THE ERROLL GIRRER VOLUME 2
RRANGED BY SY JOHNSON
THE ERROLL ~IRNER SO~GBOOK VOLUME 2
Arranged and Adapted by
Sy Johnson after A~rangements by
ERROLL GARNER
Producer - Martha Glaser’ Cover Design - Designers 2 Music Commentan/- Sy Johnson Addiflonal Texf - Martha Glaser Research - Lewis Relnes Llbrarian - Dlck Ables Baldwin Plano and Organ Co.
Associate Music Editor: Mark Phillips Art Direction: LaVon Welch Production Manager: Daniel Rosenbaum Administration: Deborah Poletto Published by Cherry Lane Music Company, Inc, Copyright © 1987 Cher~y Lane Music Company, Inc. International Copyright Secured AII Rlghts Reserved ISBN: 0-89524-330-X
ABOUT THE ARRANGER Sy Johnson - composer, arranger, and pianist. HIs compositlons have been recorded by Charles Mingus, Sarah Vaughan, Joe Willlams, Lee Konlí~, T. Miyama and the New Herd, Te~ry Gibbs, and Herble Mann, among others. He has recorded with Mlngus, Qulncy Jones, Frank Slnatra, Wes Montgomery, Lee Konltz, Rod Levitt, and Herble Mann. Movle credits Include "THE WIZ," "THE COLOR PURPLE," and "THE C0170N CLUB," for whlch he was assoclate musical director, arranger and orchestrator. Broadway credits include the Tony-nomlnated "Blues in the Nlght," as music dlrector, arranger, and orchestrator, and "Sugar Babies." He was an orchestrator on the Grammy-winnlng ’lOOfh Blrthday Celebration for Euble Blake, and the acclalmed "Let’s Dance" Benny Goodman Special, both on P.B.S. HIs orchestratlons have been performed bythe Boston Pops Orchestra, and the Rochester Philharmonic, with Johnson conducting the latter for guest sololst Joe Willlams. He is married and lives in New York Ciíy,
AC:KNOWLEDGEMENTS We wish to take thls opportunlly to acknowledge and thankseveral top-fiight pianlsts who revlewed and played the manuscrlpts at varlous stages, glving us valuable reactlons and input, Includlng BenAronov, Alan Rosenthal, and Calvin Lampley, Special thanks to Frank Owens for hls conslderable time and efforts, and to Harry Flelds, for contribuflng hls reactions and suggestlons both as a player and an instructor. Martha Glaser Producer
8
"My audience is very Important to me. It’s the 4th member of my group, and If plays rlght along with me..,You can feel It react, and you respond to thaf. If pushes you more, and encourages you and gives you more freedom to create.,,I just play what I feel, Suddenly I hlt a groove ihat moves me, and then I take off. I don’t worry about how i1"11 come out," --I=rroll ~ìarner
TABLE OF CONENTS FOREWORD BIOGRAPHY
PAGE 6 I0
INTRODUCTION TO GARNER BALLADS THIS TIME IT’S REAL NO MORE SHADOWS DREAMSTREET
13 16 18 23
INTRODUCTION TO GARNER SWlNGS YOU TURN ME AROUND WAY BACK BLUES JUST BLUES TRIO SEVEN-ELEVEN JUMP UP IN ERROLL’S ROOM THAT’S MY KICK
2ó 30 34 40 43 4ó 49 52
INTRODUCTION TO GARNER’S LATIN MODES EL PAPA GRANDE MAMBO 207 MAMBO ERROLL GEMINI
55 57 ó0 ó2 óó
INTRODUCTION TO AFTERNOON OF AN ELF AFTERNOON OF AN ELF CODA
70 71 7ó
DISCOGRAPHY
77
5
FOREWORD Erroll Garner the composer is Inexfricably lnterwoven with Erroll Garner the pianist, Garner composed af the piano Ion tape, or in earlier days, on disc], and hls music then was transcribed to paper by others. in the course of a performance before a n audier!ce, in a recording studio, or during a broadcast, he frequentlywould Improvlse entire performances, Including new, on-the-spot compositions of his own, and unless they were recorded at the tlme, they oflen were Iost forever. For THE ERROLL GARNER SONGBOOKVoiüme ’i, many months were spent seeking the rlght person to transfer the Garner recorded compositions to accessible wriífen plano arrangements. Sy Johnson was selected byGarner for thaf project. Garner put hls personal stamp of approval on the finlshed manuscripts which were played for him In early December, ’197ó, by Harry Flelds, a top West Coast pianist and Instrucfor, and Garne~s close frlend for 30 years, In preparatlon for thls second SONGBOOK, Sy Johnson again was designated to annotate the Garner works. Sy and I, both together and slngly, spent many days listenlng to Garner recordlngs, of his unlssued and Issued works, embodying hts compositlons. That was a labor of Joy and many surprises--or--the "easy" pari of this work, albeit Garner’s seemlngly accessible performances requlre much concentratlon to really absorb the many layers of ideas. He thought in complete songs, in form, yet hls performances, all Improvised, were Ioose and very unfettered. Making cholces from the wealth of materlal he composed, to pa[e it down to fifleen selections for thls second SONGBOOK, was the "hard" pari. The compos~ Itions selected were chosen for their dtstinctive statements, melodic llnes, varlely of modes, and ultimately, for thelr adaptabllily for accesslble piano arrangements. Hopefully, the annotations wlll bring to players the spark and challenge and essence of these Garner compositions--or--the joy of making a piano slng, the many colors and passíons bis works contalned, They range over a period of three decades of hls work,
6
Like THE ERROLL GARNER SONGBOOK Volume "1, thls collectlon lends itself to categorles - ballads, blues, swing selections, Latin-tinged works. An attempt was made to select works whlch are or have been available on commercial recordIngs [see dlscography] so that players might heat the original Garner conceptions. Garner’s work as a composer has yet to be fully explored.Yes, MI$1Y is a world-renowned standard and contlnues to wln awards. For the past live years, it has been acclalmed byASCAP os one of the most performed standards of the past decade. But Garnerwas far from a one song writer. Melodiesjust flowed from hlm, An orlglnal, it Is acknowledged thaf for several decades, Garner’s unique s~le has rubbed off on other pianists. As Jimmy Rowles put it, "He laid if on a]l of us." HIs performances reached people on many levels - cerebral, visceral, emotional, spiritual, Likewlse, his compositions are of multl-level varleç¢, and contaln elements for many kinds of players, Garner was an artlst whose work contlnues to be contempora~/and unlversal. He transcended the passing fads and fancles of hls time, and leff an Indelible Imprint on the shape and sound of world music. In an era of technological music, machine productions, overdubblng and "unhummable" tunes, Garner remalned a most natural artist - no arfìfices, pure creation. The ntght before hls sudden and untlmely death in ’1977,Garner, speaking with me Iong dlstance by phone, said, "1 have so much music In my head; you’ve only heard the tip of the iceberg." Fortunately, some of that music mode its way to tape, and the challenging and joyous oppoduniíy of revealing and publishing it, Is our privilege In this Cherry Lane E~ROLL GARNER SONGBOOK Volume 2. Martha Glaser
