Over the Rainbow, Melodic Analysis

Dr. Bob Lawrence (00:32.536)
Welcome to Jazz Piano Skills. I'm Dr. Bob Lawrence. It's time to discover, learn, and play jazz piano. Well, last week we explored the great jazz standard Over the Rainbow harmonically. We examined its form, its harmonic sounds, its harmonic function, its common harmonic movement, and of course, voicing vocabulary needed.

To express those sounds at the piano. This week, well, we shift our attention from harmony to melody. And I couldn't be more excited because today's lesson, I'm going to address, I think, one of the greatest challenges every pianist faces. And that challenge is: how in the world do I play the melody naturally? Or how do I play that melody relaxed? What they're really asking?

Without knowing they're asking it, is how do I make the piano sound like I'm singing the melody? Let's think about that for a second. Every great melody was inspired by the human voice. Yet, far too often we play melodies, especially on the piano, we play melodies mechanically instead of musically. It's so true. So today,

We're going to discover why that happens and more importantly, how to fix it. We'll learn how to think melodically, how to phrase naturally, how to identify the musical destination of every phrase, and how to allow our hands to simply communicate what our ears are already hearing. It's one of my favorite lessons of every month, this melodic analysis. And I think

Today's discoveries will, I hope at least, transform the way you approach every melody you play from this point forward. So, you know what? Grab your favorite beverage, settle in at the piano if you can, and let's continue our musical journey through Over the Rainbow. Okay, you know, there is something very remarkable about a beautiful melody.

Dr. Bob Lawrence (02:56.652)
Especially a melody like Over the Rainbow. It has the ability to stop us in our tracks. It captures our attention. It stirs our emotions. It lingers in our minds long after the music has ended.

In fact, you know, think about your favorite songs. Chances are what you remember most isn't the harmony, isn't the rhythm, isn't the arrangement, it's the melody. And why is that? Well, I believe that's the case because melody is the aspect of music, the musical language, if you will, that most closely resembles the human voice.

You know, we don't naturally think in chords or we don't think in scales. Heck, we don't even think in song. From the very beginning of life, we respond to the human voice, its shape, its inflection, its phrasing, its emotion, its ability to communicate without saying a single word. Well, you know what? Great melodies do exactly the same thing.

Great melodies breathe, they speak, they ask questions, they answer questions, they create anticipation, they provide resolution. In many ways, a beautiful melody is a beautiful conversation, and that's where many pianists unknowingly get into trouble. We become so focused on playing the correct notes.

That we actually forget to be conversational, to tell a story. Right? So instead, what happens is we begin trusting our eyes instead of our ears. It happens all the time. We trust our fingers instead of our voice. The result? Always. The notes are correct, but the music never comes alive. It sounds

Dr. Bob Lawrence (05:14.422)
as I'd like to say, mathematical. Instead of musical, it sounds mathematical. Think about that. Mathematical. Right? So today I'd like to suggest something that may completely transform the way you approach every melody you'll ever play. Right? Your hands, and I've said this many times, your hands should never lead the melody. Your hands should take dictation

from your voice. Your hands need to take dictation from your voice. Think about that. Before your fingers move, your voice should already know what the melody sounds like. Not necessarily out loud. You know, I talk to students all the time about singing the melody. And I'm not asking them to sing like, you know, Pavarotti. This could be internal. They have to at least be singing that melody internally.

You should hear phrases. You should feel where the melody breathes. You should sense where it's going. You should know where it wants to arrive, its destination point. And only then should your hands begin moving across the keyboard. Because when when the voice leads, then the hands naturally articulate what the ears already understand. Suddenly.

Phrasing becomes very natural, like a conversation. Articulation becomes expressive. The melody begins to breathe. And the piano, guess what? Begins to sing because you're singing. That's exactly what I hope to explore today as we continue our study of Over the Rainbow, which is undoubtedly one of the most beautifully written melodies in the great

American Songbook. It's a melody that has captivated listeners for generations. Not because it's complicated, but because, you know what? Because it sings. And today our objective is rather simple. We're going to learn how to make the piano sing. So our educational journey will focus on one of the most beautiful skills every musician can develop.

