Julian Lee and Kerrie Biddell:

The Art Of Vocal Accompaniment

Michael Bartolomei

A Thesis

Submitted in partial fulfilment

of the requirements for the degree or

Master of Music in Jazz Performance

Conservatorium Of Music

Jazz Unit

University of Sydney

2016

Declaration

I declare that the research presented here is my own original work that has not been

submitted to any other institution for the award of a degree

Ethical approval has been granted for the study presented in this thesis from the

Sydney University ethics Committee. Participants were required to read an

information statement and sign a consent form prior to the collection of data.

Signed:

Date:

3

Acknowledgements

I would like to thank, Cassandra Bartolomei, for her love, enthusiasm, patience and

support without which this endeavour would have been impossible. Special mention

is due to my friend Mark Winters for his encouragement and recognition of my

passion in this particular topic. His advice and guidance was invaluable. I would like

to thank my supervisor Dr Simon Barker for his patience and persistence in guiding

my efforts. Last but not least, my three sons William, Lewis and James for their

constant comic relief, which was a vital element in maintaining the equilibrium

necessary for this study.

4

Abstract

The collaboration between pianist Julian Lee and singer Kerrie Biddell exemplifies

the highest qualities of song interpretation in a jazz setting. Through the transcription

and analysis of their work I hope to inspire and inform musicians of the possibilities

that can emerge when interpreting songs. As is always the case in the jazz idiom,

slavish mimicry is ideally only a stepping-stone to a deeper and more personal

interpretation of songs. Noted jazz trumpeter and educator Clark Terry stated that the

three stages of learning were imitation, internalization and innovation. While the third

stage may seem a lofty ideal for most, it is certainly true that as accompanists and

singers there are many ways, through analysis and practice, to hone our skills.

Understanding Julian Lees’ contribution to the jazz piano literature through his vocal

accompaniment is important for all musicians in their collaboration with singers. This

aspect of piano playing in general has been neglected in analytical literature.

Lee’s work with Biddell is particularly interesting in the way he weaves his classical

influences and arranging expertise to create spontaneous orchestral accompaniments.

The career experience and exceptional talent of both of these artists combined in the

later stage of their careers to produce art of sublime maturity. This work seeks to

exploit their knowledge to the benefit of all musicians.

5

Table  of  Contents  Chapter  1  ....................................................................................................................................  10  

1.1  Introduction  .....................................................................................................................................  10  

1.2  Background  History  and  Interest  ...........................................................................................  10  

1.3  Aims  .....................................................................................................................................................  12  

1.4  Methodology  ....................................................................................................................................  13  

Chapter  2  ....................................................................................................................................  15  

2.1  Setting  The  Tone  ............................................................................................................................  15  

2.2  The  absence  of  educational  literatures  on  jazz  accompaniment  for  singers.  ......  17  

Chapter  3  ....................................................................................................................................  20  

3.1  Who  is  Julian  Lee?  ..........................................................................................................................  20  

3.2  Kerrie  Biddell  ..................................................................................................................................  31  

Chapter  4  ....................................................................................................................................  36  

4.1  The  Two  Streams  ...........................................................................................................................  36  

4.2  The  Word  ...........................................................................................................................................  37  

4.3  Narrative  ............................................................................................................................................  39  

4.4  Harmony  –  Chords  and  substitutions.  ..................................................................................  41  

Chapter  5  ....................................................................................................................................  44  

5.1  A  Case  Study  .....................................................................................................................................  44  

Chapter  6  ....................................................................................................................................  50  

Song  Analysis  ............................................................................................................................  50  

6.1  Introductions  ...................................................................................................................................  50  

6.2  Bridge  Sections  ...............................................................................................................................  59  

6.3  Song  Endings  ...................................................................................................................................  77  

Chapter  7  ....................................................................................................................................  81  

7.0  Conclusion  ........................................................................................................................................  81  

Appendix  A  –  Song  Transcriptions  .....................................................................................  83  

6

You  Go  To  My  Head  V1  ...........................................................................................................  83  

You  Go  To  My  Head  V2  ...........................................................................................................  94  

You  Go  To  My  Head  V3  .........................................................................................................  102  

References  ................................................................................................................................  109  

7

List of Figures

Figure 1 Teddy Wilson's original chords. Accompanying CD (¤ Track 1). ................ 43  

Figure 2 V1 song introduction. Accompanying CD (¤ Track 2). ................................ 50  

Figure 3 V3 song introduction. Accompanying CD (¤ Track 3). ................................ 50  

Figure 4 V1 support for “spinning round in my brain”. Accompanying CD (¤ Track

4). ................................................................................................................................. 51  

Figure 5 V3 V2 asymmetrical seven-note motif. Accompanying CD (¤ Track 5). ..... 52  

Figure 6 V3 chromatic fantasy as placed in V3. Accompanying CD (¤ Track 6). ...... 53  

Figure 7 V1 chromatic fantasy as placed in V1. Accompanying CD (¤ Track 7). ...... 53  

Figure 8 V2 ascending triads with descending bass. Accompanying CD (¤ Track 8).54  

Figure 9 V1 use of major scale diatonic harmony. Accompanying CD (¤ Track 9). .. 54  

Figure 10 V3 major scale diatonic harmony in crochet triplet. Accompanying CD (¤

Track 10). ..................................................................................................................... 55  

Figure 11 V1 counter melody under rhyming lyrics. Accompanying CD (¤ Track 11).

...................................................................................................................................... 56  

Figure 12 V2 Lee plays different counter melodies under the same part of song.

Accompanying CD (¤ Track 12). ................................................................................. 56  

Figure 13 V1 alternating diminished 7th to Bb6 to harmonise a melodic line. ........... 57  

Figure 14 V2 harmonic variation, C/Bb –Bb with melody. Accompanying CD (¤

Track 14). ..................................................................................................................... 57  

Figure 15 V3 the C/Db chord with melody. Tri-tone substitution. Accompanying CD

(¤ Track 15). ................................................................................................................. 58  

Figure 16 V1 Bridge 1. Accompanying CD (¤ Track 16). .......................................... 60  

Figure 17 V2 Bridge 1. Accompanying CD (¤ Track 17). .......................................... 61  

8

Figure 18 V3 Bridge, harmonization of counter melody. Accompanying CD (¤ Track

18). ............................................................................................................................... 62  

Figure 19 V3 isolated counter melody from Figure 6.17. Accompanying CD (¤ Track

19). ............................................................................................................................... 63  

Figure 20 V1 range variation of voicings. Accompanying CD (¤ Track 20). ............. 64  

Figure 21 V1 inner voice guide tones. Accompanying CD (¤ Track 21). ................... 65  

Figure 22 V2 high counter melody. Accompanying CD (¤ Track 22). ....................... 66  

Figure 23 V3 rising fills to match lyric. Accompanying CD (¤ Track 23). ................. 67  

Figure 24 V1 Mood change of Ab7 to Cø. Accompanying CD (¤ Track 24). ............ 69  

Figure 25 V2 Left hand voicing. Accompanying CD (¤ Track 25). ............................ 70  

Figure 26 V3 use of triads as chord extensions. Accompanying CD (¤ Track 26). .... 71  

Figure 27 V1 use of space. Accompanying CD (¤ Track 27). ..................................... 73  

Figure 28 V1 substitute harmonies. Accompanying CD (¤ Track 28). ....................... 75  

Figure 29 V1 Letter D. Listening for the breath. Accompanying CD (¤ Track 29). ... 77  

Figure 30 V1 ending. Accompanying CD (¤ Track 30). ............................................. 78  

Figure 31 V2 ending. Accompanying CD (¤ Track 31). ............................................. 79  

Figure 32 V3 ending. Accompanying CD (¤ Track 32). ............................................. 80  

Figure 33 You Go To My Head V1. Accompanying CD (¤ Track 33). ...................... 83  

Figure 34 You Go To My Head V2. Accompanying CD (¤ Track 34). ...................... 94  

Figure 35 You Go To My Head V3. Accompanying CD (¤ Track 35). .................... 102  

9

List of Images

Image 1 Julian Lee featuring on trumpet in New Zealand. Courtesy of

Audioculture.co.nz ....................................................................................................... 21  

Image 2 Review of Julian Lee’s work with “The Three Sounds”. .............................. 24  

Image 3 Roger Frampton, Lee Konitz, Bob Bertles and Julian Lee on flugelhorn

performing in 1985 at the Basement in Sydney. This was a Lee Konitz concert.

Photograph by Jane March. .......................................................................................... 28  

Image 4 Michael Bartolomei and Julian Lee at The Basement. Photograph by Jane

March ........................................................................................................................... 29  

Image 5 Kerrie Biddell performing in Las Vegas. ....................................................... 33  

Image 6 Kerrie Biddell with Count Basie .................................................................... 33  

Image 7 Kerrie Biddell with Lou Rawles (right) ......................................................... 33  

Image 8 Kerrie Biddell and Julian Lee performing on the Midday Show, 1st

September 1987 ........................................................................................................... 34  

List of Tables

Table 1 chord comparison. ........................................................................................... 74  

10

. Chapter 1

1.1  Introduction  

How does music create such a kaleidoscope of emotions? Why is music such a

powerful backdrop to the narrative of our everyday lives? These are questions that

form the dark matter that surrounds and gives meaning to our research and analysis of

this art form. In music and theatre, creativity only exists in the moment of its

performance (Juslin and Timmers 2010) and it is this creative collaboration that

produces the “whole that is greater than the sum of its parts”. Improvising jazz

musicians are not mearly interpreters, they become the creative agents (Sawyer,

2006). The connection between music, emotions, lyrics, singers and their piano

accompanists is at the core of this review.

1.2  Background  History  and  Interest  

I have been a professional musician for forty-one years and in that time the majority

of my work has involved accompanying singers. My initial exposure was exclusively

to jazz. My mother was a singer, and father a drummer. My mother’s record

collection included Ella Fitzgerald, Carmen McRea, Nancy Wilson, Sarah Vaughn

and my father’s favourites were the Oscar Peterson Trio, Art Blakely and the Jazz

Messengers, Miles Davis and his various coteries.

My first professional engagement as a pianist was accompanying my mother. At

fifteen years old I spent Saturday mornings accompanying the students of a singing

teacher. Despite these beginnings I soon formed an opinion of singers concurrent with

that of my peers. Working with singers was viewed as a financial necessity. Rarely

could they be considered as equal to the musicians.

11

At eighteen years of age I worked my way to Sydney to audition for the Sydney

Conservatorium of Music jazz course, which at that time was directed by Howie

Smith. My two disjoint semesters of study, theoretical and practical, concentrated on

instrumental jazz. The two ensemble classes I attended in my time there were

instrumental only.

In my early twenties I joined the group “Compared To What”. The band’s leader was

Kerrie Biddell, a singer who challenged every aspect of my musicianship and identity.

This was a singer who demanded musical respect and had the talent, training and

experience to warrant it. The bands repertoire was very eclectic, ranging from pop to

jazz standards and included original compositions. In 1981 I received an Australian

Fellowship Grant to study music in New York. After returning to Sydney I would

hear Biddell performing with her new band comprising of John Hoffman on trumpet,

Alan Turnbull on drums, Craig Scott on bass and Julian Lee on piano. This group of

musicians were totally at home with the standard repertoire and Lee’s piano playing

had completely captured my attention. I would also hear Biddell and Lee together

performing as a duo. I soon realized that there were no set arrangements. The duo

would perform the same song differently every time. Lee’s accompaniments were

intriguingly variable. To this point in my musical development I had focused on

instrumental music. Hearing Julian Lee and Kerrie Biddell weave their magic

crystalized my desire to learn all I could about vocal accompaniment and song

interpretation.

12

1.3  Aims    

The aim of this study is to inform musicians generally and pianists in particular about

vocal accompaniment, specifically in a duo setting. It can be argued that the duo is the

most demanding format, as the accompanist has to provide all of the elements of

support as well as featuring as a soloist. It is also true to say that the duo is a format

that allows the greatest freedoms in structure, harmony and rhythm.

I hope through this thesis to illuminate the various techniques, sensibilities and

experience that Julian Lee brought to the art of vocal accompaniment.

Exactly how one may approach the accompaniment, both harmonically and

rhythmically, of a singer and the songs narrative.

Pedagogically the study can benefit jazz musicians in their role of accompanists and

also be an invaluably resource for classically trained piano students that wish to study

jazz but have no working knowledge of how to interpret lead sheets. A lead sheet will

typically have the notated melody with chord symbols and often no introductions or

endings. Chord symbols are notational shorthand that presumes harmonic structural

knowledge and at best should be described as general guides with minimal detail.

Furthermore, as Monson states in Saying Something, all jazz musicians use substitute

chords, alterations and chromatic voice leading so that the original chord changes are

in effect only a starting point for creative harmonic interplay (Monson, 2009).

Listening to the recordings and reading the transcriptions that accompany this work

will be of value to musicians and singers on many levels. The knowledge gained from

the analysis of Lee’s accompaniment can be adapted and used by musicians to inform

their work in other genres. Vocalists can benefit in three ways. First, by understanding

ideally what they should look for in an accompanist. Second, understanding what the

13

musicians might expect from the singer. Thirdly, when needed, to be able to direct

musicians in an informed and professional manner.

My analysis of Lee’s piano accompaniments presents examples of the various

elements required when accompanying jazz vocalists.

1. Creating introductions

2. Colla voce accompaniment

3. Chord choices and textures

4. Avoiding conflicts with the melody

5. Melodic embellishments

6. Lyrical awareness

7. Rhythmic support

8. Constructing thematic or recapitulated endings

My expectation of the outcomes of this study is to engender a new respect for the

singer, the song narrative, and the specialised skills required by the accompanist to

produce successful collaborations. In conjunction with this analytical description will

be the fascinating story of these master musicians careers and their intersection with

some of the legendary jazz icons of the era.

1.4  Methodology    

The following procedures were used in the course of this research. I felt that it was of

paramount importance that I gain ethics approvals as soon as possible as Julian Lee

was 90 years old when this process began.

Once the ethics committee approvals had been granted and participant information

and consent forms had been signed, I contacted Julian and organised suitable times to

14

interview him in his home in Moss Vale, NSW. Given Julian’s age I felt his comfort

and familiarity with his home environment would be very important.

Prior to the interviews I searched for any information on Lee including articles, radio

programs and interviews. Lee’s talents were held in the highest regard within the

music industry in New Zealand, Australia and overseas, however, he was not a

household name. I felt it important to build a case in the choice of Lee as the

centerpoint of this study by giving as complete a career biography as possible and

making evident Lee’s consummate musicianship.

Before proceeding with the interviews I felt it necessary to make decisions regarding

which duo performances of Lee and Biddell would be the subject of this dissertation.

Having made the choice I then set about transcribing the three versions of the duo’s

performance of “You Go To My Head”, composed in 1938 by Fred Cootes and Haven

Gillespie. After completing the transcriptions of these performances I interviewed Lee

and asked a range of questions designed to reveal the method involved in the

harmonic, aesthetic and collaborative musical choices. A gap of approximately 30

years separated Lee and Biddell’s live performances of this song to when I played Lee

the recordings at the first interview on the 19th of October 2014.

These three performances of “You Go To My Head” were never intended for

commercial release. I was fortunate to receive a copy of the ABC radio broadcast

version from an old friend, Graham Jesse, who was the saxophonist in Biddell’s band

Compared To What. This was a recording taken straight from the mixing desk at the

Sydney Opera House and as a result has some challenging sonic properties. I

transferred this audio into Logic Pro software on my Apple Mac computer and was

then able to apply equalization to assist in my transcription. The initial copy I had of

The Midday Show television performance was recorded by Biddell onto her VHS

15

analog tape recorder. This was pre-digital television and the video and audio was of a

poor quality. I established the location and date of the The Midday Show footage, 1st

September 1987, and contacted TCN Archives. I was told I would need to get the

permissions of the performers before they could release a DVD copy to me. This was

made more complex by the tragically unexpected death of my dearest friend Kerrie

Biddell on September 4th 2014. After receiving the DVD from TCN Archives I

extracted and transferred it to Logic Pro software on my Mac computer.

The third version of the song was on a cassette tape, which was also transferred to

Logic Pro. This recording was approximately a quartertone under A440. I was able to

adjust this with Logic Pro software.

Having three versions of “You Go To My Head” enable me to show how Lee changes

his treatment of the accompaniment. This is important pedagogically in terms of jazz

vocal accompaniment. It underlines the necessity of complete harmonic and rhythmic

fluency as the improvising musician’s ideal. It also demonstrates the importance of

narrative awareness in setting the tone of the accompaniment. Not just a series of

notes but a line of emotional connection to the composition via the singer and

ultimately to the audience.

Chapter 2

2.1  Setting  The  Tone  

It is important to note that the educational mainstreaming of jazz began quietly with a

jazz band established in 1947 at the North Texas State College. The success of the

college’s One O’Clock Lab Band and subsequent course offerings eventually

persuaded North Texas State College in 1956 to become the first institution to offer a

16

major in jazz (Marquis 1998). In Australia the NSW Conservatorium of Music

opened its jazz studies program in 1973.

Prior to the institutional dominance of jazz education musicians were taught by

private tuition and by developing relationships with experienced mentors and peers.

The move to institutional jazz education occurred at a time when many of the

educators were products of the post-bop era and as a consequence there was a

tendency to privilege the instrumental model of jazz over the vocal.

In establishing their musical and cultural identities, young jazz musicians put great

importance on being accepted by their peers (MacDonald and Wilson, 2005). Jazz

music became a way to gain social acceptance or to express rejection of societal

norms and parental values (Berliner 1994). This desire for peer acceptance or social

rebellion was often associated with jazz and in particular with the emergent style

known as be-bop. Bebop and the emergent post-bop schools in the 1960s and into the

1970s were, in hindsight, natural evolutionary developments in jazz. In The Silent

Theme Tradition in Jazz, Frank Tirro reports how the technical proficiencies needed

to deal with the complex harmonies, fast tempos and polyrhythmic drumming of

bebop had the effect at the time of marginalising not only most singers but also jazz

musicians from the swing school (Tiro, 1967).

The legacy of the 1960’s post-bop bands under the leaderships of Miles Davis, John

Coltrane and Ornette Coleman exemplified the improvisational framework that

allowed musicians the opportunity of attaining the nirvana like state of “flow” in an

instrumental setting (Brown, 2011). MacDonald and Wilson also describe this

transcendental state of flow:

An absence of thinking, instead relying on “feelings”:

A focus on the present -no longer aware of past or future

17

(MacDonald and Wilson, 2006)

Compositions can be stretched and manipulated instrumentally in ways totally

unsuited to the delivery of song lyrics. This trend also continued in to the seventies

with the ‘jazz fusion’ phenomenon, whereby high energy, virtuoso music

incorporating electric instruments and rock rhythms continued to be a vehicle for

instrumentalists to explore the possibilities of complex soloing and collective

improvisation.

The schism between some singers and musicians is often exacerbated by the all too

common experience of working with musically illiterate singers. In With One Note

Bring Me Home, Thomas Conrad relates:

To become minimally functional at a jam session requires years of study for a

horn player, but only a nice voice and nerve for a singer (Conrad 2010).

Perhaps this explains the tendency of some pianists to ignore or take for granted skills

required to accompany singers even when it is the singers who are getting the lion’s

share of the work. Gerald Moore contends that another key to this attitude may be the

assumption that the accompanist’s role is one of mere support, lacking the glamour

and glory of the solo pianist (Moore, 1943). Pianist Fred Hersch points out that the

voice will always command the audience’s attention. This does not suit everyone’s

sense of ego (Hersch, Conrad 2010).

2.2  The  absence  of  educational  literatures  on  jazz  accompaniment  for  

singers.  

Despite the dominance of the voice as an ongoing cultural force I could not have been

more surprised at the paucity of detailed scholarly study of the art of vocal

accompaniment. The absence of piano transcriptions of accompanists’ work with

vocalists’ is puzzling. This underlines not only the educational bias but also the

18

musicians’ blind spot to the importance and relevance of vocal accompaniment, and

establishes the need to redress this imbalance.

Note for note transcriptions of piano solos by jazz legends Art Tatum, Bud Powell,

Herbie Hancock, Chick Corea, Clare Fischer, Keith Jarrett, to name a few, have been

available for some time. Jim McNeeley’s The Art of Comping, while informative, is

primarily focused on playing for instrumental soloists (McNeely 1992). Many would

argue that there is a different set of considerations involved when accompanying a

human voice and lyrics.

The literature on piano techniques is formidable and exhaustive in scope; however no

such attention has been given to transcribing piano accompaniment for jazz singers in

the necessary detail. This is a notable gap in jazz education.

There is a wealth of interviews with pianists known for their accompanying expertise.

There are journal articles and theses on the nature of group creativity, musical

identities of jazz musicians, instrumental jazz rubato, rehearsal talk in duos,

improvisation and the creative process, investigations into brain functions and musical

perceptions. These are just some of the topics available to research and indicate just

the tip of the academic iceberg. Literatures on accompaniment however, are still fairly

rare and in many cases underdeveloped.

Despite the institutionalisation of musical education the only relevant thesis on jazz

vocal accompaniment is by Christopher White.

In The Art of Accompanying the Jazz Vocalist: A Survey of Piano Styles and

Techniques, White examined the work of several piano players and their

accompaniment of singers. He examines the different approaches and opinions of the

various pianists’ to all facets of crafting an accompaniment including: introductions,

endings, lyrical awareness, key changes, chord voicing, avoiding conflicts with the

19

melody, colla voce etc. White’s generalised and overarching view of the different

pianists approach to accompaniment is very worthwhile, specifically in the breadth of

his contrasting examples. Designed as a survey, White’s work stops short of

transcribed examples of precisely what the given pianist played in the body of the

song. There is no transcription of an accompaniment in its entirety. White’s approach

is primarily confined to examples of introductions. Other song segments are analysed

in terms of structural elements including colla voce, counter melody and walking bass

lines.

Following on from White, I would argue that to study the accompaniment of an entire

song would surely render to the aspiring pianist a rich harvest of knowledge that

would transcend the example song. It would show how a great accompanist goes

about his work.

20

Chapter 3

3.1  Who  is  Julian  Lee?  

Materials in this biography emerged both through interviews conducted with Julian

Lee and my personal experience working with him in concert and recording

performances.

Lee was born in Dunedin in 1923 to Emily and James Arthur Lee. At five years of age

he became a boarder at the Royal New Zealand Foundation For The Blind. At five

years of age, Lee travelled the eight hundred miles from Dunedin to Auckland

unaccompanied. This commute included two trains and a ferry and continued until the

conclusion of his schooling.

His piano studies began at age six and included being taught music by Braille. Lee

absorbed the classical repertoire of Bach, Beethoven, Chopin, Rachmaninoff and his

personal favourites Debussy, Ravel and Satie. At eight years of age he took up the

cornet and joined the school’s brass band. At fifteen years old he was proficient

enough to perform the “Rachmaninoff Prelude Op 23 N05 in G minor” in his final

school concert.

His first exposure to jazz at around thirteen years of age was Benny Goodman playing

“Bach Goes to Town” and Tommy Dorsey playing “Whispering”.

After completing is education at the Foundation, Lee returned to Dunedin during the

war years and worked as a radio operator and announcer and hosted two radio

programs. One was called “Stump Julian” in which he had to play live to air the

callers’ requests and the other was named “Julian Lee Entertains”.

21

Wishing to continue his education Lee began a Bachelor of Music degree at Auckland

University in 1946 only to be told by a professor that there was nothing he could

teach him.

Around that time Lee completed a course in piano tuning. Given the poor condition of

many of the instruments provided at venues this was very handy indeed. Lee worked

in the Auckland Radio Band and then towards the end of the 1940s he became a

musical director at the newly established Stebbing Recording Studios. Among the

many artists that Lee played and arranged for was Mavis Rivers who went on to have

a very successful career in the USA. Whilst at Stebbing, Lee “had to play everything”,

including singing popular songs of the day and humorous boogaloo and country and

western songs (Radio NZ, Blue Smoke season 4,episode 2). Lee dismissed his singing

abilities and never mentioned these recordings. Even Kerrie Biddell a singer of

renown and Lee’s friend of thirty odd years was unaware of these recordings. When I

played Biddell a recording of Lee singing a song called “Gomen- Nasai”, a 1953 hit

for Harry Belafonte, with the Don Grant Trio (Cosy By the Fire, Archive Series 1945-

1956 Vol6), Biddell was amazed and exclaimed his singing to be perfect.

Image 1 Julian Lee featuring on trumpet in New Zealand. Courtesy of Audioculture.co.nz

22

Feeling like he had accomplished everything he could in New Zealand, and

encouraged by visiting Sydney pianist Terry Wilkinson, Lee moved to Sydney in

1956, the very year that television was introduced to Australia and coincidentally the

year of my birth.

Lee soon began arranging for the ABC orchestra and around 1958 started working in

television for Channel 7 as a staff arranger under Tommy Tycho. Lee arranged for a

large orchestra and occasionally featured as a pianist on a show called Review 61.

In 1961 fellow blind pianist George Shearing came to Sydney to record a series of

shows for Channel 7 where he heard Lee’s arranging and was duly impressed.

Shearing advised Lee that he should move to the USA however Lee, by this stage was

established and doing very well in Sydney and told Shearing so.

Lee gave Shearing one or two of his recorded arrangements to take back with him and

apparently Frank Sinatra heard them.

Lee recalled that in 1961 Frank Sinatra summoned him before his concert in Sydney

to encourage him to come to the USA so his talents could be fostered, and so in 1963

Lee relocated to Los Angeles, USA.

At this point it should be noted that to think of Lee as just a jazz musician would be

doing him a disservice. Musicians will work in all areas of the industry to make a

living and Lee was no exception. Both in New Zealand, Australia and the USA Lee

played and arranged for all styles of music. Survival has always been paramount in

the music industry.

George Shearing helped Julian’s immigration status by hiring him to transcribe his

arrangements in braille. Between 1964 and 1968 Lee arranged and orchestrated for

the following six George Shearing albums:

23

George Shearing, Deep Velvet (World Record Club, ST972, 1964), [This recording

included one of Lee’s compositions entitled “One Love”].

The George Shearing Quintet, Here & Now (Capitol, ST2372, 1965),

George Shearing, New Look (Capitol, ST2637, 1966),

George Shearing, Fresh Feeling (Capitol, ST2567, 1967),

George Shearing, Shearing Today (Capitol, ST2699, 1968),

George Shearing, As Requested The George Shearing Quintet (Sheba Records,

ST105, 1972).

Lee arranged two albums for Gene Harris’s Trio, The Three Sounds:

The Three Sounds, The Three Moods (Limelight, LM82014, 1965),

The Three Sounds, Beautiful Friendship (Limelight, LS86026, 1965).

