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Since the left hand just has block chords in measure 9-23, you can focus on the right hand rhythm. Measure 24-27 should start softly and then get louder and louder. You want these measures to build up to the chorus. Your left hand needs to be really solid for measures 28-35. Since the bass line is repetitive, I recommend taking measure 28 and playing it over and over with just the left hand.
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This song is in the key of G-major with a medium-slow tempo. You should use the sustain pedal throughout to make the notes smooth and flowing. Make sure the left hand doesn’t cover up the right hand melody, especially in places like measure 39-45. The left hand in that section is actually a new accompaniment style that I haven’t used much before. The song peaks in measure 51-53 so make that the strongest and most dramatic point.
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This song is in B-flat Major with two flats in the key signature. After a short intro, the verse begins at measure 6, which contains a lot of syncopated chords. The chorus begins at measure 22. It utilizes a bigger range, but the accompaniment is sparse. Then it’s back to the intro music at measure 30. The sections are then repeated with a few extra ideas thrown in (like measure 42-49).
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I wrote this song a few years ago when I was in college. I’ve added a few changes since then to make it more interesting. The song starts in C-major and and then changes to D-major at measure 69. The left hand starts in treble clef for the fast introduction section. The left hand changes to bass clef for the verse at measure 11. The chorus begins at measure 27 with the melody in octaves and a left hand accompaniment pattern that is played over different chords. The last section, which begins at measure 85, is the instrumental outro. Pay attention to the accent marks to play this section with the right emphasis.
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This is a jazz tune in the key of D-minor. There’s one flat in the key signature and the eighth notes should be swung. The intro has a low bass line that descends underneath syncopated right hand chords. The main melody is introduced at measure 9. The left hand triads should be played with a light, staccato touch. We go to the key of G-minor temporarily at measure 25 with tight chords in the right hand and what’s known as a pedal bass. Things continue on in a similar way until measure 49. This last section should have some punch, so play things a little louder here. Starting at measure 52, you should gradually slow things down and fade out.
