Ron Drotos: Jazz piano lesson, performance, and musical/historical discussion of the great Rodgers/Hammerstein song “Hello, Young Lovers,” which has been recorded by Nancy Wilson, George Shearing, and Ella Fitzgerald.

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Studying “Hello, Young Lovers” from historical and compositional perspectives. 0:00
The two distinct parts of Richard Rodgers’ career 0:56
Richard Rodgers’ compositional style when writing with Lorenz Hart 1:02
The similarity of Rodgers and Hart’s Broadway songs the popular music of the 1920s-40s 1:12
The use of functional harmony in Rodgers and Hart songs 1:40
The harmonic similarity between pop songs, Broadway music, and jazz of the 1920s-40s 2:15
Richard Rodgers’ collaborations with Oscar Hammerstein III 2:41
How Richard Rodgers’ compositional style changed when he switched lyricists 3:15
Richard Rodgers’ 1940s-50s harmonic concept 3:59
Analysis of Richard Rodgers’ original harmonies for “Hello, Young Lovers” 4:55
How Richard Rodgers used inner-voice motion to derive his chord progressions 5:10
Richard Rodgers’ use of inversions in “Hello, Young Lovers” 6:18
How Richard Rodgers moved away from “functional harmony” in his later work 6:18
The linear nature of Richard Rodgers’ later music, and it’s similarity to Renaissance music 7:29
The challenge of adapting Broadway show tunes to vehicles for jazz improvisation 8:04
Why “Hello, Young Lovers” is in the Real Book 8:55
Taking inspiration from arranger Gil Evans 10:15
The Miles Davis/Gil Evans bossa nova album Quiet Nights 10:25
Gil Evans’ cluster voicings in “High As A Mountain” 10:40
Applying Gil Evans-type cluster voicings to jazz standards 11:19
A Miles Davis story about using Gil Evans’ chord voicings 11:35
Various possible solo jazz piano approaches to “Hello, Young Lovers” 12:06
Beginning the arrangement by using Gil Evans-type chord voicings 2:36
Rhythmic interplay between the two hands 12:47
Bringing in some arpeggiation 13:11
A fuller piano texture 13:22
Using a more traditional jazz “feel” during the tune’s bridge 13:52
Block chords in the style of Bill Evans 14:13
Gil Evans-type chordal clusters over a left hand pedal point14:19
Improvising over a C pedal tone, inspired by the original sheet music 15:01
Motivic development 15:08
Using the melody as a point of departure for jazz improvisation 15:18
Combining the improvised motif with the song’s melody 15:29
Playing “rolled” block chords on the bridge15:56
Playing the melody with the left hand 16:23
Pedal tone during the “turnaround” 17:01
Extending the pedal tone under the beginning of the new chorus 17:04
Improvising over a walking bass line 17:31
A 2-handed flourish in the style of my piano teacher Billy Taylor 18:24
Returning to the improvised motif from earlier in the solo 18:24
Left hand pianistic runs 18:57
Big cluster chord voicings on the tonic chord 19:05
Quoting the melody at the end of the arrangement 19:12
A Lydian harmonic ending 19:17

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For Zoom and Skype lessons, please email me at rondrotos@keyboardimprov.com.

Enjoy the journey, and "let the music flow!"
Ron

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