24

Image 2 Review of Julian Lee’s work with “The Three Sounds”.

The Sydney Morning Herald – Nov21, 1965

Marty Paich and Lee were both working on arrangements for big band leader Stan

Kenton in which Lee wrote a three-movement composition called “Jazz Stralia” that

was performed at the Music Centre in Los Angeles.

Lee was very busy in the mid 1960s arranging, producing and playing for artists such

as saxophonist Gerry Mulligan and trumpet legend Harry Sweets Edison [Gerry

Mulligan, Feelin’ Good (Limelight, LS86030, 1965), Harry Sweets Edison, When

Lights Are Low (Liberty Records, LRP3484, 1965)].

25

In 1966 Lee co-arranged the album Quietly There for singer, trumpeter Chet Baker

[Chet Baker Quietly There (World Pacific, WP1847, 1966)].

1966 also saw Lee working on the very popular television series, The Pat Boone

Show, and being featured in season 1, episode 37 playing Antonio Carlos Jobim’s

composition, “Quiet Nights”. Lee worked on this show for approximately one year

arranging and performing on a weekly basis1.

Shearing and Sinatra’s connections opened many doors that eventually saw Lee

become staff arranger/producer at Capitol Records from 1971 to mid 1974.

In Lee’s time at Capitol, he produced albums for his good friend Billy May.

Lee also arranged for country artists such as Vicki Carr [Vicki Carr, Nashville by

Carr (Liberty, LST-11001, 1970), Vicky Carr, Don’t Break My Pretty Balloon

(Liberty, LST7565, 1968)].

Peggy Lee, Roger Miller and Liberace are other non-jazz artists that he recalls

arranging and producing for [Liberace, Liberace’s Greatest Hits Volume 2 (RCA,

VAL1 0216, 1977)].

Lee’s versatility saw him playing organ and piano on two recordings for guitarist Joe

Pass that were later released as a single package [Joe Pass, Simplicity/A Sign of the

Times (Pacific Jazz/World Pacific, 1966-1967)].

Apart from his work relationships it’s obvious that Lee was friendly with and

interacted with many icons of the era. Working at Capital Records brought him into

contact with singer Nancy Wilson, saxophonist Julian “Cannonball” Adderley, pianist

Joe Zawinul, arranger Nelson Riddle, husband and wife team Paul and Joe Stafford,

otherwise known as “Jonathan and Darlene Edwards”.

1(http://www.tv.com/shows/the-pat-boone-show/december-7-1966-1266643/) accessed 03/02/2015

26

He would socialise with Nat King Cole and his daughter Natalie.

The many musicians who worked with Lee nicknamed him “golden ears” for his

ability to identify wrong notes or mistakes in parts of an arrangement long before

anyone else.

Apart from his arranging work Lee played in such jazz clubs as Shelley’s Manne Hole

and China Trader. He would deputise for renowned pianists Victor Feldman and

Jimmy Rowles and led a quintet that included guitarist Joe Pass at a well-known jazz

club called Dantes.

Conducting orchestras was another of Lee’s skills. On one occasion Lee shared

conducting duties with Henry Mancini at a farewell concert at the Hollywood

Palladium. Lee also conducted the Minneapolis Symphony Orchestra performing his

own arrangements for George Shearing.

Shearing and Lee would attend club appearances by the Bill Evans trio, which at the

time included Paul Motion on drums and Chuck Isreals on bass. On a number of

occasions Shearing would invite Evans and Lee back to his residence where they

would talk and play for one another (Lee interview 19/10/14 01:20:30).

Lee recounts the time when he was “hanging out” at jazz critic, Leonard Feather’s

place along with George Shearing, saxophonist Benny Carter and the legendary

trumpeter Miles Davis. Lee reminded me that Miles Davis had recorded a version of

Benny Carter’s composition, “When Lights Are Low”, in which Davis had not used

Carter’s bridge but had reused the A section transposed up a fourth. Upon being

introduced to Benny Carter, Lee, with cheeky delight said, “it was very nice to be in a

house with the two composers of “When Lights Are Low”. This elicited one of Miles

Davis’s famous profanities to the great amusement of the gathering (Lee interview

19/10/14 00:50:15).

27

The Arab oil embargo and changing musical tastes of the record buying public

resulted in a paucity of work for the great arrangers of the 1950s and 60s. Lee

returned to New Zealand in 1975 and was appointed director for the Neophonic

Orchestra as well as the Auckland Radio Orchestra. Lee was the director of the

Auckland Jazz Festivals of 1976 and 1977 and was instrumental in booking his

friends and American musicians of note including trumpeter Chuck Findley,

saxophonist Don Menza, trombonist Carl Fontana and drummer Nic Ceroli. Also on

the bill were the Judy Bailey Trio, pianist Mike Nock and singer Kerrie Biddell. This

was possibly the first physical meeting of Lee and Biddell although they had both

heard of each other’s reputation.

Lee’s trio with bassist Andy Brown and drummer Frank Gibson Jr. colluded with

saxophonist Don Burrows and guitarist George Golla in forming the group,

“The Tasman Connection”. Lee’s compositions, “Judo”, “Get Into It” and “Long

White Cloud” were featured on this recording [Don Burrows Presents the Tasman

Connection (Cherie Pie, L3664, 1976)].

28

Image 3 Roger Frampton, Lee Konitz, Bob Bertles and Julian Lee on flugelhorn performing in 1985 at the Basement in Sydney. This was a Lee Konitz concert. Photograph by Jane March.

Lee also arranged and conducted the strings for the album Bonfa Burrows Brazil, on

which Don Burrows and George Golla joined with renowned Brazilian guitarist and

composer Luiz Bonfa [Bonfa Burrows Brazil (Cherie Pie, 5720230, 1978)].

Lee’s contract with the Neophonic Orchestra and the Auckland Radio Orchestra

expired in 1979 coinciding with his desire to return to Sydney.

Back in Sydney Lee was kept busy working for Channel 10 as head of audio for the

“The John Singelton Show” and arranging for various ABC projects including an

album featuring The Julian Lee Orchestra (BAT 2072, 1980).

Lee composed and recorded an album for UNESCO called For the Love of Man

(UNESCO, 1971), which featured American singers Mel Torme, Sue Raney, Joe

Williams, Tommy Leonetti, Robert Goulet, Jimmy Witherspoon and Lainie Kazan.

29

Featured Australian singers were Johnny Farnham, Judy Stone, Rim D. Paul, Neil

Williams, and Arch McCurdy.

In 1979 Julian Lee invited me to play in his group, “Julian Lee and Friends”. I played

the Fender Rhodes electric piano and Lee was on the acoustic piano. At this point in

time I was tragically unaware of the totality of Lee’s accomplishments and knew him

as a great pianist and musician who always supported and encouraged my musicality.

Despite the hours in conversation and rehearsal Lee never mentioned his multi-

instrumental background. He would choose a night at Sydney’s ‘The Basement’ jazz

club to surprise me. The photograph below captures the precise moment of my

realization that Lee was in fact simultaneously playing the piano and flugelhorn … in

harmony!

Image 4 Michael Bartolomei and Julian Lee at The Basement. Photograph by Jane March

Lee arranged and conducted for an album with French singer Philippe Gabbay

[Philippe Gabbay with the Julian Lee Orchestra (ABC, ABC LPX 0006, 1980)].

There were two recordings that Lee was very fond of, the first being Ricky May Fats

Enough with the Julian Lee Orchestra (ABC, L60011/2, 1983). The second album

30

was a tribute to Louis Armstrong featuring Australian trumpeter Bob Barnard [Ricky

May, Just Foolin Around (ABC-L60027, 1987)].

Pianist Grant Foster contracted Lee to arrange and conduct the Sydney Symphony

Orchestra for a recording of ‘Rhapsody for Piano and Orchestra’ [Rhapsody for Piano

and Orchestra Composed by Grant Foster (Grant Foster, 1988)].

Lee arranged, conducted and played on a project for Don Burrows in 1990. This was a

trilogy, the first record comprised of duets with members of the quintet, the second

record featured the quintet performing, and the third record featured the group with an

orchestra [The Don Burrows Quintet Babinda Trilogy (WEA: 903172627-2,

903172628-2, 903172626-2)].

From 1983 – 1992 Lee was working four nights a week at the Supper Club in the

Regent Hotel in Sydney as a duo with acoustic bass. Before retiring he played solo

piano for a number of years at the Intercontinental Hotel.

Kerrie Biddell’s last recorded output in 1995 was an album called The Singer. I was

fortunate to share the piano and arranging chair on this project with Julian Lee. Lee

was also co-producer on the album. Hearing Lee’s accompaniment in a studio

environment was truly educational. Four of the tracks were piano and vocal duets

with subsequent takes of each song yielding varying accompaniments. The highlight

track is the song “Taking a Chance On Love”. Lee’s vocal arrangement for Biddell’s

multi-tracked voice is a master class in vocal arranging [Kerrie Biddell, The Singer

(Origin, 015, 1995)].

It was Julian’s early studies of the classical literature and his later work as an arranger

that gave his piano accompaniments an unmistakeable quality. Heralded arranger

Marty Paich, made many insightful comments on working with singers’. He

contended that there was too much arranging that caused bands to get in the singers

31

way. He speaks of his preference of making sure of the mutual understanding of their

musical intentions and taking time to study the singers past recordings and voice

qualities. All of this preparation is necessary before beginning to write the

arrangement (Navidad, 2005).

The jazz pianist must attempt to capture this same attention to detail that Paich talks

about, however, unlike the arranger who can spend days or weeks working on the

arrangement of a song, the piano player is expected to do this in real time.

Julian and Kerrie’s collaboration spanned 30 years, and in that time each came to

know the other’s style and abilities intimately. In Rehearsal talk: Familiarity and

expertise in singer-pianist duos, Ginsborg demonstrates that the more experienced

and expert duos rehearsed more efficiently and therefore required less rehearsal time.

The economy of communication and rehearsal time required by Lee and Biddell

supports this study (Ginsborg, 2012).

3.2  Kerrie  Biddell  

Kerrie Biddell was born in 1947 in Kings Cross, Sydney. Her mother Kathleen was an

accomplished pianist and her father a part time player as well. At 16 years of age after

suffering from a collapsed lung Biddell was then beset with rheumatoid arthritis. Her

plans to become a professional pianist were thwarted by the disease’s effects,

especially on her hands. Passionately musical, Biddell turned to singing.

Her first live performance was as backing vocalist for Dusty Springfield’s 1967

Australian tour. Biddell then joined a local band called The Affair, which also

featured the great Australian guitarist Jim Kelly. The Affair won the 1969 National

Battle of the Sounds vocal group category. The prize was a trip to London to record.

32

After returning from London in 1970 the Daly Wilson Big Band recorded an album

with Kerrie Biddell as the featured performer [The Exciting Daly-Wilson Big Band

featuring Kerrie Biddell, (Festival Records, SFL-934453, 1975)].

Upon leaving the big band Biddell toured with Dudley Moore, Cilla Black and Buddy

Rich. Biddell recorded the album Kerrie Biddell (Bootleg, BLA-030, 1973) and in

1975 she won an Australian Records Awards, now known as the ARIA, for her

album, Kerrie Biddell Only The Beginning (EMI, EMA 314, 1975).

In 1972 Biddell married David Glyde, formerly saxophonist with ‘Sounds

Incorporated’, The Beatles’ touring support act. Moving to Canada in 1974 Biddell

soon became an in-demand studio session singer. Next came Las Vegas where work

in a small club soon became an offer to work at the newly opened MGM Grand Hotel

under a three-year contract for a substantial sum of money. Frank Sinatra’s band,

Count Basie and Lou Rawles recognized her formidable talents. Mel Torme invited

her to a recording session. Biddell performed on Merv Griffith’s Tonight Show to a

standing ovation. Although desperate to be a star, Biddell quickly became

disillusioned with Las Vegas and ultimately came to despise the demands of the Las

Vegas show business system.

33

Image 5 Kerrie Biddell performing in Las Vegas.

Image 6 Kerrie Biddell with Count Basie

Image 7 Kerrie Biddell with Lou Rawles (right)

Cancelling her contract with MGM Biddell returned to Sydney. Realizing her need to

become a better musician in order to become the best singer, Biddell enrolled at the

34

Sydney Conservatorium. Biddell quickly became one of Sydney’s most in demand

session singers. The Australian Vocal Ensemble, a four-piece acapella group under

Biddell’s leadership featured on various television variety shows and concerts.

For a decade the band, Compared To What, under Biddell’s stewardship, featured

many of Australia’s best musicians and played a wide variety of musical styles. I was

the third pianist to join the band and in 1979 participated in recording Australia’s first

digital album at EMI studios: Compared To What featuring Kerrie Biddell (EMI

Studios 301, SS301, 1979).

In 1983 Biddell joined the faculty of the jazz course at the Conservatorium of New

South Wales. Her work with Julian Lee won the “Bicentennial Music Award” in 1988

for best jazz vocalist and a “Mo Award” for best jazz vocalist in 1990.

In 1992 Biddell wrote and stared in the theatre show “Legends” and was musical

director for the play “Lipstick”. Another “Mo Award” for best female jazz performer

in 1994 preceded her residency at Sydney’s Tilbury Hotel in a duo format with pianist

Julian Lee.

Image 8 Kerrie Biddell and Julian Lee performing on the Midday Show, 1st September 1987

35

In 1996 Biddell, appeared as a cast member in the highly acclaimed Sydney Theatre

Company production of Shakespeare’s “As You Like It”. Biddell was featured

singing several songs I was commissioned to compose to Shakespeare’s lyrics.

As mentioned in Julian Lee’s biography, Biddell’s last recording was in 1995.

Kerrie Biddell, The Singer (Origin, 015, 1995).

Retiring from live performance for health reasons, Biddell continued to teach at the

Sydney Conservatorium of Music and give vocal workshops until her untimely death

on September 4th 2014.

36

Chapter 4

Technique/Execution/Creative Expression

4.1  The  Two  Streams  

Vocal accompaniment is a highly specialised skill and is largely ignored in musicians

training. It is presumed that if you can play the piano then you will know how to play

for a vocalist, however, it cannot be taken for granted that a great instrument soloist

will make a great accompanist (Israels, 2014). If your developmental musical training

and listening has been primarily of instrumental jazz, then you are less likely to be a

natural accompanist. The most commercially successful jazz performers are generally

singers and most singers depend deeply on their piano accompanists to support the

narrative with harmonic and rhythmic underpinnings (Conrad, 2010).

The existing studies about vocal accompaniment are divided into two streams,

classical and jazz, and while both these disciplines have much in common there are

also significant differences. In classical music the accompanist is interpreting a

composition that is completely notated, usually with expression and dynamics

markings. That is in no way meant to make light of the classical pianists job because

as Gerald Moore makes clear in The Unashamed Accompanist, beyond the notes and

directions there is a world of interpretation (Moore, 1943). However, in the jazz idiom

there are extra dimensions to the job.

Cooper notes that as a result of the jazz vocalist’s expressions of individuality,

deviations will occur in the singer’s interpretation of the composer’s original melody

(Cooper, 1992). In Accompanying the Jazz Vocalist, Paul Hofmann contends that the

jazz piano accompanist must decide if it is necessary, and how to respond to the

vocalist’s melodic and rhythmic variations. He or she may need to adjust harmonies

37

and syncopation all in real time (Hofmann, 1997). Introductions and endings may be

pre-determined or have a structural template or can be freely improvised. Solos on

part or all of the form are to be expected. In vocalist Roseanna Vitro’s interview with

Fred Hersch, pianist Hersch emphasises the importance of the jazz pianist being

comfortable playing in all key signatures. Instant transposition is a required and

essential skill (Vitro, 2013). Furthermore, circumstances can range from fully to

partially notated arrangements. Often there is only a chord chart or no music at all.

Different vocalists will require the same songs in varying feels, tempos and time

signatures.

4.2  The  Word  

Universal consensus on the principles of vocal accompaniment in both jazz and

classical fields is to be expected. The purpose, vocal accompaniment, after all is the

shared goal. It could be argued that the most agreed upon theme is the importance of

understanding the narrative. As Gerald Moore in the Unashamed Accompanist puts it:

“The first thing an accompanist should study when he has to play a new song

is the words. It is stupid to pretend to play a song with any understanding if he

does not know what it is all about” (Moore, 1943).

Cooper contends that jazz vocalists will often seek a personal expression of the lyrics

and therefore it would follow that pianists would need to acquaint themselves with the

singer’s personal interpretation. Philippa Cook put it that within any given

performance setting a thorough contextual understanding of the range of the meanings

inherent in any song lyric is of the utmost necessity (Cook, 2006). The argument for

the importance of understanding the narrative of the song can also be reverse

engineered. Many singing teachers have commented on the frustration of hearing a

technically good vocal performance completely undermined by the singer’s lack of

38

narrative awareness. The result can be inappropriate emphases on connective words,

or incongruous dynamics on some words and the sense of the phrase lost because of

badly timed breaths. These dislocated narrative manifestations are typically a result of

taking a fragmented, word-by-word approach as opposed to embracing the depth and

breadth of the narrative as a whole.

I also hope this work will inform singers and their accompanists about the art of colla

voce. Vocalists can utilize colla voce to enhance the emotive power of the song by

moving through some narrative more quickly while retarding other sections.

Unfortunately the perception among the majority of singers is that colla voce means

to sing more slowly. This often leaves the pianist waiting uncomfortably for the

singer to move on so the next harmonic step can be played or sows the habit of

pianists to apply every substitute chord they have up their sleeve in order to fill in

these ill conceived expanses. Only by understanding the narrative of a song can colla

voce be utilized properly. This applies to singer and musician alike.

From a neuro-psychological perspective, studies have indicated that our memory of

vocal music, melody and lyric, is a result of two separate processes of the brain (M.

Besson, 1998). In Musicophilia Oliver Sacks talks about the phonatory and

articulatory mechanisms necessary for language and music recognition and the brain

processes that analyse their complex rhythms:

“And yet there are major differences (and some overlaps) in the processing of

speech and song in the brain” (Sacks 2007).

Following on from Besson’s Singing In the Brain it could be said that at a basic

neurological level the reason as to why many jazz musicians don’t understand the

importance of the song narrative is because they have not developed the neuro-

39

linguistic pathways necessary to fully execute the interpretive dimension of the song.

This can often be as a result of their developmental emergence in instrumental music

and with it the concomitant neglect of the cognitive and aesthetic faculties necessary

to perform the accompanist’s art at a high level. Their uncounted hours of practice are

alone and wordless (M. Besson, 1998).

The renowned pianist Bill Evans was primarily known as a player of instrumental

music. He rarely recorded with vocalists. In Peter Pettinger’s book Evans is quoted as

saying:

“I never listen to lyrics. I’m seldom conscious of them at all. The vocalist

might as well be a horn as far as I am concerned”

(Evans cited in Pettinger, 1998).

However when Evans talks about his seminal recordings with singer Tony Bennett in

Keith Shadwick’s, Bill Evans Everything Happens To Me-a musical biography he

states:

“I wasn’t too happy with my contribution to the album. I should have spent a

little more time and taken more care” (Evans cited in Shadwick, 2002).

Keith Shadwick then goes on to quote Helen Keane, Evans manager, recalling that:

“Evans quite correctly regarded the accompaniment of singing as a highly

specialised art, and one where very few pianists achieve greatness whether

jazz or classical” (Keane cited in Shadwick, 2002).

Perhaps Evans’ feelings express the dichotomy felt unconsciously by many jazz

musicians regarding singers and the lyric.

4.3  Narrative  

You Go To My Head is a popular song composed in 1938 by J. Fred Cootes with

lyrics by Haven Gillespie. Pianist Teddy Wilson recorded the song in 1938 with a

40

vocal by Nan Wynn. Since then the song has been recorded and performed

extensively by numerous artists.

The songs structure is A A B C D and each section comprises eight bars. The

introduction and ending is at the discretion of the pianist or in some cases may be pre-

arranged. The dominant theme of the lyrics is one of infatuation. In the first two A

sections the protagonist’s object of desire “lingers like a haunting refrain”, a section

of melody or verse you can’t stop hearing, cannot let go of. The intensity of desire is

compared to the effects of drinking alcoholic beverages. The three similes being,

“like the bubbles in a glass of Champagne”, “like a sip of sparkling Burgundy brew”

and “like the kicker in a julep or two”.

In the B section the main characters rational mind is trying to talk some sense into

their hormonally charged emotional brain by saying “Get a hold of yourself, can’t you

see that it never can be”. Alas, this glimmer of common sense is short lived and

section C has the protagonist feeling the heat of desire. “You go to my head with a

smile that makes my temperature rise _ like a summer with a thousand Julys”.

The last phrase of section C refers once again to the effects of alcohol, however in

this instance at a deeper level. “You intoxicate my soul with your eyes”.

The last section D, has more a sense of resignation to the fact that this whole

infatuation is in their mind and will likely come to naught. She is “certain that this

heart of mine hasn’t a ghost of a chance in this crazy romance”.

During this research period I was fortunate enough to have a series of lessons with

Biddell. During those lessons we would discuss the reading of a songs narrative, the

characters motives and emotional investment. Biddell would write a scenario for a

song and describe all manner of detail.

What the weather was like on the day in question?

41

What was he wearing? … What colour were his eyes, his hair, his skin?

What were you thinking when you first laid eyes on him? How did he make

you feel?

What did he smell like?

No detail was too small. The narrative was totally fleshed out, rich in meaning.

Biddell lived in that world when she delivered a song. Every note, every word, every

gesture was important. This exercise was expected of her students as well.

With this methodology Biddell would ensure an intelligent and deep reading of the

narrative and was never prone to inappropriate emphasis of a lyric in order to show

off a vocal embellishment. Every musical choice was a slave to the songs narrative.

Lee stated that in collaboration “You get inspiration from the singer” and that he was

able to accompany the way he did because of Biddell’s expertise (19/10/14

interview). Lee stated “Biddell was a difficult person to accompany because she

would pause all over the place on a note and you had to adjust to those moments”

(19/10/14 interview). This is particularly evident in the ABC broadcast version (V1)

where Biddell uses points in the lyric to underline an emotion. When I questioned Lee

on whether these song points were rehearsed or planned, his reply was,

“We never talked about anything, we never did. She just said I’m going to sing so or

so and there it was” (19/10/14 interview).

4.4  Harmony  –  Chords  and  substitutions.  

In Figure 1, I have transcribed the lead sheet for this song with the original chord

harmonies used by pianist Teddy Wilson in his arrangement with Nan Wynn on

vocals (Note that Wilson arranged the song in the key of Bb as the most suitable for

Wynn’s voice. This was also Kerrie Biddell’s preferred key. The standard key you

would normally find in fake books is Eb). Fake books are collections of songs used by

42

musicians to quickly learn new repertoire. Each song will have a notated melody,

chord symbols and sometimes lyrics. Usually there are no introductions or endings.

On the accompanying CD there is 30 seconds of Teddy Wilson’s arrangement that

includes letter C and D.

Most of the compositions, “standards”, used by jazz performers were written for

Broadway musicals. Jazz musicians would often adapt the harmonies and song

structure to suit their intentions. In this case “You Go To My Head” is an exception

and was not written for a musical. The first recording of this song is by American jazz

pianist Teddy Wilson. As a result Wilson’s harmonies are primarily the ones you

would see in jazz fake books

Chord symbols are notational shorthand that presumes harmonic structural knowledge

and at best should be described as general guides with minimal detail. Furthermore, as

Monson explains in Saying Something, all jazz musicians use substitute chords,

alterations and chromatic voice leading so that the original chord changes are in effect

only a starting point for creative harmonic interplay (Monson, 2009).

 

 

43

Figure 1 Teddy Wilson's original chords. Accompanying CD (¤ Track 1).

You go to

B¨

my head

D‹7 E¨‹9

and you linger

A¨7

like a haunting

D¨²

refrain

GØ7 C7

and I find

F7

you spinning

AA

round

B¨‹7

in my brain

GØ7 C7

like the bubbles

F7

in a glass

B¨6

of champainge

C‹7 F7

you go to

B¨

my head

D‹7

AA

5

E¨‹9

like a sip

A¨7

of sparkling burgundy

D¨²

brew

GØ7 C7

sand I find

F7

the very mention

B¨‹7

of you

GØ710

C7

like a kicker

F7

in a julep

B¨6

or two

F‹7 B¨7

the thrill of

E¨6

the thought that you

BB

14

might

Eº7

give a thought to my plea

B¨/F

cast a spell over me

B¨6

yet I say

E‹9

to myself

A7

get a

18

hold

D²

of yourself can't you see

E‹7

that this nevr

A7

could be

D² F7

You go to

B¨

my head

D‹7

CC22

E¨‹9

with a smile

A¨7

that makes my tempetature

D¨²

rise

GØ7 C7

like a summer

F7

with a thousand

B¨‹9

July's

GØ726

C7

you intoxicate

F7

my soul

B¨6

with your eyes

F‹7 B¨7

Yes I'm certain

E¨6

that this heart

A¨9

of mine

DD

30

hasn't

B¨Œ„Š7

a ghost

D‹7

of a chance

G‹7

in this crazy

D‹7

romance

D¨º7 C‹7 Bº7 C‹7

You go

F7

to my head

B¨Œ„Š735

4

4&

b

b

Composer J. Fred Cootes

You Go To My Head

Lyricist Haven Gillespie

&

b

b

&

b

b

&

b

b

&

b

b

3 3

&

b

b

3 3

3 3

&

b

b

&

b

b

&

b

b

3 3

33

3

œ

œ œ œ œ ˙

Œ

œ œœ œ

œ œ

œ œœœ ˙

Œ

œ œ

œb œœ œ

œ œœœ ˙

Œ

œ œ

œb œœ œ œ

œ œ œ ˙ œ

Œ Œ

œ

œ œ œ œ ˙

Œ

œ œœ œ

œ œ

œ œœœ ˙

Œ

œ œ

œb œœ œ œ œ

œœ ˙

Œ

œ œ

œb œœ œ œ

œ œ œ ˙ œ

Œ Œ

œœ œ œ

œ œ œ œ

œb œ œ

œ œ œ œœ

œn

œ

œ

œ

œ

œ ˙™

œœ

œ œ œ œ œ œ

œ œ œ œ œ œ

œ œ œ œ œ œ ˙™

œ

œ œ œ œ ˙

Œ

œ œœ œ

œ œ

œ œœœ ˙

Œ

œ œ

œb œœ œ œ œ

œœ ˙

Œ

œ œ

œb œœ œ œ œ

œ

œ ˙ ˙ ™ œ œ#œ

œœ

œ

œ

j

œ

œ

j

˙

œ

œ

œ

œ

œ

œœ

œ

œœ œ

œw œ œ œ œ œ w ˙

Œ Œ

44

Chapter 5

5.1  A  Case  Study  

I received a copy of a live radio broadcast by ABC FM Stereo from the Sydney Opera

House. The series name was “Music for a March Morning”. It was a one-hour

broadcast and this particular performance featured Kerrie Biddell, Julian Lee and

bassist Craig Scott. From these several tracks I choose the duo performance of “You

Go To My Head” as an ideal song to be the centrepiece of my dissertation.

