Indiana (Back Home Again In), Harmonic Analysis

0:32  
Welcome to jazz piano skills. I'm Dr. Bob Lawrence, it's time to discover, learn and play jazz piano. Hard to believe. January 2024, is in the books. It's over. Hello February and hello to a new tune to tackle. In January we kick off the new year with an in depth exploration of the Harry Warren jazz standard, there will never be another you. And week one, we did a harmonic analysis of the tune form chord changes, harmonic function common progression voicings, we too we turned our attention to a melodic analysis, which involves learning the melody by ear using guide tones. Plus we looked at fingerings as well as various treatments. And part three of our study of there will never be another you focused on improvisation development, using various zones, patterns, motifs, and tension. In short, we established a process, a systematic approach to discover, learn and play a tune. And guess what, we are going to employ that very same process that very same approach and the techniques to our tune of the month for February. And that tune is none other than the timeless standard. Indiana back home again, in Indiana. As all of you know who had been faithful jazz piano skills listeners know that we are we're 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 and more are now being put into action. All of the grunt work we have done that is necessary for developing the musicianship needed to legitimately learn tunes paid off last month with there will never be another you. And we'll continue to pay off this month with Indiana. And every month from here on out. I love it. Now on the other hand, if you haven't been a faithful listener for the past four plus years, no worries, right? No big deal, the tune study we are doing. And the process, the approach we have implemented will help you sift through and prioritize the last four years of podcast episodes so that you can begin maximizing your jazz piano skills immediately. So as I mentioned last month, it makes no difference whether you are a jazz panel skills veteran or a jazz panel 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, dramatically improve your jazz piano playing. I'm thrilled. And I hope you are too because having established a systematic approach to tune Steady means that we now have an assembly line that we can use over and over and over again. With every tune we tackle, which means our learning process will only get faster and faster and faster. I don't know about you, but that's liberating. So today, we begin our harmonic analysis of Indiana and today you're going to discover that classic standard back home again, in Indiana, you're going to learn four chord changes harmonic function for Indiana and you're going to play Indiana using my suggested voicings plus five common harmonic progressions for ear training development. So as I always like to say regardless of where you are in your jazz journey, beginner An intermediate player and advanced player or even if you are a seasoned and experienced professional, you're gonna find this jazz panel skills podcast lesson, exploring Indiana to be very beneficial. But before we get started, I want to as I always do welcome first time listeners to jazz panel skills. If you are new to jazz panel skills if you're new listener to the jazz panel skills podcast, I want to invite you to become a jazz panel skills member. Your membership will grant you access to the premium content for this podcast episode, and every weekly podcast episode. premium content will help 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 piano skills member, you can access the past current and future educational weekly podcast packets. These are the illustrations the lead sheets and play alongs the backing tracks all designed and developed to help you get the most out of each weekly jazz piano skills podcast episode. You should have these materials in your hands while listening to the episode and of course you should have these materials sitting on your piano when practicing as well. You also have access to a self paced and sequential jazz piano curriculum which is loaded with comprehensive courses containing educational talks, interactive learning media, video demonstrations and much more. You also as a jazz panel skills member heavy reserved seat and my online weekly master classes which are held every Thursday evening. And if you can't attend no problem all of the master classes are recorded and you can watch and rewatch the class whenever and as often as you wish. You can also access as a jazz panel skills a member online interactive Fakebook which contains must know jazz standards. All with excellent chord changes chord scale relationships, harmonic function analysis, listening to suggestions historical insights, fabulous as a jazz panel skills remember you can hang out with old and make some new jazz piano friends and the online private jazz piano skills community, which hosts a variety of engaging forums. And finally, last but certainly not least, your jazz panel skills and 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 piano skills.com. And of course, become a member to enjoy premium podcast content, and all the other privileges I just mentioned. Of course, if you have any questions, please do not hesitate to contact me. I'm always happy to spend some time with you and answer any questions that you may have. Speaking of questions, it's time for the question of the week. So happy to get this question because I am sure beyond a shadow of a doubt. Many of you listening at this very moment have the very same question. Carl Mater from Buffalo New York writes. So excited about applying the jazz piano skills we have been studying to tunes. However, I am feeling a bit overwhelmed. The harmonic analysis, melodic analysis and improvisation development for there will never be another you have been fantastic. But I have much left to do before going on to the next tune. I'm starting to feel like I'm falling behind before we even move forward. Do I stay with there will never be another you and February and skip the next song or do I drop there will never be another you and begin working on the new song. You present. Thanks, Dr. Bob, just wanting to make sure I utilize the best approach