Dr. Bob Lawrence (07:39.69)
the ability to sing through the instrument, sing through the piano. And they and again that you know that may sound like a simple objective, but it requires us to s to discover some a very important truth. A melody should always be heard before it is played. The ears should always lead the hands, the voice should always lead the fingers. When we allow our hands to take dictation,

From our voice, from our internal singing, melodies become natural, expressive, conversational. And once we discover that truth, we can begin learning how to apply it. We'll learn, hopefully today, how to think melodically rather than mathematically, and we'll do so by doing a few things, transcribing the melody. Number one, we'll establish fingerings that

support natural articulation. We'll identify the melodic phrases. We're gonna as always locate the target notes within those phrases that give each phrase direction. And then of course we're gonna place the melody on top of the harmonic vocabulary, the voicings that we developed last week. And then finally, as we always do, we'll experience how the exact melody naturally, of course, if you're singing, adapts

to three classic jazz grooves, our standard grooves, a ballad, a bossa, and a swing. And in doing so, we discover that the melody doesn't change. Our singing changes, which then changes our rhythmic interpretation, our rhythmic singing of the melody. So to recap all of this,

Today we will discover the secret to making the piano sing. The hands should always take dictation from the voice, right? We're going to learn how to organize the melody using transcription, fingerings, phrases, target notes, harmonic support, and we're going to play Over the Rainbow naturally and musically using traditional jazz voicings and three classic jazz grooves. This going to be a very fun hour.

Dr. Bob Lawrence (10:03.746)
Now, before we go any further, I want to, as I always do, review the seven musical facts. Why? Well, these are not theories, as I stress, they're not opinions, they're not preferences. They are the foundational truths that govern or should govern everything that we do musically. Every tune.

We play every practice session, every improvisational effort and idea, every arrangement, every performance well what I'm getting at is everything. So let's let's review them as always. Fact number one, music is the production of sound and silence. Of course the sounds, the primary sounds of music being major, dominant, minor, half diminished and diminished. Every harmonic sound you will ever encounter.

Let me say that again: every harmonic sound you will ever encounter belongs to one of these five families everything else is simply a variation or extension or decoration of these sounds fact number two sound is played one of two ways harmonically and melodically that's it every musical idea is expressed either harmonically or melodically there is

there is no third option. Okay? Fact number three, when sound is produced harmonically, we are playing chords, or what we commonly refer to as voicings. And every voicing that you have ever studied or ever learned or ever will learn is simply an expression of a harmonic sound. Fact number four: when sound is produced melodically.

We're playing arpeggios and scales. That's the reality. Those two melodic structures govern every melodic idea. Whether you're interpreting a melody, creating or arranging or writing or composing a melody, developing a solo, everything is built upon arpeggios and scales. Fact number five: when we play melody, arpeggios and scales, we can only move in one of two directions, up or down, ascending or

Dr. Bob Lawrence (12:27.438)
descending. And when we play harmony, our chords, our voicings, we move in one of three motions, circle, diatonic, or chromatic. So every harmonic progression, every melodic line is simply directional motion. So important to realize that. Fact number six, to disguise the fact that we're playing ascending and descending arpeggios and scales, we like to add tension.

or most commonly referred to as chromaticism. In other words, notes outside of the harmony, notes outside of the parent key. Those tension tones create color, interest, energy, expression. And then finally, fact number seven, to add interest to facts one through six, we add rhythm. Rhythm gives life to harmony, it gives life to melody, rhythm transforms

Musical information into musical communication. Right. So those are the seven musical facts. Everything we practice here at Jazz Piano Skills, everything we study, everything we play is governed by these foundational truths. And today, as we explore Over the Rainbow, we are going to witness these seven musical facts working together.

Because you know what? A great melody is much more than just a collection of notes. It's harmony organized melodically, moving with purpose. Harmony turned to melody with purpose. Rhythm. Movement, right? Wow. So today we're going to learn how to make the melody of Over the Rainbow.

Sing. But before we get started, I want to, as I always do, I want to take just a few moments here to welcome all of you new Jazz Piano Skills listeners. If you're new to the podcast, if you're new to Jazz Piano Skills, I'm delighted that you're here. And I want to personally thank you for joining us. And I want to personally invite you to become a member. You know, as you've been listening today, you've probably noticed that.

