
b
n
&
b
b
&
b
b
3
?
b
b
&
b
b
3 3
33
&
b
b
∏∏∏∏∏
?
b
b
&
b
b
3
&
b
b
6
3
?
b
b
3
Œ
œ œ
œb œœ œ œ œ
œœ ˙
Œ
œ œ
œb œœ œ
Œ
˙
˙b
b
™
™
œ
œ
œ
œb
b
b
œ
œœ
œ
n
œ
œ
œ
œœ
n
b
œ
œœ
œ
œ
œ
n
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œœ
œ
b
Jœ
œ
œœ
œ
œ
#
˙
Œ œ
œœ
b
bœ
˙
œ
œ
œ
œb
n
œ
˙
˙
œ
œ
˙
œ
œ
œ
œ
œn
œ
œœ
œ
b
bb
œ
œb
n
œ
œ
n
œ œœ
œ ˙ ˙ ™ œ œ#œ
œœ
œ
œ
œ
œ
œ
n
n ™™™™
œ
œ
jœ
œ
n
œœœn
œ
œ
b
œ
œ
œbœ
œœ
œ
œ#œ
œ
œ
œ
œ
œ
œ
œ™™™™œ
œœ
œ
n
n
J
œ
œ ™™
œ
œ
œn
œ
œ
œ
œ
œ
œ
œ
œn
b˙
˙
˙b
œ
œ
b
œ
œ
œ
#
w
w
Œœ
œ
œœ
œ
œ
œœ
œ
œœ
œ
œ
j
œ
œ
j
˙œ
œ
œ
œ
œ
œœ
œ
œœ œ
œ
˙
˙
˙b
˙
˙˙
˙
˙
˙
˙
˙
œ
œ
œ
n œ
œ
œ
˙˙
˙˙
œœ
œ
œ
n
#
œ
œ
œœ
n
#
w
œb œ
œ
œ
œ
œ
œ
œ
œ
˙
œ ˙
˙
Œœn
œœ
œ
˙
˙
n
#
w œ œ œ œ œ w
œ
œ
œ
œ
œ
œ
œ
œ™™™™
œ
œb
œ
œn
œ
œ
œ
œb
œ
œn
œ
œ
‰
œ
œ
œ
b
b
j
œ
œ
œ
b
b œ
œ
œ
œn
œ
œ
œ
œ
n
™™™™ œ
j
Ϫ
œ
J
˙
˙
b
n
Œ
œ
œœ
œb
n
Ó
œœ
œ
œ
œ
œ
œ
œ
œn
œ#
œ
œ
œ
™
™
™
˙
˙
˙
œ
œn
b
œ
œn
œb
œ
œn
œb
4
106
{
{
{
{
Voice
Pno.
The
thrill of the thought that you might give a thought to my
BB
44
Voice
Pno.
plea cast aspell over me yet I say to myself get a
47
Voice
Pno.
hold of yourself can't you see that this nevr can be You
50
Voice
Pno.
go to my head with a smile that makes my
CC
53
&
b
b
&
b
b
?
b
b
&
b
b
3 3
&
b
b
?
b
b
&
b
b
3 3
3 3
&
b
b
?
b
b
&
b
b
&
b
b
?