Fortunately I was also in possession of a second performance of this song by the duo.

On the 1st September 1987 Biddell and Lee performed “You Go To My Head” in a

Channel 9-television/ Hayden production called “The Midday Show”. This was a live

to air broadcast.

The outlook became even more interesting when I discovered the existence of a third

performance of “You Go To My Head”.

This version is an accompaniment performed by Julian Lee at Biddell’s request, to be

used for her singing students. A favour often granted by Lee. In this performance

there was no vocal for Lee to follow other than his inner singer. This was recorded at

Lee’s home on his Steinway Grand Piano with a hand held cassette recorder. Biddell

would tell Julian what arrangement of the song she needed for her teaching and would

then count him in at the desired tempo. This performance demonstrates Julian Lee’s

connection to the songs lyrics, despite there being no singer for him to accompany. In

this version Julian makes musical statements in similar places in the song as the other

two versions in response to the same narrative moments. Clearly his inner singer is

unconsciously guiding his playing.

45

This was the perfect scenario for me to be able to compare the differences in Lee’s

accompaniment in the three versions.

Lee knew the lyrics to so many songs, and came from a generation that grew up with

the musicals from which these compositions emerged. In the same way many people

who experienced the music of say the 60s or 70s can recall the lyrics to songs of that

era without even being musical or professional musicians.

Lee’s familiarity with the lyrics and overarching narrative are ingrained in such a way

as to have an unconscious effect on Lee’s choices in accompaniment.

The main value of the student accompaniment version of “You Go To My Head” lies

in its demonstration of Lee’s unconscious acknowledgement of the songs narrative.

To hear the track without the vocal demonstrates how a piano accompaniment should

be valid musically in it own right.

The difference in these performances serves to demonstrate the flexibility of this duo.

For the sake of simplicity I will refer to the three versions of this song as: …

V1 = ABC broadcast.

V2 = Midday Show.

V3 = piano only student accompaniment.

As mentioned before, the songs form is 40 measures long comprising of 5 sections,

AABCD with each section being 8 measures. The complete song form of 40 bars is

referred to as a chorus.

For complete clarity I will label the two A sections as A1 and A2.

Structurally V1 begins with a 4 bar introduction then completes two choruses of the

song. Biddell sings the first chorus before Lee solos on A1 and A2 of the second

chorus. Biddell re-enters on B and completes the song form, C and D. There is an

additional 2 bars that are part of Lee’s ending.

46

In V1 there is one anomaly in the transcription. At the end of B after the piano solo I

have added an extra bar to best deal with the extreme way Biddell extends the lyric

“be” through bars 68 and 69.

V2 is shorter due to time constraints of television. The sequence of V2 is A1 A2 B C

D, first chorus, then B C D. There is no introduction on V2. Biddell sings the first

chorus, then Lee solos on B with Biddell re-entering to complete the form, C and D.

There are also form anomalies in the transcription of V2. There is a 2/4 bar in A1 due

to the colla voce interaction of the performers. In the last D section there is a 2/4 and

3/4 bar that best reflect Lee’s phrasing of the ending.

V3 also has a 4 bar introduction. The sequence of V3 is the same as V2, A1 A2 B C

D, then B C D. There is no piano solo so at the completion of the first chorus the

vocals continue to B then the song form completes with C and D. As there is no

vocalist on this version I have included the published melody and lyrics as a guide.

These form differences highlight the skills and experience needed to re-arrange songs

to suit different situations without rehearsal. From my many years of working with

Biddell and interviewing Lee I can confirm that they rarely rehearsed.

In his study of classical duos, Rehearsal talk: Familiarity and expertise in singer-

pianist duos, Ginsborg indicates that rehearsals are less necessary the more expert the

individuals are at their craft and knowledgeable of the repertoire (Ginsborg, 2012).

In the two versions with Biddell singing, the most striking thing is that Biddell clearly

had a vocal template organized for this song. The same phrases with identical notes

occur at certain points in both performances. These re-occurring phrases are often

stretched or compressed in their place in time but are still unmistakably recognizable.

This is not intended as a criticism of Biddell’s performance. I know from my own

performing and listening experience that when playing the melody of compositions in

47

the jazz idiom, it is useful for your performance to have certain parts of a song

arranged. Within these arrangements, over time, often there will emerge variations on

the original idea. This can be viewed as the development of composition and

improvisational themes.

Having a template or arrangement in place when preparing a song would have

obvious major advantages. Consistency of performance would be one. Before

interviewing Lee, my other thought was that Biddell’s template method would have

allowed Lee even greater latitude in crafting the accompaniment as he would know

more or less what was coming.

After questioning Lee about this I’ve realized this assumption was incorrect. Lee was

surprised and unaware that Biddell had been singing these same phrases at the same

points in the song. This was not surprising as they both had so many songs in

common that they knew and could perform without need of rehearsal. Their choice of

repertoire in varying work situations was often different. Often tailored for specific

audiences.

Also in those years they were both working furiously, individually, in various areas of

the music industry. The demand for their talents meant that their collaboration was

just one element of their work schedule.

In other words, Biddell would have known, more or less, how she was going to

deliver a song, however, my interviews with Lee indicate that he had no expectations

about how the song might have been performed previously.

The many years I spent working and learning from Biddell gave me insights into her

determined analytical intelligence. Biddell adopted this methodical approach to

overcome her physical handicaps. Namely, singing her whole career with only one

lung and dealing with the ravages of Rheumatoid Arthritis, which at times left her in a

48

wheelchair. Biddell’s formidable technique evolved over many years of listening and

analysing, through trial and error. Biddell also stated often to me how much she had

learnt from Lee. During our lessons Biddell revealed to me that not long into their

collaboration, Lee told her he could “hear her thinking and that she had to stop that, as

it would get her nowhere”. Lee was saying that Biddell was fully prepared and

experienced and should just let go and find the “zone” and just sing. Lee was

encouraging Biddell to find the “flow”. This concept was referred to in section 2.2

(MacDonald and Wilson, 2006).

Julian Lee was a pianist who knew and understood the lyrics and could support the

singer’s intentions in the most appropriate and unconscious way. Lee’s intuitive

approach to performing was guided by his “golden ears”, the nickname the American

musicians gave him.

In Kerrie Biddell, Lee had a passionate singer that could deliver a song with

unequalled narrative and vocal control.

In my analysis of Lee’s accompaniment I will be talking about certain musical points

and how they relate to the songs narrative. Some of these musical points will be

obvious, however, many could be classed as subjective interpretation. The reason why

singers will always dominate the general audiences attention is because they are

communicating with words. The abstract melding of words and music is not an exact

science. Listeners will form their personal interpretation of what they hear. This is

often seen as the point of most art forms. In my discussions with Lee he was often

surprised by my interpretations of certain passages of his accompaniment in

performance with Biddell. He could agree with my point of view even though it had

never been his intent in that moment of the performance.

49

Almost all of Lee’s work for various singers was arranging for orchestra and jazz big

band. I was completely amazed when told, in the interviews with Lee, that he had

rarely worked in the duo format of vocal and piano. Thus, I have formed the opinion

that it is Lee’s countless hours of arranging for singers that has principally informed

his accompaniment style. His musical training, experience and sonic acuity were such

that if he conceived music in his mind, he could play it on the piano.

I believe that in listening to the performances as a whole, rather than the examples by

themselves, you are better able to get a sense of the connection between the lyric and

accompaniment.

In Chapter 6, I will compare sections of the three performances in order to offer

insights into Lee’s accompaniment.

50

Chapter 6

Song Analysis

6.1  Introductions  

As appears in In Figure 2 V1, Lee, in the traditional way, offers a 4 bar introduction

in the key of Bb consisting of downward triadic movements over the F in the left hand

and coming to a pause on the 5th degree suspended dominant harmony.

Figure 2 V1 song introduction. Accompanying CD (¤ Track 2).

In V3 the introduction paraphrases the opening melody “You go to my head, and you

linger like a haunting refrain”, whilst using a triadic movement over an F bass to

eventually come to rest on the F7 (Figure 3).

Figure 3 V3 song introduction. Accompanying CD (¤ Track 3).

In both of these introductions Lee makes use of triads over the 5th degree pedal point.

{

{

{

Voice

Piano

You

D‹/F C‹/F B¨/F D¨/F B/F G¨/F D¨/F G¨/F F7(“4)

Voice

Pno.

go to my head and you linger like a haunting refrain

A1A1

5

Voice

Pno.

and I find you spinninground in my brain like the bubbles in a

8

4

4

4

4

4

4

&

b

b

∑ ∑ ∑

Lyricist Haven Gellespie

Piano Julian Lee

Vocal Kerrie Biddell

You Go To My Head

Transcription Michael Bartolomei

composer J.Fred Coots

&

b

b

b

b

b

U

?

b

b

&

b

b

&

b

b

∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏

?

b

b

∏

&

b

b

&

b

b

b

n

∏∏∏∏∏∏∏∏∏∏∏∏

b

n

b

∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏

3

?

b

b

Ó Œ

œ

Ó ‰

œ

œ

œ

J

œ

œ

œ

œ

œ

œ œ

œ

œb

b

™™

™

œ

œ

œn

b

j

œ

œ

œb

b ™

™™

œ

œ

œ

j

Ϫ

˙

˙

œ

j

œ˙

˙

œ

œ

w

w

w

w

w

Œ

˙™

œ ˙ œ œ ˙™

w

œ ™ œ œ œ ˙

Œ ‰

œ œœ œ

œ ™ œ

œœbœ

œ ˙

Œ ‰

œ

j

œ

œ

œœ

˙˙

˙

˙b

b

Œ

Ó

œœ

œœ

Œ ‰

œ

j œ

œ

b

œ

œ

œ

œ

œ

œ

œ

˙™

˙

˙b

b

˙b

œb

œb

œb

˙™

Œ

œ œ

œb œ œ ™œ œ

™œ

œ

œ

˙ œ

‰

œ œ

œb œ ™

‰

œ œ

œ

˙

˙

œ

œ

œ

˙

œ

œb

b

‰

œ

j

œb

œ

œ

œ

œ

œ

˙

˙

˙

b

b

b

Œœ

œ

œ

bœ

œ

b

Œ

œ

œœ

œ

n

b

b

˙

˙

˙

˙

‰

˙

œ

J

œb

‰

œ

Ϫ

˙

˙

˙

n

Œ

Ϫ

œ

˙

œ

œ

n

b

51

Lee’s paraphrasing of the opening melody is a perfect example of how to assist a

singer’s entry into a song, especially if inexperience and nerves are a factor.

In the 2nd bar of Figure 4 we find Lee subtly linking with the lyric, “Spinning round in

my brain”, by having an ascending melodic structure in the right hand with the left

hand creating a brief contrapuntal line by moving from the Bb-maj7 to Bb-7 on beat

2. The shape of the melodic line created by Lee as he moves through Bbm to Gø in

bar 2, helps to support the word “spinning” that is contained in the sentence.

Figure 4 V1 support for “spinning round in my brain”. Accompanying CD (¤ Track 4).

In V2 Figure 5, I am completely surprised by the audacity of Lee’s accompaniment

and timing of entry. There is no piano introduction and Biddell is left to her own

devices for the first two and a half bars. The seven quaver-note motif Lee introduces

from the word “refrain”, forms an asymmetrical pattern, perfectly supporting the

lyrics, “and I find you spinning round in my brain”. This improvised idea of the seven

quaver-note motif, seems so perfect that I questioned Lee on whether this was

rehearsed or planned to some degree. Apparently Biddell’s only instruction was that

she would begin the song unaccompanied. For a live performance on national

television this is a very bold manoeuvre. Such was the confidence of the artists in

each other and of themselves.

 

 

{

{

{

Voice

Piano

You

D‹/F C‹/F B¨/F D¨/F B/F G¨/F D¨/F G¨/F F7(“4)

Voice

Pno.

go to my head and you linger like a haunting refrain

A1A1

Voice

Pno.

and I find you spinninground in my brain like the bubbles in a

B¨‹(Œ„Š9) B¨‹7 G‹11(b5) C7½

4

4

4

4

4

4

&

b

b

∑ ∑ ∑

Lyricist Haven Gellespie

Piano Julian Lee

Vocal Kerrie Biddell

You Go To My Head

Transcription Michael Bartolomei

composer J.Fred Coots

&

b

b

b

b

b

U

?

b

b

&

b

b

&

b

b

∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏

?

b

b

∏

&

b

b

&

b

b

b

n

∏∏∏∏∏∏∏∏∏∏∏∏

b

n

b

∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏

3

?

b

b

Ó Œ

œ

Ó ‰

œ

œ

œ

J

œ

œ

œ

œ

œ

œ œ

œ

œb

b

™™

™

œ

œ

œn

b

j

œ

œ

œb

b ™

™™

œ

œ

œ

j

Ϫ

˙

˙

œ

j

œ˙

˙

œ

œ

w

w

w

w

w

Œ

˙™

œ ˙ œ œ ˙™

w

œ ™ œ œ œ ˙

Œ ‰

œ œœ œ

œ ™ œ

œœbœ

œ ˙

Œ ‰

œ

j

œ

œ

œœ

˙˙

˙

˙b

b

Œ

Ó

œœ

œœ

Œ ‰

œ

j œ

œ

b

œ

œ

œ

œ

œ

œ

œ

˙™

˙

˙b

b

˙b

œb

œb

œb

˙™

Œ

œ œ

œb œ œ ™œ œ

™œ

œ

œ

˙ œ

‰

œ œ

œb œ ™

‰

œ œ

œ

˙

˙

œ

œ

œ

˙

œ

œb

b

‰

œ

j

œb

œ

œ

œ

œ

œ

˙

˙

˙

b

b

b

Œœ

œ

œ

bœ

œ

b

Œ

œ

œœ

œ

n

b

b

˙

˙

˙

˙

‰

˙

œ

J

œb

‰

œ

Ϫ

˙

˙

˙

n

Œ

Ϫ

œ

˙

œ

œ

n

b

52

 Figure 5 V2 asymmetrical seven-note motif. Accompanying CD (¤ Track 5).

The Go7 and Eo7 on beats 1 and 2 of Figure 6 have a classical sound rather than the

more commonly used Cm7b5 or C7b9. Note that these first two diminished 7th

harmonies would both form a C7b9 if Lee had included a C root note.

In answer to the lyric “spinning round in my brain”, Figure 6 V3 bar 2, Lee plays a

chromatic fantasy that simulates the feeling of spinning or swirling. Lee uses the same

idea in Figure 7 V1, although in V1 the chromatic fantasy was played at the

conclusion of the sentence “glass of Champagne”. This demonstrates that this

chromatic fantasy that Lee plays can musically alliterate the idea of “spinning round

in my brain” and the swirling of “bubbles in a glass of Champagne”. As mentioned

earlier, the connection between words and music is not an exact science. The abstract

coupling of these two forms of communication can elicit multiple points of subjective

{

{

{

Voice

Piano

You go to my head ands you linger like a haunting refrain

A1A1

Voice

Pno.

ands I find you spinning round in my brain Like the bubbles in a

5

Voice

Pno.

glass of champagne You go to my heads

A2A2

8

2

4

4

4

2

4

4

4

2

4

4

4

4

4

4

4

4

4

&

b

b

Transcription: Michael Bartolomei

3 3

Piano Julian Lee

Vocal Kerrie Biddell

You Go To My Head

Version 2

composer J.Fred Coots

Lyricist Haven Gillespie

&

b

b

∑ ∑ ∑

?

b

b∑ ∑ ∑ ∑

&

b

b

3 3

&

b

b

?

b

b∑ ∑ ∑

&

b

b

&

b

b

?

b

b

Ó Œ™

œ

jœ œ œ ˙

Œ Œ ‰

œ œœ œ

œ ™œ

œ œœ

œ ˙

Œ Œœœb

œ

œb

Œ ‰

œ œ

œb œœ œ œ œ

œ

œœ œ

‰ ≈

œ œ

œb œ ™ œœ œ

œ

œœ

œœb

œ

œ

œœœ

œœb

œ

œbœ

œœ

œœb

œ

œœ œ œ ˙ ˙

Œ ‰

œ

j

œ

j

œbœœ# œ œn œ ™

œ

œn

œ

œ

œ

œ

œ

œ

œ

b

bœ

œ

œ

b

œ

œ

œ#

n

n

œ

œ

œnœ

œ

œ

b

b

œ

œ

œ

n

n

n

œ

œ

œ

b

b

œ

œ

œ

#

n

n

œ

œ

œ

n

b

b œ

œ

œ

n

n

œ

œ

œn

n œ

œ

œ

œ

œ

œ

œ

‰™

œ

R

œ œ

J

Ϫ

œœ œb

œœ#

w

Œ

œœ

œ

n œœ

œ

Œ

53

interpretation. In this particular instance, these lyrics and the fast chromatic line Lee

plays provide a very obvious and non-subjective example of the connection between

narrative and music. It’s worth noting that Lee plays this chromatic fantasy in the

space between vocal phrases so as not to crowd the singer (Figure 6 and Figure 7).

In Figure 6 Lee continues with the bubbly drink theme half way through bar 4 by

playing a fill using 5th, 4th and 3rd intervals that cascade into the next bar.

 Figure 6 V3 chromatic fantasy as placed in V3. Accompanying CD (¤ Track 6).

 Figure 7 V1 chromatic fantasy as placed in V1. Accompanying CD (¤ Track 7).

{

{

{

{

Voice

Pno.

glass of champagne You

11

Voice

Pno.

go to my head like a sip of sparkling burgundy brew

AA

13

Voice

Pno.

and i find the very mention you slike a kicker in a

16

Voice

Pno.

julep or two s The thrill of the thought that you

BB

19

&

b

b

&

b

b∑ ∑

?

b

b

&

b

b

&

b

b

?

b

b

b

&

b

b

&

b

b

?

b

b n

b

b

&

b

b

3 33

&

b

b

?

b

b

œœ œ œ ˙ ˙

Œ ‰

œ

j

Ó

œ

œn œb

œn

œ# œn œ

œ

œ

œn œb

œ

œ# œn

œb œn

œ œn

œ

œb

œ

œœ œb

œ

œ

œ

œ

œ

œ

n

n

#

œ

œ

œ

Ϫ

œ

œ

œ

œœ

œœ

˙

˙

˙

œ ™ œœ œœ

˙

Œ ‰

œ œ œœ œ œ

œ œ œ

j

œ œœbœ

˙

œ

œ

œ

œ

œœ

˙b

œ

œœ

œ

œœ

œœb

™œ

œœ

œ

œœ

œ

Œ

Œ

Œ

œ

œ

œ ˙

˙

˙

˙b

œ

œb

œ

˙

œb

œ

Œ

œ

œœ

œœ

œœ

œœ

œ

˙

˙

œb œ

˙

œ

w

w

w

b

b

œ

≈

œ œ

œb œœ

™œ

œbœ œ

œ

œ˙

Ϊ

œ œ

œb

Ϫ

‰ ≈

œ œ

˙

˙˙

bœ

œb

n œ

œ

Œ

œ

œ

œ

œ

œ

œ

˙

˙

˙b

b

Œ

œ

œb

œœ

œ

œ

œ

˙

˙

œ˙

˙b

˙

˙

˙b

™

™

™

˙b

œbœn

‰œn ™ ˙

˙

œœ œ ˙ ˙

Œ ‰≈≈

œ

r

œ œœnœ

œ œœ#

œ

Ó ‰

œ

œœ

œ

b

j

œ

œœ

œ

n œœ

œ

œ

b

œ

œ

œœ

œ

œœ

œ

nb

œ

œœœ

n

œ

œ

œ

œ

œ

œ

œ

œ

b

b

œ

œ

œ

n

œ

œ

œ

œ

œ

œ

œ

œ

œ™™™™

œ

œ

œ

œ

œ

œ

œ

j

œ

œ

œœ

™™™™

œ

œ

œ

œ

œœ

œ

œbœ

œnœ

œbœœ

œb

n

˙

˙b

Œœ

œœ

œ

˙

˙

Œœ

œœ

2

54

On the second bar of Figure 8 Lee continues the glass of champaign theme by using

2nd inversion ascending major triads, being in the nature of bubbles to rise, against a

descending bass line. In the written music the indicated harmony for this bar would be

Cm7 – F7. The original chord changes are in effect only a starting point for creative

harmonic interplay.

Figure 8 V2 ascending triads with descending bass. Accompanying CD (¤ Track 8).

In Figure 9 the tempo settles at approximately 72 bpm. Lee demonstrates how a

pianist can create harmonic and rhythmic development by using the first three steps of

Bb diatonic harmony, Bb∆ – Cm7 – Dm7, to lead to Ebm7. Lee instead plays an

Eb7#9 for a beat before resolving to an Ebm7. I believe this movement to be a

creative error and Lee agreed with me.

Figure 9 V1 use of major scale diatonic harmony. Accompanying CD (¤ Track 9).

{

{

{

Voice

Piano

You go to my head ands you linger like a haunting refrain

A1A1

Voice

Pno.

ands I find you spinning round in my brain Like the bubbles in a

5

Voice

Pno.

glass of champagne You go to my heads

A2A2

8

2

4

4

4

2

4

4

4

2

4

4

4

4

4

4

4

4

4

&

b

b

Transcription: Michael Bartolomei

3 3

Piano Julian Lee

Vocal Kerrie Biddell

You Go To My Head

Version 2

composer J.Fred Coots

Lyricist Haven Gillespie

&

b

b

∑ ∑ ∑

?

b

b∑ ∑ ∑ ∑

&

b

b

3 3

&

b

b

?

b

b∑ ∑ ∑

&

b

b

&

b

b

?

b

b

Ó Œ™

œ

jœ œ œ ˙

Œ Œ ‰

œ œœ œ

œ ™œ

œ œœ

œ ˙

Œ Œœœb

œ

œb

Œ ‰

œ œ

œb œœ œ œ œ

œ

œœ œ

‰ ≈

œ œ

œb œ ™ œœ œ

œ

œœ

œœb

œ

œ

œœœ

œœb

œ

œbœ

œœ

œœb

œ

œœ œ œ ˙ ˙

Œ ‰

œ

j

œ

j

œbœœ# œ œn œ ™

œ

œn

œ

œ

œ

œ

œ

œ

œ

b

bœ

œ

œ

b

œ

œ

œ#

n

n

œ

œ

œnœ

œ

œ

b

b

œ

œ

œ

n

n

n

œ

œ

œ

b

b

œ

œ

œ

#

n

n

œ

œ

œ

n

b

b œ

œ

œ

n

n

œ

œ

œn

n œ

œ

œ

œ

œ

œ

œ

‰™

œ

R

œ œ

J

Ϫ

œœ œb

œœ#

w

Œ

œœ

œ

n œœ

œ

Œ

{

{

{

{

Voice

Pno.

glass of champagne You

11

Voice

Pno.

go to my head like a sip of sparkling

A2A2

13

B¨² B¨² C‹7 D‹7 E¨7(#9) E¨‹7 A¨13 A¨9

Voice

Pno.

burgundy brew and i find the

15

Voice

Pno.

very mention you slike a kicker in a julep ortwo

17

&

b

b

&

b

b∑ ∑

?

b

b

&

b

b

&

b

b

?

b

b

b

&

b

b

&

b

b

?

b

b n

b

&

b

b

&

b

b

?

b

b b

œœ œ œ ˙ ˙

Œ ‰

œ

j

Ó

œ

œn œb

œn

œ# œn œ

œ

œ

œn œb

œ

œ# œn

œb œn

œ œn

œ

œb

œ

œœ œb

œ

œ

œ

œ

œ

œ

n

n

#

œ

œ

œ

Ϫ

œ

œ

œ

œœ

œœ

˙

˙

˙

œ ™ œ œ œœ

˙

Œ ‰

œ œ œœ œ œ

œ œ

œ

œ

œ

œ

œœ

˙b

œ

œœ

œ

œœ

œœb

™œ

œœ

œ

œœ

œ

œ

Œ

œ

œœ

œœ

œœ

œœ

œ

˙

˙

œb œ

˙

œ

œ

j

œ œœb

œ

˙ œ

≈

œ œ

œb œœ

™

Œ

Œ

Œ

œ

œ

œ ˙

˙

˙

˙b

œ

œb

œ

˙

œb˙

˙˙

bœ

œb

n œ

œ

w

w

w

b

b

œ

˙

˙

œ˙

˙b

œœbœ œ

œ

œ˙

Ϊ

œ œ

œb

Ϫ

‰ ≈

œ œ œœ œ ˙

Œ

œ

œ

œ

œ

œ

œ

˙

˙

˙b

b

Œ

œ

œb

œœ

œ

œ

Ó ‰

œ

œœ

œ

b

j

œ

œœ

œ

n œœ

œ

œ

b

˙

˙

˙b

™

™

™

˙b

œbœn

‰œn ™ ˙

˙

œ

œ

œ

œ

œœ

œ

œb

2

55

In Figure 10 V3, Lee once again uses the diatonic chords of Bb major, Bb∆9 – C-7 –

D-7, to travel to the Eb-7 chord on bar 14. This time starting on beat 3 as crochet

(quarter note) triplets.

Figure 10 V3 major scale diatonic harmony in crochet triplet. Accompanying CD (¤ Track 10).

On the lyric “Burgundy Brew” Lee plays a high counter melody starting on beat 2

which is then echoed on the rhyming lyric “mention of you” (Figure 11 V1). Also

worth noting is the manner in which Lee uses dynamics to highlight these statements.

In bar 2 of Figure 11 V1, the C7#11 is voiced with the left hand playing a b5 interval

as foundation to the chord. This is a very dark and rich voicing that subjectively

thinking might be Lee’s idea of a match with the “Burgundy Brew”.

In Figure 12 V2, Lee offers similar support for the same lyric by playing an ascending

octave counter melody beginning on beat 2 of bar 1. Both these figures have Lee

playing an ascending line possibly because an alcoholic beverage might mimic the

light-headedness that intense feelings of desire may cause. Again, as in Figure 11 V1,

this idea is mirrored in bar 14 after the rhyming lyric “mention of you” (Figure 12

V2).

