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Rich Coffey Instrumentals

Customed-crafted arrangements of Standards, Contemporary Hits, Spirituals, etc.

Studio - Arrangements:

- Show Tunes -

A show tune is a popular song originally written as part of the score of a “show” (or stage musical), especially if the piece in question has become a standard, more or less detached in most people's minds from the original context. - Wikipedia

composed by George Gershwin

Summertime

Summertime was composed in 1934 by George Gershwin for the 1935 opera Porgy and Bess. The song soon became very popular and is recognized as one of the most covered songs in the history of recorded music, with more than 33,000 covers by groups and solo performers.

I have styled the arrangement as an organ trio (organ/organ pedal bass, jazz guitar, drums) backing up the trombone. I get a little raunchy with the plunger - it's one more great expressive tool for the bone :-)

FORM: Intro Tune (Changes) > Organ Solo > Bone Solo > Interlude > Tune (Changes) > Short Vamp (Fade out)

music by Jule Styne

Barbra Streisand

This is a great tune for the trombone and I have kept it in the original key of Bb. My arrangement features a prominent lush orchestral countermelody behind the trombone and jazz rhythm section. A snippet of the antiphonal writing can be seen here. There's no improv section—just the tune once through.

Further Details (expand/collapse)   

People is considered a signature tune for Barbra Streisand. It was composed by Jule Styne and Bob Merrill for the 1964 Broadway musical Funny Girl. The single, sung by Streisand, was released in January 1964, and peaked at number five on the Billboard pop chart, becoming the singer's first Top 40 hit. It also spent three weeks at number one on the Pop-Standards (adult contemporary) chart in June/July 1964. In 1998, Streisand's version was inducted in Grammy Hall of Fame.

In 1964, a bossa nova version featuring Barbra Streisand and Stevie Wonder was released on Columbia Records. Featuring lots of Stevie's amazing harmonica playing as well as his awesome singing, the duet gives new life to a timeless classic.

written by Burton Lane and Alan Jay Lerner

Andy Williams

"On a Clear Day You Can See Forever" was the title tune to a 1965 Broadway Musical written by Burton Lane (music) and Alan Jay Lerner (lyrics).

My arrangement features a string ensemble and evolves into a latin groove for the short solo section. It was remixed January 2019 to bring out the background parts.

The song has been recorded by a number of artists, the most famous of which is the Barbra Streisand version who was the star in the 1970 film. The song is reminiscent of Ravel's "Dawn" (Daybreak) movement from his ballet "Daphnis et Chloé".

Andy Williams does an absolutely wonderful version from his 1966 TV special.

Here's a "mini score snippet" of the strings part in the 1st Verse (NOTE: this will appear in a new window/tab)

Other Versions: (expand/collapse)   

- written by Frederick Loewe, Alan Jay Lerner Harrison-Hepburn

"I've Grown Accustomed to Her Face" is a song from the 1956 musical My Fair Lady, with music by Frederick Loewe and lyrics by Alan Jay Lerner.

Ah... such a beautiful tune with such rich harmonic changes... This was always a fun tune to play on the cocktail piano gigs I used to play. I wrote the intro figure ages ago and yes, its kind of a thrill to finally record it with bone (especially accompanied by the rich Rhodes sound of the MKS-20).

Form is: INTRO › HEAD › BONE SOLO ON TUNE › SOLO ON LANGUID VAMP OUT

I've Grown Accustomed and You Are So Beautiful pair nicely together and I've kept them in the original keys (Eb and F respectively) which highlights the trombone in its middle register. Chet Baker does a touching version nicely posted as a YouTube video (link below).

music by Frederick Loewe, lyrics by Alan Jay Lerner

“X”YZ/

It's kind of strange that this tune is not more widely known but its really a beautiful tune with equally beautiful lyrics.

If Ever I Would Leave You is from the musical Camelot based on the King Arthur legend. The original Broadway production ran in 1960 for 873 performances, winning four Tony Awards. It featured Julie Andrews as Queen Guenevere, Richard Burton as King Arthur and Robert Goulet as Sir Lancelot. If Ever I Would Leave You would became Robert Goulet’s signature song. The film version was released in 1967 with Richard Harris as King Arthur, Vanessa Redgrave as Guenevere, and Franco Nero as Lancelot.

The original key of Bb was very low, perfect for Robert Goulet but I changed the key to F to keep the trombone on a less bassy sounding range. My arrangement features the Rhodes electric piano, acoustic bass and strings. The strings play a prominent role throughout. This tune was remixed January 2019 to bring out the background parts.

FORM: Intro › Tune (AABC) › Interlude › Solo (AA) › Tune Recap (BC) › Outro (vamp/fade)

Other Versions: (expand/collapse)   

written by Vincent Youmans / Irving Caesar

Tea for Two - Doris Day

Tea for Two is originally from the 1925 musical No, No, Nanette (a second jazz standard, “I Want to Be Happy” also was from No, No, Nanette). In the 1950 musical film, Tea for Two, it was sung by Doris Day and Gordon MacRae and became immensely popular.

The song's contains abrupt key changes--atypical for a show tune--but nevertheless it became a huge success, Even the great Russian composer Dmitri Shostakovich did his own arrangement "Tea for Two - Opus 16" which was first performed on November 25th, 1928. It was incorporated as an entr'acte to his ballet The Golden Age as Tahiti Trot and was first performed in 1929.

My arrangement is done as a cha cha and features the trombone (of course!)..

Tea for Two (Wikimedia)

Other Versions: (expand/collapse)   

written by Robert Wright and George Forrest

Stranger in Paradise

Stranger in Paradise - what a beautiful song! Although credited as composed by Robert Wright and George Forrest, the melody was actually derived from the Polovtsian Dances section of the opera Prince Igor by Russian composer Alexander Borodin which was written way back in 1890. The song was a huge hit for Tony Bennett in 1953. It was one of the most popular songs from the musical Kismet which interestingly was also mostly adapted from several pieces composed by Alexander Borodin.

About the Arrangement
This is a trombone feature backed by Rhodes electric piano and lush strings. An oboe is added to the Intro, Interlude and Coda section to give it a bit of an exotic flavor.

Did You Know?
Borodin was an unusually gifted man. Not only was was he a renown composer, Borodin was a successful chemist as well. Another interesting fact: Borodin was posthumously awarded a Tony Award for this contributions to Kismet in 1954!

Further Music-Related Info

History Info

  • Polovtsian Dances
    The Russian word "Polovtsy" is the name given to the Kipchaks and Cumans by the Rus' people.
  • Cumans and Cumania
    The Cumans were fierce and formidable nomadic warriors of the Eurasian Steppe who exerted an enduring influence on the medieval Balkans.

 

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