9:42  
was right. And how many of you are shaking your head up and down right now going? Yeah. I have that very same question. Carl, great question. And the answer is move on. In fact, that's our battlecry here at jazz panel skills and hands has been since day one, we move on, we always move on. We never let grass grow under our feet. We want to always be creating forward motion. We never tread water. So yes, onward and upward with Indiana. And goodbye to there will never be another you. Why? Because whatever jazz piano skills you feel need continued attention, as a result of our study of there will never be another you, you will have the opportunity to continue addressing in our study of Indiana why? Because these tunes are practically the same tune with different titles. In fact, all the tunes we are going to study are practically the same tune with different titles. So the chord changes, harmonic function, common progressions, a lot of construction courts go relationships, and all of the other jazz panel skills found in there will never be another you will appear once again. In Indiana, you will find this to be the case over and over and over again. Therefore, therefore staying put with there will never be another you until you feel as if you have a solid command of the essential harmonic melodic and improvisation skills. That That may sound like the responsible and correct approach to use. But it's actually the opposite. staying put solidifies stagnation, and does the opposite of what we always want to be doing. That's creating forward motion. If you have been listening to jazz piano skills for some time, you have heard me say on several occasions, if you want to get good at playing in the key of C then practice in the key of F. And if you want to get good at practicing in the key of F then practice in the key of B flat, and so on. In other words, keep moving. The same applies to tones, not just the skills. The same applies to tunes. If you want to get good at playing there will never be another you begin learning Indiana. And if you want to get good at playing Indiana then play our next tune. No, I'm not going to tell you what the next tune is. We haven't even started Indiana yet. You'll have to wait to march. Okay, I think I've made my point pretty clear. It's time to move on. Greg question, Carl, and never feel like you are leaving unfinished business on the table because you're not. You will see as we move through the year, right every month, you will feel that things have become a little clearer. You picked up and retained little more information. You got deeper into each harmonic and melodic analysis. And your improvisation skills improved as well. In fact, your overall musicianship matured that's a big win all the way around. Made possible by moving on and not staying put. I hope this helps Carl. And of course, if you have additional questions or further clarification is needed. Please do not hesitate to reach out to me. Again. I'm happy to spend time with you. answer any additional questions that you may have, and help you in any way that I can. Okay, let's discover learn and play jazz piano let's discover learn and play. Back home again. An Indiana quick review. Here's my outline for learning any to the genre makes no difference with us jazz rock pop country, r&b folk makes no difference. Here's how I go about learning a tune. Number one. Listen. I listen. I listened to it a lot. Listen to various artists, vocalist, instrumentalist, and of course pianist.