 

 

 

{

{

{

{

Voice

Pno.

like the bubblesin a glass of

champainge

you

10

Voice

Pno.

go to my head like a sip of sparkling

A2A2

13

B¨^9B¨^9

C‹7

D‹7

E¨‹7

A¨13

A¨9

Voice

Pno.

burgandy brew sand I find the very mention of you

15

Voice

Pno.

like a kicker in a julep or two the

18

&

b

b

&

b

b

n

?

b

b

&

b

b

&

b

b

3

?

b

b

3

3

&

b

b

&

b

b

?

b

b

&

b

b

&

b

b

?

b

b n b

Œ

œ œ

œb œœ œ œ

œ œ œ ˙ œ

Œ Œ

œ

œb

œ

œ

b

Œ

œ

œ

œ

#

œ

˙

˙

œ

Ó

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ™™

œ

œ

œ

œ

˙

˙

˙

˙

˙

˙

n

‰™œ

r

œ

œn

#

˙

‰™

œb

r

œ

œ

˙

˙˙

˙

œ

œ

œ

œ

˙

œ œ

œ

œ

œ

˙

˙

Œ

œ

œ œ œ œ ˙

Œ

œ œœ œ

œ œ

˙˙

˙

˙

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙

˙b

b

b

˙

˙b

œ

œ

˙

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œb

œ

œ

œ

œb

b

œ

œœ

œ

œ

œœ

œ œœ

œ ˙

Œ

œ œ

œb œœ œ œ œ

œœ ˙

œ

œ

œn

nœ

œ

œb

b

œ

œ

œ

b

œ

œ

œb

˙

˙

˙

b

bœ

œn

œ

œ

œ

œ ™

™œ

œ

b

J

œ

œ ™™

œ

œ

n

j

œ

œb

b

œ

œ

b

œ

œ

œ

œ

œ

œ

b

‰

œ

œn

b

j

œ

œ

œ

œ

œ

œ

n

b

œ

œ

bœ

œ

b

œ

œ œ

Ϫ

™

œn œ

œ

Œ

œ œ

œb œœ œ œ

œ œ œ ˙ œ

Œ Œ

œ

œb

˙

˙

b

œ

œ

œ

œ

œ

b

œ

œ

œœ

œ

œ

œ

œ

n

nœ

œ

œ

n

œ

œ

œ

n

œ

œ

œ

œ

nœb

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

˙

œ

œ

Œ

œ

œ

œ

œn

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

n

#

œ

œ

œ

b

b

n

œ

œ

œ

œ œ

œ

œœ

2

56

Figure 11 V1 counter melody under rhyming lyrics. Accompanying CD (¤ Track 11).

Figure 12 V2 Lee plays different counter melodies under the same part of song. Accompanying CD (¤ Track 12).

In Figure 13 in bar 1 beat 3 and 4 Lee plays the F7sus4 to F7 instead of F7 for the two

beats. This simple inner voice movement of the Bb – A gives harmonic purpose to the

quarter note rhythmic pulse.

After “Julep or two” Lee creates a harmonized diatonic melody. Using alternate

diminished 7th chords to inversions of Bb6 chord, arriving at the Ab∆9 – Bb13b9 on

beats 3 &4 to set up the resolve to the Eb∆ of letter B. During these one-and-a-half

bars Lee intuitively performs a slight accelerando into letter B and the oncoming

lyric, “The thrill of the thought”. Perhaps it is Lee’s overarching familiarity with the

narrative that enables him to pre-empt the lyric itself and impart a sense of excitement

that our protagonist is feeling. The performance of V1 in general is replete with

{

{

{

{

Voice

Pno.

glass of champagne You

11

Voice

Pno.

go to my head like a sip of sparkling

A2A2

13

B¨² B¨² C‹7 D‹7 E¨7(#9) E¨‹7 A¨13 A¨9

Voice

Pno.

burgundy brew

andi find

the

verymention

you

15

D¨^13

C7(#11) F7(b13) B¨‹9

Voice

Pno.

slike a kicker in a julep or two s The

18

&

b

b

&

b

b∑ ∑

?

b

b

&

b

b

&

b

b

?

b

b

b

&

b

b

&

b

b

?

b

b n

b

&

b

b

3

&

b

b

?

b

b b

œœ œ œ ˙ ˙

Œ ‰

œ

j

Ó

œ

œn œb

œn

œ# œn œ

œ

œ

œn œb

œ

œ# œn

œb œn

œ œn

œ

œb

œ

œœ œb

œ

œ

œ

œ

œ

œ

n

n

#

œ

œ

œ

Ϫ

œ

œ

œ

œœ

œœ

˙

˙

˙

œ ™ œ œ œœ

˙

Œ ‰

œ œ œœ œ œ

œ œ

œ

œ

œ

œ

œœ

˙b

œ

œœ

œ

œœ

œœb

™œ

œœ

œ

œœ

œ

œ

Œ

œ

œœ

œœ

œœ

œœ

œ

˙

˙

œb œ

˙

œ

œ

j

œ œœbœ

˙ œ

≈

œ œ

œb œœ

™œ

œbœ œ

œ

œ˙

Œ

Œ

Œ

œ

œ

œ ˙

˙

˙

˙b

œ

œb

œ

˙

œb˙

˙˙

bœ

œb

n œ

œ

Œ

œ

œ

œ

œ

œ

œ

˙

˙

˙b

b

w

w

w

b

b

œ

˙

˙

œ˙

˙b

˙

˙

˙b

™

™

™

œbœn

Ϊ

œ œ

œb

Ϫ

‰ ≈

œ œ œœ œ ˙ ˙

Œ ‰ ≈≈

œ

r

Œ

œ

œb

œœ

œ

œ

Ó ‰

œ

œœ

œ

b

j

œ

œœ

œ

n œœ

œ

œ

b

œ

œ

œœ

œ

œœ

œ

nb

œ

œœœ

n

œ

œ

œ

œ

œ

œ

œ

œ

b

b

œ

œ

œ

n

œ

˙b

‰œn ™ ˙

˙

œ

œ

œ

œ

œœ

œ

œbœ

œnœ

œbœœ

œb

n

2

{

{

{

Voice

Pno.

go to my heads like a sip of sparkling

A2A2

10

E¨‹7 A¨13(b9)

Voice

Pno.

burgundy brew and I find the very mention of you

12

D¨^9

C7[áÆ]

F7(b13)

F7(b9)

B¨‹(Œ„Š7)

B¨‹9

Voice

Pno.

like the kicker in a julep or two

15

&

b

b

&

b

b

?

b

b

&

b

b

&

b

b

n

b

?

b

b

&

b

b

&

b

b

?

b

b

œ

j

œbœ

œ# œ œn œ ™

Œ ‰

œ œ œœ œ œ

œ œ

œ

œ

œ

n

b

b œ

œ

œ

n

n

œ

œ

œn

n œ

œ

œ

œ

œ

œ

œ

Œ

˙

˙

˙

b

œ

œ

œ

n

w

Œ

œœ

œ

n œœ

œ

Œ

˙

˙

˙b ˙

˙

˙b

œ

j

œ œœbœ

˙ œ

‰

œ œ

œb œœ œ œ

‰

œ

j

œ œœ˙

œ

œ

œb

bœ

œ

œ

œ

œ

œb

b

œ

œ

œ

œ

b

˙

˙

b

b

œ

œœ

œ

b

b

b

˙

œ

œ

œ

œ

œ

b

œ

œn

b œ

œ

œœ

œ

œ

œ

œ

œ

œ

b

œ

œ

n

œ

œ

œ

œb

b

œ

œ

œ

œ

œœb

œb

˙

Œ œ

œœ

œ

b

b

b

˙n

Œœ

œn œ

w

œ ˙

˙

Ϊ

≈

œ

r

œ œ

œb

œ

œ œ œœ œ œ ˙

œ

œ

œœ

œ

œb

nœ

œ

œ

œb

b

#

n

œ

œ

nœ

œ

œ

œ

n

œ

œ

œ

œ

n

n

œ

œ

œ œ

œ

œœ

œ

œ

œœ

œ

#

#

˙#

‰œn ™

˙n

‰œb ™

w

Œ ˙n œ

œ

2

57

examples of colla voce. The effortless flow from slight to extreme retards and

accelerando exemplifies two artists in synchronicity.

Figure 13 V1 alternating diminished 7th to Bb6 to harmonise a melodic line.

Accompanying CD (¤ Track 13).

On beat 1 in the first bar of Figure 14, Lee plays a C/Bb rather than the usual Bb∆.

The standard chord for this bar is Bb. Lee’s variation on the first beat of the bar

provides both harmonic and rhythmic forward motion that helps to maintain the

listeners surprise and interest. The C/Bb also aligns with the melody note of C

perfectly. Lee’s melodic line starting on the last two quavers of bar 1 after the lyric

“julep or two” is supported harmonically in its first three steps with a Gm7-Gbm7 to

Fm7/Bb on the 2nd bar.

Figure 14 V2 harmonic variation, C/Bb –Bb with melody. Accompanying CD (¤ Track 14).

{

{

{

{

Voice

Pno.

glass of champagne You

Voice

Pno.

go to my head like a sip of sparkling

A2A2

B¨Œ„Š7 B¨Œ„Š7 C‹7 D‹7 E¨7(#9) E¨‹7 A¨13 A¨9

Voice

Pno.

burgundy brew

andi find

the

verymention

you

C7(#11) F7(b13) B¨‹9

Voice

Pno.

slike a kicker in a julep or two s The

Cº7

B¨6E¨º7

B¨6

Eº7 B¨ A¨^9 B¨13(b9)

F7(“4) F7 B¨6

&

b

b

&

b

b∑ ∑

?

b

b

&

b

b

&

b

b

?

b

b

b

&

b

b

&

b

b

?

b

b n

b

&

b

b

3

&

b

b

?

b

b b

œœ œ œ ˙ ˙

Œ ‰

œ

j

Ó

œ

œn œb

œn

œ# œn œ

œ

œ

œn œb

œ

œ# œn

œb œn

œ œn

œ

œb

œ

œœ œb

œ

œ

œ

œ

œ

œ

n

n

#

œ

œ

œ

Ϫ

œ

œ

œ

œœ

œœ

˙

˙

˙

œ ™ œ œ œœ

˙

Œ ‰

œ œ œœ œ œ

œ œ

œ

œ

œ

œ

œœ

˙b

œ

œœ

œ

œœ

œœb

™œ

œœ

œ

œœ

œ

œ

Œ

œ

œœ

œœ

œœ

œœ

œ

˙

˙

œb œ

˙

œ

œ

j

œ œœbœ

˙ œ

≈

œ œ

œb œœ

™œ

œbœ œ

œ

œ˙

Œ

Œ

Œ

œ

œ

œ ˙

˙

˙

˙b

œ

œb

œ

˙

œb˙

˙˙

bœ

œb

n œ

œ

Œ

œ

œ

œ

œ

œ

œ

˙

˙

˙b

b

w

w

w

b

b

œ

˙

˙

œ˙

˙b

˙

˙

˙b

™

™

™

œbœn

Ϊ

œ œ

œb

Ϫ

‰ ≈

œ œ œœ œ ˙ ˙

Œ ‰ ≈≈

œ

r

Œ

œ

œb

œœ

œ

œ

Ó ‰

œ

œœ

œ

b

j

œ

œœ

œ

n œœ

œ

œ

b

œ

œ

œœ

œ

œœ

œ

nb

œ

œœœ

n

œ

œ

œ

œ

œ

œ

œ

œ

b

b

œ

œ

œ

n

œ

˙b

‰œn ™ ˙

˙

œ

œ

œ

œ

œœ

œ

œbœ

œnœ

œbœœ

œb

n

2

{

{

{

{

Voice

Pno.

go to my heads like a sip of sparkling burgundy brew

A2A2

10

E¨‹7 A¨13(b9)

D¨^9

Voice

Pno.

and I find the very mention of you

13

Voice

Pno.

like the kicker in a

15

Voice

Pno.

julep or two s the

16

C/B¨B¨

G‹7 G¨‹7 F‹7/B¨ B¨13

&

b

b

&

b

b

?

b

b

&

b

b

&

b

b

n

b

?

b

b

&

b

b

&

b

b

?

b

b

&

b

b

&

b

b

?

b

b

b

œ

j

œbœœ# œ œn œ ™

Œ ‰

œ œ œœ œ œ

œ œ œ

j

œ œœbœ

˙

œ

œ

œ

n

b

b œ

œ

œ

n

n

œ

œ

œn

n œ

œ

œ

œ

œ

œ

œ

Œ

˙

˙

˙

b

œ

œ

œ

n

œ

œ

œb

bœ

œ

œ

œ

œ

œb

b

œ

œ

œ

œ

b

w

Œ

œœ

œ

n œœ

œ

Œ

˙

˙

˙b ˙

˙

˙b

œ

œb

b

œ

œ

œ

œ

œœb

œb

œ

‰

œ œ

œb œœ œ œ

‰

œ

j

œ œœ

˙

˙

˙

b

b

œ

œœ

œ

b

b

b

˙

œ

œ

œ

œ

œ

b

œ

œn

b œ

œ

œœ

œ

œ

œ

œ

œ

œ

b

œ

œ

n

œ

œ

˙

Œ œ

œœ

œ

b

b

b

˙n

Œœ

œn œ

w

œ ˙

˙

Ϊ

≈

œ

r

œ œ

œb

œ

œ œ

œ

œ

œœ

œ

œb

nœ

œ

œ

œb

b

#

n

œ

œ

n

˙#

‰œn ™

˙n

‰œb ™

œœ œ œ ˙ ˙

Œ ‰

œ

j

œ

œ

œ

œ

n

œ

œ

œ

œ

n

n

œ

œ

œ œ

œ

œœ

œ

œ

œœ

œ

#

# œ

œœ

œb

n

nb

œn

œ

œ

œb

œ

œ

œ

nœn

œ

œ

œ

œ

w

Œ ˙n œ

œ œ

˙

œ

œ

œœ

˙

Œ

œ

œœ

œ

2

58

In Figure 15 V3, on the first beat, Lee plays a C/Db chord. With the melody on C the

dissonant bi-tonal tension of C/Db is very effective.

In the first half of the second bar, instead of the original C7, Lee plays a Gb7b5, the

tri-tone substitution. Make note of the interesting voicing of the rootless Bbm(maj7)

in bar 2. The implied whole tone sound of the Gb7b5 and rootless chords of the

subsequent bars lend a dreamy quality the to lyric “and I find the very mention of

you”. In bar 18 rather than the normal C7 Lee plays a rootless C7b9b5. On beats 3

and 4 where the original chords were F7, Lee adds a Cø – F7b9 (Figure 15).

Once again, as in Figure 14 V2, on the lyric “Julep”, Lee plays a C/Bb and then

resolves to the Bb6.

Beat 1 of bar 20 has Lee superimposing two triads, Bb major over a left hand Ab

major. Functionally this should be viewed as a rootless Fm11 to the Bb13 to move to

the Eb6 of bar 21(Figure 15).

Figure 15 V3 the C/Db chord with melody. Tri-tone substitution. Accompanying CD (¤ Track 15).

{

{

{

{

Voice

Pno.

like the bubblesin a glass of

champainge

you

10

Voice

Pno.

goto my head like a sip of sparkling

A2A2

13

B¨^9B¨^9

C‹7 D‹7

E¨‹7

A¨13

A¨9

Voice

Pno.

burgandy brew sand I find the very mention of you

15

C/D¨

G¨7(b5)

B¨‹(Œ„Š11)

G‹11(b5)

Voice

Pno.

like a kicker in a julep or two the

18

C7[áÁ]

CØ7

F7(b9)

C/B¨

B¨6

G‹7

G¨‹13

F‹11

B¨13

&

b

b

&

b

b

n

?

b

b

&

b

b

&

b

b

3

?

b

b

3

3

&

b

b

&

b

b

?

b

b

&

b

b

&

b

b

?

b

b n b

Œ

œ œ

œb œœ œ œ

œ œ œ ˙ œ

Œ Œ

œ

œb

œ

œ

b

Œ

œ

œ

œ

#

œ

˙

˙

œ

Ó

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ™™

œ

œ

œ

œ

˙

˙

˙

˙

˙

˙

n

‰™œ

r

œ

œn

#

˙

‰™

œb

r

œ

œ

˙

˙˙

˙

œ

œ

œ

œ

˙

œ œ

œ

œ

œ

˙

˙

Œ

œ

œ œ œ œ ˙

Œ

œ œœ œ

œ œ

˙˙

˙

˙

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙

˙b

b

b

˙

˙b

œ

œ

˙

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œb

œ

œ

œ

œb

b

œ

œœ

œ

œ

œœ

œ œœ

œ ˙

Œ

œ œ

œb œœ œ œ œ

œœ ˙

œ

œ

œn

nœ

œ

œb

b

œ

œ

œ

b

œ

œ

œb

˙

˙

˙

b

bœ

œn

œ

œ

œ

œ ™

™œ

œ

b

J

œ

œ ™™

œ

œ

n

j

œ

œb

b

œ

œ

b

œ

œ

œ

œ

œ

œ

b

‰

œ

œn

b

j

œ

œ

œ

œ

œ

œ

n

b

œ

œ

bœ

œ

b

œ

œ œ

Ϫ

™

œn œ

œ

Œ

œ œ

œb œœ œ œ

œ œ œ ˙ œ

Œ Œ

œ

œb

˙

˙

b

œ

œ

œ

œ

œ

b

œ

œ

œœ

œ

œ

œ

œ

n

nœ

œ

œ

n

œ

œ

œ

n

œ

œ

œ

œ

nœb

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

˙

œ

œ

Œ

œ

œ

œ

œn

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

n

#

œ

œ

œ

b

b

n

œ

œ

œ

œ œ

œ

œœ

2

59

6.2  Bridge  Sections  

The tempo steadies again at letter B, Figure 16, at approximately 72bpm for the first

four bars.

On the second half of bar 24 Lee modulates to the new key centre of D major by the

use of tenth intervals. These tenths fleshed out into seventh chords would be

Bb∆ – Am7 – Gm7 – Fm7 to the Em7 on bar 25.

Then on bars 25 and 26 the tempo nudges up to 75bpm on the lyric “I say to myself,

get a hold of yourself”. The combination of key centre change and tempo lift could be

viewed as underscoring the characters inner confusion. In bar 27 and 28 the characters

resignation … “can’t you see that this never can be” is aided by the relaxation of the

tempo back to 72bpm with a uncomplicated Dadd2 to F11 to harmonically move into

letter C and the return to original key centre of Bb.

 

 

 

60

Figure 16 V1 Bridge 1. Accompanying CD (¤ Track 16).

In Figure 17 the first two bars of letter B see the lyrics, “The thrill of the thought that

you might give a thought to my pleas”, supported by the circuitous movement of the

eighth note countermelody in thirds. This seems to perfectly match the character’s

state of mind.

Lee moves to the new key centre of D major via a melodic single note run to the last

quaver triplet of bar 21 playing an Fm11 to the Em11 of bar 111. In the second half of

bar 23 Lee uses the tri-tone substitution F7, instead of the B7b9. In bars 24 and 25

Lee’s left hand is playing 1, b7, b10 or 1, b10 voicing’s. This left hand voicing is

{

{

{

{

Voice

Pno.

thrill of the thought that you might give a thought to my pleas cast a

BB

21

Voice

Pno.

spell over me yet I say to myself get a

24

B¨²

A‹7G‹7

E‹7

F‹7

Voice

Pno.

hold of yourself cantyou seethatthis nevercan be

26

D(„ˆˆ2)

C‹11/F

Voice

Pno.

you go to my head with a smile that makes my

CC

29

&

b

b

3

333

3 3

&

b

b

?

b

bb

b

n

&

b

b

33

3

&

b

b

?

b

b

&

b

b

3 3 33 3 3

&

b

b

?

b

b

&

b

b

3

&

b

b

?

b

b

œ œœnœ

œ œœ#

œ

œb œœœ

œ œ

j

œ

˙ œœ

j

œ

j

œn

œ

œ

œ

œ

œ

œ

œ

œ™™™™

œ

œ

œ

œ

œ

œ

œ

j

œ

œ

œœ

™™™™

‰

œ

œ

œ#

n

J

œ

œ

œ

œ

œ

œ ™™™ œ

œœ

œ

b

n

œ

œœ

œ

ÓÓ

œ

œ

œœ

n

n

b

J

œ

œ

œœ

n

™™™

™

˙

˙b

Œœ

œœ

œ

˙

˙

Œœ

œœ

œ

œ

œ

˙

˙™

™

œ

œ

˙

˙

˙

˙b

n

œ

Œ

˙

œ

œœœ

œœ

œœ

b

Ó

œ

œœ

œ

˙

‰

œœ

œ œ œ œ‰

œœ#

Œ

œ

œ

œœ

œœœ

œb

Œ

œ

œ

œ

œ

n

#

Œ

œ

œœ

œ

#

#

n

˙

˙

œœ

œœ

˙

˙

˙

n

œ

œ

œ

œ

#Œ

˙

Œ

œœ

œ

#n

≈

œn

œ#œn

œœ

œ#

œ

œ

j

œn

Œ ‰ ‰

œ

j

œ

j

œn

œ œœnœ#œ

j

˙

˙n

œ

œ

# œ

œ

œ

œ

œ

n

n

œ

œœ#

Œ

œ

œ

œ

œn

#

œœ

œ#

n# œ

œœ

œ

#n

™™™ œ

j

˙

˙

˙

˙b

b

b

œ

œ

œ

œ#

#

n œ

œ

œ

œ

œ

œ

#

#

œ

œ

œ

#

n

œ

œ

œ

œ

œ

n

œ

œ

œ

œ

#

n

n

˙

˙

œ

œ

œ#

œn

œ

œb

œ

Œ

œ œ

œ œ

jœ

‰ Œ™

œ œœ œ

œ œ

œœ

œn

œ

œœ

œ

n

œœ

œ

œœ

œ

œ

œ

œ

b

bœ

œœ

œ

b

œ

œ

œn

n

œ

œ

œb

œ

œ

n

œ

œ

œ

œœ

œ

œœ

œ

b

b

œ

œœ

œ

œnœb

3

61

very full and rich sounding and is derived from the stride piano style. The stride style

is a vital technique to master when playing solo piano or when in a duo setting with

another instrument. When performing with an electric or acoustic bass this full left

hand stride style should be used more sparingly as it would often conflict with the roll

of the bass.

Figure 17 V2 Bridge 1. Accompanying CD (¤ Track 17).

{

{

{

{

Voice

Pno.

thrill of the thought that you

mightgive

a

thoughtto

my

BB

18

Voice

Pno.

pleas

casts

a

spell

over me

yet

F11

I

E‹11

say

to myself you

20

Voice

Pno.

gotto get hold of yourself

F7

can'tyouseethatthis never can be You

23

Voice

Pno.

go to my head with a

smile

that

CC

26

&

b

b

33

33

&

b

b

?

b

b

&

b

b

3 33

3

&

b

b

3

3

?

b

b

3

3

&

b

b

3

3

3

3

3

&

b

b

?

b

b

Left hand stride piano voicings

#

&

b

b

3

&

b

b

?

b

b

œ œœn

œ

œ œœ#

œ

˙b œ œ

œ œ œœ

œœ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œb

œ

œ

nœ

œ

œ

œn

#

œ

œ

œ

œb

nœ

œb

bœ

œœ

œ

œ

œ

nœ

œ

b

w

œ œ

˙ ™ w

w

w

#

n

Œ

˙

˙#

™

™

˙

≈

œn ™

j

œ

j

œ œ

œ

œ

˙

‰

œœœ œ œ œ œ

‰œ

j

œ

œ

œ

œ

n

œ

œn

œœ

œ

œ

b

n

œ

œw

w

w

w

Œ

œœœœœœ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

#

œ

œ

œ

œn

#

œ

œn

œ

œœ

œ

#œb

j

œ

œ

œœ

œ œ

œ

b

b

˙

˙

™

™

œ

œ

˙

˙nœ

œ

j Œ

œ

œ

œ

œ#

n

Ó

œ

œ#

œ

œ

œ

œn

j

œ

œœn

œ#

œœn

œ

˙

‰

œ œ

œœ

j

œ#

j

œ œœ

œ

˙

Œ

œnœœœ

œ œ

œ

œ

œ

n

#

œ

œn

œ

œ

œœ

œ

nb

œ

œ

œn

œ

œ

œ

œ

#

œ

œn

œ

œœ

œ#

#

œ

œœ

œ

œ

#

#

n

œ

œœ

œ

#

#

n

œ

œ

œ

œœ

œ

œ

œ

œ

œ œ

œ

˙

˙n

# ˙

˙b

nœ

œ

œ

n

œ

œ

œ

œ

#

n

˙

˙#

˙

˙

œ™œœ

˙

˙

˙

b

n

Ó

œœ

œ œnœ œ

œ

œ œ

Ϊ

œ œœb

‰

œ

j‰

œœ

nœ

œ

œ

n

œœ

œ

˙

˙

˙

˙

b

b

œœb

Œ

Ó

œ

œ

œb œ

œ

n

n

œ

œ

œ

œ

œ

œ#

#

œ

œ

n

œœ

œ

œ

œ

œœ

˙

˙

b

Œ

œ

œ

œ

œ

b

b

˙b

Œœœ

œ

œ

n

3

62

In Figure 18 V3 “The thrill of the thought that you might give a thought to my pleas”

is given a slightly more subdued treatment. Lee’s left hand is playing an Eb6 arpeggio

as the right hand, starting on beat 2, plays Bb, Cm, F and Eb triads. This is all based

on Bb diatonic harmony. Bar 2 is all E diminished scale harmony.

Figure 18 V3 Bridge, harmonization of counter melody. Accompanying CD (¤ Track 18).

{

{

{

{

Voice

Pno.

B¨^

°

Voice

Pno.

thrill of the thought that you might give a thought to my plea cast a spell over me

BB

E¨6

Eº7

B¨/F F9(“4)

Voice

Pno.

yet I say to myself get a hold of yourself can't you

B¨^

E‹11

A13

F©‹7 F7

Voice

Pno.

see that this nevr could be You

E‹11G/A

A7(b9)

D^ D6

C‹11F13

&

b

b

∑

&

b

b

∑

22

?

b

b

‘“

&

b

b

&

b

b

?

b

b

&

b

b

3 3 3 3

&

b

b

?

b

b n

n

b

n

3

&

b

b

3 3

&

b

b

?

b

b

∑

Œ

œ

œ

œn

œn

œ

œn

œ

œn

œn

œ

œn

œ

œn

œn

œ

œn

œ

œn

œn

œ

œn

œn

Œ

w

w

w

w

w

n

b œ

j

‰ Œ Ó

œ œ œ

œ œ œ œ

œb œ œ

œ œ œ œœ

œn

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

n

œ

œ

œ

œ

b

œ

œ

#

#

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

b œ

œ

œ

w

œ

œ

œ

œœ

œ

œ

œ

œ

œ#

n

jœ

œ ™

™

œ

œ

b

œn

œ

œ

n

˙

˙

˙

n

œ

œ

œ

œ

˙™

œœ

œ œ œ œ œ œ œ œ œ œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙

˙n

#

˙

˙

˙

˙

#

˙

˙

˙

˙

#

#˙

˙n

w

w

Œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

œ

œ

œ

œ#

˙

Œœ

j

œ

œ

œ

#

˙#

Œ

œ

œ

œn

#

œ

˙

œ

j

œ

œ

œ

œ

b

n

œ œ œ œ œ œ ˙™

œ

œ

œ

œ

œn

# œ

œ

œ

œ

œ

œ

œ

œ

œ

n

#

œ

œ

œ

#

#

#

œ

œ

œ

n

œ

œ

œ

œ

n

b

œ

œ

n

Œ

Æœn

J

˙

˙

n

œ

j

˙

˙

˙

n

˙

œ

œn

b

œ

œ#

œ

œ

œ

œ

œ

œ

œ

œb

7

63

Figure 19 shows the same first four bars as in Figure 6.17. Here I have extracted the

melody Lee creates under Biddell. The melodies in bars 1 and 2 have the same

rhythmic placement. This demonstrates the compositional development that is

essential in accompaniment. Both bar 1 and 2 are reminiscent of something Debussy

would compose.