BIOGR4PHY Durlng hls lifetime, Erroll Garnerwas halled throughoutthe world as one ofthe outstanding contemporary pianists to emerge from the Jazz genre. From hls early beglnnlngs In Pìttsburgh, Pennyslvanla [born June ’15, t923], he went on to wln international acclaim through his unique, innovative music. Erroll Garner was a chlld prodigy, At the age of three, he simply reached up to the piano and began to play. He was exposed to traditional music training; however, these attempts were folled by hls remarkable ear and Incredible aural memory. Garner memorized every~hlng at one hearing, maklng the need to read unnecessary. Muslcally self-taught, he created a new, orlglnal s~le and became a dominant influence on contemporary plano, At seven, Garner began appearìng regularly over station KDKA in Ptíffsburgh wìth a group called the Candy Kids, By the time he ,was eleven, he began a round of jobs in and around Pittsburgh in taverns, nightclubs, and restaurants, usually pefforming solo. in the early ’1940’s, Garner moved to New York winning aitention In varlous nlght spots. On Ma rch 27,’1950, to critical raves and a standing ovation, he made his solo conceff debut in Cleveland’s Music Hall. Slnce that time his programs of Improvlsations became hlghllghts of the International concert circuit. In Garner appeared successfully as guest sololst with the Cleveland Orchestra and subsequently with orchestras throughout the United States Includlng, among others, the Clnclnnati Symphony Orchestra, the National Symphony Orchestra, and the Loulsvllle, Detrolt and Indianapolis Symphony Orchestras. His career as a conceff performer, a headliner In night clubs, hotels, theater tents, on television and radio, flourished continually In the Unlted States for some fout decades.
10
Garner’s audlences were world-wlde. Since the late 40’s he had toured abroad, Increaslng hls toreign schedules through the 50% ó0’s and 70’s. In 1971 he toured South Amerlca. In ’1972 he toured the Far East, including appearances in Hawail, Ja pan,Australia, and New Zealand. He toured Europe in April and May of ~ 974, and appeared in some gala concerts on the French RMera. Garnerwas in constant demand for forelgn engagements to the end of hls lire, Garner was the reciplent of many international music awards and honors, including the Grand Prix du DIsque from the French Academy ofArts. French critics called hlm "The Man with Forty Fingers." European writers referred to Garner as "Chapllnesque" and "The Pìcasso of the Plano" In tribute to his wn/musical excurslons and unlquely personal s~/le, Atape of Garner’s work is buried in a tlme capsule at the Theater of the Comedie Francais In Paris. In 197’~, the Republlc of Mail issued a postage stamp honoring Garnen He headlined the 1966 International Television Festival In Montreux, Switzerland, for whlch he was commlssioned to compose the GOLDEN ROSE theme music, named for thelr hlghest lVAward. Garner was the only artist from the United States to appear on the ORTF-EUROVISION Gala for handicapped chlldren in 1965. He also was the first and only affist ffom the jazz Idiom to tour under the aegls of classical impresario Sol Hurok, who directed the planlst’s concert schedules trom "1956 to ’1962, presentlng Garner in hls SRO Carnegie Hall debut in ’1959. Amerlcan awards and honors through the years were many, I~cluding a trlbute from the United States House of Representatíves on the occasion of Garner’s blrthday in 1976. Garner’s extenslve catalog of albums were among the best sellers for almost fout decades. HIs CONCERT BY THE SEA is deemed a landmark album. In recognitlon of the Iongevi~y of hls recordings in print, Garner was one of the few artists from the Jazz genre Included In Schwann’s 25th Anntversa~y Edltion.
"The flrst time I heard Erroll play, he amazed me--because--as Duke used to say--’He was hot only a ploneer but an Innovafor with an Identifiable sound’,.When you heard hlm play, you knew it was Erroll Garner. As Duke sald: ’That was the mark of a great player’..," --Louis Bellson
"lf Jazz at Its core is the improvisational freedom that distìngulshes it from ’pop’ music, then Garner’s performances are a classic Illustratìon,..He moves as hls elfln nature directs af the moment..He virtually caressed the keys, fashioning a bell-like sound of beautiful fraglliíy." --Ernie Santosuosso, The BOSTON GLOBE
INTRODUCTION TO:
~RhIER BALI~DS The whole world knows "MIs~y," butthat fortunate melody isjust one of the many ballads that Erroll Garner composed, and all of them refiect the deeply romantic approach to the plano that so delighted hls audlences. Some of hls earliest recorded hlts h~d been standard ballads like "Laura," and when he began to regard composing seriously, some of hls first effoffs were ballads. He brings to these songs a Iove ofthe rich sonoritles atthe plano, and a glft for maklng natural melodles and fresh harmonles. You’ll notlce that they are all about the same tempo. Garner moved them right along, and infused them all with hls resonant jazz tlme and good splrits. They playveB/nicely at a slower, easler tempo, provided the rhy[hm Is flrm. THIS TIME IT’S REAL was never released or titled during Garner’s lifetlme, and it Is a sumptuous beauty!! The tenths in the lefl hand will surely require some cheaflng by many planlsts, buf the tempo is slow enough to accomodate rolllng many of them. Leave outthe top or boítom note ifyou must, but playthls song. It will make your piano "stng" in true Garner fashlon. Llke many of these ~nes, unless you lntend to Improvise, take the 2nd endlng. DREAMSTREET contains some Iovely Garner devices for"dresslng-up" a melody [see A-2 anti A-7]. The Intro and endlng are typical Garner figures, and should be punched out In contrast to the more lyrlcal quality of the song they frame. Some unobtrusìve pedaling will smooth out the lefl hand skips, whlch have more In common with Chopln than Fats Waller. This is one of the classic Garner ballads and plays very easily. NO MORE SHADOWS Is one of my favorite Garner ballads and has a good lyric, for those of you who slng. l’ve simplified the very lush rolling arrangement that Garner recorded ["Shadows’~ to make It more accessible. The ending Is again, ~/plcal Garner.