14:50  
I listen first and foremost to determine form. Right? Is it a B A Form A B A B form? Right? Every tune has a form what's the form of this to me? And then number three, I learned the chords, I turned my attention to the harmonic structure of the piece, the chords and then the voicings, right, those chords, those voicings, what's the common harmonic progressions to 51145, etc. Right. And then finally I learned melody. And I learned the melody using just a single note approach a vocal like approach Right? And, and I learned a melody straight, no improvisation. And then finally, finally, number five, I explore various treatments and improvisation development using the song write various treatments like ballad style, swing style, Boston style. And that's it. Right? I listen, I determined form, I learned chords and voicings common harmonic movement, the melody, I learn the melody, and I explore various treatments and improvisation. That's it, nothing more, nothing less. So this week's harmonic analysis will have us listening. Determining form, learning the chord changes the harmonic function and voicings for Indiana. Again, we're gonna be listening, determined form learning chord changes, harmonic function and voicings for Indiana next week, we will focus on the melodic analysis and two weeks from now, improvisation. As always, as always, though, we're going to keep things very structured, organized, and clean and tidy. As I like to say with our discover, learn and play approach, whether it is scale study or tune study, again, it makes no difference. Our conceptual understanding of all that we do musically must be structured must be simple, so that it can be replicated repeatedly. I have said it many times over the past four years, if your understanding of music, or any musical skill is not structured and simple conceptually, then it's unorganized and confusing. And if it's unorganized and confusing conceptually upstairs, right, you have literally no shot, zero shot at executing it in your hands on the piano downstairs, just a brutal fact. Therefore, we will keep our tune steady, structured, simple, and replicatable. So the educational agenda for today is as follows number one, we are going to begin part one to discover learn and play Indiana, part one being our harmonic analysis. Number two, we are going to listen to a definitive recording of Indiana. Number three we will discuss the form of Indiana. Number four, we will discover learning play the chord changes for Indiana. Number five, we will discover and learn and play the harmonic function of Indiana. In number six, we will discover learn and play my suggested voicings for Indiana. So if you are a jazz piano skills member, I want you to take a few minutes right now hit the pause button. I want you to download and print the podcast packets. These are your illustrations, your lead sheets and the play alongs. Again, your membership grants you access to the premium content for every weekly podcast episode, which includes all of the educational podcast packets. I mentioned it every week, you should have these podcasts back. It's in your hands when listening to this episode. And of course, you should have these podcast packets in your sitting on your piano as well when practicing. To access this material, just simply go to your account at jazz piano skills.com. Once you're logged in, you can navigate to this podcast episode the premium content page and you'll see a link at the bottom of that page with today's date. For those podcasts packets are all bundled into one convenient file for you to download and have at your fingertips at home. Okay, so now that you have your podcast packets, I want you to grab your lead sheets grab the lead sheets and you should have six lead sheets in your hands six lead sheets. Let's quickly go through them before we begin digging in so lead sheet one diagrams the form of Indiana lead sheet to identifies the unique chords that are found in Indiana. lead sheet Three gives you the chord changes for Indiana and lead sheet four provides you the harmonic function of the chord changes for Indiana. Now, lead sheet five highlights, five common progressions that we will use for ear training purposes. And lead sheet six is where you're going to find my suggested voicings to use when playing Indiana. Right six lead sheets going over form unique chords, chord changes, harmonic function, common progressions and voicings. Wow. tons to dissect today. So let's get busy. So what is the very first thing we are going to do? What is the very first thing we should always do when studying and learning a tune? I hope, I hope you are saying listen to it. Right? Because without question listening, at least in my opinion, listening to various renditions of the tune is not only the first step, but is the most important step. I can't even imagine. I live I just cannot imagine attempting to learn a tune before spending time becoming familiar with it, absorbing it. I like to listen to different artists performing the tune. And typically, I mentioned this last month typically I turned to vocal renditions first, because vocalists for the most part remain true to the original melody, especially vocalists like Sinatra, Nat King Cole, right. If you really want to get if you really want to get a straight version of the melody I turned to folks like Doris Day Sammy Davis, Jr, Perry Como and so on, right. So I'll turn to two vocalists to get a nice interpretation of the melody presentation of the melody. Then I'll turn my attention to instrumentalist horn players. Some of my favorite horn players I always mentioned, of course, Chet Baker, Cannonball Adderley. I loved Lester Young Clark Terry Coleman Hawkins, right so many great instrumentalists to check out and then last, but certainly not least, I turned my attention to pianist right, last, so I listened to vocalist first instrumentalist and then pianist. And that's the order that I that I like of course there's that's you can you can mix and match it however you prefer whatever works best for you. But I've always found for personally for myself, listening to vocalist is always works best for me. So with that being said, here is one of my all time favorite renditions of Indiana. Now, this version may surprise you because Indiana if you're familiar with this tune, Indiana is typically performed up tempo fast, sometimes very fast. But not this rendition. This rendition is beautiful. And I think you'll agree with me I want you to check this out. It's it's a beautiful rendition of Indiana done by none other none other than Are you ready? Rose Mary Cloney so before we go any further I want you to just sit back I want you to relax and enjoy this very nice very unique rendition to Indiana. Here we go

23:39  
back home again in Indiana and it seems that I can see the gleaming candle light still shining bright through the second war is for me. The new moon Haley says all its fragrance from the fields use to roam. When I dream about the moonlight on the Wabash then I long for my Indiana home.

24:54  
The New Moon says all it's free migrants from the fields I used to roam when I dream above relied on the Wabash then I long for my

25:32  
Wow, beautiful or what? Now do you see why turned to vocalist first? Right? Not only is this a great recording of this jazz standard, it is perfect for learning the melody of Indiana, which we will be doing next week. It's perfect right now, like I said Indiana is typically performed up Temple, which of course we will over the next few weeks be checking out some of those renditions as well. But but you cannot go wrong, absorbing this Rosemary Clooney rendition of Indiana to begin getting this classic tune into your oral memory. Right, I promise you get it into your oral memory through listening. And this is a great recording to do it. Do it with a lot. Right and it will have it will have a profound impact on your treatment of the tune. Whichever direction you end up, ultimately end up going. Whether you end up treating it as a ballad like Rosemary Clooney, or uptempo, like some of the renditions that we'll listen to in the coming weeks. So now that we know how this tune goes, let's explore those lead sheets. Right so grab lead sheet one, let's take a look at the form of Indiana, which is a non typical form. Thank you for listening to jazz piano skills. The remaining premium content of this episode is available to jazz piano skills members at jazz piano skills podcast.com Visit jazz piano skills.com To learn more about membership privileges, and become a jazz piano skills member. Thank you.