Days of Wine and Roses, Harmonic Analysis

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Welcome to jazz piano skills. I'm Dr. Bob Lawrence. It's time to discover, learn and play jazz piano. We started 2024 with a study of there will never be another you. In February, we explored an ever popular standard back home again, in Indiana. And last month, March, we tackled the beautiful ballad, these foolish things. Now we start the month of April and turn our attention to one of the greatest standards of all time, the Henry min seni classic days of Wine and Roses. This is going to be a great month. Alright, so today we start a harmonic analysis of these of Wine and Roses. Form chord changes harmonic function, common progression, progressions and voicings, which we will follow up with a melodic analysis next week, which will involve learning the melody of days of one roses, of course, learning it by ear fingerings, various treatments, and add some more twist. We then after all that our harmonic analysis and melodic analysis we then enjoy the grand finale, week three focusing on improvisation development, using various patterns, motifs, common tones, and zones. And of course, yes, of course tension. As always, our three week exploration is a process a systematic approach to discovering, learning and playing a tune. As all of you who have been faithful jazz panel skills, listeners know, we are taking all of those essential jazz panel skills that we have studied over the past four plus years. And now applying them to tunes all of our chord work, voicing study, scales, arpeggios, improvisational approaches fingerings, and more are now being put into action. All of that grunt work, right that we've done over the past four plus years. All that grunt work, of course, necessary for developing the musicianship needed to legitimately learn tunes, right? It's now paying off. All right, I love it. Now, if you haven't been a faithful listener, for the past four plus years, no worries, the tune study we are doing. And the process we have implemented will help you actually sift through all of the prior podcast episodes over the past four years, right? And will help you to begin maximizing your jazz piano skills immediately. So no worries. As mentioned last month, it makes no difference, right? Whether you are a jazz panel skills veteran, or a jazz piano skills, rookie, you are in the right place at the right time to begin a jazz piano journey that will profoundly impact your understanding of music. And, of course, your jazz piano plane as well. I'm thrilled, and I hope you are too because having established a systematic approach to tune study means that we now have an assembly line that we can use repeatedly. With every tune we tackle. This means our learning process will only get faster, each and every month. Now that's exciting, right and it's liberating. So today, we begin our harmonic analysis of these of Wine and Roses. Today, you're going to discover that classic 1962 jazz standard days of Wine and Roses, you're going to learn for chord changes and harmonic function for days of wine roses. And you're going to play days of Wine and Roses using my suggested voicings plus common harmonic progressions for ear training development. So, as I always like to say, regardless of where you are, in your jazz journey, a beginner an intermediate player, an advanced player, or even if you're a seasoned and experienced professional, you're gonna find this jazz panel skills podcasts lesson exploring days of Wine and Roses, to be very beneficial. But before we Again, before we get started, I want to as I always do welcome first time listeners to jazz piano skills. And if you are a new listener to jazz panel skills podcast or to jazz panel skills, I invite you to become a jazz piano skills member. Your membership grants