"Erroll Garner took evident pleasure in hls work, obvlous dellght in the surprlslng places to whlch hls Imaglnatlon took hlm, and well he mlght have. The dellght was infecfious,.,Somebody sald once thaf joy is at the heart of all art, no matter how serlous. Certainly, It was at the heart of Erroll Garner’s, It was hls glft to the world, and for it we shall remember hlm with special gratitude." --Willlam Glackln, SACRAMENTO BEE
"1 treasure my memorles of Erroll Garner.,,his endearlng elfin grln, bis humorous wit and hls Incredlble ability to affaln the sound of an en|ire symphony when he was playlng. He was always composing. He would weave Intricate harmonles into a simple song until It became an exqulsite concerto of memorable beauíy.,," --Slam Stewart
14
C~R~ER BALI~IDS THIS TIME IT’S REAL NO MORE SHADOWS DREAMSTREET
Ió 18 23
15
THIS TIME IT’S R~L Erroll Garner
mp
Fmaj7
Am7 F/Am6 Ab°7 Gm7
D9+5
Fraai7 F E9+l 1 EbT+5 D9
Gm7
Gm(maj7)
Gm(maj7) Gm7
G9
G/GI 1
Gm7
F/Eb9
G9
C9 C13 Fmaj7
D9+5 D9
G7
Copyright © 1986 Octave Music Publishing Corporation This Arrangement Copyright @ 1987 Octave Music Publishing Corporation AII Rights Reserved
Gm7
Gm7
C13
Bb/D7
D7 D b7+5 Spa .............
C7
Am7 F/Am6 Ab°7 Gin7
Am7
Cm7
F/Am6 Ab°7 Gin7
Gm(maj7)
Gm(majT)
Gm7
Bb/C7 C9
Fraai7
B b/C7 C9 Fraai7
Ebg+11
B~maj7
Fl3
Gm7
F/CI3
F6
Am7 straight 8ths - -~
FF G~O7 8va
F 8val loco
Gm7
Eb
I1.
F
Gm(majT)
Am7 F/Am6 8va-
Ab°711,12.F 1
Gm7
C9sus4
Ebm~7
C7-9
Fmaj9
NO/I¢IORE SHADOWS Lyric by Edward Heyman Music by Erroll Garner
Rubato B~/Ab
D~+/G
G~maj7 B~m7/Ab G t, maj7/B~ D-7+l 1 D bmaj7
/
Ballad tempo ~= 68 Eb9sus4
Ab6
Fm7
Bbm7
Eb7
No
more.
8had
ows,
Bbmll
Ebl3
Ebl3+ll [] Ab6
Fin9
no more of hope-less dreams a~ r~ght.
18
Ab6
Fm9
Time
for
Copyright © 1961 Octave Music Publishing Corporation This Arrangement Copyright © 1987 Octave Music Publishing Corporation AII Rights Reserved
El~13
[]
Eb/Bb
Cm7
Fin7
sun
shine,
time to see a ray
Abmaj7
Bb9
Bbm Bbm(maj7) B bm7/Eb E~9
of
Fin9
Bbm
Eb9
more
shad
ows,
light.
Ab
F~n9
~.~~!,, ~ No
B~ml 1
Ebl3
Ab6
~ I~ Time
Fin9
J for
no more to shag a lone-ly
Eb/Bb
Ij laugh
Cru7
j ter,
3
19
F~n7
~
Bb9
~-
" . ~~ -
t~e to feel that I
-~~l b ~ ~
~
Cru7
~~
E b9sus4
2O
~ IF
~ I’m t~ouO~ with those fa~ weath-er friends
F
~
B~m9
who loved me on
C~ A b
8van
Ebl3
_
be - long.~
E b9
&~an
Eb9
- ,~~,
Fm9
ran so tme to fo~,
day.
B~mll
(Rhythmically) [] Bbm7
I’ll
~
Il I
E~ 13
-I A~add9
-I A~
a love-ly day and left me ~ a storm.
F~n7
go
B bm7
Eb9
walk
ing
I’m
Db6
Gbl3
walk
ing
Bbm7
Eb9
E~7-9
Ab
Bbm7 Eb9
U~ - to the shad-ows no more. 8va .........................................
,,~~
Bbm
B bm(maj7)
iii
Bb~fl7
to the shad - ows
Eb9 Eb13-9 Ab pedal
no
more,
A~ maj7
8va- ~
21
"More than ever, Garner seems on each track to be celebrating the joy of playing. HIs exuberance.,.breathes new life into everythlng he touches,.Nobody will replace hlm or erase the distinctive mark he has made on American music," --Leonard Feather
22
DRB4MSTREET Erroll Garner
Rubato (Move!
B~/F
o S
Ballad tempo ~J= 7~ (~-~ []
B~
Gm
Cm Cm(maj7) Cru7
F9sus4
[] Bb
F9
Bbadd9
Gm
D7+9
Cm7
Copyright @ 1961 Octave Music Publishing Corporation This Arrangement Copyright © 1987 Octave Music Publishing Corporation AII Rights Reserved
23
F9sus4
F9
Bb
D7+9
í
Om Gm(maj7) Gin7 Gm(maj7)
;,_ ~
T 7 Cm
Cm(maj7) Om7
Dm
Dm/C
F :~ Dm9
_
24
Bb
Cru6
F9
Cm7
Em7-5/Bb
3
A9
Bbl3
Bbmaj7
Al3
Gm Gm(maj7)Gm9 C13 F13sus4
Gm
Cm
Cm(maj7) Cm7 Cm6Cm7
.~~..~ .~ ~
Em7-5 A7-9
Dm Bbmaj7/D Dm6
Fl3 F7£59
F7
,,
D7-9
Gm Gm(maj7) Gin7 Gm(maj7) ]Om7 Cm(maj7) Cru7
Cm(maj7) Cru7
Era7-5 A7-9
J ,.,~ î
FI3-9
B~
rit.
