This song has some unique chord progressions that I’ve never tried before. Sometimes shuffling chords around, or throwing in unrelated chords, can lead to new compositional ideas. The form of this song is AABA, so once you learn measures 1-24, you’ll have 75% of the song learned. Measure 25 should be noticeably louder to help this second A section stand out. The left hand notes in measures 49-58 should be played short. Also, you should not use the sustain pedal for this section. Finally, watch out for the left hand changing to treble clef at measure 66.
I tried to write this song with a 50’s rock feel. The left hand has a classic bass line at measure 25 and you should really hammer this out. The right hand melody is played in octaves here with some “filler chord tones” like the F’s in measure 25 and the G’s in measure 27. I wrote a contrasting section starting at measure 57, which should be played softly. I used some different chord flavors to set this section apart along with a new accompaniment style. Then it’s back to rock ‘n’ roll at measure 73.
This is an easygoing tune with a simple melody. The eighth notes are played unevenly because of the “Swing” style. Since the intro tag is played twice, you can play the second one much softer so it sounds like an echo. I was looking for a way to make the final section more interesting and decided to move everything up to the key of D. Watch out for the two sharps in the key signature: F# and C#. When you get to measure 51, start gradually fading out and keep getting softer until the end.
This song is in 3/4 and has a bit of a waltz feel to it. It makes me think of a street scene in Paris. The left hand should emphasize the downbeat of each measure, and then play beats 2 and 3 slightly softer. Make sure the left hand doesn’t cover up the right hand melody.
The intro looks a little complicated, but it’s really just the same right hand melody repeated over changing left hand notes. The only change in the right hand is in measures 7-8 and 15-16. Now look at measure 33-38. You can think of all the G notes that the right hand plays as filler notes, because they “fill in” the gaps between the higher note melody.