_tune form chart #2

Tune Form ChartNeil Olmstead

Student Name: Chris Cheung Wing Nok

mm1-89-1617-2425-32

formABAB

IntroBb7 scale played in thirds, with an alt. Bb7 at the end of the phrase

1. HeadLH Appregiating in the first phrase, RH playing melody with rubato. At the end of the first phrase, he has a subtle counter melody. LH Appre. appears at the second phrase here interacting with RH.LH Appre. figures swiftly continues, accompanying the RH playing melody. More complex and intricate inner voice leadings, full chordal accompaniment for the melody.

2. Head(Drum and Bass come in)

Title: Who can I turn to? (Bill Evans) Composer: Leslie Bricusse and Anthony Newley


Student Name: Chris Cheung Wing NokTitle: My Funny Valentine (Bill Evans) Composer: Rodgers/Hart

mm1-89-1617-2425-36

formABCA

IntroQuick triplets intro delineating C- and G7

1. HeadThe piano plays the melody while the guitar plays guide tone lines or chord tones. The guitar plays a line clich in the first four bars of this section.

2. Guitar SoloThe piano mainly accompanies the guitar solo in syncopated chords.

3. Guitar Solo Walking Bass in piano. Syncopated comping chords in RH.

Continues as previous section.

Steady Flow of walking bass accompanying the solo.

4. Guitar Solo Piano introduces pedal point on Bb for the first four/five measures before resuming walking.

5. Piano SoloPiano solos on RH mainly, with guitar comping chordally.

6. Piano SoloPiano continues the solo, while guitar plays chords on every downbeat.Guitar has a more syncopated approach of comping.Guitar comping resumes chords on every downbeat.

7. Piano Solo Piano solos on higher registerMotivic rhythmic figuresTriplet lines on the RH of piano solo.

8. HeadGuitar takes the melody again. Piano accompanies with chords alternating between RH and LH. Walking Bass on LH during this section. Steady. Resumes the chordal/Syncopated style of comping. Tag Ending.


Student Name: Chris Cheung Wing NokTitle: Yardbird Suite (Dave Mckenna) Composer: Charlie Parker

mm1-89-1617-2425-32

formAABA

1. HeadStart with a statement on the low register. Clear melody from RH. Two-feel bass line soon comes in, with walking bass quickly coming in. Walking Bass and Melody continues, with occasional chords in between to slip through. Walking bass line halts for stop time hits and two feel bass line. At the end of the section, walking bass resumes.

2. Piano SoloSolo startsMotivic Development in right hand improvisation

3. Piano Solo Constant eight notes solo and walking bass.

4. Piano Solo Bass line went to a higher register then comes down again.Motivic figures played in tenor register by RH.The bass line once again went to a hgher register to create tension.

5. Piano SoloWalking bass halts, replaced by a more chordal comping for RH solo. Mostly hitting on downbeats.Continues, but the bass line resumes soon at the end of this section. Solo continues. Plays melody with no walking bass, and brings the tune to an end in this simple way.


Student Name: Chris Cheung Wing NokTitle: Lulus Back In Town (Dave Mckenna) Composer: Harry Warren

mm1-89-1617-2425-36

formAABA

1. HeadStarts with Melody on RH, with Left hand chords responding. Soon LH gets into 2-feel bass line. 2-feel bass line continues. With chords slipping through in between. Shifts to walking bass at the end of this section.Steady walking bass with RH melody. Steady walking bass with RH melody, with occasional chords accompanying in the tenor range.

2. Piano SoloSolo starts, walking bass + RH solo. Bass rose to a higher registerA series of quick sixteenth notes at the end leading back to the A section.

3. Piano Solo Motivic development in RH.

Shifts to stride style.Walking bass resumes, with RH soloing. Sixteenth notes at the end of this section.

4. Piano Solo Motivic playing based on one note. Triplet lines at the end of this section.

5. Piano SoloSixteenth notes at the end of this section to lead in to next section.

6. Piano Solo

7. Head OutHead Out. Melody is voiced with harmonies.Walking Bass is dropped, with a tag ending, emphasizing the top line leading to the end.


Student Name: Chris Cheung Wing NokTitle: In Your Own Sweet Way (Bill Evans and Marian McPartland) Composer: Dave Brubeckmm1-89-1617-2425-36

formAABA

IntroBoth pianos improvising upon a pedal point

1. HeadMelody with chordal support.Octave lines playing the melody to enrich the texture. Goes back to the pedal point for extra bars.

2. Piano Solo Syncopated chords in mid, low register support the improvised lines.

Triplets rhythm, syncopating with the RH improvised line.

Walking bass starts here

3. Piano Solo Walking bass continues, with the other piano improvising on a higher register. Motivic playing on RH solo line Splitted octave lines

4. Piano SoloWalking bass is dropped. Chordal accompaniment resumes.Rich harmonic structures After this section, the pedal point interlude comes in to prepare the head out.

5. Head outThe melody is being stated again. Smooth, light touch in contrast to the previous sections.Chords on downbeats. As the tune ends, the pedal point comes back again, with both pianists improvising over it until the end.


Student Name: Chris Cheung Wing NokTitle: In Your Own Sweet Way (Bill Evans) Composer: Dave Brubeck

mm1-89-1617-2425-36

formAABA

IntroFull band comes right in, playing an intro comprised of a pedal point.

1. HeadMelody on RH, single note line on LH which sounds like a guide tone lines in counterpoint with RH. Except the last few bars where both hands play chordal structures (triplets). Similar to the first A section. It is clearer that the LHs counterpoint line is quite smooth and stepwise, denoting important notes of the chords at the moment. This section is being reharmonized with pedal points as well. Sounds like the RH initiates a statement, and being answered by chordal structures on the left hand. Same treatments to the melody, with RH playing over a counter melody on the LH. At the end of this section, the pedal point we had in the introduction reappears, as preparation for the solo section.

2. Piano Solo

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_tune form chart #2

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