,-)’~,"C§Z
-
o
Cru6
INTRODUCTION TO:
~R~ER SWINGS If any group of composltions demonstrafe fhe quolitles that made Erroll Garner the extraordinary jazz superstar thaf he was, it would hc~Te to be these swing pleces. When hls left hand would start the unmistakable fout to the bar rhythm, as hls rlght hand unfolded those dazzling melodíc variations, the energy released could lighf a clly, Some of his most dellghfful mannerlsms are to be found in this secfion of the book. The mosf fundamental of these, the famous Gamer "lag/’ cannot be notated in any formol way because it Is baslcally an Interpretive device. [HIs left hand would pump out guitar-Ilke four-to-the-bar chords squarely on the beat, whlle hls right hand would phrase around the beat. Hence the "lag/" a fundamental part of the Garner s~le. Nobody else has ever been able to dupllcate the awesome Impact of Garner In full cry, However, it cpn be approximated wifh some practice and careful a~ention to Garner’s records, In playlng the music, you’ll notice that the left hand volclngs hover around the same register and hand positions. Thls is the home of the most sonorous accompanying register on the piano, and It accounts for some of the full rìch sound Gamer was able to pull from the Instrument. His voice leadlngs are unusually smooth and fall well under the hand. $ome analysis of the left hand volcings and their relafionshlp to the chord symbols can be very fruifful, We suggest practiclng the lefl hand separately untll the rhythmlc flow has been esfabllshed. Pay particular affention to the rhythmlc accents that punctuafe the steady fout-tour. When the left hand can swing easily af the proper tempo, the ríght hand should fell into place. You’ll notice that the elghth note notation in the right hand is largely unsyncopafed. This is for reasons of claril,/and slmplicl~ and because the usual method of Indicating jazz syncopatlon Is Inaccurafe {I.e..~ ~-~ ,~~], Erroll Garner, like rhosf jazz artists, maintains a strong "12/8 pulse throughout even/thlng he plays, from the slowesf ballad to the fastest Lafin.A more accurafe notation would be ~!3.ìl ,!3,~ or changlhg the tlme slg nature to 12/8, but this would present enormous readlng difficulties, even for professionals, a nd llke the "lag," the swing feel is left unnotated, Another Garner device thaf bears explanation is the tremolo, notated ~ Thls Is hls Interpretation of the blg band brass shake, and he uses it constantly to susfaln a chord for a measure or more. This tremolo is rhyfhmlc at its source and usuallymeasuredID ~~ 8 ~ 8th or flóth note triplets [ ~~’ ~~. ~ ~ ]. Using the tremolo properly wlll add a rlch sonorily and thrusf to these pleces. FIngering Is supplied where itseems necessary, buf no Nvo hands are alike, so it can be adapted to your own needs,
26
You’ll notlce that Garner arranges his music In the same way an arranger mlght for a Jazz ensemble, He beglns with a slmple melodic expositlon [supported by that magnlficent left hand] and adds brass-like fills on the second eight bars, changes registers or chordal textures for the bridge, and restates the melody for the lasf elght bars In a slightly altered fashion. The result Is a perfectty balanced AABA song form. UP IN ERROLL’S ROOM Is a medium tempo swing piece.You’ll notice a different harmonlc densih/and texture In each of the eight-bar sectlons In the plece, cllmaxed by the polychords in the third measure of [] [E mlnor/E roa}or, G major/ F# major, finally resoMng to a G triad.] This kind of development is more characteristic of a great blg band arranger than a jazz pianist, but then again, Erroll was anyfhlng but an ordinary pianist. This plece is great fun to play, with an Infectious rhyfhm and melody. THAT’S MY KICK was arranged by Garner in a Iocked-hand block-chord s~le [see "Up in Erroll’s Room’~, but for thls solo piano versíon, I found it a períectvehicle for the famous Garner lag slyle, so you might say I Garnerized thls plano arrangement. The bridge, at leffer [], Is closer to the spirit of the orlginal recording. "Kick" ls one of the most often played Garner Jump tunes and when you play ir, you see why. TRIO is the earllest compositlon In thls volume, with a classic recordlng featurlng the~afJazz basslst, Red Callender In the late ’1940’s.A"Jackthe Beat" [EIIIngton, Blanton] interchange between bass and plano takes place, Iong before that was commonplace. The tempo Is ve~/brlght, although it plays very nlcely at a more comfor~able tempo. Note the differentyoiclng at [] and ~]. I used this as a reading audltlon pie6e for planists on a Broadway musical I’m orchestrating, and I can offer a reading tip, based on that experience, for anyone reading thls plece, The melody af [], [B], and [] Is a slmple chromatlc structure, and the chords move In parallel with It. Therefore, whatever the first volclng Is, moves up a minor third and down chromatically, You don’t have to struggle readlng all the accidentals along the way. And each phrase repeats three times, with only a minor rhyfhmic change the last t/me. Readlng Is largely recognition. SEVEN-ELEVEN JUMP Is the closesf to the classic Garner swing tunes featured In the firsf book, It moves right along, practically playing itself. The lefl hand at [] and [] can be played as straight quarter note rhythm parts [see F~]]. Notlce the syncopation In the Introduction, whlch is Iyplcal Garner, and the polychords in the thlrd measure before the end, Those are used evenff/here these days, but were exceptional when thls pIece was recorded, I flnd the bridge [] especially fun to play, lendlng itself to the Garner lag as well as it does, JUST BLUESwas improvised on an available studio harpsichord during the Paris lm-pressions sesslons. The sparer voicings lend themselves to the timbre of that Instrument very nlcely, but work as well on a plano. [] is an ímprovised bridge based on what musiclans call the "Honeysuckle" changes, [lhe í-wo omnipresent bridges in jazz are based on the "I Got Rhyfhm" changes and the "Honeysuckle Rose" changes, and are referred to as "Rhyihm" and "Honeysuckle,’3 Thls plece, of course, Is not remotely a blues In structure, or even emotlonally, belng a cheefful and oufgolng little tune,