Figure 19 V3 isolated counter melody from Figure 6.17. Accompanying CD (¤ Track 19).

Despite there being no singer in V3, Lee crafts a sumptuous and sophisticated

accompaniment. Knowing inexperienced students will be singing over the backing

Lee acts as a guide by giving melodic hints in different points of the song.

Note that in all three versions, Lee plays something to command the listeners

attention in the bar that precedes the lyric, “yet I say to myself, get a hold of

yourself”.

Pianists must be aware of the melody so they will play suitably between vocal phrases

and not over the vocalist. They must also create parts under the vocal that are

independently valid. As pianist Chick Corea stated, “a good accompaniment should

be able to stand on it’s own as a melody”(Corea, 1979). Having an understanding of

the narrative as a whole and in its particulars will hopefully insure that what they do

play will be appropriate. All three versions of this song have accompaniments by Lee

that can stand on their own.

 

{

{

Voice

Pno.

You go to my head The

B7

B%(#11)

Voice

Pno.

thrill of the thought that youmight give a thought to my plea cast a spell over me yet I

B¨C‹ F

E¨

E¨6 arp

Eº7

B¨/F F11 B¨^

&

b

b

3

&

b

b

?

b

b

3

&

b

b

&

b

b

?

b

b∑ ∑ ∑ ∑

œ œ œ œ œ w ˙

Œ

œ

‰

œ

œ

œ

b

b

j

œ

œ

œ

b

b œ

œ

œ

œn

œ

œ

œ

œ

n

™™™™ œ

j

Ϫ

œ

Jœ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ#

œ

œn

œ#

œ

œ

œ

™

™

™

˙

˙

˙

œ

œn

b

œ

œn

œb

œ

œn

œb

˙

˙

œ

j

˙

˙

b

œ œ œ

œ œ œ œ

œb œ œ

œ œ œ œœ

œn

œ

œ

œ

œ

œ ˙™

œœ

Œ

œnœ

œœ œ

œœ

œ

œ#œ

œ

œ

œ œ

œœœœœœ

9

64

The next section of interest is the last verse before the piano solo. In Figure 20 in the

second bar after the lyric “you go to my head”, the high voiced, rootless Ebm11 drops

dramatically to an unexpected G7 on the lyric “smile” and then slides up to the

expected harmony of Ab7 on beat 4. The G7 harmony helps to articulate musically

the passion and desire that the word smile slyly alludes to.

In the last bar of the example the standard harmony is 2 beats each of Db∆ – Gø. Lee

holds the Db∆ for 3 beats and then plays a harmony consisting of a superimposed 2nd

inversion Ab triad over a Gb major triad. This could be called a Gb69b5 although the

Ab/Gb does give a more precise picture of Lee’s voicing.

Figure 20 V1 range variation of voicings. Accompanying CD (¤ Track 20).

In the first bar of Figure 21 on beat 3 Lee adds an Ebm/F before resolving to the F7b9

on beat 4. This allows the inner voice movement of the notes Bb – A.

In bar 2 of Figure 21 Lee uses a Bbm(maj7) rather than two beats each of Bbm7 – Gø.

Staying on the Bbm(maj7) for the whole bar seems to create a more languid feeling

that a summer heat can induce. This works well with the lyric, “your like a summer

with a thousand July’s”.

{

{

{

{

Voice

Pno.

thrill of the thought that you might give a thought to my pleas cast a

BB

21

Voice

Pno.

spell over me yet I say to myself get a

24

B¨²

A‹7G‹7

E‹7

F‹7

Voice

Pno.

hold of yourself cantyou seethatthis nevercan be

26

D(„ˆˆ2)

C‹11/F

Voice

Pno.

you go

tomy

head with a smile that makes my temperature rise

CC

29

E¨‹11

G7

A¨7

D¨^9 A¨/G¨

&

b

b

3

333

3 3

&

b

b

?

b

bb

b

n

&

b

b

33

3

&

b

b

?

b

b

&

b

b

3 3 33 3 3

&

b

b

?

b

b

&

b

b

33 3

&

b

b

3

?

b

b

œ œœnœ

œ œœ#

œ

œb œœœ

œ œ

j

œ

˙ œœ

j

œ

j

œn

œ

œ

œ

œ

œ

œ

œ

œ™™™™

œ

œ

œ

œ

œ

œ

œ

j

œ

œ

œœ

™™™™

‰

œ

œ

œ#

n

J

œ

œ

œ

œ

œ

œ ™™™ œ

œœ

œ

b

n

œ

œœ

œ

ÓÓ

œ

œ

œœ

n

n

b

J

œ

œ

œœ

n

™™™

™

˙

˙b

Œœ

œœ

œ

˙

˙

Œœ

œœ

œ

œ

œ

˙

˙™

™

œ

œ

˙

˙

˙

˙b

n

œ

Œ

˙

œ

œœœ

œœ

œœ

b

Ó

œ

œœ

œ

˙

‰

œœ

œ œ œ œ‰

œœ#

Œ

œ

œ

œœ

œœœ

œb

Œ

œ

œ

œ

œ

n

#

Œ

œ

œœ

œ

#

#

n

˙

˙

œœ

œœ

˙

˙

˙

n

œ

œ

œ

œ

#Œ

˙

Œ

œœ

œ

#n

≈

œn

œ#œn

œœ

œ#

œ

œ

j

œn

Œ ‰ ‰

œ

j

œ

j

œn

œ œœnœ#œ

j

˙

˙n

œ

œ

# œ

œ

œ

œ

œ

n

n

œ

œœ#

Œ

œ

œ

œ

œn

#

œœ

œ#

n# œ

œœ

œ

#n

™™™ œ

j

˙

˙

˙

˙b

b

b

œ

œ

œ

œ#

#

n œ

œ

œ

œ

œ

œ

#

#

œ

œ

œ

#

n

œ

œ

œ

œ

œ

n

œ

œ

œ

œ

#

n

n

˙

˙

œ

œ

œ#

œn

œ

œb

œ

Œ

œ œ

œ œ

jœ

‰ Œ™

œ œœ œ

œ œ œ

j

œ œœœb

˙

œœ

œn

œ

œœ

œ

n

œœ

œ

œœ

œ

œ

œ

œ

b

bœ

œœ

œ

b

œ

œ

œn

n

œ

œ

œb

œœ

œ

œ

b

œ

œœ

œ

œœœ

œ

œœbœœb

œ

œ

n

œ

œ

œ

œœ

œ

œœ

œ

b

b

œ

œœ

œ

œnœb

œb ™

œ

œb œœ

œ

œ

b

b

3

65

The other harmonic device worth noticing is the semitone slip in bar 5. The first right

hand quaver of beat 2 is an Eb∆. Lee then moves up a semitone for a quaver to E∆

then to the Bb13 on beat 3.

 Figure 21 V1 inner voice guide tones. Accompanying CD (¤ Track 21).

•

In Figure 22, beginning in bar 27 Lee plays a high octave counter melody that

continues through until near to the end of bar 29. At the outset this could be viewed as

interfering with the vocalist’s melody, however it does underpin the lyric, “makes my

temperature rise like a summer with a thousand Julys”. Lee demonstrates that there

are many ways to connect musically with the songs narrative.

In my interviews with Lee he noted that on the Channel 9 recording of this

performance the piano was recorded in such a way as to accentuate the mid to high

range. The result being that the octave countermelodies appeared on the recording to

{

{

{

{

Voice

Pno.

your like a summer with a thousand July's

E¨‹/F F7(b9)

B¨‹(Œ„Š7)

Voice

Pno.

you intoxicate my soul with your eyes

G‹7 G¨13 F‹9 E¨²/F E²/F B¨13 B¨7(#5)

Voice

Pno.

I am certain that this heart of mine hasn't a ghost of a

DD

Voice

Pno.

chance in this romance you go

&

b

b

3 3 3

&

b

b

b

b

b

3

?

b

b

&

b

b

33 3

&

b

b

?

b

b

&

b

b

3 33

3 3 3

&

b

b

?

b

b

&

b

b

3

3 3

&

b

b

?

b

b

œ™™

œ

r

œ œ

œbœ œ

œœ

œ œœb

œ

˙

œ ™

‰

œ

œb

n™™

œ

œ

œœ

J

˙

œ

œœn

œ

œ

œ

b ™™™

œœ

œ

œb œ

œ

œ

œ

œœ

œ

œ

‰

˙

œ

œn

J

œ

œ

˙

œœn œ

œ

œ

œ

œ

œœb

™™™

œ

Œ ‰

œ œ

œb

j

œœœ

j

œ

œœ

˙ ˙ ™

Œ

œ

œb

n

œb

œ

œ

œ

b

n œ

œ

‰

œ

j

œ

œ

œœ œ

œ

œ

n

œ

œœ

œb

bb

œ

œ

œ

œ

b

œ

œ

œ

œ

œn

œ

œœ

œb

n

nb

œ

œ

œ

œ

b

n œ

œ

œ

#

˙

˙

˙

n

˙

˙b

˙

Œ

Ó

œ

œ

œœ

œ

œ

œn

b˙

˙b

œ

œ

b œ

œ

œœœœœœœœœœ

œœ

œ

j

œœ

™ œ

j

œ# œnœ

™

‰

œ œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

b œ

œ

œ

œœ

œ

œb

œœ

œ

œ

œ

œ

œ

œ

œb

œ

œ

œœœ

œ

œ

œ

n

œ

œ

œ

œ

œ

œ

w

w

˙

˙

œ

œ

bœ

œ

œ

œœ ˙

œ

Œœ

œ

œ

œ

j

œ ™ œ œœ

œ˙

Œ

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙

˙

˙

˙

˙

˙

bœ

œ

œ

œœ

œ

œ

œœ

œ™™™™

œ

j

w

œ œ

œœ

œ

œ

bœœ

œ

œ

4

66

be too loud and harsh and that this did not reflect the sound acoustically at the time of

the performance. Also I know myself from having often played this piano that it was

not a good instrument, especially for a duo setting. Lee concurred with this opinion.

 

 

Figure 22 V2 high counter melody. Accompanying CD (¤ Track 22).

{

{

{

{

be

You

go to my head with a

smile

that

CC

25

makes my

temperature rise like the summer with a thousand July's s

28

You intoxicate my soul with your eyes well

31

34

&

b

b

Version 2

3

&

b

b

?

b

b#

&

b

b

33 3 3 3

&

b

b

3

?

b

b

&

b

b

3 3 3

&

b

b

7

3

?

b

b

3

&

b

b

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&

b

b

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?

b

b∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

˙

Œ

œœœœ

œœœ œn

œ œ

œ

œ œ

Ϊ

œ œœb

‰

œ

j‰

œ

œœ

œ

œ

#

#

n

œ

œœ

œ

#

#

n

œ

œ

œ

œ œ

œ

œ

œ

œ

œ œ

œœœ

nœ

œ

œ

n

œœ

œ

˙

˙

˙

˙

b

b

œœb

Œ

Ó

œ

œ

œb œ

œ

n

n

œ

œ

œ

œ

œ

œ#

#

˙

˙

œ™œ œ

˙

˙

˙n

Ó

œ

œ

n

œœ

œ

œ

œ

œœ

˙

˙

b

Œ

œ

œ

œ

œ

b

b

˙b

Œœœ

œ

œ

n

œ# œn

œœbœ

˙

Œ ‰ ‰

œ

j

œ

œb œ

Œ ‰

œ œ œ œ

j

œ

j

œ œ

œ

œ

n

n

œ

œ

˙

˙

b

b

œ

œ

œ

œb

b œ

œn

n

J

œ

œ

#

#

œ

œ

J

œ

œ

n

n

J

œ

œ

n

n

œn

j˙

˙

˙

b

‰œ

œ

J

œ

œ

bœ

œ

œ

œ

wb

Œ œ

œ

œ

œ

b

œ

œ

œ

œ

œ

œ

œ

œ

˙

Œ

œœ

œ

œn

#

#

Œ

˙

˙

˙˙n

n

n

œn

˙

˙

n

Œ

Ó

œ™œb

œ

j

œ

œ

œ

œ

b

™™™™

Ó

œ œ

œb œœœ œ œ œ

œœ

˙ ˙ ™

‰

œ

j

œ

œ

œ

b

bœ

œ

œ

œbœ

œb

œ

œœ

œ

b

n

œ

œœœn

œ

œ

œ

œ

n œ

œ

™™

œ

œn

œ

œ

œ

œ

œ

œ

œn

œ

œ

œ

œ

œœb

œ

œ

œ œ

œ

œ

œ

œ

œ

˙

˙˙

˙w

w

Œ

œ ˙

˙

‰

œb

j

˙

œ

œ

œ

‰

œ

j œ

2

67

 

In the second half of bar 29 of Figure 23 Lee plays an ascending countermelody in

semiquavers. This perfectly aligns with the lyric “You go to my head”. This idea is

then mirrored compositionally in bar 31 after the lyric “temperature rise”.

In the last two quavers of bar 35 Lee uses a Gm7 – Gbm11 to arrive at Fm7 on bar 36.

The chromatic voice leading in these passing harmonies makes for smooth transitions

and are not part of the original chord set.

Figure 23 V3 rising fills to match lyric. Accompanying CD (¤ Track 23).

{

{

{

{

be You go to my head with a smile that makes my

CC

28

tempetature rise like a summer with a thousand July's

31

you intoxicate my soul with your eyes Yes I'm

34

38

&

b

b

Version 3

&

b

b

?

b

b

&

b

b

&

b

b

3

?

b

b

n

n

b

n

&

b

b

∑

&

b

b

∑

3

3

?

b

b∑

&

b

b

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&

b

b

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?

b

b∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

˙™

œ

œ œ œ œ ˙

Œ

œ œœ œ

œ œ

œ

œ

œ

#

#

#

œ

œ

œ

n

œ

œ

œ

œ

n

b

œ

œ

n

œœ

œ

nœ

œ

œ

b ™™™œœœnœ

œ

œ

œ

œb

œ

œn

œ

œ

œ

œ

b

b

œ

œ

œ

bœ

œ

b œ

œ

œ

œ#

œ

œ

œ

œ

œ

œ

œ

œ˙

˙

n

œ

œ

œ

œ

œ

œ

œ

œb

œ

œ

œ

œ

b

œ

œb

œ

œœ

œ

œ œœœ ˙

Œ

œ œ

œb œœ œ œ œ

œœ ˙

˙

˙

˙

˙

b‰

œbœœœœ

œ

œb

Œ

˙

˙b

b

™

™

œ

œ

œ

œb

b

b

œ

œœ

œ

n

œ

œ

œ

œœ

n

b

œ

œœ

œ

œ

œ

n

œ

œ

œ

œ

œœ

œ

œ

œb

b

œ

j

œ

œ

œ

œ

b

œ

œœb

J

œ ™

˙

Œ œ

œœ

b

bœ

˙

œ

œ

œ

œb

n

œ

˙

˙

œ

œ

˙

œ

œ

œ

Œ

œ œ

œb œœ œ œ œ

œ

œ ˙ ˙ ™ œ œ#

œ

œ

œ

œœ

œ

b

Jœ

œ

œœ

œ

œ

#

œ

œ

œ

œ

n

n ™™™™

œ

œ

jœ

œ

n

œœœn

œ

œ

b

œ

œ

œbœ

œœ

œ

œ#

œ

œn

œ

œœ

œ

b

bb

œ

œb

n

œ

œ

n œ

œ

œn

œ

œ

œ

œ

œ

œ

œ

œn

b˙

˙

˙b

œ

œ

b

œ

œ

œ

#

2

68

In Figure 24 extra harmonic forward motion is created in bar 88 by playing Eb∆ to

Eb6 rather than just Eb∆ for the bar. In bar 89 Lee varies the standard chords by

playing a Cø for a half bar and then Ebm7 – Ebm6 on beats 3 and 4. The Cø is

effectively Ab7 with the third in the root. By altering the original harmony from Ab7

to Cø on the word “heart”, a darker more solemn feeling is created that supports the

narrative intent. Namely, that the character, despite being realistic about their chances,

cannot deny feeling heartbroken and forlorn.

In bars 94 and 95 Lee begins playing eight note F9sus chords as a setup to begin his

solo. His right hand melodic entry phrase in the second half of bar 95 is truly striking.

Lee raises the dynamic of the piano to a whole new level. He is aided in this by the

quality of the instrument supplied for this performance, a Steinway concert grand

piano.

69

Figure 24 V1 Mood change of Ab7 to Cø. Accompanying CD (¤ Track 24).

Figure 25 bar 2 shows how to play a rich sounding Eb-6 with the left hand, leaving

the right hand free to create a counter melody.

In bar 3 where the original chords are Bb∆ to Cm7, Lee plays Bb∆9 for two beats

then Eø – Ebm as an alternative harmonic path to the Dm7 on bar 4.

In bar 5 Lee creates extra harmonic movement by playing a Bo7 in the second half of

the bar. The original chords have a Cm7 for the whole bar. Instead of a F7 for bar 6

Lee plays a Cø to F7b9. This use of alternate harmony allows for fluid rhythmic

momentum and support of the melodic line. Once again we see use of a semitone slip

in bar 7 moving from Gm7 – Gbm7 – Fm11. Lee’s opening statement in the piano

{

{

{

{

Voice

Pno.

I am certain that this heart of mine hasn't a ghost of a

DD

88

E¨^9

E¨‹7 E¨‹6

E¨6

CØ7

Voice

Pno.

chance in this romance you go

91

Voice

Pno.

to my head

94

Voice

Pno.

97

&

b

b

3 33

3 3 3

&

b

b

?

b

b

&

b

b

3

3 3

&

b

b

?

b

b

&

b

b

Piano Solo

∑

3

&

b

b

∑

?

b

b∑

&

b

b

∑ ∑ ∑ ∑ ∑ ∑ ∑

&

b

b

∑ ∑ ∑ ∑ ∑ ∑ ∑

?

b

b∑ ∑ ∑ ∑ ∑ ∑ ∑

œœœœœœœœœœœ

œœ

j

œœ

™ œ

j

œ# œnœ

™

‰

œ œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

b œ

œ

œ

œœ

œ

œb

œœ

œ

œ

œ

œ

œ

œ

œb

œ

œ

œœœ

œ

œ

œ

n

œ

œ

œ

œ

œ

œ

w

w

˙

˙

œ

œ

bœ

œ

œ

œœ ˙

œ

Œœ

œ

œ

œ

j

œ ™ œ œœœ

˙

Œ

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙

˙

˙

˙

˙

˙

bœ

œ

œ

œœ

œ

œ

œœ

œ™™™™

œ

j

w

œ œ

œœ

œ

œ

bœœ

œ

œ

œ

œ œ

˙ ™ ˙

Ó

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

Ó ≈

œ

œœ

Ϫ

œ

œ

œ œ œ œ œ œ

œ

œœ

œœ

œ

œœ

œœ

œ

œœ

œœ

œ

œœ

œœ

œ

œœ

œœ

œ

œœ

œœ

œ

œœ

œœ

œ

œœ

œœ

11

70

solo makes use of the Bb altered scale while playing a shell voicing (root and

dominant seventh) with the left hand.

 Figure 25 V2 Left hand voicing. Accompanying CD (¤ Track 25).

Bar 6 of Figure 26 has Lee playing a descending run, reminiscent of the legendary

pianist Art Tatum, during a long held melody note. The fact that no one is singing

once again demonstrates Lee’s internalized knowledge of the song.

{

{

{

{

Voice

Pno.

head

Voice

Pno.

I'm certain that this heart of mine hasn't a ghost of a

DD

E¨‹6

B¨^9 EØ7

E¨‹

Voice

Pno.

chance in this crazy

romance

you go to my

D‹7

C‹7

Bº7

CØ7

F13

Voice

Pno.

head

G‹7

G¨‹7 F‹11

B¨7

&

b

b

Piano Solo

∑ ∑ ∑

&

b

b

3

∑ ∑ ∑

33

3

3

?

b

b b

n

∑ ∑ ∑

3

&

b

b

3 33 3 3

&

b

b

3

3

?

b

b

b

n

&

b

b

&

b

b

?

b

b

&

b

b

Piano Solo

&

b

b

3

33

3

3

?

b

b b

n

3

œ

jœ ™ ˙

Ó Ó

œ

œ

œ

œ

n œ

œœ

œ

n

œ

œœ

œ ‰

œ

œœ

œœ

œ

œ

œ

œ

j

œ

‰

œ

œ#

œ

œbœnœnœœn

œ

œ

œ

œ

n œ

œ

œ

œ

nœ

œn

#

j

œ

˙

œ

œœ

œ

b œ

˙

œ

œ#

j

œ

œ

j

˙

‰

œ œ

‰

œœ

˙

‰

œ œ

œ

œ

‰

œ œ

œ

œ

Ó ‰

œ

J

œœ

œœ

œ ˙

‰

œb

œ

œ

œ

œ

œ

œ

œœ

œ

n

œ

œ

œ

œ

Œ

w

w

Œœ

œœœ œ

œœ

œ

œ

œ

œ

œ

œ

w

w

œ

œ

œ

œ

œœ

œ

œœ

˙

˙

Œ œ

œ

œ œb

œb

œ

‰

œ

j

œœ œ

œ

œœ

œœ

œœ

œœ

œœ œ

j

Ϫ

œ

Œ ‰

œ

j

œ

œ œ

œ

œœ

œ

œ

œ

œ

œ

œb

b

j

œ

œ

J

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œn

#

n

n

œ

œn

œn

œœ

n

œ

œ

b

b

œ

œœ

œœ

œ

œ

œœ

œ

™™™

™œb

J

Ó

˙

˙˙

˙

n

#

Œ

œ

œ

œb

n

˙

˙

b

n

Œœœ

œ

œ

b

n

˙

˙

n

n

Œ

œ

œbœ

œ

œ

œ

b

b

œ

œœ

œœ

œ

œ

n œ

œ

œ

jœ ™ ˙

Ó Ó

œ

œ

œ

œ

n œ

œœ

œ

n

œ

œœ

œ ‰

œ

œœ

œœ

œ

œ

œ

œ

j

œ

‰

œ

œ#

œ

œbœn

œnœ

œn

œ

œ

œ

œ

n œ

œ

œ

œ

nœ

œn

#

j

œ

˙

œ

œœ

œ

b œ

˙

œ

9

71

In bar 7, instead of an F7 Lee plays a B69#4 for a quaver by simply superimposing a

2nd inversion Db triad over a left hand B triad. That chord is then converted to a B

major for two beats by moving the Db triad down one tone. With the melody note in

this bar being F the chord is effectively a Bmaj#4. On the last crotchet Lee plays an A

note to convert the Bmaj#4 into a B7b5 with Biddell singing the b5 of F note. The last

beat becoming the tri-tone substitution for the F7.

 Figure 26 V3 use of triads as chord extensions. Accompanying CD (¤ Track 26).

{

{

{

{

Voice

Pno.

head The

Voice

Pno.

Yes I'm certain that this heart of mine hasn't a ghost of a

DD

E¨‹(Œ„Š7)

E¨‹6

Voice

Pno.

chance in this crazy romance

Voice

Pno.

You go to my head The

B7

B%(#11)

&

b

b

&

b

b

?

b

b

&

b

b

Version 3

3 3

&

b

b

3

?

b

b

&

b

b

33

&

b

b

∏∏∏∏∏

6

3

?

b

b

&

b

b

3

&

b

b

?

b

b

3

w ˙

Œ

œ

œ

œ

œ

œ

n

™™™™ œ

j

Ϫ

œ

Jœ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ#

œ

œ

œn

b

œ

œn

œb

œ

œn

œb

˙

˙

œ

j

˙

˙

b

˙ ™ œ œ#œ

œœ

œ

œ

j

œ

œ

j

˙œ

œ

œ

œ

œ

œ

œ

œ

b

œ

œ

œœ

œœn

œ

œ#œ

œ

œ

œ

œ

œ

œ

œ™™™™œ

œœ

œ

n

n

J

œ

œ ™™

˙

˙

˙b

˙

˙˙

˙

˙

˙

˙

˙

œ

œ

œ

n œ

œ

œ

˙

˙

˙

œ

œ

b

œ

œ

œ

#

w

w

Œœ

œ

œœ

œ

œ

œœ

œ

œœ

œ

w

œb œ

œ

œ

œ

œ

œ

œ

œ

˙

œ ˙

˙

Œœn

œ

œ

œœ œ

œw

˙˙

˙˙

œœ

œ

œ

n

#

œ

œ

œœ

n

#

œ

œ

œ

œ

œ

œ

œ

œ™™™™

œ

œb

œ

œn

œ

œ

œ

œb

œ

œn

œ

œ

œœ

œ

˙

˙

n

#

˙

˙

b

n

Œ

œ

œœ

œb

n

Ó

œœ

œ

œ

œ

œ

œ

œ

œ œ œ œ œ w ˙

Œ

œ

‰

œ

œ

œ

b

b

j

œ

œ

œ

b

b œ

œ

œ

œn

œ

œ

œ

œ

n

™™™™ œ

j

Ϫ

œ

Jœ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ#

œ

œn

œ#

œ

œ

œ

™

™

™

˙

˙

˙

œ

œn

b

œ

œn

œb

œ

œn

œb

˙

˙

œ

j

˙

˙

b

8

72

 

Although I have transcribed the two piano solos from V1 and V2 I will not be

commenting on them specifically as this work is about vocal accompaniment. The

complete transcriptions of the three performances, including the piano solo, will be

included in the appendix A.