you access to the premium content, not only for this podcast episode, but for every weekly podcast episode. premium content helps you thoroughly and correctly discover learn and play the jazz standard we are currently exploring and as the old saying goes so much more. For example, as a jazz panel skills member, you can access the past current and future educational weekly podcast packets. These are the illustrations the lead sheets in the play alongs are backing tracks designed and developed to help you get the most out of each weekly jazz panel skills podcast episode. You also as a jazz panel skills member have access to a self paced and sequential jazz piano curriculum which is loaded with comprehensive courses containing educational talks interactive learning media, there are video demonstrations of the jazz panel skill in all 12 keys and so much more. You also as a jazz panel skills member heavy reserved seat in my online weekly masterclass which is held every Thursday evening. Now if you can't attend, it's no problem because master classes are recorded. And you can watch the video and rewatch the video of the class whenever and as often as you wish. Now you also have access to an online interactive Fakebook which contains must know jazz standards like days of Wine and Roses with excellent chord changes chord scale relationships, harmonic function analysis, listening suggestions, and historical insights. And as jazz panel skills member you can hang out with old and make some new jazz panel friends in the online private jazz piano skills community, which hosts a variety of engaging forums. Now finally, that's not that's not enough. Finally, your jazz piano skills membership grants you unlimited, private, personal and professional educational support whenever and as often as you need it. All of these amazing privileges are waiting to help you discover, learn and play jazz piano. So check it all out at jazz panel skills.com and become a member to enjoy premium podcast content and all the other privileges all the privileges that I just mentioned. Of course, if you have any questions once you get the jazz panel skills poking around on the site, you have some questions, please do not hesitate to contact me. I'm happy to spend some time with you and answer any questions that you have. Okay, so on to the question of the week. This week's question comes from Stan Nelson. Living in St. Petersburg, Florida. Stan wants to know. Here we go. This is funny. I am frustrated. My improvisation sucks. I say this because I don't feel I am improvising at all. I always end up playing the same ideas over the same chords over and over and over again. It drives me nuts. I never seem to play anything new. I have my licks as they say that I fall back on when playing nothing new ever. Is this lack of creativity due to a lack of talent and ability? Or is it something I can develop? Any advice to help me break out of my rut is greatly appreciated. Thanks for all of your podcast episodes. I find them very beneficial. Thanks. Wow, okay, Stan. A lot to unpack here. So, so here we go. Okay, number one first, your improvisation does not suck. Okay. It doesn't I promise you. If you've been a listeners jazz panel skills for some time, undoubtedly you have heard me say that your hands and your ears can never go where they have never been. So if you're playing the same things all of the time, is just a sign that you need to begin escorting your hands and ears to some new harmonic territory. I say harmonic territory because melody improvisation flows from your harmonic understanding. And I will give you a couple exercises here shortly to help you with this. Number two, thank goodness. I mean, thank goodness you have some fall back on on vocabulary under your hands, there's nothing wrong with that right? Doesn't mean you suck.