27
YOU TURN ME AROUND Is a medium slow blues with a bridge ["Rhyfhm" changes], In arranging It for piano, I have lncorporated a bass llne Into the octave-based slyle of the original. This was recently read by many flne pianlsts as an audition piece, and Invariably they stumbled at reachlng the bridge, There are some tricky accidenfals [watch the Fb’s) but It mostly has to do wlth the slmple facf of a bridge in the mlddle of a blues. The ear Isn’t ready for il, anticipating Instead fhe steady and fundamental sancfuary of those three simple chords, and that twelve bar structure. Erroll always used a bridge In the blues, at least In those recordings I know, and almost always, a "Rhylhm" bridge, probably preferring the break in strucfure as a relief to the ear. Because of the break In blues traditlon, Garner is sometimes referred to as not being able to play the blues, I defy anyone to play this and "The Way Back Blues" and still say that, They are drenched in blues tradition and passion, Watch the intro, The left hand part should be practiced separately until it is comfortable before adding the brass-punchy rlght. The chords in the last lwo measures are another poly-chordal solution to freshenlng the cycle-offiflhs syndrome, agaln much in advance of confemporary practice. The first endIng is also worfh some practlce. THE WAY BACK BLUES is a slow blues, and slow blues have always been regarded as the true test of a jazz musician land one that many a contemporary "gianí~’ would rail]. Thls arrangement mixes together the bass vlolin ostinato figure, with Erroll’s own lefl hand figures, to create a self-sustalnlng blues plece for piano that captures the polyphonlc spirit of the recording. ThIs Iooks harder than It Is, because much of the righf hand consists of simple double-time flgures. Agaln, thls blues has a bridge, and again it is a "Rhythm" bridge, I have provided fingering for the left hand in the middle of the bridge I~1, because It isn’t hard once you master the fingering. Watch the 8va rlght hand for almost all of F~l, and take note that the ending is an approximate rhythm notation of a ve[y bluesy rltard. This piece is well woffh investigating because if you can master the nofes and play them in meter, the blues feel will somehow surface, even if you’ve never played the blues before.
28
~R~ER SWi~GS You TURN ME AROUND WAY BACK BLUES JUST BLUES TRIO SEVEN-ELEVEN JUMP UP IN ERROLL’S ROOM THAT’S MY KICK
30 34 40 43 46 49 52
YOU TURNA4E AROUND Erroll Garner
A
A
8va ................. J
Bbl3+ll
E
D/A C/D
Cb/G Bb/C A/F
Eb7
Ab/B F7 Bb7
P
3
3
30
~
Copyright @ 1970 Octave Mus~c Publishing Corporation This Arrangement Copyright © 1987 Octave Music Publishing Corporation
3
F7/A
E~7
B~7 3
F7
3
3
i -íí~r
B[,7
3
3
3
3
33
Bb7
3
33
bassfee!
I J
,,,1 .!
~
31
B~7 E~7
F7
3
.J I; ,, j
B~7
~
F7
G[,7
Gm
3
au,
82
B~7
3
3
3
3
Bb9
B9
II í iI~ ~~
Jí
í
V
Cru7
F7
112. Bb7
A7-9
G7+9
Ab9
ZEíí
rrrí
Cm7
~---3"--~
I Abl3 Spa
F7
I J~,J t~,.
I ~"
A13-9
"
Bbl3
~--3--~ Bb7
~».. m
33
WAY BACK BLUES Erroll Garner
Slow Blues feel ~J = 70 (,~ = ~J ~) B[~6
-],t. r~ ~
Bb6 4 6 ~ 6
4
E~7
B[~6
,
34
Copyright @ 1956, 1984 Octave Music Publishing Corporation Thls Arrangemenl Oopyright © 1987 Qctavo Music PubHshin9 Corporation AII Rights Reserved
a4 a 4 a
F7
35
F7+9
G
E 1,7+9 F7+9
Gmaj7
Bb7
Eb9
G7
C7
F9 8va .............................................
Ia~Tâi
36
Bb Bb/FT+5 B[,9 8va-
Eb7
Bb
Bb7 EI~7 Spa ...........................................................................................
B[,
3
Bb
G7
Eb7
3
C9
Fl3
Bb/D Eb Eo Bb/F DT-9/F} G7 G7/B &,a ...........................................................................................
accel.- ...............
C7 F7 8va ............... 7 loco
C/F
F7
37
JUST BLUES Erroll Garner
L,H. 3
3
3
F9+5 B[~6
3
40
Copyright © 1958, 1986 Octave Music Publishing Corporation This Arrangement Copyright © 1987 Octave Music Publishing Corporation AII Rights Reserved
[]
B~6
E[~13 D13
D7-9Gin7
F~m7 Fin7 B[~7+5
3
C7
Cm7-5
07-9
C9
3
Cru7
FTsus4
F13-9
B~’6
41
C9
F13
Ebl3 D13 D7
Gin7 3
Cru9
F~m7 Fm7 Bb9+5 _
E[~6
Fl3
AM3 GI3
F9+5
G7-9
L.J’ ~’ ’~ L....r .3
C7
Cm7-5
B[~
G7-9
C9
A
,3
Cm7
42
F7
F13-9 B[~6
F9+5
F13
F13-9 Bl~6
TRIO Erroll Garner
FastJazztempo.~=108(*J’~:~ ~)
Db9/F
Bbó/F Dbg/F Bb6/F D~9/F BbO]F A
D bg/F
A
A
Bb6/F Dbg/F Bb6!F Db9/F Bb6/F
FTsus4
A
F7sus4
B b6/F
F7sus4
I¢ Copyright @ 1962 Octave Music PublisNng Corporation This Arrangement Copyright © 1987 Octave Music Publlshing Oorporation AII Rights Reserved
I¢ 43
Bb9 []
Db9 A
C9
C9
A
A
A
A
B9
Bb9
B9
Db9 A
Bb9
Db9
C9
B9
Bb9
Db9
Bb9
A
! & A
C9 A
B9 2>
Bb9
A
A
Db9 A
A
A
C9
139
C9 A
A
B9 >
A
A
Bb9
A
44
A
A
A
A
Ebml 1
Ab9
Ab9
D bm 11
~
Cm7-5
F9sus4
Ebmll
Gb9
F9
Bbl3
Dbl3 A
C13
B13
C13
B13
Bbl3
Bbl3
Dbl3
C13
BI3
Bbl3 Dbl3
8va~ A
A
45
SEVEN-ELEVEN JUMP Erroll Garner
J =u8 (.[-~ = ~-~~) iN.(2.