Preceding Figure 27 Lee has been playing his solo at a steady tempo. Rather than stay

at that tempo or even begin there, Biddell immediately and dramatically accelerates

the lyrics “The thrill of the thought that you might give a thought to my pleas casts a

spell”. There is a pause on the word “spell” where Biddell performs an elaborate

appoggiatura. Lee seamlessly re-calibrates, and on the last word of the phrase, “casts

a spell over me”, plays a Bb∆6/9 arpeggio over 4 octaves (bar 64). Then comes a

beautiful example of the use of space with Lee answering harmonically between the

next two vocal phrases. Lee intuitively knows when not to play. Notice in bar 66 the

F#m7 normally played for the first two beats is absent and Lee allows Biddell that

space before answering with a B7b9b5. The trust in each other’s abilities to carry this

off on a live to air broadcast without rehearsal is remarkable and truly a tribute to

Lee’s “golden ears”.

In our interviews Lee remarked, “Biddell was a difficult person to accompany

because she would pause all over the place on a note and you had to adjust to those

moments”(19/10/14interview). This passage exemplifies Lee’s statement.

 

73

Figure 27 V1 use of space. Accompanying CD (¤ Track 27).

{

{

{

{

{

the thrill of the thought that you might give a thought to my

BB

61

plea cast a

spell

over me yet I

63

say to myself you just got to get a hold of yourself Oh can't you

65

see that this never would be

67

You

69

&

b

b

Version 1 after solo

33

3

&

b

b

∏∏∏∏∏

∑

?

b

b

&

b

b

&

b

b

U

∏∏∏∏∏∏

19

?

b

b

∏

&

b

b

.

&

b

b

?

b

b

&

b

b

&

b

b

?

b

b

&

b

b

∑

&

b

b

”“

∑

?

b

b∑

‰

œ

j

œ œ œ

œ œ

j

œ œ

œb œ œb œ

œ œœ

œ

œ

œ

œ

™™™™

‰

˙

˙

˙

˙

Ó

œ

œ Œ

œœ

œ

˙

œ

œœ

œ

˙

˙

˙

˙

n

#

œ

œ

œ

œ

œ

œ

œ

œ

œ œœœœœœ œn

œ

œœ

œn

œœœœ ˙

‰

œœ

™

œ

œ

™™œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙

˙

Œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

‰

œ

œ

Ó

œœ

œ

œ˙˙

˙˙

œ

œ

œœ

Œ Ó

œ ™œ œ œ˙‰œb œn

œ

œœnœ œ#

œnœnœ

œ

≈

œ œb œn

Œ

œ

œ

œ

œ

#

n œœ

œ

œ

#œœ

œ

œŒ Ó ‰

œ

œn

œ

œ

n

œ

œ

n

œ

œŒ

Œ

œ

œ

œ

œ

œ

œ

Œ

Ó

Ó

®

≈

œn ™ œ

Œ

œ

œ

œ

™

™™

j

Œ

œnœ

œ#œœœœœœœn

˙œbœnœœœ œn

œ

œ

œ

œn

#

œ

œ

œb

n

œ

œ

œ

n

œ

œœ

œ#

#

‰™

œ

rœ

œœ#n

œ

œ

œ

œœ#n

œ

œ

œœ

R

≈ ‰ ‰

œb

œb

œ

œ

œ

œ

œn

# œ

œb

nœ

œ

n

œ

œ

œ

œ#™

≈

œn

œ

œb

œ

œ

œ

®

œ

œ

˙‰

œœ

œœ

œbœ

˙

˙

˙

‰™

œ

r

œ

œ

‰

œ

J

‰

‰

Œ

Œ

˙

˙

Ó

3

74

In Figure 28 Lee spontaneously re-configures the harmonic structure of C from the

second bar. In Table1 I set out the standard chords alongside Lee’s harmonic

variations for comparison. The top row displays the original chords and the bottom

rows contain Lee’s substitutes. An emerging key to Lee’s substitutions is the

chromatic descending root notes. The original progression moves in fourth intervals

(Bb – Eb – Ab – Db), whereas in Lee’s progression the bass notes descend in

semitones.

1. The Gb/Bb omits the Eb of Ebm7.

2. The Ao7 would form a Ab7b9 were there a Ab as the root.

3. The Ab6 is missing the Db to make a Db∆9.

4. Biddell is singing a note that is in common with both chords.

5. The Gb9#11 is a tri-tone away from the Cø.

6. The progression coalesces on F7alt.

7. Bbm, same as the original.

8. Bbm/Ab works with Biddell’s melodic variations and clearly has a step-wise

purpose of leading to the next chord.

9. The Gb13 is a tri-tone away from the Cø.

Clearly the original chords and Lee’s chords are related. Most importantly, they work

with Biddell’s melodic rendition.

Table 1 chord comparison.

Bb∆                        Ebm7     Ab7   Db∆   Gø   Cø   F7alt   Bbm   Gø   Cø  

Bb∆   Gb/Bb   Ao7   Ab6   G7sus  G7  

Gb9#11   F7alt   Bbm   Bbm/Ab   Gb13  

0                              1                                  2                              3                                4                                  5                                    6                                  7                            8                                        9  

Lee plays this chord sequence in a dreamy style with gentle arpeggios that reflect and

enhance Biddell’s interpretation. In bar 7 of letter C there is a dramatic turn with a

75

harmonic build into the lyric “Don’t you know that I’m certain” sung over a

shimmering Bb13b9 arpeggio by Lee.

Figure 28 V1 substitute harmonies. Accompanying CD (¤ Track 28).

{

{

{

{

Voice

Pno.

You go to my head with a smile that makes

CC

B¨^13

G¨/B¨

Aº7

Voice

Pno.

my temperature rise your like a summer with a thousand july's

A¨6 G7(“4)

G7 G¨9(#11) F7[áÆ] B¨‹ B¨‹/A¨

Voice

Pno.

You intoxicate my soul with your eyes

G¨13

F7(#5)

Voice

Pno.

Don't you know

that I'm

&

b

b

3

&

b

b

”“

U

?

b

b

&

b

b

3 3 3 3

&

b

b

b

?

b

b

b

&

b

b

3 3 3

&

b

b

?

b

b

&

b

b

&

b

b

?

b

b

˙‰

œœœœœœ

œ

œœœ ˙

Ϊ

œ œœ œ œ

œ

˙

˙

˙

‰™

œ

r

œ

œ

‰

œ

J

‰

‰

Œ

Œ

Ó

œ

œ

œ

™™™

œ

œ

œ

j

œ

œ

œ

b

b™™™

œ

œ

œ

J

œ

œ

œ ™™™ œ

œ

œ

J

˙

˙

Ó

œ

œœ

œ œ

œ

œ ˙

‰œb

j œb

˙

˙

b

‰

œ

j

œ

œ

œ

œ

j

œœbœ

˙

Œ ≈

œ œ œ

œb

Ϫ

Œ

œ œ œ œ

œ

j

œ

j

Ϫ

œ

œ

œb ™™™ œ

œ

œ

J œ

œ

™™

œ

j

œ

œ

œ

b

n™™™

œb

j Œ

œ

œœ

œb

n

bœ ™˙

˙

œ

œœ

™

˙

˙

œ

j

˙b

‰ œ

j œ

˙n

‰ œ

jœn

˙b

‰œn

j œb

˙

‰œb œ

j

˙

œ œ

˙

œ œ

Œ ‰

œœ

œb œœ œ

œ

j

œ

œœ

˙

‰

wb

œ

œœ

b

b

™™™

‰œ

œ

b

n™

™

Ϊ

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œb

˙b

Ó

˙

‰œ ™

‰

Ϫ

œ

œ

œ

œ

œ

œ

n œ

œn

b

œ œœ

œ ‰ œœ

œœ œ

Ó

‰

œ

œ

œ

œ

b

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙˙

˙

˙

nb

œb

œb œn

œ

œn

œb

œb œn

œ

œ

œb

œb œn

œ

œn

œb

œb œn

œ

œn

œ

œ

œ

œ

˙

˙

11

76

In Figure 29, Biddell holds a long F note on the lyric “romance”. Under this vocal

note Lee constructs the chord sequence of F – F/Eb then a Db chord to Dbadd9

arpeggio. Lee sustains this arpeggio until he hears Biddell begin her breath intake and

then plays a B7b9#11. This demonstrates the importance of listening for the singers’

breaths in order to judge vocal entries or points at which an accompaniment statement

can be made. Vocalists must coordinate their breathing with the phrasing of the

music. Thus it is fundamentally vital the accompanist is aware of, and in sync with the

singer’s breath.

Biddell’s descending line on the word “go” contains a Bb note against Lee’s B7b9#11

chord causing a momentary clash between the dominant 7th (A) of the harmony and

Biddell’s Bb. When playing this recording to Lee he noticed this immediately. Biddell

sings an almost identical phrase in the same part of the song in V2, however, because

Lee is playing a B∆9#11there is no clash. This confirms Lee’s assertion, mentioned in

Chapter 5, that he was unaware of Biddell singing very similar phrases in the both V1

and V2.

77

Figure 29 V1 Letter D. Listening for the breath. Accompanying CD (¤ Track 29).

6.3  Song  Endings  

The final comparison I will make will be on the song’s ending. In the performance of

standard repertoire in the jazz idiom, it is expected that accompanists will often use

chord substitutions, however, there is a harmonic map that needs to be respected to

one degree or another.

Endings, however, can take many harmonic paths, especially in a duo where the

pianist can extemporize without concern or thought to other members of a band. The

{

{

{

{

Voice

Pno.

chance in this crazy ro

G‹7

C13[âÅ]

Voice

Pno.

mance

F F/E¨

D¨

Voice

Pno.

you go to my head

B7[åÅ]

Voice

Pno.

° *

&

b

b

3

&

b

b

U

?

b

b

&

b

b

&

b

b

3

?

b

b

3

3

&

b

b

T

&

b

b

U

?

b

b

&

b

b

∑

&

b

b

10

12

?

b

b

‘“

7

œ œ

œ

œœ œb œn

œœ

œb œn

˙ ˙

˙˙

˙˙

b

bn

˙

˙˙

˙

n

˙ ™

Œ

Ó

‰

œ

œ

œ

≈

œ

œœnœ

œ

˙

˙

˙

˙

b

b

œ

œb

œb

œb

œ

œb

œb

œb

œ

œb

œb

œ œ

œ

‰

œ

r

‰

œb

‰

œ

r‰

˙

˙

b

b

Ó

‰

œ

j

œbœb

œœb

œœb

œ œ œ œ™

w w

w

w

w

n

n

œ

œ œ œ œ

œ œ

‰

w

ww

w

b

œb

J

œ

œ œ

œ œ

œ

w

w

n

œ

œœœ

bb

œ

œœœ

œ

œœœ

œ

œœœ

Œ

w

w

w

b

b

œ

œ

œ

œb

b

œ

œ

œ

œ

œ

œ

œ

œ

˙

Ó

˙

˙

˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœœ

œœ

œœœ

œœ

œœ

w

Œ

w

w

w

œ

œn

œ

œ

œn

œ

œn

Ó

˙

˙

˙

œ

Œ

10

78

pianist needs only to be aware of the singer’s last note and of course the songs

context. In the three versions of this song Julian demonstrates this admirably.

In Figure 30 V1 Biddell sings the last note with the lyric ”head” and Lee plays the

harmonic progression Ab – Gb∆ – Bb6. The style is very reminiscent of a big

orchestral ending concluding with a shimmering four-octave arpeggio finale.

Figure 30 V1 ending. Accompanying CD (¤ Track 30).

In Figure 31 V2, after Biddell has sung the last note Lee plays a 6-2-5-1 harmonic

movement … Bbm7 – Ebm7 – Ab13 – Db∆6/9.

Lee sustains the last chord arpeggio and finally superimposes four Eb triads in

different inversions to create a Db∆6/9 +4 harmony.

Through this ending harmonic movement Lee paraphrases the opening part of the

songs melody … “You go to my head, and you linger like a haunting refrain”.

{

{

{

{

Voice

Pno.

chance in this crazy ro

Voice

Pno.

mance

Voice

Pno.

you go to my head

A¨(„ˆˆ2)

G¨^13

Voice

Pno.

B¨6

° *

&

b

b

3

&

b

b

U

?

b

b

&

b

b

&

b

b

3

?

b

b

3

3

&

b

b

T

&

b

b

U

?

b

b

&

b

b

∑

&

b

b

10

12

?

b

b

‘“

7

œ œ

œ

œœ œb œn

œœ

œb œn

˙ ˙

˙˙

˙˙

b

bn

˙

˙˙

˙

n

˙ ™

Œ

Ó

‰

œ

œ

œ

≈

œ

œœnœ

œ

˙

˙

˙

˙

b

b

œ

œb

œb

œb

œ

œb

œb

œb

œ

œb

œb

œ œ

œ

‰

œ

r

‰

œb

‰

œ

r‰

˙

˙

b

b

Ó

‰

œ

j

œbœb

œœb

œœb

œ œ œ œ™

w w

w

w

w

n

n

œ

œ œ œ œ

œ œ

‰

w

ww

w

b

œb

J

œ

œ œ

œ œ

œ

w

w

n

œ

œœœ

bb

œ

œœœ

œ

œœœ

œ

œœœ

Œ

w

w

w

b

b

œ

œ

œ

œb

b

œ

œ

œ

œ

œ

œ

œ

œ

˙

Ó

˙

˙

˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœœ

œœ

œœœ

œœ

œœ

w

Œ

w

w

w

œ

œn

œ

œ

œn

œ

œn

Ó

˙

˙

˙

œ

Œ

10

79

This melodic quote is a haunting bookend to this song and my personal favourite of

the three performance versions.

Figure 31 V2 ending. Accompanying CD (¤ Track 31).

In keeping with the purpose of being a student accompaniment, Figure 32 V3, as you

might expect, feels less involved emotionally. In this version Lee has no collaborator

from witch to gauge an emotional content. Nevertheless this ending is an elegant

denouement. The last vocal note heralds a single then octave then cascading thirds

over a harmonic sequence of Bb – Gb∆9#11 – B∆9#11 – Bb∆. Finally a four octave

Bb6 arpeggio.

{

{

{

{

Voice

Pno.

gos to my head

B¨‹9

Voice

Pno.E¨‹9 A¨13 D¨^13

Voice

Pno.

I'm certain

Voice

Pno.

that this heart of mine hasn't a ghost of a chance in this crazy

2

4

3

4

4

4

2

4

3

4

4

4

2

4

3

4

4

4

4

4

4

4

4

4

&

b

b

U3

3

&

b

b

?

b

b∑

3

3

&

b

b

∑

&

b

b

”“

?

b

b

3

3

&

b

b

∑ ∑ ∑ ∑ ∑ ∑

&

b

b

∑

“< >

∑ ∑ ∑ ∑ ∑

?

b

b∑ ∑ ∑ ∑ ∑ ∑

&

b

b

3 33 3 3

&

b

b

3

3

?

b

b

b

n

œœœ ˙

œ œ#

œb

˙n ˙ ™

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙

Œ

œ

œ

˙

˙

œ

œ

w

w<#>

<n>

œ

œ

œb™œb ™

œœ

œ

œ

œ

w w w

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

w

w

w

œ

œ

œb œœœb

œb

œ

œ

œ

œ

œ

œb™

‰

≈œb

r

œ

œ

œ

j

‰

œ

œ

b

b

J

˙

˙

w

w

œ

œbœœ

œœ

Œ Ó

w

w

œ#

j

œ

œ

j

˙

Ó ‰

œ

J

œœ

w

w

Œœ

œœœ œ

œœ

œ

œ

œ

œ

œ

‰

œ œ

‰

œœ

˙

‰

œ œ

œ

œ

‰

œ œ

œ

œœ

‰

œ

j

œœ œ

œ

œœ

œœ

œ ˙

‰

œb

œ

œ

œ

œ

œ

œ

œœ

œ

n

œ

œ

œ

œ

Œ

œ

œœ

œ

œ

œ

œ

œ

œb

b

j

œ

œ

J

œ

w

w

œ

œ

œ

œ

œœ

œ

œœ

˙

˙

Œ œ

œ

œ œb

œb

Ó

˙

˙˙

˙

n

#

Œ

œ

œ

œb

n

8

80

Figure 32 V3 ending. Accompanying CD (¤ Track 32).

{

{

{

{

Voice

Pno.

You go to my head

B¨

G¨^9(#11)

B^9(#11)

Voice

Pno.

B¨^

°

Voice

Pno.

certain that this heart of mine

Voice

Pno.

hasn't a ghost of a chance in this crazy romance

&

b

b

3

&

b

b

“< >

U

?

b

b

b

n

&

b

b

∑

&

b

b

∑

22

?

b

b

‘“

&

b

b

∑ ∑ ∑ ∑ ∑

&

b

b

∑ ∑ ∑ ∑ ∑

?

b

b∑ ∑ ∑ ∑ ∑

&

b

b

3 3

33

&

b

b

∏∏∏∏∏

6

3

?

b

b

œ œ œ œ œ w ˙

Ó

œ

œ

œ

#˙˙

˙

™™™

‰

Œ

œ ™

œ œ ˙œœœnœ

œ

œ

œ

bœ

œ

bœ

œ

œ

œ

œ

œ

bœ

œ

b

œ

œ

b

œ

œ

œ

b

wn

wb

Ó

˙b

œœœœb

Œ‰

œb™

œ

˙

˙

Ó

∑

Œ

œ

œ

œn

œn

œ

œn

œ

œn

œn

œ

œn

œ

œn

œn

œ

œn

œ

œn

œn

œ

œn

œn

Œ

w

w

w

w

w

n

b œ

j

‰ Œ Ó

œ

œœ

œ

œ

j

œ

œ

j

˙

œ

œ

œ

œ

œ

œ

œ

œ™™™™œ

œœ

œ

J

œ

œ ™™

˙

˙

˙

#

˙

˙˙

˙

w

w

Œœ

œ

œœ

œ

œ

œœ

œ

œœ

œ

w

œb œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œœ œ

œw

˙

˙

˙

˙

n

œ

œ

œ

œ

œ

œ

˙˙

˙˙

œœ

œ

œ

n

#

œ

œ

œœ

n

#

œ

œ

œ

œ

œ

œ

œ

œ™™™™

œ

œb

œ

œn

œ

œ

œ

œb

œ

œn

œ

œ

œ

˙

œ ˙

˙

Œœn

œœœ

˙

˙

n

#

˙

˙

b

n

Œ

œ

œœ

œb

n

Ó

œœ

œ

œ

œ

œ

œ

œ

7

81

Chapter 7

7.0  Conclusion  

The collaboration between Julian Lee and Kerrie Biddell was a showcase for two

artists at the peak of abilities. The depth and maturity of their performances was an

inspiration to many who were fortunate enough to be in an audience.

Kerrie Biddell’s crystal clear vision of how she would interpret a song, coupled with

her formidable technique, created a perfect setting for Julian Lee to weave his

beautiful accompaniments. The three versions of “You Go to My Head” that my

thesis is built upon give evidence that this song was performed differently every time.

I can attest to the fact that the same applied for their entire repertoire. Both of these

artists, over many years in the music industry had acquired an enormous volume of

song repertoire. This allowed Biddell to draw from this repertoire and perform a song

without need of rehearsal. The fact that Lee might not have played a song previously

was no hindrance, as Biddell would sing it to him backstage. If Lee could remember a

song, his “golden ears” would guide him and provide all the detail he required.

Young, aspiring pianists and singers should rest assured that this level of

musicianship is not achieved overnight. Undoubtedly these two musicians had an

abundance of natural ability however, only years of practice and experience can hope

to achieve such superlative performances. As in most of life there is always a degree

of luck involved. There were so many life factors that might have conspired to keep

this duo apart. Julian Lee is a musician who could accompany any singer well,

however, it is the quality and experience of these two musicians that makes their work

together so special. Lee’s work with Biddell was his only real foray into the duo

82

format. This makes this coupling all the more impressive. All the years Lee spent

arranging for singers seems to indicate a best practice scenario if one wanted to

prepare for the role of accompanist. The way Lee would arrange was by dictating into

a cassette recorder so that a copyist could later put pen to paper. Lee could retain all

this information in his memory. The work of methodically arranging songs for

orchestras and big bands over many years let the compositions and all their variations

become completely absorbed organically. This allowed Lee to draw upon this

reservoir of knowledge in an unconscious way.

Sadly this duo rarely recorded. There were four tracks of duos on Biddell’s last

recording “The Singer”. Other performances were radio or television live to air

broadcasts.

Julian Lee and Kerrie Biddell’s impressive careers spanning the USA, New Zealand

and Australia deserve the recognition and pride of place on our antipodean

mantelpiece. The collaboration of Julian Lee and Kerrie Biddell is undoubtedly

worthy of great acclaim and further academic scrutiny.

83

Appendix A – Song Transcriptions

You Go To My Head V1

Figure 33 You Go To My Head V1. Accompanying CD (¤ Track 33).

{

{

{

Voice

Piano

You

Voice

Pno.

go to my head and you linger like a haunting refrain

A1A1

5

Voice

Pno.

and I find you spinninground in my brain like the bubbles in a

8

4

4

4

4

4

4

&

b

b

∑ ∑ ∑

Lyricist Haven Gellespie

Piano Julian Lee

Vocal Kerrie Biddell

You Go To My Head

Transcription Michael Bartolomei

composer J.Fred Coots

&

b

b

b

b

b

U

?

b

b

&

b

b

&

b

b

∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏

?

b

b

∏

&

b

b

&

b

b

b

n

∏∏∏∏∏∏∏∏∏∏∏∏

b

n

b

∏∏∏∏∏∏∏∏∏∏∏∏

∏∏∏∏∏∏∏

3

?

b

b

Ó Œ

œ

Ó ‰

œ

œ

œ

J

œ

œ

œ

œ

œ

œ œ

œ

œb

b

™™

™

œ

œ

œn

b

j

œ

œ

œb

b ™

™™

œ

œ

œ

j

Ϫ

˙

˙

œ

j

œ˙

˙

œ

œ

w

w

w

w

w

Œ

˙™

œ ˙ œ œ ˙™

w

œ ™ œ œ œ ˙

Œ ‰

œ œœ œ

œ ™ œ

œœbœ

œ ˙

Œ ‰

œ

j

œ

œ

œœ

˙˙

˙

˙b

b

Œ

Ó

œœ

œœ

Œ ‰

œ

j œ

œ

b

œ

œ

œ

œ

œ

œ

œ

˙™

˙

˙b

b

˙b

œb

œb

œb

˙™

Œ

œ œ

œb œ œ ™œ œ

™œ

œ

œ

˙ œ

‰

œ œ

œb œ ™

‰

œ œ

œ

˙

˙

œ

œ

œ

˙

œ

œb

b

‰

œ

j

œb

œ

œ

œ

œ

œ

˙

˙

˙

b

b

b

Œœ

œ

œ

bœ

œ

b

Œ

œ

œœ

œ

n

b

b

˙

˙

˙

˙

‰

˙

œ

J

œb

‰

œ

Ϫ

˙

˙

˙

n

Œ

Ϫ

œ

˙

œ

œ

n

b

84

{

{

{

{

Voice

Pno.

glass of champagne You

11

Voice

Pno.

go to my head like a sip of sparkling

A2A2

13

Voice

Pno.

burgundy brew

andi find

the

verymention

you

15

Voice

Pno.

slike a kicker in a julep or two s The

18

&

b

b

&

b

b∑ ∑

?

b

b

&

b

b

&

b

b

?

b

b

b

&

b

b

&

b

b

?

b

b n

b

&

b

b

3

&

b

b

?

b

b b

œœ œ œ ˙ ˙

Œ ‰

œ

j

Ó

œ

œn œb

œn

œ# œn œ

œ

œ

œn œb

œ

œ# œn

œb œn

œ œn

œ

œb

œ

œœ œb

œ

œ

œ

œ

œ

œ

n

n

#

œ

œ

œ

Ϫ

œ

œ

œ

œœ

œœ

˙

˙

˙

œ ™ œ œ œœ

˙

Œ ‰

œ œ œœ œ œ

œ œ

œ

œ

œ

œ

œœ

˙b

œ

œœ

œ

œœ

œœb

™œ

œœ

œ

œœ

œ

œ

Œ

œ

œœ

œœ

œœ

œœ

œ

˙

˙

œb œ

˙

œ

œ

j

œ œœbœ

˙ œ

≈

œ œ

œb œœ

™œ

œbœ œ

œ

œ˙

Œ

Œ

Œ

œ

œ

œ ˙

˙

˙

˙b

œ

œb

œ

˙

œb˙

˙˙

bœ

œb

n œ

œ

Œ

œ

œ

œ

œ

œ

œ

˙

˙

˙b

b

w

w

w

b

b

œ

˙

˙

œ˙

˙b

˙

˙

˙b

™

™

™

œbœn

Ϊ

œ œ

œb

Ϫ

‰ ≈

œ œ œœ œ ˙ ˙

Œ ‰ ≈≈

œ

r

Œ

œ

œb

œœ

œ

œ

Ó ‰

œ

œœ

œ

b

j

œ

œœ

œ

n œœ

œ

œ

b

œ

œ

œœ

œ

œœ

œ

nb

œ

œœœ

n

œ

œ

œ

œ

œ

œ

œ

œ

b

b

œ

œ

œ

n

œ

˙b

‰œn ™ ˙

˙

œ

œ

œ

œ

œœ

œ

œbœ

œnœ

œbœœ

œb

n

2

85

{

{

{

{

Voice

Pno.

thrill of the thought that you might give a thought to my pleas cast a

BB

21

Voice

Pno.

spell over me yet I say to myself get a

24

Voice

Pno.

hold of yourself cantyou seethatthis nevercan be

26

Voice

Pno.

you go to my head with a smile that makes my

CC

29

&

b

b

3

333

3 3

&

b

b

?

b

bb

b

n

&

b

b

33

3

&

b

b

?

b

b

&

b

b

3 3 33 3 3

&

b

b

?

b

b

&

b

b

3

&

b

b

?

b

b

œ œœnœ

œ œœ#

œ

œb œœœ

œ œ

j

œ

˙ œœ

j

œ

j

œn

œ

œ

œ

œ

œ

œ

œ

œ™™™™

œ

œ

œ

œ

œ

œ

œ

j

œ

œ

œœ

™™™™

‰

œ

œ

œ#

n

J

œ

œ

œ

œ

œ

œ ™™™ œ

œœ

œ

b

n

œ

œœ

œ

ÓÓ

œ

œ

œœ

n

n

b

J

œ

œ

œœ

n

™™™

™

˙

˙b

Œœ

œœ

œ

˙

˙

Œœ

œœ

œ

œ

œ

˙

˙™

™

œ

œ

˙

˙

˙

˙b

n

œ

Œ

˙

œ

œœœ

œœ

œœ

b

Ó

œ

œœ

œ

˙

‰

œœ

œ œ œ œ‰

œœ#

Œ

œ

œ

œœ

œœœ

œb

Œ

œ

œ

œ

œ

n

#

Œ

œ

œœ

œ

#

#

n

˙

˙

œœ

œœ

˙

˙

˙

n

œ

œ

œ

œ

#Œ

˙

Œ

œœ

œ

#n

≈

œn

œ#œn

œœ

œ#

œ

œ

j

œn

Œ ‰ ‰

œ

j

œ

j

œn

œ œœnœ#œ

j

˙

˙n

œ

œ

# œ

œ

œ

œ

œ

n

n

œ

œœ#

Œ

œ

œ

œ

œn

#

œœ

œ#

n# œ

œœ

œ

#n

™™™ œ

j

˙

˙

˙

˙b

b

b

œ

œ

œ

œ#

#

n œ

œ

œ

œ

œ

œ

#

#

œ

œ

œ

#

n

œ

œ

œ

œ

œ

n

œ

œ

œ

œ

#

n

n

˙

˙

œ

œ

œ#

œn

œ

œb

œ

Œ

œ œ

œ œ

jœ

‰ Œ™

œ œœ œ

œ œ

œœ

œn

œ

œœ

œ

n

œœ

œ

œœ

œ

œ

œ

œ

b

bœ

œœ

œ

b

œ

œ

œn

n

œ

œ

œb

œ

œ

n

œ

œ

œ

œœ

œ

œœ

œ

b

b

œ

œœ

œ

œnœb

3

86

{

{

{

{

Voice

Pno.

temperature rise your like a summer with a

31

E¨‹/F F7(b9)

Voice

Pno.

thousand July's you intoxicate my

33

Voice

Pno.

soul with your eyes

35

Voice

Pno.