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Listen to any great jazz pianist Oscar Peterson, Shukria, Keith Jarrett, Bill Evans and so on. And you will begin hearing their fall back on vocabulary to write we all have our go to melodic ideas that we rely on when playing. So do not discount this vocabulary as being worn out licks that indicate somehow indicate a lack of ability or skill, because staying that's simply not true. Okay. Number three. So important. Keep this in mind. I think all jazz musicians, all jazz musicians, pianos, instrumentalist, vocalist, all jazz musicians get tired of hearing themselves play. Right, we always love hearing other people play because it's fresh. It's exciting. It's new material. It's something different from our plane, which is always inspiring to hear. So again, do not beat yourself up stand because you get tired of hearing yourself play, I want to welcome you to The Club. The fact that you are listening to yourself with such critical ears, tells me that you are on the right track. And that consistent musical growth for you consistent musical growth is inevitable. Number four. Okay, with all that being said, let me give you a couple exercises. To help you began exploring to help you associate a harmonic shape with different sounds, right? different chords, this will help you to begin expanding your vocabulary. Okay. So I want you when you're next time you're sitting at the piano, I want you to grow just the C major seventh in your right hand. So start with middle C, C, E, G, and B. Okay, simple C major seven. Now I want you to place the note A underneath that C major seven. Now we have an A minor nine, right, now we're going to place the note F underneath that C major seven. Now we have a F major, or the sharp 11 are Lydian sound right, now I want to play a place in D under that C major. Now we have a C a D minor, like 13th, right has the nine and 11 in there as well. So that C major shape what we know originally is a C major shape isn't really a C major shape when we place an A underneath it, or an F underneath it, or D underneath. So what I'm saying to you is you can practice improvising using the four notes of C major seven. Obviously practice improvising using those chord tones over C major seven. But also practice improvising using those four chord tones over a minor practice using those four chord tones over F major and practice improvising with those four chord tones over D minor, right. So you're associating this harmonic shape that we initially learn as C major seven. But now we're using that harmonic shape in relationship to a minor, F major and D minor as well. Okay? It's broadening your vocabulary over a minor, F major and D minor because now you're seeing that shape as being something very different than just B and C major seven. Now we can do the same thing with C minor seven. So if you grab C minor seven C, E flat, G and B flat, right? Obviously with C in the base, we have a nice C minor seven. But what if I put an A flat underneath it? Wow, now I have an A flat major like a ninth right what if I put F underneath that shape? We have an F minor 11 And what about A D flat a D flat underneath that C minor wow we have like a seen I mean a D flat major 13th With a sharp 11. So now I can take that harmonic shape that C E flat G and B flat. And practice obviously practice improvising those four chord tones over C ma minor. But now, practice using those same for improvising using those same four chord tones over A flat major over F minor and over D flat major as well. So now you're associating that shape with so much more than just C minor. Right? Now, I just am demonstrating this today with C major and C minor, but I would encourage you to do the same thing for all the major chords and all the minor chords, right? Same process, this is a very simple way for you to start associating different harmonic, one harmonic shape in association with various courts. Does that make sense? Oh, before I forget how I got to those relationships, taking the notes C. C is the obviously one of C. So C is the one of C Major C as the three of a minor, C is the four of F major, C is the seventh of D minor. Okay. And then I did the same thing with C minor. So obviously, C is the one of C minor, C is the three of A flat major, C is the five of F minor, and C is the seventh, D flat major with a sharp 11. Okay, that's how I establish those relationships. And when you improvise, I cannot stress this enough, Stan, when you improvise using this shape, please, please just stick with the four notes of the shape. So when you're improvising using that C major, just stick with C E, G, and B. And when you're improvising with C minor, just stick with C, E flat, G and B flat. I cannot tell you how many times I tell students to do that. And two seconds later, they're off to the races playing a whole bunch of other notes. Makes no sense. You cannot develop an association of a shape with a chord and the sound if you're not honoring that shape and playing that shape. And you can play inversions of that shape, right? But you're still sticking with those same four notes. Right, you can play that shape and various octaves. But you're sticking with those four notes. I beg you, Stan, Please play the four notes only as you're establishing this association of a harmonic shape with different chords do not go off on a tangent. I cannot stress that enough. Okay, so that's a very quick little exercise for major and minor takes to expand your vocabulary stand and I hope I hope this helps play around with it. And if you have any additional questions or further clarification is needed. As always, do not hesitate to reach out to me. I'm happy to spend some time with you. answer any additional questions that you may have and help you in any way that I can. All right. Well, let's discover learn and play jazz piano let's discover learn and play days of Wine and Roses. Okay, quick review. Again. Here is my outline for learning any tune the genre makes no difference. rock, jazz, rock, pop country folk r&b, again, makes no difference. Here's how I go about learning to tune number one lesson number one always is listen. Listen to various artists vocalist, instrumentalist, and of course pianist. Number two determine form, right? Is it a Ba, ba B? What is the form of the piece that we are studying? Number three, learn the chord changes the courts the voicings, right, common harmonic progressions like 251145, so forth.