b
b
˙
Œ
œœ œ œ
œ œ œ œ
œb œ œ
œ œ œ œ
œ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ#
œ
˙
˙
˙
˙
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙˙#
n
œ
œ
œœ
n
œ
œ
˙
˙
œ
j
˙
˙
b
w
w
Œ
œ
œ
œœ
œ
œœ
œ
œ
œ
œœ
œ
œ
œ
#
n
œ
œ
˙
˙
˙˙
n
#
œ
œn
œ
œ
œ
œ
œ ˙™
œœ
œ œ œ œ œ œ
˙
˙
˙˙
œ
œ
œ
œ
œ#
œ
œn
b œ
œ#
nœ
œ
œ
œ
œœ
œ
œ
œ
œ
nœ
œ
œ
œn
n
#
œ
œ
œ
œn
#
n
œ
œœ
œ
#
™™™
™œ
œ
J
œ
œ
œ
œ
œ
œ
œ
œ
b
œ
œ
œœn œb œn
Ϫ
œ
œ
b
J
œ
œn ™™ œ
œ
œ
œ
œ
#
n
œ
œn
œ
œ
œ
n
#
œ œ œ œ œ œ
œ œ œ œ œ œ ˙™
œ
œ
œ
œ
œ
#
n
™™™
™œ
J
œ
œ
œn
nœb
œ
œ
œ
œ
n
œ
œ
œ
œ
œ
œ
#
# œ
œ
œ
œ
œ
#œ
œ
œ
œ
œ
œ
œb
bœ
œ#
œn
œ
œn
#
œ
œ
n œ#
œb
œnœ
˙n
œœ Œ
œ
œn
œ
˙
œ
˙
œ
œ œ
j
œ
œ œ œ œ ˙
Œ
œ œœ œ
œ œ
œ
œœ
œn
n
œ
œœ
œ
œ
œœ
œ
œn
œœ
œ
œ
œœb
˙
˙
˙
˙
b
b
™™™™
œ
œ
œ œ
œ
œ
œœ
œ
œ
œ
œb
b
œ
œ
b
œ
œb
œ
œ
5
107
{
{
{
{
Voice
Pno.
temperature rise like a summer with a
55
Voice
Pno.
thousand July's You
intoxicate
my soul with your eyes
57
Voice
Pno.
But I'm certain that this heart of mine hasn't a ghost of a
DD
60
Voice
Pno.
chance in this crazy romance You go to my head
rit. rit.
64
&
b
b
&
b
b
5
?
b
b
&
b
b
&
b
b
?
b
b
&
b
b
3 3
&
b
b
?
b
b
&
b
b
33
3
&
b
b
”“
U
?
b
bb
œ œœ
œ ˙
Œ
œ œ
œb œœ œ
œ
œ
œ
œ
<b>
<b>œnœbœœ
œb
œb
œœ
œb
œ
œ
™
™œb
j
œ
œ
œb
n œ
œ
œ œb
œ
œb
b
œ
j
œ
œ
œ
œ
œ
œ
œ
j
˙
˙n
œ
j
˙
˙b
œ œœœ ˙
Œ
œ œ
œb œœ œ œ œ
œ
œ ˙
œ œ
œ
œ
œ
œ
œ
œ
b
™
™™™œ
œ
œ
œ
J
œ
œ
b
b
œ
œb
bœ
œ
œ
œ
œ
œœ
œ
b
b
n
™™™™
œ
œ
J
˙
˙
˙
˙n
œ
œœ
œ
n
™™™™
œœœ
œ
œ
œœb
œ
œ
œ
œ
œ
œ
œ
œn œ
j
œ
œœ
œ
b
b
œ
œb
œ
œœ
œ
b
n
bœ
œ
œ
œ
œ
œ
n
œ
œ
œ
œ
œ
œn
˙ ™ œ œ#œ
œœ
œ
œ
j
œ
œ
j
˙œ
œ
œ
œ
œ
œ
œ
œbœœ
œ
œ
œ
œ
œ
œ
œ
œ
#w
wœ
œ
œ™™™
œ
J
˙
˙
˙b
˙
˙
˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
b
œ
j
œ
œ œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œœ
œ œ
œ
b
b
œ
œœ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
n
œœ
œ
œ
œ
œ
œœ œ
œw œ œ œ œ œ w
œ
˙
˙
˙
˙
˙
n
n
œ ‰
œ
œ
jœ
œ
œ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ
#˙˙
˙
™™™
‰
Œ
œ ™
œ œ ˙œœœnœ
œ
˙
œœ
˙
œ œ
w
˙
˙
™
™
wn
wb
Ó
œœœœb
6
108
{
{
Voice
Pno.
68
Voice
Pno.
69
°
&
b
b
&
b
b
?
b
b
#
n
&
b
b
∑
&
b
b
∑
22
?
b
b
‘“
˙
Ó
œ
œ
œ
bœ
œ
bœ
œ
œ
œ
œ
œ
bœ
œ
b
œ
œ
b
œ
œ
œ
b
˙b
Œ‰
œb™
œ
˙
˙
Ó
∑
Œ
œ
œ
œn
œn
œ
œn
œ
œn
œn
œ
œn
œ
œn
œn
œ
œn
œ
œn
œn
œ
œn
œn
Œ
w
w
w
w
w
n
b
n
n
œ
j
‰ Œ Ó
7
109
References
Berliner, Paul. 1994. Thinking in Jazz: The Infinite Art Of Improvisation (University of Chicago Press).