I am certain that this heart of mine hasn't a ghost of a

DD

37

&

b

b

3 3 3 3

&

b

b

b

b

b

3

?

b

b

&

b

b

33 3 3

&

b

b

3

?

b

b

&

b

b

&

b

b

?

b

b

&

b

b

3 33

3 3 3

&

b

b

?

b

b

œ

j

œ œœ

œb

˙ œ™™

œ

r

œ œ

œbœ œ

œœ

œœ

œ

œ

b

œ

œœ

œ

œœ

œ ™

‰

œ

œb

n™™

œ

œ

œœ

J

˙

œ

œœn

œ

œ

œœbœœb

œb ™

œ

œb œœ

œ

œ

œ

b

b

b

‰

˙

œ

œn

J

œ

œ

˙

œœn

œ œœb

œ

˙

Œ ‰

œ œ

œb

j

œœ

œ

j

œ

œ

œ

b ™™™

œœ

œ

œb œ

œ

œ

œ

œœ

œ

œ

œ

œb

n

œb

œ

œ

œ

b

n œ

œ

œ

œ

œ

œ

œ

œœb

™™™

œ

˙

˙

˙

n

˙

˙b

œ

œœ

˙ ˙ ™

Œ

‰

œ

j

œ

œ

œœ œ

œ

œ

n

œ

œœ

œb

bb

œ

œ

œ

œ

b

œ

œ

œ

œ

œn

œ

œœ

œb

n

nb

œ

œ

œ

œ

b

n œ

œ

œ

#

˙

Œ

Ó

œ

œ

œœ

œ

œ

œn

b˙

˙b

œ

œ

b œ

œ

œœœœœœœœœœ

œœ

œ

j

œœ

™ œ

j

œ# œnœ

™

‰

œ œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œœ

œ

œ

œœ

œ

œ

œ

b œ

œ

œ

œœ

œ

œb

œœ

œ

œ

œ

œ

œ

œ

œb

œ

œ

œœœ

œ

œ

œ

n

œ

œ

œ

œ

œ

œ

w

w

˙

˙

œ

œ

bœ

œ

œ

œœ ˙

4

87

{

{

{

{

Voice

Pno.

chance in this romance you go

40

Voice

Pno.

to my head

43

Voice

Pno.

A1A1

45

Voice

Pno.

47

&

b

b

3

3 3

&

b

b

?

b

b

&

b

b

Piano Solo

3

&

b

b

?

b

b

&

b

b

∑ ∑

&

b

b

?

b

b

&

b

b

∑ ∑

&

b

b

?

b

b

n

n

b

œ

Œœ

œ

œ

œ

j

œ ™ œ œœ

œ˙

Œ

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙

˙

˙

˙

˙

˙

bœ

œ

œ

œœ

œ

œ

œœ

œ™™™™

œ

j

w

œ œ

œœ

œ

œ

bœœ

œ

œ

œ

œ œ

˙ ™ ˙

Ó

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

œœ

œ

Ó ≈

œ

œœ

Ϫ

œ

œ

œ œ œ œ œ œ

œ

œœ

œœ

œ

œœ

œœ

œ

œœ

œœ

œ

œœ

œœ

œ

œœ

œœ

œ

œœ

œœ

œ

œœ

œœ

œ

œœ

œœ

œ

≈

œ

œœœœœ

œœœœœ

≈

œ

œœœ

œ

œ

b

œb

≈

œb™

œ

œ

œ

œb

≈

œb ™ œ

œ

œ

œ

≈

Ϫ

œœ ™ œ

œ

œ

n

œ

œ

œ

œœ

œ

œœ

œ

œ

œœ

œ

œ

œœ

œ

œ

œœ

œ

œ

œœ

œ

œ

œœ

œ

œ

œœ

œ

≈

œ

œb œ≈

œ

œ œ

œ

Ϫ

œb

œb

œ

œ

œœ

œ

b

b

Œ

Œ

˙

œ

œ

œ

œ

œb

œ

œb

œ

œ

œb

œ

œb

œ

‰

œœ

œ‰

œ

œ

œœ

b

n

œ

J œ

œœ

œb

b

n

™™™

™

œ

œ

#

j

œb

œb

œ

œ œ œ

œ

œb

œbœ œ

œn

‰œ

œ

n ™

™

œ

œ

œ œœb

Æ

œ

J

œ

œ

œb

5

88

{

{

{

{

Voice

Pno.

49

Voice

Pno.

A2A2

52

Voice

Pno.

54

Voice

Pno.

56

&

b

b

∑ ∑ ∑

&

b

b

7:4e

?

b

b

&

b

b

∑ ∑

&

b

b

3

3

3

3

3

?

b

b

3

&

b

b

∑ ∑

&

b

b?

33 3 3

?

b

b

3

3

3

&

b

b

∑ ∑

?

b

b

&

b

n

&

?

b

b

n

œ

œ

n œ

œœ

œœb

œœ

™™œ

j

œœbœœ œ

œœ

œbœb

œb

œn

œ

œ

œb

b ™

™

™œn

œ

œ

œ

œ

œ

œœ

œnœ

œœ

œ

œ

œ

œ

œ

œ

œ œ

œ™™œ

œ

œ

œ

œ

œœ

œ

b œ

œ

œ

œn

œ

œ

œ

œ

œ

œœ

œ

œb

˙

œ

Ϫ

™

œ œœœœ ™

‰™

˙

˙

˙

œ

œ

œ

R

œ

œ

œ œ

œ

œ œ

œ

œ

œ

œ

œ œ

œ

‰

œbœb

œb

œnœbœœ

œ

œœœœœœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

‰

˙

œ

œœ

œ

J

œ

œœ

œ

œ

œœ

œ ™™™™

Œ

˙

œ

œ

œœ

b

œ

œœ

œ

œ

˙

˙

œœœ

œ

œ

œ

œœ

n

œ

œ

œb

b

b

œ

œ

œ

J

œ

œ

œ

b

œ

œ

œ

J

œ

œ

œ

œ

œ

œ

J

œ

œ

œ

œ

œ

œ

J

œ

œ

œ

œ

bœ

œ

œ

œ

œb

œ

œ

œb

œ

œ

œb

œb

œ

œ

œb

œ

œ

œb

œb

Ϫ

œ

œ

œ

j

œ

‰

œ

œ

œb‰

œb

œ

œb ≈

œb

œ

œ

‰œ

œ

œb ™

œb

œ

œb™

˙ œ

œ

œ

Œ

œ

œœ

œ

b

b

b

œ Ó

œ

œbœb

œ œ ™œb

j

œn

œ œ

œnœ

œ

œœb

œb

œnœn

œ

œnœ

œbœ

˙

˙

Œ œ

œœ

œ

b

b

b

Œ

œœn

œn

œ

œœ

œ

œ

œ

Œ

˙

˙

˙

b

b

œ

œ

œ

n

b

b

Œ

˙

˙

˙

œ

œ

œ

6

89

{

{

{

{

Voice

Pno.

58

Voice

Pno.

59

Voice

Pno.

the thrill of the thought that you might give a thought to my

molto accel. molto accel. BB

61

Voice

Pno.

plea cast a spell over

molto rall. molto rall.

63

&

b

b

∑

&

b

b

3

3

3

?

b

b

3

3

&

b

b

∑ ∑

&

b

b

n

n

n

b

3

3

?

b

b

33

&

b

b

33

3

&

b

b

∏∏∏∏∏

∑

?

b

b

&

b

b

&

b

b

U

∏∏∏∏∏∏

?

b

b

∏

œb™

œb

œb

jœœ

œn œ

œb

œb

œn

œb

œb

œn

œb

œbœ

œ

˙b

‰œn

œ œ

œ

œ

œb

b

b

˙n

‰œb

r

œn™

Ó

œ ™œ

œb œn

œ

œ

œ

œ

œb

œ

œ

œœ

˙

˙

˙

˙

b‰

œ

œ

œ

œ

œ

œn

#

#

œ

œ

œ

œ

œ

œn

œ

œ

œ

œn

n

œ

œ

œ

œ

œ

œ

n

œn

œn œœ ™ œ

˙

˙œ

œ

œ

œn

b

‰™

œ

r

œ

œ

œ

œ

b

˙

‰

œ

œ

œ

œ

nœ

œ

œ

œ

œ

œ

b

‰

œ

j

œ œ œ

œ œ

j

œ œ

œb œ œb œ

œ œœ

œ

œ

œ

œ

™™™™

‰

˙

˙

˙

˙

Ó

œ

œ Œ

œœ

œ

˙

œ

œœ

œ

˙

˙

˙

˙

n

#

œ

œ

œ

œ

œ

œ

œ

œ

œ œœ

œœ

œœ œn

œ

œœ

œn

œ

œ

™™

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙

˙

˙

‰

œ

œ

Ó

œœ

œ

œ˙˙

˙˙

7

90

{

{

{

{

Voice

Pno.

me yet I

accel. accel.

64

Voice

Pno.

say to myself you just

65

Voice

Pno.

got to get a hold of yourself Oh can't you

molto rall. molto rall.

66

Voice

Pno.

see that this never would be

67

&

b

b

&

b

b

19

?

b

b

&

b

b

&

b

b

?

b

b

&

b

b

.

&

b

b

?

b

b

&

b

b

&

b

b

?

b

b

œœœœ ˙

‰

œœ

™

Œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœ

Œ Ó

œ ™ œ œ œ ˙‰

œb œn

Œ

œ

œ

œ

œ

#

n œœ

œ

œ

#œœ

œ

œŒ

Œ

œ

œ

œ

œ

œ

œ

Œ

œ

œœn

œ œ#

œnœn

œ

œ

≈

œ œb œn

Ó ‰œ

œn

œ

œ

n

œ

œ

n

œ

œŒ

Ó

Ó

®

≈

œn ™ œ

Œ

œ

œ

œ

™

™™

j

Œ

œnœ

œ#œœœœœœœn

˙œbœnœœœ œn

œ

œ

œ

œn

#

œ

œ

œb

n

œ

œ

œ

n

œ

œœ

œ#

#

‰™

œ

rœ

œœ#n

œ

œ

œ

œœ#n

œ

œ

œœ

R

≈ ‰ ‰

œb

œb

œ

œ

œ

œ

œn

# œ

œb

nœ

œ

n

œ

œ

œ

œ#™

≈

œn

œ

œb

œ

œ

œ

®

œ

œ

8

91

{

{

{

{

Voice

Pno.

You go to my head with a smile that makes

CC

69

Voice

Pno.

my temperature rise your like a summer

72

Voice

Pno.

with a thousand july's You intoxicate my soul with your eyes

74

Voice

Pno.

Don't you know

that I'm

77

&

b

b

3

&

b

b

”“

U

?

b

b

&

b

b

3 3

&

b

b

?

b

b

&

b

b

3 3 3 3 3

&

b

b

b

?

b

b

b

&

b

b

&

b

b

?

b

b

˙‰

œœœœœbœ

œ

œœ

œ ˙

Ϊ

œ œœ œœ

œ

˙

˙

˙

‰™

œ

r

œ

œ

‰ Œ Ó

œ

œ

œ

™™™

œ

œ

œ

j

œ

œ

œ

b

b™™™

œ

œ

œ

J

œ

œ

œ ™™™ œ

œ

œ

J

œ

J

˙

˙

Ó

œ

œœ

œ œ

œ

œ ˙

‰œb

j œb

˙

˙

b

‰

œ

j

œ

œ

œ

œ

j

œœb

œ

˙

Œ ≈

œ œ œ

œb

Ϫ

Œ

œ

œ

œb ™™™ œ

œ

œ

J œ

œ

™™

œ

j

œ

œ

œ

b

n™™™

œb

j Œ

œ

œœ

œb

n

b

˙b

‰ œ

j œ

˙n

‰ œ

jœn

˙b

‰œn

j œb

˙

‰œb œ

j

œ œ œ œ

œ

j

œ

j

Ϫ

Œ ‰

œœ

œb œœ œ

œ

j

œ

œœ

˙

œ ™˙

˙

œ

œœ

™

˙

˙‰

œ

jwb

œ

œœ

b

b

™™™

‰œ

œ

b

n™

™

Ϊ

œ

œ

j

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œb

˙

œ œ

˙

œ œ˙b

Ó

˙

‰œ ™

‰

Ϫ

œ

œ

œ

œ

œ

œ

n œ

œn

b

œ œœ

œ ‰ œœ

œœ œ

Ó

‰

œ

œ

œ

œ

b

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙˙

˙

˙

nb

œb

œb œn

œ

œn

œb

œb œn

œ

œ

œb

œb œn

œ

œn

œb

œb œn

œ

œn

œ

œ

œ

œ

˙

˙

9

92

{

{

{

{

Voice

Pno.

certain

That this heart of mine well it hasn't a ghost of a

molto accel. molto accel. DD

78

Voice

Pno.

chance in this crazy ro

81

Voice

Pno.

mance

82

Voice

Pno.

you go to my head

83

&

b

b

3

&

b

b

?

b

b

&

b

b

3

&

b

b

U

?

b

b

&

b

b

&

b

b

3

?

b

b

3

3

&

b

b

T

&

b

b

U

?

b

b

œ

J

Ϫ

œ

j

‰

œœ

œ ™œnœ

œ œ

‰

œœ

œ

œb

œ

œ œ

œ

œ

œ

œœ

œ

œœ

œ

œ

œœ

œ

œ

œ

˙

˙

˙

˙

˙

˙˙

˙

œ

œœ

œ

œb œ

œœ

œ

˙

˙

˙

˙

˙

w

w

Ó˙

˙

˙

˙

w

Ϊ

œ

j

˙Œ

œ˙

œ œ

œ

œœ œb œn

œœ

œb œn

˙ ˙

˙˙

˙˙

b

bn

˙

˙˙

˙

n

˙ ™

Œ

Ó

‰

œ

œ

œ

≈

œ

œœnœ

œ

˙

˙

˙

˙

b

b

œ

œb

œb

œb

œ

œb

œb

œb

œ

œb

œb

œ œ

œ

‰

œ

r

‰

œb

‰

œ

r‰

˙

˙

b

b

Ó

‰

œ

j

œbœb

œœb

œœb

œ œ œ œ™

w w

w

w

w

n

n

œ

œ œ œ œ

œ œ

‰

w

ww

w

b

œb

J

œ

œ œ

œ œ

œ

w

w

n

œ

œœœ

bb

œ

œœœ

œ

œœœ

œ

œœœ

Œ

w

w

w

b

b

œ

œ

œ

œb

b

œ

œ

œ

œ

œ

œ

œ

œ

10

93

{

Voice

Pno.

86

° *

&

b

b

∑

&

b

b

10

12

?

b

b

‘“

7

˙

Ó

˙

˙

˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œœœ

œœ

œœœ

œœ

œœ

w

Œ

w

w

w

œ

œn

œ

œ

œn

œ

œn

Ó

˙

˙

˙

œ

Œ

11

94

You Go To My Head V2

Figure 34 You Go To My Head V2. Accompanying CD (¤ Track 34).

Version 2 will also be available as a video recording (mp4) on the accompanying CD.

{

{

{

Voice

Piano

You go to my head ands you linger like a haunting refrain

A1A1

Voice

Pno.

ands I find you spinning round in my brain Like the bubbles in a

5

Voice

Pno.

glass of champagne You

8

2

4

4

4

2

4

4

4

2

4

4

4

4

4

4

4

4

4

&

b

b

Transcription: Michael Bartolomei

3 3

Piano Julian Lee

Vocal Kerrie Biddell

You Go To My Head

composer J.Fred Coots

Lyricist Haven Gillespie

&

b

b

∑ ∑ ∑

?

b

b∑ ∑ ∑ ∑

&

b

b

3 3

&

b

b

?

b

b∑ ∑ ∑

&

b

b

&

b

b

?

b

b

Ó Œ™

œ

jœ œ œ ˙

Œ Œ ‰

œ œœ œ

œ ™œ

œ œœ

œ ˙

Œ Œœœb

œ

œb

Œ ‰

œ œ

œb œœ œ œ œ

œ

œœ œ

‰ ≈

œ œ

œb œ ™ œœ œ

œ

œœ

œœb

œ

œ

œœœ

œœb

œ

œbœ

œœ

œœb

œ

œœ œ œ ˙ ˙

Œ ‰

œ

j

œ

œn

œ

œ

œ

œ

œ

œ

œ

b

bœ

œ

œ

b

œ

œ

œ#

n

n

œ

œ

œnœ

œ

œ

b

b

œ

œ

œ

n

n

n

œ

œ

œ

b

b

œ

œ

œ

#

n

n

‰™

œ

R

œ œ

J

Ϫ

œœ œb

œœ#

95

{

{

{

{

Voice

Pno.

go to my heads like a sip of sparkling burgundy brew

A2A2

10

E¨‹7

A¨13(b9)

D¨^9

Voice

Pno.

and I find the very mention of you

13

Voice

Pno.

like the kicker in a julep or two

15

Voice

Pno.

s the thrill of the thought that you

BB

17

&

b

b

&

b

b

?

b

b

&

b

b

&

b

b

n

b

?

b

b

&

b

b

&

b

b

?

b

b

&

b

b

33

&

b

b

?

b

b

b

œ

j

œbœœ# œ œn œ ™

Œ ‰

œ œ œœ œ œ

œ œ œ

j

œ œœbœ

˙

œ

œ

œ

n

b

b œ

œ

œ

n

n

œ

œ

œn

n œ

œ

œ

œ

œ

œ

œ

Œ

˙

˙

˙

b

œ

œ

œ

n

œ

œ

œb

bœ

œ

œ

œ

œ

œb

b

œ

œ

œ

œ

b

w

Œ

œœ

œ

n œœ

œ

Œ

˙

˙

˙b ˙

˙

˙b

œ

œb

b

œ

œ

œ

œ

œœb

œb

œ

‰

œ œ

œb œœ œ œ

‰

œ

j

œ œœ

˙

˙

˙

b

b

œ

œœ

œ

b

b

b

˙

œ

œ

œ

œ

œ

b

œ

œn

b œ

œ

œœ

œ

œ

œ

œ

œ

œ

b

œ

œ

n

œ

œ

˙

Œ œ

œœ

œ

b

b

b

˙n

Œœ

œn œ

w

œ ˙

˙

Ϊ

≈

œ

r

œ œ

œb

œ

œ œ œœ œ œ ˙

œ

œ

œœ

œ

œb

nœ

œ

œ

œb

b

#

n

œ

œ

nœ

œ

œ

œ

n

œ

œ

œ

œ

n

n

œ

œ

œ œ

œ

œœ

œ

œ

œœ

œ

#

#

˙#

‰œn ™

˙n

‰œb ™

w

Œ ˙n œ

œ

˙

Œ ‰

œ

j

œ œœn

œ

œ œœ#

œ

œ

œœ

œb

n

nb

œn

œ

œ

œb

œ

œ

œ

nœn

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œb

œ

œ

nœ

œ

œ

˙

œ

œ

œœ

˙

Œ

œ

œœ

œ

w

œ œ

˙ ™

2

96

{

{

{

{

Voice

Pno.

mightgive

a

thoughtto

my pleas

casts

a

spell

over me yet

19

Voice

Pno.

Isay

to myself you

got to get hold of yourself

22

Voice

Pno.

can't you see that this never can be You

24

Voice

Pno.

go to my head with a

smile

that

CC

26

&

b

b

3 333

3

&

b

b

3

?

b

b

3

&

b

b

33

&

b

b

3

?

b

b

3

&

b

b

33

3

3

&

b

b

?

b

b#

&

b

b

3

&

b

b

?

b

b

˙b œ œ

œ œ œœ

˙

≈

œn ™

j

œ

j

œ œ

œ

œ

˙

‰

œ

œ

œn

#

œ

œ

œ

œb

nœ

œb

bœ

œœ

œ

œ

œ

nœ

œ

b

œ

œ

œ

œ

n

œ

œn

œœ

œ

œ

b

n

œ

œw

w

w

w

Œ

œœœœœœ

œœ

œ

œ

œ

œ

w

w

w

#

n

Œ

˙

˙#

™

™

œ

œ

œœ

œ œ

œ

b

b

˙

˙

™

™

œ

œ œ

œ

j

œœ œ œ œ œ

‰œ

j

œ

œœn

œ#

œœn

œ

˙

œœ

œ

œ

œ

#

œ

œ

œ

œn

#

œ

œn

œ

œœ

œ

#œb

j

œ œ

œ

œ

œ

n

#

œ

œn

œ

œ

œœ

œ

nb

˙

˙n

Œ

œ

œ

œ

œ#

n

Ó

œ

œ#

œ

œ

œ

œn

j

˙

˙n

# ˙

˙b

n

‰

œ œ

œœ

j

œ#

j

œ œœ

œ

˙

Œ

œnœœœ

œ

œ

œn

œ

œ

œ

œ

#

œ

œn

œ

œœ

œ#

#

œ

œœ

œ

œ

#

#

n

œ

œœ

œ

#

#

n

œ

œ

œ

œ œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

n

œ

œ

œ

œ

#

n

˙

˙#

˙

˙

œ™œ œ

˙

˙

˙

b

n

Ó

œœ

œ œnœ œ

œ

œ œ

Ϊ

œ œœb

‰

œ

j‰

œœ

nœ

œ

œ

n

œœ

œ

˙

˙

˙

˙

b

b

œœb

Œ

Ó

œ

œ

œb œ

œ

n

n

œ

œ

œ

œ

œ

œ#

#

œ

œ

n

œœ

œ

œ

œ

œœ

˙

˙

b

Œ

œ

œ

œ

œ

b

b

˙b

Œœœ

œ

œ

n

3

97

{

{

{

{

Voice

Pno.

makes my

temperature rise like the summer

28

Voice

Pno.

with a thousand July's s You intoxicate

30

Voice

Pno.

my soul with your eyes well

32

Voice

Pno.

I'mcertain

that this heart of mine

hasn'taghost of a

DD

34

&

b

b

3 3 3

&

b

b

?

b

b

&

b

b

33 3 3

&

b

b

3

?

b

b

&

b

b

3

&

b

b

7

3

?

b

b

3

&

b

b

3 33 3 3

&

b

b

3

3

?

b

b

b

n

œ# œn

œœb

œ

˙

Œ ‰ ‰

œ

j

œ

œb œ

Œ

œ

œ

n

n

œ

œ

˙

˙

b

b

œ

œ

œ

œb

b œ

œn

n

J

œ

œ

#

#

œ

œ

J

œ

œ

n

n

J

œ

œ

n

n

œn

j

wb

Œ œ

œ

œ

œ

b

œ

œ

œ

œ

œ

œ

œ

œ

˙

Œ

œœ

œ

œn

#

#

Œ

˙

˙

˙˙n

n

n

œn

‰

œ œ œ œ

j

œ

j

œ œ

Ó

œ œ

œb œ œœ

˙

˙

˙

b

‰œ

œ

J

œ

œ

bœ

œ

œ

œ

œ

œ

œ

b

bœ

œ

œ

œbœ

œb

œ

œœ

œ

b

n

œ

œœœn

˙

˙

n

Œ

Ó

Ϫ

œbœ

j

œ

œ

œ

œ

b

™™™™

˙

˙˙

˙

œ œ œ

œœ

˙ ˙ ™

‰

œ

j

œ

œ

œ

œ

n œ

œ

™™

œ

œn

œ

œ

œ

œ

œ

œ

œn

œ

œ

œ

œ

œœb

œ

œ

œ œ

œ

œ

œ

œ

œ

w

w

Œ

œ ˙

˙

‰

œb

j

˙

œ

œ

œ

‰

œ

j œ

œ#

j

œ

œ

j

˙

‰

œ œ

‰

œœ

˙

‰

œ œ

œ

œ

‰

œ œ

œ

œ

Ó ‰

œ

J

œœ

œœ

œ ˙

‰

œb

œ

œ

œ

œ

œ

œ

œœ

œ

n

œ

œ

œ

œ

Œ

w

w

Œœ

œœœ œ

œœ

œ

œ

œ

œ

œ

œ

w

w

œ

œ

œ

œ

œœ

œ

œœ

˙

˙

Œ œ

œ

œ œb

œb

4

98

{

{

{

{

Voice

Pno.

chance in this crazy

romance

you go

tomy

37

Voice

Pno.

head

BB

40

Voice

Pno.

43

Voice

Pno.