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Learn melody number four, learn melody. Number five explore treatments and improvisation. That's it. Five Steps listen to turn form, learn to chords, voicings or melody, explore treatments and improvisation. that's it nothing more, nothing less. So this week's harmonic analysis will have us listen to determine form. To learn the chord changes the harmonic function and voicings for days of Wine and Roses. Next week, we will focus on a melodic analysis and in two weeks improvisation. Okay. As always, we keep things very structured, very organized, very clean and tidy, as I like to say, with our discover, learn and play approach, and it makes no difference whether it's a skill study or a tune study, right? It makes no difference. Our conceptual understanding of all that we do musically must be structured. Must be organized must be simple so that it can be replicated. repeatedly, I have said it many times over the past four years many times. If your understanding of music or any musical skill is not structured and simple conceptually, then it is unorganized and confusing. And if it is on an organized and confusing conceptually upstairs, you have absolutely no shot zero chance of executing it in your hands downstairs on the piano, right? Therefore, we keep our tunes steady. Right? As you've already figured out since the beginning of the year, we keep our tune steady, very structured, very simple and replicatable. So the educational agenda for today is as follows. Number one, we are going to begin part one harmonic analysis to discover learning play days of Wine and Roses. Number two, we are going to listen to a definitive recording of days of Wine and Roses. Number three, we will discuss the form of days of Wine and Roses. Number four, we will discover, learn and play the chord changes for days of Wine and Roses. Number five we will discover learn and play the harmonic function of days of Wine and Roses. And number six, we will discover learning play my suggested voicings for days of Wine and Roses. Wow. A lot to do. Now if you are a jazz piano skills member, which is take a few minutes right now hit the pause button. I want you to print your podcast packets, the illustrations, the lead sheets and the play alongs. Again, your membership grants you access to premium content for every weekly podcast episode, which includes all of the educational podcast packets. And as I mentioned every week you should have these podcast packets in your hands when listening to this episode to get the most out of it. And of course you should have them sitting on your piano as well when practicing. Okay, now that you have your podcast packets, I want you to grab your lead sheets. You should have six lead sheets, six lead sheets, lead sheet one diagrams, the form of days of Wine and Roses lead sheet to identifies the unique chords, just the unique chords that are found in days of Wine and Roses. lead sheet three gives you the chord changes, right just a classic lead sheet of the chord changes for days of Wine and Roses. lead sheet four provides you with the harmonic function, right the Roman numeral analysis of days of Wine and Roses. lead sheet five highlights five common progressions that we will use for ear training purposes. Very common progressions factoring. You're already familiar with them. And number six, lead sheet six. I give you the voicings that I suggest using when plain days of Wine and Roses. Wow. Again, right tons to dissect today. So let's get busy. Okay, so what is the very first thing we do when studying and learning to tune? Let's all say it together. Listen. Right because without question, listening to various renditions of attune is not only the first but most important step at least I believe it is a Kenny I can't imagine attempting to learn a time before spending time becoming familiar with it, absorbing it right listening to various renditions, various artists performing the two. Now typically, I turn to vocal renditions first because vocalist, for the most part remain true to the original melody, especially vocalists like Sinatra, Nat King Cole, Dinah Washington, Nancy Wilson, him some of my favorite if I really want to hear straight versions. I mean, really, really straight versions of the melody I will turn to folks like Andy Williams, Doris Day, Perry Como right. After listening to the various vocal renditions, I'll turn my attention to instrumentalist horn players some of my favorite as I've mentioned before, Chet Baker, of course, Cannonball Adderley. I love Clark Terry Coleman Hawkins, Lester Young. And last but certainly not least, I always check out as many pianists as possible, right. So the bottom line I listen, and that is what we're going to do right now before going any further, we're going to listen and select into recording, right of this standard days of Wine and Roses, really, of any standard right? It's always so difficult to do because there are just so many wonderful renditions to choose from. Right and days of wine roses is Absolutely no exception however, however, if you are new to this standard, I believe there is no better recording to listen to than Frank Sinatra with the Nelson Riddle orchestra. This album was released in 1964 I think I mentioned earlier 1962 but I believe it's 1964 and it still sounds as hip as ever. 60 years later in 2024 So I want you to grab your coffee or your favorite beverage get coffee sit back, get ready to tap your foot and smile from ear to ear. Here's Frank Sinatra with the Nelson Riddle orchestra days of Wine and Roses

