Lush Life: Understanding the Harmony Structure behind the music of Billy Strayhorn PART ONE
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- เผยแพร่เมื่อ 25 เม.ย. 2017
- There have been a few Tutorials on how to play Billy Strayhorn’s Lush Life. However; as far as I know, there has not been a Tutorial explaining the theory behind the music. No doubt about it, the music is complex but well worth the effort and time spent to understand it. Welcome to PART ONE of two parts. If you can understand what is going on here, you will be in a position to apply some of these considerations to other songs.
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Mr. Burt thank you for sharing such an in-depth explanation. I love to play the standards but I had never played Lush Life before. Recording these videos is a priceless legacy for many musicians all around the world. Says this pianiat watching you from Costa Rica. Many thanks.
Thank you Fernando. Your reply is right up there among the MOST appreciated. It is comments like yours that make it all worthwhile of putting in the many hours to create them. Hope you’ll also enjoy PART TWO.
Good teacher!
Don't forget PART TWO
Hi David, I've always loved Lush Life, its one of my all-time favourite standards with its storytelling narrative. I'm currently studying at the Sydney Conservatorium in Australia majoring in Jazz Vocal, this was a great analysis, looking forward to finding more treasures from you. Keep up the fabulous work!
Good day Stef. I'm pleased you enjoyed my analysis of Lush Life PART 1. i hope to also look at the conclusion of the tutorial in PART TWO. I have a number of tutorials you may be interested in. From the home-page of my website: www.davidburt.com just click the Tutorial Tab and they'll appear in order from beginner to more complex material. I've heard good things about the Sydney Conservatory and wish you the very best in your studies there.
thank you so much for sharing this !
You’re most welcome. Hope you enjoy PART TWO. 😎
Oww that is a superb explanation , I am listening to the Coltrane version where the pianist solo is stunning !!! Thank you 🙏🏾
Tank you. Glad you enjoyed PART ONE. Hope you continue on to PART TWO.
I Love your style, David. Thankyou !
"Advanced beginner" here having fun doing the best I can with this piece. I've always known that it was brilliant but even more so now, after hearing your wonderful analysis. At 8:25, you mention that, "D-flat is the only key you should play the song in". You play other pieces in keys other than the original. I'm sure you have a very good reason for saying this; I'm just curious to know why you say that about Lush life, please? I really love your teaching style. Your tutorials really mean a lot to me.. Thank you.
Good day Piano Man 1953. First of all I'd like to thank you for your kind words, and I'm pleased you are enjoying my tutorials. By the way all my tutorials can be found on my website: www.davidburt.com On the right-hand side of my home page just click on TUTORIALS and everything I've produced pops up. You're quite right that I often play songs in keys that are not necessarily the "original key". Those considerations are based on how I want the arrangement to go, improvising, key changes etc. In the case of Lush Life you'll notice that I stayed closely to the written music. The song is that good. Db has a rich range and a different feel for the musician. Also that key's location from the lowest to the highest note seems to fit perfectly for Lush Life. In other keys either the top end thins out or the bass end gets murky. If I can clarify anything from my tutorials I'd be glad to help you out.
Thank you for that explanation David. I do remember that sharp keys tend to sound bright and flat keys..... darker or richer as you described it. I just listened to Johnny Hartman sing the lyrics just now ..... man, are they ever dark. I understand why you wouldn't want a bright key. I understand now. Rich, Db, it shall be.
One main reason a particular key is picked over another has a lot to do with the singer's range. The singer gets to choose, while the musicians get to cope. Also, if I'm writing for strings you can be sure whatever the pitch consideration is, it will be in sharps: perhaps A. The reverse is also true for brass and reeds. Most likely Bb or Ab. Both close to A, but creates a happier horn section.
Hi thanks for this.
I have a transcript of Chick Corea's solo piano Lush Life and he plays the D Flat melody note both times in the f minor jag section.
I just don't understand how or why?
Did Maestro Corea make a conscience decision to not play the D natural melody note!
It's kind of a pivotal melody note.
He plays this both times over
Gminor 7flat5 to C7fl9.
What's up with that?
Sleepless in Boston over this.
Ahh Lush Life. What a great song. I gathered you have watched PART ONE of my tutorial. I hope you will consider viewing PART TWO. In the first half I talk about the minor section stating that Strayhorn decided at that point not to use the traditional Aeolian minor mode, but rather F Dorian. I also pointed out, the D natural, is referred to as the Dorian 6. The Dorian mode is much lighter and has less tension than the traditional Aeolian minor mode. Bottom line, a personal choice used by the composer.
FYI, I have also posted my own rendition of Lush Life for your viewing pleasure. 😎
@@davidburtstudio Hello.
Thank you for replying.
I could not find part two and I am not that proficient with computers.
I will look for your rendition of Lush Life.
That D natural is to me, a brilliant sound.
I don't know why Mr. Corea chose to change it and I think Strayhorn would be upset 😅
He did not appreciate something Coltrane did with the piece.