45

&

b

b

&

b

b

?

b

b

&

b

b

Piano Solo

∑

&

b

b

3

33

3

3

33

?

b

b b

n

3

&

b

b

∑ ∑

&

b

b

3

3

?

b

b

&

b

b

∑ ∑

Swung

&

b

b

3 3

3 3

?

b

b

œ

‰

œ

j

œœ œ

œ

œœ

œœ

œœ

œœ

œœœ

j

Ϫ

œ

Œ ‰

œ

j

œ

œ œ

œ

œœ

œ

œ

œ

œ

œ

œb

b

j

œ

œ

J

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œn

#

n

n

œ

œn

œn

œœ

n

œ

œ

b

b

œ

œœ

œœ

œ

œ

œœ

œ

™™™

™œb

J

˙

˙˙

˙

n

#

Œ

œ

œ

œb

n

˙

˙

b

n

Œœœ

œ

œ

b

n

˙

˙

n

n

Œ

œ

œbœ

œ

œ

œ

b

b

œ

œœ

œœ

œ

œ

n œ

œ

œ

jœ ™ ˙

Ó Ó

œ

œ

œ

œ

n œ

œœ

œ

n

œ

œœ

œ ‰

œ

œœ

œœ

œ

œ

œ

œ

j

œ

‰

œ

œ#

œ

œbœnœnœœn œb

œœœbœnœ

œb œ

‰

œ

œ

œ

œ

œ

œ

n œ

œ

œ

œ

nœ

œn

#

j

œ

˙

œ

œœ

œ

b œ

˙

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œœ

œœœœ#

œœœœn

œœœ œb

œbœœœ

œœœœnœœœœœn

œn

œ

œ

œœœ

œ

œ

œ

œ

œn

œ

œ

œb

œ

œ

œ

n

#

œ

œ

œ

œ

œ

n

œ

œœ

œ

n

œ

œ

œ

œ

b

n

œ

œ

œ

œ#

œ#

œ

œ

J

œ

Ϫ

™

‰

œœœb œn

œnœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

#

n ™™™™ œ

œ œ

œ

œ

œ

œ

œ#

# œ

œ

œ

œn

nœ

œ

œ

œ

œ

œ

œ

œ

#

œ

œ

œ

œ

œ

œœ

œ

œœb

œ

œœ

œn™

™

œ

œ

œ

œ

#

n

œ

œ

œ

œ ™™™™

œ

œ

#

n

œ

œ

œ

œ

œ

n

#

œ

œ

œ

#

n

œ

œ

œ

œœ

œ ™™™

5

99

{

{

{

{

Voice

Pno.

47

Voice

Pno.

You go to my head with a smile that makes

CC

49

Voice

Pno.

my temperature rise your like a summer with a

52

Voice

Pno.

thousand July's You intoxiate my

54

&

b

b

∑ ∑

&

b

b

33

?

b

b

&

b

b

∑

Straight

3

3 3

&

b

b

3

3

?

b

b

&

b

b

3 3

&

b

b

?

b

b n

&

b

b

3 3 3

&

b

b

∏∏∏∏∏∏∏

?

b

b

œ

œ

<#>

<#>œ

œ

œ

n

n

œœn œ

œ œbœœn

œ

œ

œ

œ

œ

n

n

œ

œ

œ

œn

œ

œ

n

œ

œ

#

#

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

# œ

œ

œ

œ

œ

n

#

œ

œ

œ

œ™™™™

œ

œ

œb

œ

œ

œ

œ# ™

œœ

œ

#b

œn

˙

˙

n

œ

œ#

œ

œœ

œ

#

n#

‰

œœœœœœœ

œœ

œ

Œ ‰

œ œœ œ œ

œ

œ

œ

œ

œ

n

#

œ

œ

œ

œ

j

œ

œ

œ

n

n

œ

œœ

œb

œ

œœ

œ

J

œ

œ

œ

n œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

b

b

˙

˙

˙

˙

b

œ

œ

œ

œ

b

n

œ

œ

œ#

œ

œ

œ

n

n

œ

œn

n

œ

œ

œ

b

n

œ

œ

œb

œ

œ

œ

œ

œ

œ

œ˙

˙

b

Œ

œ

œœ

œb

b

˙

Œ

œn

œ

œ

j

œœb

œ

˙

Œ ≈

œ œ œ

œb

Ϫ

‰

œ œ

˙

˙˙b

™™™

œ

œœb

œ

œœ

œ

œ

œ

b

œ

œ

œ

b

b

œœ

œ

bœ

œbœn

‰

Œ

œb ™

œ

œ

˙

‰ œ

j œ

‰

˙

œ ™

œ

œ

j

œœ

œ

bb

b

‰

˙

œb ™‰

‰ œn

œ œ œœ

˙

Œ ‰

œœ œ

œb œœ

œ

œ

œ

œ

œ

n

n œ

œ

œ

b

œ

œb

n

œ

œ

œ

œ

b

œ

œ

œ

œ

b

œ

œ

œ ™

™

™œ

œn

n

J

œ

œb

b œ

œ

œ

œn œb

œn

œ

œ

œ

œ

œ

œ

n

œ

œ

œ

œ

b

n

œ

œn

œ

œ

œ

b

œ

œ

œ

b

œ

œœ

œ

b

b

6

100

{

{

{

{

Voice

Pno.

souls with your eyes don;t you know that I'm

56

Voice

Pno.

certain

That this heart of mine well it

DD

58

Voice

Pno.

hasn't a ghost of a chance in this crazy romance

molto rall. molto rall.

60

Voice

Pno.

you gos to my head

62

2

4

3

4

2

4

3

4

2

4

3

4

&

b

b

U

3

&

b

b ∏∏∏∏∏

?

b

b

&

b

b

3 3

&

b

b

?

b

b

b

&

b

b

3 3

&

b

b

?

b

b

&

b

b

U5 3

3

&

b

b

?

b

b∑

œ

œœ

˙ œ ™

‰ œœ

œœ œ

œ

œ

œ

œb

b

Œ

œ

œ

œn

œb

œ

œn

œ

œ

œ

œn

œ

œ

œ

œ

œ

œ

œ

œb

œnœ

œ

œ

œ

n

œ

œ

œœ

œ

n

œ

œ

œœ

œ

œœ

œ˙

˙

‰

œ

œ

œ

œ

b

˙

œn

j

‰

Ϫ

œœœ

Ϫ

œ

j

‰

œœ

œ

œnœ

œ œ

‰

œœ

Œ

˙

˙

˙

˙≈

œ

œ

œ

˙

˙

Ó

‰

œ

œ

œ

#

j

œ

œ

œn œ œ#

œbœœœœœn œ#

œbœœ

œœ

œ

œ

w

˙™

w

‰

œ

j

˙

œ

œœ

œ

b

œ

œb

œ

œ

œ

œœ

œ

œœœbœ œ œb

œ˙ ™

Œ

œ

œ

œ

œ

n

n

‰

œ

œœ

œ

b

j

œ

œœ

œ

nœ

œœ

œn

bn

Œ œœ

œn

œ

œ

œ

œ

n

œ

œ

n

œ

œ

œœ

œœ

œ

œ

œn

#

Œ

œ

œ

œ

œ

b

n

œ

œ

œ

œ

œœ

œ

œ

b

Ó œœb

œœœb

œœb

œœœ ˙

œ œ#

œb

˙n

w

w

w

w

b

b

Ó

‰

œ

œ

j

œœ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙

Œ

œ

œ

w

w

#

n

Œ

œn

œn

œb

j

‰ Œ

w

w

7

101

{

{

Voice

Pno.

65

Voice

Pno.

67

3

4

4

4

3

4

4

4

3

4

4

4

&

b

b

&

b

b

?

b

b

3

3

3

3

&

b

b

∑

&

b

b

”“

?

b

b

˙ ™ w

˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œb™œb ™

œœ

œ

œ

œ

œ

œ

œb œ œœb

œb

œ

œ

œ

œ

œ

w w

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

w

w

w

œb™

‰

≈œb

r

œ

œ

œ

j

‰

œ

œ

b

b

J

˙

˙

w

w

œ

œbœ

œ

œœ

Œ Ó

w

w

8

102

You Go To My Head V3

Figure 35 You Go To My Head V3. Accompanying CD (¤ Track 35).

{

{

{

Voice

Piano

You

F9

Voice

Pno.

go to my head and you linger like a haunting refrain

A1A1

5

Voice

Pno.

and I find you spinninground in my brain

8

4

4

4

4

4

4

&

b

b

∑ ∑ ∑

Piano Julian Lee

Transcription Michael Bartolomei

Composer Fred Cootes

You Go To My Head

Lyricist Haven Gillespie

&

b

b

∏∏∏∏∏

b

b b b

bn

n

b

n

∏∏∏∏∏

?

b

b

&

b

b

&

b

b

?

b

b

&

b

b

&

b

b

9

?

b

b

Ó Œ

œ

œ

˙

˙

˙

œ œ ˙˙

˙

˙

˙

˙

Œ

œ œ

˙

˙

œ œ

œ œœ

˙

˙˙

œ œ˙

˙˙

œ

j

œb™

œ

˙

˙

˙™™™

œbœ

œ

œ

œ

œœ

˙

˙

˙

˙

˙

˙

˙

˙

Œ

˙ œ œ œ

œ

œ

œ œ œ œ ˙

Œ

œ œœ œ

œ œ

œ œœœ ˙

w

w

w

w

œ

œ

œ

œ

b

b

œ

œ

œ

œ

b

b

b

œœ

œ

œ

œ

œ

œ

œŒ

œ

œ

œ

œ

bœ

œ

œ

œ

b

œœ

œ

œ

œ

œ

œ

œ

œ

œœ

˙

˙

b

Œ œœ

œ

œ

b

b˙

˙

b

b

Œ

œ

œœ

œ

b

w

wb

b

Œ

œ œ

œb œœ œ œ œ

œœ ˙

œ

œ

œœn

bœ

œ

œ

œb

˙

˙˙

˙

n

b

b

œ

œ

œ

œ

b

œ

œ

œ

œ

œn œb

œn œb œn

œ œn

œ

œ œb

œ œb œn

œ œn

œ

Ó

œ

œ

œ

œ

œ

œ

œ

Ϫ

™œ œ œ

œ

œ

œ

œ

œ

œ

b

103

{

{

{

{

Voice

Pno.

like the bubblesin a glass of

champainge

you

10

Voice

Pno.

goto my head like a sip of sparkling

A2A213

Voice

Pno.

burgandy brew sand I find the very mention of you

15

Voice

Pno.

like a kicker in a julep or

two

the

18

&

b

b

&

b

b

n

?

b

b

&

b

b

&

b

b

3

?

b

b

3

3

&

b

b

&

b

b

?

b

b

&

b

b

&

b

b

?

b

b n b

Œ

œ œ

œb œœ œ œ

œ œ œ ˙ œ

Œ Œ

œ

œb

œ

œ

b

Œ

œ

œ

œ

#

œ

˙

˙

œ

Ó

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ™™

œ

œ

œ

œ

˙

˙

˙

˙

˙

˙

n

‰™œ

r

œ

œn

#

˙

‰™

œb

r

œ

œ

˙

˙˙

˙

œ

œ

œ

œ

˙

œ œ

œ

œ

œ

˙

˙

Œ

œ

œ œ œ œ ˙

Œ

œ œœ œ

œ œ

˙˙

˙

˙

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙

˙b

b

b

˙

˙b

œ

œ

˙

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œb

œ

œ

œ

œb

b

œ

œœ

œ

œ

œœ

œ œœ

œ ˙

Œ

œ œ

œb œœ œ œ œ

œœ ˙

œ

œ

œn

nœ

œ

œb

b

œ

œ

œ

b

œ

œ

œb

˙

˙

˙

b

bœ

œn

œ

œ

œ

œ ™

™œ

œ

b

J

œ

œ ™™

œ

œ

n

j

œ

œb

b

œ

œ

b

œ

œ

œ

œ

œ

œ

b

‰

œ

œn

b

j

œ

œ

œ

œ

œ

œ

n

b

œ

œ

bœ

œ

b

œ

œ œ

Ϫ

™

œn œ

œ

Œ

œ œ

œb œœ œ œ

œ œ œ ˙ œ

Œ Œ

œ

œb

˙

˙

b

œ

œ

œ

œ

œ

b

œ

œ

œœ

œ

œ

œ

œ

n

nœ

œ

œ

n

œ

œ

œ

n

œ

œ

œ

œ

nœb

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

˙

œ

œ

Œ

œ

œ

œ

œn

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

n

#

œ

œ

œ

b

b

n

œ

œ

œ

œ œ

œ

œœ

2

104

{

{

{

{

Voice

Pno.

thrill of the thought that you might give a thought to my plea cast aspell over me

BB

21

Voice

Pno.

yet I say to myself get a hold of yourself can't you

24

Voice

Pno.

see that this nevr could be You go to my head

CC

27

Voice

Pno.

with a smile that makes my tempetature rise

30

&

b

b

&

b

b

?

b

b

&

b

b

3 3 3 3

&

b

b

?

b

b n

n

b

n

3

&

b

b

3 3

&

b

b

?

b

b

&

b

b

&

b

b

?

b

b

œ œ œ

œ œ œ œ

œb œ œ

œ œ œ œœ

œn

œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

n

œ

œ

œ

œ

bœ

œ

b

œ

œ

œ

œn

n

œ

œ

œœ

œ

œ

œ

b œ

œ

œ

w

œ

œ

œ

œœ

œ

œ

œ

œ

œb

n

j

œ

œ™™

œ

œ

b

œn

œ

œ

n

˙

˙

˙

n

œ

œ

œ

œ

˙™

œœ

œ œ œ œ œ œ œ œ œ œ œ œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙

˙n

#

˙

˙

˙

˙

#

˙

˙

˙

˙

#

#˙

˙n

w

w

Œ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

˙

œ

œ

œ

œ#

˙

Œœ

j

œ

œ

œ

#

˙#

Œ

œ

œ

œn

#

œ

˙

œ

j

œ

œ

œ

œ

b

n

œ œ œ œ œ œ ˙™

œ

œ œ œ œ ˙

œ

œ

œ

œn

# œ

œ

œ

œ

œ

œ

œ

œ

œ

n

#

œ

œ

œ

#

#

#

œ

œ

œ

n

œ

œ

œ

œ

n

b

œ

œ

n

œœ

œ

nœ

œ

œ

b ™™™œœœnœ

œ

œ

œ

œb

œ

œn

Œ

Æœn

J

˙

˙

n

œ

j

˙

˙

˙

n

˙

œ

œn

b

œ

œ#

œ

œ

œ

œ

œ

œ

œ

œb˙

˙

n

œ

œ

œ

œ

œ

œ

Œ

œ œœ œ

œ œ

œ œœ

œ ˙

œ

œ

œ

œ

b

b

œ

œ

œ

bœ

œ

b œ

œ

˙

˙

˙

˙

b‰

œbœœœ

œ

œ

œb

œ

œb

œ

œ

œ

œ

b

œ

œb

œ

œœ

œ

œ

œb

b

œ

j

œ

œ

œ

œ

b

œ

œœb

J

œ ™

3

105

{

{

{

{

Voice

Pno.

like a summer with a thousand July's you intoxicate my

32

Voice

Pno.

soul with your eyes Yes I'm certain that this

DD

35

Voice

Pno.

heart of mine hasn't a ghost of a chance in this crazy romance

38

Voice

Pno.

You go to my head

41

&

b

b

&

b

b

3

3

?

b

b

n

n

b

n

&

b

b

&

b

b

3

?

b

b

&

b

b

3 3

33

&

b

b

∏∏∏∏∏

?

b

b

&

b

b

3

&

b

b

6

3

?

b

b

3

Œ

œ œ

œb œœ œ œ œ

œœ ˙

Œ

œ œ

œb œœ œ

Œ

˙

˙b

b

™

™

œ

œ

œ

œb

b

b

œ

œœ

œ

n

œ

œ

œ

œœ

n

b

œ

œœ

œ

œ

œ

n

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

b

Jœ

œ

œœ

œ

œ

#

˙

Œ œ

œœ

b

bœ

˙

œ

œ

œ

œb

n

œ

˙

˙

œ

œ

˙

œ

œ

œ

œ

œn

œ

œœ

œ

b

bb

œ

œb

n

œ

œ

n

œ œœ

œ ˙ ˙ ™ œ œ#œ

œœ

œ

œ

œ

œ

œ

n

n ™™™™

œ

œ

jœ

œ

n

œœœn

œ

œ

b

œ

œ

œbœ

œœ

œ

œ#œ

œ

œ

œ

œ

œ

œ

œ™™™™œ

œœ

œ

n

n

J

œ

œ ™™

œ

œ

œn

œ

œ

œ

œ

œ

œ

œ

œn

b˙

˙

˙b

œ

œ

b

œ

œ

œ

#

w

w

Œœ

œ

œœ

œ

œ

œœ

œ

œœ

œ

œ

j

œ

œ

j

˙œ

œ

œ

œ

œ

œœ

œ

œœ œ

œ

˙

˙

˙b

˙

˙˙

˙

˙

˙

˙

˙

œ

œ

œ

n œ

œ

œ

˙˙

˙˙

œœ

œ

œ

n

#

œ

œ

œœ

n

#

w

œb œ

œ

œ

œ

œ

œ

œ

œ

˙

œ ˙

˙

Œœn

œœ

œ

˙

˙

n

#

w œ œ œ œ œ w

œ

œ

œ

œ

œ

œ

œ

œ™™™™

œ

œb

œ

œn

œ

œ

œ

œb

œ

œn

œ

œ

‰

œ

œ

œ

b

b

j

œ

œ

œ

b

b œ

œ

œ

œn

œ

œ

œ

œ

n

™™™™ œ

j

Ϫ

œ

J

˙

˙

b

n

Œ

œ

œœ

œb

n

Ó

œœ

œ

œ

œ

œ

œ

œ

œn

œ#

œ

œ

œ

™

™

™

˙

˙

˙

œ

œn

b

œ

œn

œb

œ

œn

œb

4

106

{

{

{

{

Voice

Pno.

The

thrill of the thought that you might give a thought to my

BB

44

Voice

Pno.

plea cast aspell over me yet I say to myself get a

47

Voice

Pno.

hold of yourself can't you see that this nevr can be You

50

Voice

Pno.

go to my head with a smile that makes my

CC

53

&

b

b

&

b

b

?

b

b

&

b

b

3 3

&

b

b

?

b

b

&

b

b

3 3

3 3

&

b

b

?

b

b

&

b

b

&

b

b

?

b

b

˙

Œ

œœ œ œ

œ œ œ œ

œb œ œ

œ œ œ œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ#

œ

˙

˙

˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

˙

˙

˙˙#

n

œ

œ

œœ

n

œ

œ

˙

˙

œ

j

˙

˙

b

w

w

Œ

œ

œ

œœ

œ

œœ

œ

œ

œ

œœ

œ

œ

œ

#

n

œ

œ

˙

˙

˙˙

n

#

œ

œn

œ

œ

œ

œ

œ ˙™

œœ

œ œ œ œ œ œ

˙

˙

˙˙

œ

œ

œ

œ

œ#

œ

œn

b œ

œ#

nœ

œ

œ

œ

œœ

œ

œ

œ

œ

nœ

œ

œ

œn

n

#

œ

œ

œ

œn

#

n

œ

œœ

œ

#

™™™

™œ

œ

J

œ

œ

œ

œ

œ

œ

œ

œ

b

œ

œ

œœn œb œn

Ϫ

œ

œ

b

J

œ

œn ™™ œ

œ

œ

œ

œ

#

n

œ

œn

œ

œ

œ

n

#

œ œ œ œ œ œ

œ œ œ œ œ œ ˙™

œ

œ

œ

œ

œ

#

n

™™™

™œ

J

œ

œ

œn

nœb

œ

œ

œ

œ

n

œ

œ

œ

œ

œ

œ

#

# œ

œ

œ

œ

œ

#œ

œ

œ

œ

œ

œ

œb

bœ

œ#

œn

œ

œn

#

œ

œ

n œ#

œb

œnœ

˙n

œœ Œ

œ

œn

œ

˙

œ

˙

œ

œ œ

j

œ

œ œ œ œ ˙

Œ

œ œœ œ

œ œ

œ

œœ

œn

n

œ

œœ

œ

œ

œœ

œ

œn

œœ

œ

œ

œœb

˙

˙

˙

˙

b

b

™™™™

œ

œ

œ œ

œ

œ

œœ

œ

œ

œ

œb

b

œ

œ

b

œ

œb

œ

œ

5

107

{

{

{

{

Voice

Pno.

temperature rise like a summer with a

55

Voice

Pno.

thousand July's You

intoxicate

my soul with your eyes

57

Voice

Pno.

But I'm certain that this heart of mine hasn't a ghost of a

DD

60

Voice

Pno.

chance in this crazy romance You go to my head

rit. rit.

64

&

b

b

&

b

b

5

?

b

b

&

b

b

&

b

b

?

b

b

&

b

b

3 3

&

b

b

?

b

b

&

b

b

33

3

&

b

b

”“

U

?

b

bb

œ œœ

œ ˙

Œ

œ œ

œb œœ œ

œ

œ

œ

œ

<b>

<b>œnœbœœ

œb

œb

œœ

œb

œ

œ

™

™œb

j

œ

œ

œb

n œ

œ

œ œb

œ

œb

b

œ

j

œ

œ

œ

œ

œ

œ

œ

j

˙

˙n

œ

j

˙

˙b

œ œœœ ˙

Œ

œ œ

œb œœ œ œ œ

œ

œ ˙

œ œ

œ

œ

œ

œ

œ

œ

b

™

™™™œ

œ

œ

œ

J

œ

œ

b

b

œ

œb

bœ

œ

œ

œ

œ

œœ

œ

b

b

n

™™™™

œ

œ

J

˙

˙

˙

˙n

œ

œœ

œ

n

™™™™

œœœ

œ

œ

œœb

œ

œ

œ

œ

œ

œ

œ

œn œ

j

œ

œœ

œ

b

b

œ

œb

œ

œœ

œ

b

n

bœ

œ

œ

œ

œ

œ

n

œ

œ

œ

œ

œ

œn

˙ ™ œ œ#œ

œœ

œ

œ

j

œ

œ

j

˙œ

œ

œ

œ

œ

œ

œ

œbœœ

œ

œ

œ

œ

œ

œ

œ

œ

#w

wœ

œ

œ™™™

œ

J

˙

˙

˙b

˙

˙

˙

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

b

œ

j

œ

œ œ

œ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œœ

œ

œ

œ

œ

œ

œ

œœ

œ œ

œ

b

b

œ

œœ

œœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

n

œœ

œ

œ

œ

œ

œœ œ

œw œ œ œ œ œ w

œ

˙

˙

˙

˙

˙

n

n

œ ‰

œ

œ

jœ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

#˙˙

˙

™™™

‰

Œ

œ ™

œ œ ˙œœœnœ

œ

˙

œœ

˙

œ œ

w

˙

˙

™

™

wn

wb

Ó

œœœœb

6

108

{

{

Voice

Pno.

68

Voice

Pno.

69

°

&

b

b

&

b

b

?

b

b

#

n

&

b

b

∑

&

b

b

∑

22

?

b

b

‘“

˙

Ó

œ

œ

œ

bœ

œ

bœ

œ

œ

œ

œ

œ

bœ

œ

b

œ

œ

b

œ

œ

œ

b

˙b

Œ‰

œb™

œ

˙

˙

Ó

∑

Œ

œ

œ

œn

œn

œ

œn

œ

œn

œn

œ

œn

œ

œn

œn

œ

œn

œ

œn

œn

œ

œn

œn

Œ

w

w

w

w

w

n

b

n

n

œ

j

‰ Œ Ó

7

109

References

Berliner, Paul. 1994. Thinking in Jazz: The Infinite Art Of Improvisation (University of Chicago Press).

Bernotas, Bob.‘Accompanying Singers: The Dream, The Nightmare, and the Rest’ http://www.jazzbob.com/articles.php?id=2, (accessed 28th March 2014). Besson, M. Faita, F. Peretz, I. Bonnel, A.-M. and Requin, J. 1998. ‘Singing in the Brain: Independence of Lyrics and Tunes’ (Psychological Science, Vol 9 No6.). Brown, Judith E. 2011. Flow in collaborative music performance:

An autoethnographic study of the phenomenon of flow for a piano accompanist (Central Queensland University).

Cooper, Gloria A. 1992. A multidimensional instructional approach for the solo jazz singer (Columbia University Teachers College). Cook, Philippa. 2006 The Vocal Accompanist: an Examination of the Pianist's Role in the Performance of Australian Contemporary Art Songs

(University of Sydney). Conrad, Thomas. 2010. 'With One Note Bring Me Home' (Jazz Times, 40(1), 50-53). Dobbins, Bill. 1988. 'Jazz and Academia: Street Music in the Ivory Tower'

(Bulletin of the Council for Research in Music Education). Ginsborg, Jane. King, Elaine. 2012. Rehearsal talk: Familiarity and expertise in

singer- pianist duos (Musicae Scientiae, 16(2): p. 148-167). Hofmann, Paul. 'Accompanying the Jazz Vocalist'

http://www.mhrrecords.com/articlesandessays/essay07.html, (accessed 28th March 2014).

Corea, Chick. 1979. 'The Pianists Duties, Part II: Accompaniment'

(Contemporary Keyboard, December:39). Israels, Chuck. 1995. 'The Piano and the Art of Jazz Accompaniment'

(Jazz Player, Feb-Mar 26-29). Juslin, Patrick N. & Timmers, R. 2010. Handbook of Music and Emotion

(Oxford University Press, chapter 17). Marquis, Alice G. 1998. 'Jazz goes to College: Has Academic Status Served the Art' (Popular Music and Society, 22 (2): 117-124).

110

Moore, Gerlad. 1943. The Unashamed Accompanist

(Ascherberg Hopwood & Crew Ltd). MacDondald, Raymond and Wilson, Greame. 2005.

'Musical identities of professional jazz musicians: a focus group investigation' (Psychology of Music, 33(4): p. 395-417).

MacDonald, Raymond A, and Wilson, Graeme B. 2006. 'Constructions of jazz:

How jazz musicians present their collaborative musical practice'. (Musicae Scientiae).

McNeely, Jim. 1993. The Art of Comping (Rottenburg, Germany: Advance Music). Monson, Ingrid. 2009. Saying something: Jazz improvisation and interaction:

(University of Chicago Press). Navidad, Apolinario J N. 2005. Marty Paich’s Ten- and Eleven-Piece Arrangements:

The Integration of Vocal and Instrumental Soloists with the Cool-Jazz Little Big Band (California State University, Long Beach).

Pettinger, Peter. 1998. Bill Evans: How My Heart Sings (Yale University Press, 1). Sacks, Oliver. 2007. Musicophilla: Tales of Music and the Brain (Knoph, Canada). Sawyer, Keith R. 2006. 'Group Creativity: musical performance and collaboration'

(Psychology of Music, 34(2): p. 148-164). Shadwick, Keith. 2002. Bill Evans Everything Happens To Me - a musical biography

(Backbeat Books). Tiro, Frank. 1967. 'The Silent Theme Tradition in Jazz'

(The Musical Quarterly, LIII(3): p. 313-335). Vitro, Roseanna. 2014. 'Fred Hersch: Wisdom for Singers' (Jazz Times, 13/09/2014). White, Christopher E. 2010. The Art of Accompanying the Jazz Vocalist:

A Survey of Piano Styles and Techniques (University of Illinois at Urbana-Champaign).