A
A
[] Ab
Ab/C
Fm7
|
Bbm7
Eb9
F F~F F 46
Copyright © 1954, 1982 Octave Mus~c PuNishing Corporation This Arrangement Copyright © 1987 Octave Music Publishing Corporation AII RIghts Reserved
B!~m7
Ebl3
Fm7
mp
G
Eb9
D~6(maj9)
E~m7
F F F F
Fm7
Bbm7 7a~
A°7
Bbm7
Eb7+5
2:>
47
[] A~
Bbm7
Fm7
Fm7
Eb9
A
Fm7
[2"Bbm7
Bbm7
48
Eb9
Eb9
A
Ab
E
Bm7
Cb/D F/C
E9
Bbm7
EM3-9
UP IN ERROLL’S ROOM Erroll Garner
G7
G
El3
C
G7
C
Db°7
G
E13
D9sus4
A7-9
A7
Db°7
E7
G
+9 D7-9
C c~°
G°]D G
D+
G7
G
D7
A7
G [~ A7-9 A~9+ll G7
Copyright © 1968 Octavo Music Publishing Corporation This Arrangement Copyright © 1987 Octavo Music Publishing Corporation AII Rights Reserved
C
D5°7
49
G7
A7-9
C/G G
D7
G7
D~°7
C
A~9+I 1 G7
F/G F~/G
G
D~°7
C7
D~°7
DI3
Fmaj7/F7
E7
A7
G
G9sus4
C
G
G/F G7
G/Gb
D7+5
E~9 D9
loco
G7 Ab9+5 G
50
C
D ~°7
G7
Em/E A
G
G7 FmajT/F7 E7
G/D
D9+5
112’A7-9
I1"A7_9
G
D7
D7sus4
C7 C~°7
G7
G[,7
F7
E7
2>-
Repeat ad lib Am7
D7sus4
E!,9 D9
E7
G
ppma~
Am7
D7sus4
EI,9 D9
G7 8va ............
51
THAT’S/HY KICK Erroll Garner
,~= 164 (,~’-~ Ab
Ab+/GBbm/A C~+/BbBbm/Eb G Ab
Bbm
Ab/C
Db
3
Ab/Eb CT/E
F7
mp
..r r r r Cm7
~z F7-9
~ r r r A~
52
Copyright © 1966 Octavo Music Publishing Corporation This Arrangement Copyright @ 1987 Octavo Music Publishing Corporation AII Rights Reserved
III
B!~9
F7-9
Ab9
E~7
E 57-9
B b~n7
Cm9
E9
Bm9
Ab/C
Bbm7
Ob9
Db6
Ebm9 Ab13-9
F7
Bm7
E9
53
B~m7
Cm7
E b7
B[,m7
~ >~ ,
Eb7
Bb9
E~9
__
F7-9
Bbm7
Cm7-5
F7-9
Eb9
a
E b7-:>L
A>.b..._._. ~
A
11~’
A
÷
54
3
INTRODUCTION TO:
C~R~ER I~TIN NIODES Erroll Garner had a Iongstanding affinih/for Latin music. He recorded with Candldo in "1954 [MAMBO MOVE$ GARNER], and from ’1965 on, had Jose Mangual on congas as part of his regular rhythm section. HIs Idea of a great night out was to sit in one of the Latln blg bands at the Paladlum in New York. As usual, with Garner In hls Latin excurslons, he transformed the traditional Latln materlals Into a unlque Garner hybrld, comblnlng the tradltlonal 8/8 Latin rhythms wíth bis own unquenchable ’12/8 Jazz feel. These pleces offer the greatest challenge to the pianist because of the syncopatlon.You’ll notlce thatthe leff hand patterns are repeated over and over. They areusuallyvariationsontheclassicclavepattern4/4 .I ~ .! ~ ,~ I ~ .J ,J andtheyevolved from hisfour to the bar left hand patterns. The thing to do Is to practlce hands separately until each hand ~ confidently, and then put them together at a slow tempo. MAMBO 207 has an even 8th note feeL unusual In a Garner mambo, whlch usually Is a rolllcklng mix of jazz ’12/8 and even 8th Latin. It has a pronounced Iocked-hands blg band ensemble feel to it that Is quite easy to play. In performing a mambo IIke thls, Erroll would frequently break Into a swing Improvisation in the mlddle of it, returnlng to the Mambo feel for the last chorus, The tempo of EL PAPA GRANDE is fast with a ’12/8 Latin pulse to ir. It plays well at a slower tempo with more of a straight 8th note feeling. The syncopatìons in the lefl hand bear separate practice. MAMBO ERROLL has a pronounced 12/8 feel to it. The left hand on the record contlnues the shuffle feel of the Introduction, but would be too hard to play.~ is as blg a sound as you can get from a plano--slmple and sonorous, lE1 and [] are so slmple they’re hard, and need separate hand practice. The grace note above the fundamental [Gb over F] is unusual and rlg~t. I have included GEMINI with the Latln tunes, because It Is structurally of one plece with the rest of these Mambos. The modified "clave" pattern in the left hand, the melody and the harmonlc structure are all squarely withln the Garnerlzed Latln parameters. The dlfference Is thatwhlle Garner would insert straight Jazz choruses In hls mambos almost Invariably, on "Gemlnl" he starls it off In a fast jazz tempo, and keeps It there, brllllantly.
55
~R~ER MTIN A~ODES EL PAPA GRANDE MAMB0 207 MAMBO ERROLL GEMINI
57 ó0 62 66
EL PAPA GINNDE Erroll Garner
/ ìMambo tempo d= 132 Gm
A
Dm7
D7+9
Gin
A
A~nT-5
Gm
Gm
Gm6
D7+9
Gm(maj7) Gm
A
07+9
A
A
A
Copyright @ 1961 Octave Music Publishing Corporation This Arrangement Copyright @ 1987 Octave Music Publlshing Corporation AII Rights Reserved
57
Gm
Gm
AmT-5 D7+9
D9
8va- -
Gm
D9 8va ..........................................