Dr. Bob Lawrence (14:52.234)
Our approach here at Jazz Piano Skills is a little different. Our focus is not simply on presenting musical ideas. Our focus is on helping everyone discover the musical truths that govern every tune that you will ever play. And because once those truths, the seven musical facts, become clear, you know what, everything else begins making sense. And that's exactly why Jazz Piano Skills exist, to help all of us discover, learn and play jazz piano.

Through a carefully designed educational process that develops understanding, it builds essential skills and transforms the way we practice and ultimately the way we perform. As a Jazz Piano Skills member, you will have access to the entire podcast episode. The first half of every Jazz Piano Skills skills episodes are free for everyone to enjoy. But as a member, you get access to the entire episode.

And of course, all of the educational resources that are designed to support your musical journey with each episode. Of course, I'm talking about the podcast packets, which include the illustrations, the lead sheets, and the play-alongs. Now, again, these materials are specifically designed to help reinforce the concepts discussed throughout each episode, each lesson, and also to help guide your practicing throughout the week.

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weekly blog. I encourage you to take a second and join the Jazz Piano Skills email list, which you can do very easily at the Jazz Piano Skills homepage. Every weekend I publish a detailed written recap of the week's lesson. The blog reinforces the concepts discussed throughout the podcast, highlights the most important educational takeaways, and hopefully clarifies the key ideas and helps organize your practice

Dr. Bob Lawrence (17:17.478)
throughout the week as well. Many members have informed me that listening to the podcast is very helpful and then reading the weekly blog helps deepen their understanding further because they experience the lesson from two different perspectives. Again, sometimes hearing the idea helps, sometimes reading the idea helps, but often doing both dramatically improves understanding and retention. So

Whether you're joining us for the very first time or you've been a part of Jazz Piano Skills family for years, Welcome. I'm grateful that you are here. And now let's tackle the question of the week. All right, this week's question comes from Anna Johansson. I hope I'm saying that correctly, in Stockholm, Sweden. And Anna's question is this: Hello, Dr. Bob. I've been working ahead and learning the melody to Over the Rainbow. And I'm happy to say I can play all of the correct notes of this melody. Plus, my rhythm is accurate, my fingerings feel very comfortable, but my playing sounds mechanical, like I'm reading the notes instead of playing the notes or playing from feel. See, this why I picked your question, Anna. It goes perfectly with today's episode.

Anna goes on to say, what am I missing? Is there a different way I should be thinking when I play a melody? Thank you for thank you for helping all of us become better musicians. Okay. Well, first of all, Anna, I'm thrilled that you are working ahead. I love that because it tells me you know the Jazz Piano Skills way. So in other words, you know what's coming next, which allows you to do what? Work ahead.

I love it. Now your question is wonderful and really it's your question is the catalyst behind the podcast theme today, right? And being able to sing the melody. So your question is wonderful and whether you know it or not, your question described one of the greatest challenges every developing musician eventually faces. And that's why I've decided to dedicate

Dr. Bob Lawrence (19:42.946)
really kind of to build this podcast episode around your question. So here's some good news. the problem isn't your fingers, the problem isn't your technique, the problem isn't even the melody. The problem is how you're thinking. And how you're thinking actually is pretty normal. Most pianists learn to play melodies with their eyes.

Correct. I think you would agree with that, right? Most pianists learn to play melodies with their eyes, but you know what? Musicians learn to play melodies with their ears. Most pianists play what they see. Musicians play what they hear. And you know what? There is an enormous difference. And when we rely exclusively on our eyes to process music, the brain begins processing music.

Mathematically. You know, I used that term earlier. One note after another, one measure after another, and the result typically correct notes like what you were mentioning, correct rhythms like you were mentioning, but but very little life, right? Very little excitement, very little expression, very little conversation, which means very little music. Now, let's approach the exact same melody.

Over the Rainbow a different way.

Before your hands ever touch the piano, it's so important that you hear the melody. This why listening to the melody, this why we have a killer listening list every week curated for us because at least it does for us, because listening is the key, right? So you have to hear the melody, not externally but internally. Sing it. Right? And and singing it, it it communicates.