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day why rows

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like a child play the metal to closing a dormer Dormont never more than was there before the loan night disclosed just passing Brie fill with memory of the gold smile that introduced me to the days of Wine and Roses and new

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days of Wine and Roses

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lonely the night disclosed. Just passing Bri with memory of the gold smile that introduced me two days of Wine and Roses and you

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come on not the not the you know, discount Frank Sinatra at all. But come on man anybody's singing with the Nelson Riddle orchestra is gonna sound fantastic. Kind of anyway. Wow. How cool is that? Right. Frank Sinatra, Nelson Riddle, swinging. As always, I encourage you to spend time checking out. Really, there's an abundance of vocal renditions of this jazz standard. So check out as many as you possibly can. It will help you absorb the harmony, the melody the lyrics of this must know no standard, right. So now, now that we know how this tune goes, let's explore those lead sheets sign so grab lead sheet one, let's take a look at the form of days of Wine and Roses. Right which is kind of a standard form, kind of. So you'll see on your lead sheet. I have four boxes, right four boxes. These are Wine and Roses is the classic 32 measures in length, right four sections, eight measures each. So we have in red, four red boxes and to the left of each box, you'll see a B A C. So it's pretty you know that's a pretty that's pretty standard form. Honestly I know the two most popular are ABA and ABA B but you know A B A C is right there. Right there in the hunt as well as being very common. And these have Wine and Roses follows this form. Right so we have the first eight measures are first a section followed by A B section, followed by the A section you'll see rehearsal letter C there is the same as rehearsal letter A So we have our to a sections, and then rehearsal letter D, or the C section of the tone, the last eight measures, slightly different, obviously, then the, the B section starts off pretty similar, right with a minor, D minor seven, but then from there on out, it's different. So these are winding roses, classic, A, B, A, C, four, okay? A, B, A, C. Okay, so now grab lead sheet, two, lead sheet, two, lead sheet two skill to this, this is where I label the unique chords that are found in days of Wine and Roses. Now, why this is important, because if I always do this with every two, right, that I'm learning, I identify the unique chord changes, so that I can actually practice those chords isolated, those sounds isolated, right. So if you look at lead sheet, two, you'll notice that there are 1515 unique chord changes in days of Wine and Roses. You know, it's, it's kind of interesting, the standard that we've been looking at since the beginning of the year, all these standards, even though that's the tune is only 32. Measures in length 32 measures, all these tenants have anywhere from 14 1516 different chord changes that you have to deal with, right, so we have an F major seven, we have an E flat seven, we have a half diminish, D seven, G minor, seven, B flat minor seven, and E flat seven, all of this seven different chord changes in the first unique seven unique chord changes in the first eight measures of the two. Wow, seven in the first eight measures, right. Then in section B, we have the A minor seven D minor seven to new chords there, as well as the E half diminished to the a seven, flat nine. And then we have a G dominant seven in there as well, and a C dominant seven. Right, that takes us back to our second, that takes us to our second a section. And then finally, in the last, in the C section of the piece, on a rehearsal letter D, we have the b half diminished, the B minor seven, flat five and the E seven, flat nine. So 15 different chord changes, I would recommend that you set up if you're using something like a real pro or bat in the box and play along software, I would recommend setting up each one of these chord changes for measures each create a template. These 15 chord changes each lasting for four measures each so that you can pull that that template up, isolate that line and practice that sound. So like for that F major seven, you'll be able to practice your scales, your arpeggios, your various zones, you can practice your voicings, your left handed shells, your two handed voicings, all the various skills that we have looked at over the last four years, you can isolate that specific sound that specific chord and practice those skills. And as you've heard me say before, you know, I know that we have 60 chords that exist are five are our five sounds major dominant minor, half diminished, and diminished are 12 notes. So we have 12, Major 12, dominant 12, minor 12, half diminished 12, diminished chords that we have to eventually become very comfortable with. But you know what, not this month, this month, our musical world consists of 15 ct 15. And that's it. So spend some time setting up a template for yourself that allows you to practice each of these 15 Sounds isolated, so that you can practice the various jazz piano skills that we have studied throughout the years. Alright, so now grab lead sheet three, and lead sheet four lychee, three lychee, four, play some side by side, the Chi three, you'll see we have our chord symbols, our chord notation, right the chord changes. lead sheet for you'll see we have the harmonic function or the Roman numeral analysis of the chord changes. And I want you to place them side by side because the scale that we're developing here that we're focusing on, is being able to think the opposite of what we see. So if I'm looking at lead sheet, three days of wind roses, I'm seeing the chord changes there. I want to see those chord changes, but I want to see that F major seven as the one chord, I want to see that E flat seven as a flat seven that a minor as the three, right the D seven, six and so forth. Now if I'm looking at lead sheet for skill four with the Roman numeral analysis, I want to see that one major seven if I'm thinking in the key of F, I want to see that as F major seven. So flat seven dominant, I want to see that as an E flat dominant, three minor seven flat five, I want to see that as a minor, half diminished, right. So again, I want to be able to think the opposite of what I see. So I want to practice that right now. So I'm going to play these of Wine and Roses. And we're going to go through it two times, and I'm going to the first. The first time I'm going to focus on lead sheet three, and I'm going to do the harmonic analysis as I'm staring at the chord changes. And I'm going to go through it twice doing this, okay, lead sheet three. So focus on lead sheet three, we're gonna bring the ensemble in, I'm going to do my harmonic analysis. While I'm looking at the chord changes follow along with me do it with me and see how you do okay, how well you do so here we go check it out. On major sub flat sub three half min six down to minor four minor seven, flat seven three minor 762 minor seven seven after six minor to seven, two minor 571 major seven flat seven dominant three half diminished six two minor minor flat seven three minor six minor sharp four half diminished seven dominant 6576 Now on your Own.