Gm D9 8va ..........................................................................................
Cm7
D7
58
D7+9
Gm D7
A
A
A
A
F lE7 A
A
A
A
A
A
~~F D7
A[
A
A
A
A
A
A
~’ IJ IJ "7’ ’, 112. D7A
D7 ,x
Gm~
A
Gm
GmlF
Gm/Eb
Gm/D
Gm
Am7-5
D7+9
Gm
mp
I A
59
MAMBO 207 144 (even 8th feel)
F~7+5
Em7-5 A
Em
Erroil Garner
B7
A
Em7
Era7
B7-9 A
F~7
F7
B7-9
A
B7;59 B7-9
Em
Copyright © 1956, 1984 Octave Music PuNishing Corporation This Arrangement Copyright © 1987 Octave Music Publishing Corporation
Em(majT) Era7
Em
Anl
Em7 Era6 Em
Era7
A~n A
AA
Em Em(maj7) Era7
Era6 Em
A
A
A
Em6
B7+I1
Em Era7 Em6 B7-9
A
Em7
rit.
F~
F
Em
A
61
MAMBO ERROLL
Gb
~
Gb
G
A~
Gb
G
Ab
G~
Ab
Gb
G
~~,~ ....................................... ~,--~ ...........................................
Ab
G8
G
Ab
Gb
~ ~8va ........................... >~
62
Gb
Ab
G~
Ab
Erroli Garner
Copyright © 1966 Octave Music Publ~shing Corporation This Arrangement Copyright © 1987 Octave Music Publishing Corporation AII Riahts Reser~ed
G
Ab
Gb G Ab 81~a .............................
Ab
3
Ab
Gb G
3 Ab
Gb
Ab Gb G Ab Spa ..............................................................................
Gb
G
G
Gb
Ab
G
3
Ab
Ab7
G~ G A~
A~7+9 [~D~7
,--~-3"---~ ~
A b7+9
Db7
D7
63
Eb7
Ab
A~ G~ 8va .................... ~ ..............................
Gb
G
Ab
Gb
G
G
Gb
Ab
G
3
Ab
Gb
G
Ab
Gb
Ab Ab 81~a ........................................................................................
64
G
Ab
Gb
G
A~ 8va ........................................................................................
í
’~
L,,.
.I. / k- ~~-
D.S. al Coda A ’~7+9]E ~, ~
PPP
Coda loco
A
A
65
GEMINI
Erroll Garner
Fas, Jazzfeet J=178(s[~=~ ~) A~sus2
A
66
Copyright © 1972 Octavo Music Publishing Corporation This Arrangement Copyright © "~987 Octavo Music Publishing Corporation AII Ri~ht~ Reserved
AI,7+5
!) i
Ab13 A
A
A
A~7+5
[] D~9 A
A
A
A
U/b,b o, A~13
>~
67
Db9
:>
:>
:>
>
D7+9
A
A
A
A
A
68
A
A
D7+9 E~7+9
A~l3
A
Ab7 A
Ab7+9 AA A
A
Ab7
mS
SSS A
A
69
INTRODUCTION TO:
AFTERNOON OFAN ELF AFTERNOON OF AN ELF should properly be conslderéd the centerplece of thls book. If was recorded as a plano solo and lends Itself fo the basic premise of a plano folio wifhouf much adaptatlon, Buf beyond that, its cheerful theme, simple as a chlldren’s song, lends itself to a varleíy of seffings, and Garner explores several as he develops the plece, The Introductlon has a fanfare qualily to It untll bar 8;when It slips into tempo with the flrst accompanying motlf, a modal figure over an Eb pedal, The melody is Introduced at [~, Please notlce thaf it is played an octave hlgher than notated, as Indicated by the "8va" symbol, If wlll vary between 8va and "loco," [played where It is wriffen] throughout the plece, and It wouldn’t hurf to hlghlighf each change with a marker of some color or another.[he effect of this accompaníment motif Is of suspended harmony, not unlike Debussy, At the bridge, the left hand drops Into a varlafion of stride that sets the plece more firmly In jazz tradltion.At ~[], we return to modality until íwo bars before the second chorus, [~, when Garner shlffs Into a varlely of strlde plano characterized by a chord on the strong beat, [as opposed to pure strìde, whlch feafures a single note or octave on the strong beat], Thls second chorus has a wonderful rolling qualiíy to It, Notice how each "8va" melodlc phrase is answered by a "loco" set of harmonlc subsfitutions, Remember. that Cb9 is the same as Bg, and thaf Fb is also an E ~, The bridge, ~~], has yet another syncopated verslon of strlde thaf will bear some separafe practice. Don’t forget that thls p, lece is In a strong t2/8 pulse and that the leff hand should swing!! The last 8, ~l, retu rns to the mod al s~le u ntil the tag, [],whlch Is In an ensemble blg band slyle. "Elf" winds down with a reprise of an Introductory motif. I strongly feel that "Affernoon of an Elf" is a strong addition to the plano llterature, and I Iook forward to its separate publication In complete form at some later date,
7O
AFTERNOON OF AN ELF Erroll Garner
Rubato Abmaj7
G7
C7
F9
A tempo ,~= 130 N.C. Eb
Cm/E~ B ~m/E~ Cm/E~
Eb
Db/Eb Cm/Eb Bbm/Eb
DblEb
D~/Eb Cm/Eb B~m/E~ D[,/E~
Ab/Eb A
Eb7 Ab A A
A
mp Copyright @ 1955, 1983 Octave Music Publlshing Corporation Thls Arrangement Copyright © 1987 Octave Music Publtshing Corporation All Rights Reserved
71
S\ving feel ( ,J~ -_ ~r~a~ ) Ab A~maj7 D~/A~ 8va .....................
CmT/A~, B~mT/A~
N.C. Cm/E~ E~7 Bbm7/Eb E~7
mp
,~ A~
~ A~maj9
B~mT/A~ E~7
.~ (sire.) D~/E~ E~7 D~,/E~ E~7 B~m/E~
N.C.
8va ...... a A~
A~maj9
A~maj9 B~mll E~7
A~
B ~mT/A~ B ~m/A~
B~,ml 1
~-~~ï~ ............... ~- .... L ...................... ~~~~:ís~o .....................................
