By Karrin Allyson, Harold Adamson, Jimmy McHugh - interactive, digital sheet music to download
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Advanced Search. Join Date Jan Posts It is one of many popular songs of the s built around the I-vi-ii-V progression often called the 50s Progression because of its ubiquity. Unlike most songs of its type, it was embraced by many jazz artists over the years. Of course, there were also performances by contemporary "teen idols" such as those by Connie Stevens and James Darren The song itself is in standard bar AABA form, with the bridge in the mediant, also using a progression i-iv-ii-V similar to that in the A sections.
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Of greater interest is the considerable variation in the chords used in various performances of this tune, and that often different changes are used to back up vocal and improvised instrumental choruses.
Two reasons for this are the repetitiveness of the I-vi-ii-V progression and the obvious opportunities for substitutions such as substituting II7 with alterations like the 9 and b13 for the ii7 chord in the A sections ; and the tendency of musicians to change the chords in measures 12 and 28 from the standard chords Bb Bo7 or something similar to Bb Eb7 or something similar even though there is a clash with the melody.
I wrote this chord chart as an experiment, because I wanted to have different chords backing the first and last choruses for the melody and inner choruses for improvisation.
This required special editing to fit the entire arrangement into one page. For example, most of the measures of the outer choruses only use two spaces, enabling me to put as many as eight measures on a line. In addition, the solo form had to be put in hard repeats, with the number of repetitions hard coded into the arrangement 4x on line 5.
Also note that in order for the melody chorus to be played after the solo choruses, the chord chart must be played exactly twice. I chose fairly standard chords for the melody chorus. After listening to many performances and selecting ideas from many of them, I chose a non-standard set of changes for the solo section, which I enjoy soloing over.
I purposely made all of the A sections of the solo section very similar as a contrast to the melody section. Please note that I am a pianist and always have the chord instrument muted on playback. I kept almost all of the chords simple in the chart, with few alterations indicated.
This gives the performer freedom to add whatever alterations he desires in live performance. If this enhancement is adopted, then the outer choruses would be played in regular time and the solo choruses played in double time.
1956, Too Young To Go Steady, Nat King Cole, Hi Def .wmv
I hope you enjoy playing this arrangement. Reply With Quote. Join Date Aug Posts 6.
Hi Lisa, I am very impressed by your chart and look forward to playing it. The turnaround in mm of the bridge is especially nice.
Two quick suggestions: in order to make your chart more legible, use the small really, the narrow font in those parts of the chart that have new chords every beat; and consider changing the F chord two bars before the bridge to some type of tonic F chord like an Fma7 or F6.
Regards from Keith from NJ.
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