Dr. Bob Lawrence (21:45.91)
where that melody breathes and w where it relaxes. In other words, allow your voice to experience the melody before asking your hands to perform it. I guess that's the best I guess that's the best way to say that, right? Allow your voice to experience the melody before asking your hands to perform it. I like that. Then your your fingers will begin moving. They'll no longer they're no longer trying to figure out what to do. They're simply, as I like to say, taking dictation from your voice. Your hands should never lead the melody. Your hands should never be in charge. Your hands should, again, take dictation from your voice. That single idea has the potential to transform everything about your melodic play. And I stress this to every student, sing, sing, sing, right?

Because when you do, suddenly phrasing becomes obvious and phrasing becomes natural. Articulation becomes obvious. Dynamics become expressive. The melody begins to breathe because you're vocalizing it, right? Because you're no longer reading the notes. You're you're you're singing it. You're telling a musical story. Now, I know that some of you might be thinking, Dr. Bob, I don't sing.

Well, again, I'm not asking you to become a vocalist. I'm not asking you to sing, you know, like Tony Bennett. I'm actually asking you to become a listener, because every great melody was inspired by the, as I mentioned earlier, the human voice, which means before your hands can communicate the melody, your ears must hear the melody, must listen. Right? So your internal singing doesn't have to be how loud.

Right? It's internal. It doesn't even so don't worry about making it audible, right? It just simply has to exist. Because the moment your ears begin leading your hands, right, your playing begins sounding less mathematical and much more musical. And today's lesson is going to help us begin developing that skill.

Dr. Bob Lawrence (24:15.144)
We're going to identify the phrases within Over the Rainbow. We're going to look at target notes within those phrases that give direction, phrase, each phrase direction. And we'll establish some fingerings that support our articulation and rather than just mechanical execution. And we'll we'll place the melody on top of our voicings from last week. And hopefully by today's by the end of the lesson today, I hope all of us begin hearing.

Melody differently, whether it's Over the Rainbow or any other standard that we may be enjoying or or learning. And once we begin hearing melody differently, guess what? We begin playing the melody different. So Anna, what you're experiencing, I think everyone experiences. It's it I deal with it on a weekly, on a daily basis in every lesson that I teach.

we talk about this very thing. So you're not alone. It's a great question. I'm so glad that you reached out and asked the question. And again, like I said, I'm building this entire podcast episode lesson around the spirit of your your question. So hopefully by the end of today's lesson there will be much more clarity for you with how to begin developing a much more relaxed approach to playing to melodic interpretation.

Okay? All right. So today's educational agenda is as follows. Number one, we're going to transcribe the melody to the best of our ability, right? Number two, we're going to establish proper fingerings. Number three, we're going to identify melodic phrases. Number four, we're going to identify the target notes within those phrases.

Number five, we're gonna place the melody of Over the Rainbow on top of the harmonic vocabulary, the voicings that we established last week. And then finally, number six, we are going to play the melody using three classic jazz grooves, a ballad, a bossa nova, a swing. Again, right, the notes, the melody won't change, right? But our rhythmic

Dr. Bob Lawrence (26:37.962)
Interpretation will change because of the setting in which we are playing it, the setting in which we are singing it. So we have a lot to get done today. So before we begin our melodic analysis of Over the Rainbow, I want you to, all you Jazz Piano Skills members, I want you to take a moment, hit the pause button. I want you to access, download, and print your podcast packets.

This week's educational materials, as always, have been has been carefully put together to support everything that we will be discussing throughout today's lessons. The illustrations, the lead sheets, and of course the play-alongs. All the play-alongs that I will be using today will be available to you to use, to download, and to use as well. I also want to encourage everyone, all you members, to check out this week's listening list.

Again, every week, Jazz Piano Skills Member Lisa graciously curates an outstanding collection of professional recordings of the tune that we're studying. And each performance is linked directly to YouTube, making it really easy to listen, to hear how great artists interpret, how they sing the melody in different ways. All right, so again, take a couple minutes right now to download and print your podcast packets and then we will get started. All right, now that you have your podcast packets, I want to, as we always do, start with the lead sheets. You should have seven lead sheets in your packet. So let's grab lead sheet number one and let's take a look at how we're going to utilize this lead sheet to help us transcribe the melody of Over the Rainbow.