Bernotas, Bob.‘Accompanying Singers: The Dream, The Nightmare, and the Rest’ http://www.jazzbob.com/articles.php?id=2, (accessed 28th March 2014). Besson, M. Faita, F. Peretz, I. Bonnel, A.-M. and Requin, J. 1998. ‘Singing in the Brain: Independence of Lyrics and Tunes’ (Psychological Science, Vol 9 No6.). Brown, Judith E. 2011. Flow in collaborative music performance:
An autoethnographic study of the phenomenon of flow for a piano accompanist (Central Queensland University).
Cooper, Gloria A. 1992. A multidimensional instructional approach for the solo jazz singer (Columbia University Teachers College). Cook, Philippa. 2006 The Vocal Accompanist: an Examination of the Pianist's Role in the Performance of Australian Contemporary Art Songs
(University of Sydney). Conrad, Thomas. 2010. 'With One Note Bring Me Home' (Jazz Times, 40(1), 50-53). Dobbins, Bill. 1988. 'Jazz and Academia: Street Music in the Ivory Tower'
(Bulletin of the Council for Research in Music Education). Ginsborg, Jane. King, Elaine. 2012. Rehearsal talk: Familiarity and expertise in
singer- pianist duos (Musicae Scientiae, 16(2): p. 148-167). Hofmann, Paul. 'Accompanying the Jazz Vocalist'
http://www.mhrrecords.com/articlesandessays/essay07.html, (accessed 28th March 2014).
Corea, Chick. 1979. 'The Pianists Duties, Part II: Accompaniment'
(Contemporary Keyboard, December:39). Israels, Chuck. 1995. 'The Piano and the Art of Jazz Accompaniment'
(Jazz Player, Feb-Mar 26-29). Juslin, Patrick N. & Timmers, R. 2010. Handbook of Music and Emotion
(Oxford University Press, chapter 17). Marquis, Alice G. 1998. 'Jazz goes to College: Has Academic Status Served the Art' (Popular Music and Society, 22 (2): 117-124).
110
Moore, Gerlad. 1943. The Unashamed Accompanist
(Ascherberg Hopwood & Crew Ltd). MacDondald, Raymond and Wilson, Greame. 2005.
'Musical identities of professional jazz musicians: a focus group investigation' (Psychology of Music, 33(4): p. 395-417).
MacDonald, Raymond A, and Wilson, Graeme B. 2006. 'Constructions of jazz:
How jazz musicians present their collaborative musical practice'. (Musicae Scientiae).
McNeely, Jim. 1993. The Art of Comping (Rottenburg, Germany: Advance Music). Monson, Ingrid. 2009. Saying something: Jazz improvisation and interaction:
(University of Chicago Press). Navidad, Apolinario J N. 2005. Marty Paich’s Ten- and Eleven-Piece Arrangements:
The Integration of Vocal and Instrumental Soloists with the Cool-Jazz Little Big Band (California State University, Long Beach).
Pettinger, Peter. 1998. Bill Evans: How My Heart Sings (Yale University Press, 1). Sacks, Oliver. 2007. Musicophilla: Tales of Music and the Brain (Knoph, Canada). Sawyer, Keith R. 2006. 'Group Creativity: musical performance and collaboration'
(Psychology of Music, 34(2): p. 148-164). Shadwick, Keith. 2002. Bill Evans Everything Happens To Me - a musical biography
(Backbeat Books). Tiro, Frank. 1967. 'The Silent Theme Tradition in Jazz'
(The Musical Quarterly, LIII(3): p. 313-335). Vitro, Roseanna. 2014. 'Fred Hersch: Wisdom for Singers' (Jazz Times, 13/09/2014). White, Christopher E. 2010. The Art of Accompanying the Jazz Vocalist:
A Survey of Piano Styles and Techniques (University of Illinois at Urbana-Champaign).