Ab
Abmaj9
Bbm7
Bbm7 Bbm(maj7) Bbm 81~a .................................
*Use middle pedal.
Eb7
÷ Ab
.’~ Eb9sus4 loco
Cru7 Db7 Eb9 ~ .......................................................
Eb9
B bm7
Fin7
E b7/Db
Bbm Bbm7
Abmaj9 Eb7sus4 Ab Ab 8vaa .........................................................................................
Bbm7
~,~ (sim.) Ab
Cb9
Fb7
Eb13
Ab
Fin7
Bbm7
SPa ...............................................
~Us~ middle pedal.
7~
Eb9
Eb7
Bbm7
Cm7
Cb7
Fbmaj7 ~- I
E~7
Cm7
Eb7 B Ft ~.
F7
Bbm7
Cm7
F7
Bbm7
Eb9
Eb9
q,’~
8va J Ab
Cm7
8va ......
Bbm7 8va
Eb9
Cm7 "~ loco
74
Fm7
Bbm7
Eb9
C7+9
Fm7
F9
BW
Ab
B~13 E~7
Eb7sus4
I L-~ ~.d A
A
A
Bbm B ~m(majT) BI~m7 Bb9
C7
E~7
P
’
~
3
3
A/Ab
Ab
A
_r-]j_r--j ~=
T~.
75
CODA In the decade slnce Erroll Garner’s death In ’1977, posthumous awards and tributes have continued In hls honor. Concerts have been held salutlng hlm in LosAngeles, NewYork, London, Washington, and Chicago, and a three-day festival showcaslng hls composltions was presented by Slam Stewarf In Blnghamton, NewYork, In f1978. The Unlversal Jazz Coalition In NewYork celebrated Gamer’s blrthday in f1985 wlth a program produced by planlst/arranger Frank Owens, hlghlightlng Garner’s works, with a dance tribute by Maurice Hines. That Garner’s music is findlng another dimenslon In dance theater is grafifying; he had opted to compose for the ballet, theater and films, and was planning to set aside more time from hls performlng schedule for thls purpose. Slnce 198 t, the Dayton Ballet Company, and subsequently, the Princeton Ballef, have been performing a work tltled FAST COMPANY, set to the music of Gamer by Stuari Sebastlan, dlrector/choreographer of the Dayfon company. Other composltlons by Garner are belng made available for the dance. In the recording fleld, an active program of relssues öf some of Garner’s classic recordlngs has been In progress abroad, Domestlcally, the Book-of-the-Month Club has In release a deluxe three-album set titled ERROLL GARNER: MASTER OF THE KEYBOARD. Also In the Unlted States, Polygram Records released Garner’s first compact disc last year--ERROLL GARNER PLAYS GERSHWIN AND KERN, and thls year, the CD verslon of hls solo album AFTERNOON OF AN ELF, Most slgnlficantly, preparations are under way for the world-wlde release of a series of hltherto unIssued Garner recordings. Poems and lyrics have heen wríffen celebratlng Garner; songs have been dedicated to hlm; film clips of hlm In peflormance have been shown at festivals throughoufthe world.Ascholarshlp fund has been establlshed In Garner’s name; an oral hlstory project Is ongolng, as is the research for the Garner Archives, with an eye to an authorized blography and documentary film. This ERROLL GARNER SONGBOOK Volume II Is another part of the contlnuing and essential exposltion of Garner’s legacy of recordings and composltions, and Itke his SONGBOOK Volume I, It Is dedicated to Erroll Garner--hls music and memon/.
76
DISCOGRAPHY COMPOSITIONS/PAGE GARNER BALLADS THI$ T1ME IT’S REAL ’16 NO MORE SHADOWS ’18 DREAMSTREET 28 GARNER swINGs YOUTURN MEAROUND 30 WAY BACK BLUES 34 JUSTBLUES 40 TRIO 43 SEVEN-ELEVEN JUMP 46 UP IN ERROLL’S ROOM 49 THAT’S MY KICK 52 GARNER’S LATIN MODES EL PAPAGRANDE 57 MAMBO 207 60 MAMBO ERROLL 62 GEMINI 66 AFTERNOON OFAN ELF 7’1
ALBUM
~LOSEUP IN SWING [ORIGINALLYTITLED SHADOWS] OCTAVE/ABCPARAMOUNT 365;FRENCHRCA NL8943’1 DREAMSTREET, OCTAVE/ABC PARArvlOUNT 392; FRENCH RCA NL 89432 FEELING IS BELIEVlNG OCTAVE/MERCURY SR6’1308 THE MOST HAPPY PIANO, CBS RECORDS CL939 CBS RECORDS, RELEASED AS A 7" 45 RPM SINGLE 4-4"123’1 ERROLL GARNER CONTRASTS, MERCURY/EMARCY, MG3600 UP IN ERROLL’S ROOM, OCTAVE/MGM SE 4520 THAT*S MY I~ICK, OCTAVE/MGM RECORDS E4463; FRENCH RCA NL 89433 CLOSEUP IN SWING, OCTAVE/ABC PARAMOUNT 365; " FRENCH RCA NL 89431 THE MOST HAPPY PIANO, CBS CL939 CAM PUS CONCERT, OCTAVE/MGM SE436’1; FRENCH RCA NL 89434 GE MINI, OCTAVE/LONDON RECORDS XPSó’17; FRENCHRCA NL89975/ENGLAND BDL4007 AFTERNOON OF AN ELF~ MERCURY MG 20090; POLYGRAM 826-457-’1/4
77
TH ERROLL C~R~ER SO~GBOOK Volume ]
Arranged and Adapted by
Sy Johnson after Arrangements by
ERROLL GARNER #02509912
The first definitive collection of songs by the legendaryjazz pianist and composer includes such favorites as "Misty," "Dreamy," and "Solitaire." Lavishly illustrated with photos, plus comprehensive performance no.tes, biography and discography.
Available at yo~~r Iocal ~~~~~sic store.
~
~herr¥ Lane Mus, ic Compan¥
U.S. $14.95 ISBN 0-89524-330-X
02509096 Printed in the U.S.
~ Cherry Lane Music Company ¯ Quality In Print~d Music ¯ [~~ P.O. Box 430, Port Chester, NY 10573