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Well how'd you do right? Not an easy skill, right to look at the chord changes and thank harmonic function. And likewise, it's not easy to look at the harmonic function lead sheet for and think the chord changes. So let's do that first time through I will say the chord changes out loud as I'm looking at the harmonic function. Second time through you're flying solo. Okay, so here we go. Let's let's check it out. Let's see how we do here we go. F major seven, E flat seven, a half diminished. D down D seven. G minor seven. B flat minor seven. flat seven. A minor seven miners have to manage a sub D minor, G seven, G minor F major seven

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seven G minor seven. B flat minor seven, E flat dominant seven, a minor C minor seven, B half diminished seven a minor seven you go you're on your

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way. Not easy, right not easy, not easy to look at the chord changes and think harmonic function not easy to look at the harmonic function and thing chord changes. But that's that is the task at hand, right? We want to be able to, again think the opposite of what we see. So, if you struggle with this, no, you're not alone. It's a big time skill. It takes practice, I encourage you to do do this kind of practicing in time, like we just did. And without time, right? It'd be laying on your sofa, sitting at your kitchen table wherever and think through the chord changes when you're looking at the harmonic function and think through the harmonic function as you're looking at the chord changes, right? practice the skill, it will get easier and faster as you do. Okay. All right, so now let's grab lead sheet five, skill five. Okay, so honestly cheat, you'll notice that I have notated five common progressions, right common function that exists in many, many standards. And this is fantastic. Your training we did this with there will never be another you. We did this with back home again in Indiana. We did this with these foolish things. Of course, we're going to do it with days of Wine and Roses. So we have in measures one and two, we have this one major seven go into a flat seven dominant, very, very common movement, a very common movement. In fact, we've seen this before, right, we've seen this and back home again in Indiana. And here we have it again here in days of Wine and Roses. So how I like to practice common movement common function to help my ears, I like to play my bass note in my left hand, my F my chord, my right hand. And then I like to play go to the next chord with the same format base note in the left hand chord in my right hand. So I want to hear one major, flat seven dominant, one major, flat seven dominant, one major, flat seven dominant. And I will repeat that many times, right? I established tonic in this case, it's the very first chord we play the F major and then I go to that flat seven dominant. My ears begin to recognize that that sound that movement, okay, if you look at measures seven and eight, number two, we have a four minor go into a flat seven dominant, right and then that flat seven dominant actually resolving to the three minor, right usually the flat seven dominant, the backdoor dominant as they call it will resolve to one. In this case, it kind of does. The three minor is always a substitution for the one chord. So that's what's going on here we have our B flat minor, going to our E flat dominant, resolving to our three minor. Again, very common movement. I would establish my tonic first by playing my F All right, so my play. Now go to my four minor going my flat seven on my three repeat the process established tonic chord, my four minor on my flat seven dominant. Go to my three minor. Right? Again, repeat it several times, say out loud, not just in your head, say it out loud. For minor seven, flat seven dominant, three minor, say it out loud. So you hear the label being associated with the movement with the sound established tonic first. So you establish that relationship with that for that flat seven, three. Okay. All right. So now if you look at measure 13, we have common progression three, which is the seventh half diminished, go into the three dominant go into the six minor Wow, where do we see that I think we saw that and there will never be another you right. So we have our seven half diminished, which is going to be our E half diminish. Going to an ace seven, flat nine, going to the D minor, six. So it's a minor 251, right. But I'm going to analyze this I want to hear the root movement in a relationship to the parent key. So I'm gonna establish my tonic again, my one. Now we're gonna go to my seven, six. Right, so establish tonic again, my one on my seven half diminish my three dominant and my six minor. With all these progressions established tonic, so you hear where one is, then move to the progression, right. So again, seven half diminished to the three dominant to the six minor, very common movement, you'll find that in many, many standards, and then look at number four, right next door to it, right, we have the classic two dominant, going to the two minor go into the five dominant seven, we just heard JB Dyess talk about that, in the interview that I did with him last week where he talked about that is like basically almost an every standard, you can almost count on it, right? The two dominant so we have a G dominant, the two dominant, turning into the two minor going into the five the C dominant resolving to our one. So again, establish your tonic. What are your two dominant go to your two minor. Go to your five go to your one. Right. Again, stablish tonic moved to that two dominant two minor five one, drill it into your ears into your hands into your mind by saying that label out loud the two dominant two minor five dominant one major. Okay. Now we jumped down to the C section of the piece rehearsal letter D. And we have common progression five I love it right. We've seen this before too. In previous tunes, we saw this Indiana, we have our Sharp for half diminish. We go into a seven, seven dominant. Go to three, go to six going to go to a five go to a one straight circle movement sharp 4736251. Check out your circle of fifths moving counterclockwise, right start on your B on the circle of fifths. Your B goes to where to E. E goes to where a he goes where d d goes where g Where does she go see? We're gonna see go F circle of fifths. So we have sharp for half diminish, go to seven dominant from nine to three, six to two to five. So establish your tonic again. Sharp, four, seven dominant 365.

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Right. I can repeat that many times drilled into your ears, right and you're gonna run into this circle movement like this in almost every standard that you come across. So leave sheet five Skill five again, we have five common progressions progressions quite honestly that we've run into in our previous tunes and there will never be another you in back home again in Indiana. These foolish things these, these progressions we've already already encountered and here we are encountering them once again in days of Wine and Roses. All right, so now we're on to the last lead sheet lead sheet six, skill six, where I lay out voicings that I recommend, at least starting with getting familiar with these structures while playing days of Wine and Roses. And just like the other turns, you'll notice that I have a combination of contemporary shell voicings built off of the interval of a fourth I have traditional shell voicings, your 379 type structures and 735 structures. I even have some nice block voicings in there as well, traditional black shapes, I have some a cluster in there a little three note minor cluster that I like to throw in from time to time. So you know, all the voicings that we've studied over the past four and a half years there are podcast episodes for these voicings that I have done that focus on each of these voicing types and there's courses in the courses there are courses dedicated to each one of these voicings, the traditional shells, the block voicings and the contemporary shells. So I'm going to bring the ensemble back in I'm going to play these voicings, again, I'm not trying to do anything rhythmically with these voicings, I just want you to hear these voicings in a musical context so you're going to hear me play them as notated on this lead sheet. And I'll play it a couple times through okay, but again, I'm not doing anything rhythmic rhythmically fancy with these add ons I just want to hear the shapes and the sounds. So here we go let's check it out.

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All right what an exploration right. We started off with structure and content right forming unique chords I call that discover. Then we looked at the theory that harmonic with the changes the function right as well as the ear training the common harmonic progressions. This is the Learn section right here. And then finally, the voicings the shapes in the sounds the play section. So we have a nice little discover learn and play approach to a harmonic analysis, structure and content, theory time and ear training shapes and sounds otherwise known as discover, learn and play. What a workout right what a workout indeed. There you have it, right days of Wine and Roses harmonic analysis, part one. You got a lot of work to do this week, there's no question about it, right. And as always, we've unpacked I don't know how we do it, but we unpack a ton of information in one very short, in one very fast hour. You know, at the beginning of this podcast lesson, I mentioned that the very first thing I do when learning a tune is to do a thorough harmonic analysis just like the one we did today for days of Wine and Roses. The goal of my harmonic analysis for every tune that I want to discover learn and play is, is to secure my conceptual understanding and the physical execution of the tunes form chord changes harmonic function voicings, I consider this to be the most important part of tune the of the tune learning process, because, honestly, it's the chassis on which everything else sits upon the melody of the tune and my improvisation. Right. So the greater my insecurity with form chord changes harmonic function and voicings of tune, the greater the odds that I'm building a house of cards that will collapse. I guarantee it at some point when attempting to play the tune, right? Not a good experience at all. So, time nailing down form, chord changes, harmonic function and voicings for a tune is time. Very well spent. So take your time, right take your time with this process, do not rush this stage of tune learning. Be patient. Be begin. As always begin structuring stage one of your tune learning process after the plane demonstrations that I've modeled for you today in this podcast episode, right to help you discover learn and play days of Wine and Roses. Men if you do it, if you do it, I guarantee it, you will begin to see feel hear significant, and I mean significant jazz piano growth. Well, I hope you find this jazz panel skills podcast lesson exploring days of Wine and Roses to be insightful, and of course to be beneficial. Don't forget I will see you online Thursday evening at the jazz panel skills masterclass. That's going to be 8 pm Central time to discuss this podcast episode lesson exploring days of Wine and Roses in greater detail. And of course, they answer any questions that you may have about the study of jazz. In general. If you cannot make the class no big deal, right, you can always watch the video of the class which you will be able to access through your jazz piano skills account through your dashboard. Now if you have any questions, please post them in the jazz panel skills forum. So all the members can benefit. And then if you need to reach me, you can do so of course by phone. My number here at the Dallas School of Music is 972-380-8050 My office extension is 211 if you prefer email, Dr. Lawrence, drlawrence@jazzpianoskills.com. Or you can use the nifty little SpeakPipe widget that is found, I believe on every single web page, the end jazz of the jazz panel Skills website. Well, there is my cue. But that's it for now. And until next week, enjoy days of wine roses, BB one harmonic analysis, and most of all, have fun as you discover, learn and play jazz piano!