Waving Through a Window (from “Dear Evan Hansen”)

Broadway music director and pianist Greg Anthony Rassen (Bandstand, Bullets Over Broadway, An American in Paris) has written a stunning piano quartet arrangement of “Waving Through a Window,” from the hit 2015 musical Dear Evan Hansen, as a tribute to all of the Broadway musicians and other music staff who have been out of work since their shows went dark in March. “I did this arrangement with all of you in my heart,” Greg said in a Facebook post sharing the video. “Never stop making music.” Key changes at 2:10 and 3:01.

Dar Williams | Write This Number Down

Acoustic/folk singer/songwriter Dar Williams “fits short stories into song,” reports Seattle’s The Stranger, “assesses the moral magnetic compass of the Xer generation, at least, and stays so catchy that you barely realize you’re being tested. Until you get the CD home and check out the lyrics.”

A review in The New Yorker praised Williams: ” … her songs are beautiful. Some are like finely crafted short stories. They are, variously, devastatingly moving, tenderly funny, subtle without being in any way inaccessible, and utterly fresh—not a cliché or a clunker in her entire songbook, which now numbers around a hundred recorded original compositions.”

Williams’ 2012 release “Write This Number Down,” submitted by frequent contributor JB, begins in Eb major. After several short and deliberate verses, the tune finds a more open vista during a brighter, fuller bridge (1:45) as it climbs up to F major. A step back down to Eb accompanies another verse at 2:10. But the musicality of the tune aside, JB calls particular attention to the civics-centered lyrics, a commonplace in Williams’ work:

A vote for one, a vote for all
A right to silence, one free call
You’ll need a warrant for that
No, she won’t sit in the back,
And yes, we’re still abolishing all slavery
Every kind of slavery

Charlie Daniels | Drinking My Baby Goodbye

“Charlie Daniels accomplished something few other musicians did: he made the leap from session musician to superstar,” AllMusic notes. “The song that made him famous was ‘The Devil Went Down to Georgia,’ a roaring country-disco fusion that became an international smash in 1979.” The tune “(introduced) him to millions of listeners and giving him a career that spanned decades. In its wake, Daniels quietly shifted his emphasis from Southern rock to country.” Earlier in his career, “his big breakthrough came when he played on Bob Dylan’s 1969 LP Nashville Skyline, a credit that opened the doors for the multi-instrumentalist to play with Leonard Cohen and Ringo Starr. Daniels parlayed this behind-the-scenes success into fronting his own band … Daniels weathered fashions, trends, and politics to become a beloved American music institution.” Daniels passed away in July 2020 in his mid-80s.

Rolling Stone Australia reviews “Drinking My Baby Goodbye,” Daniels’ 1985 release: “An outlier in a catalog more often associated with good-ole-white-boy anthems and Southern gothic story-songs, this 1985 Top 10 country hit is a dancing-all-over-your-troubles rave-up. It launches with an electric guitar part that, uh, tinkers with the one in Kenny Loggins’ ‘Footloose,’ but Daniels quickly commandeers the lick for himself … Daniels charges at his lines like he’s channeling Jerry Lee Lewis: ‘Pour me another one/I’m finished with the other one!’ But it’s Daniels’ delirious fiddle that moves the crowd and tips you off that this drinking cure might just work.”

This rollicking uptempo country/rockabilly dance hall track is fueled by Daniels’ vocal, which focuses on sung melody but adds a dash of the flow-state rap he made famous with “The Devil Went Down to Georgia.” Daniels’ muscular yet agile double-stop fiddle technique is another central ingredient. A whole-step modulation cuts in at 2:56. Many thanks to Alex G. for yet another great tune!

Average White Band | A Love of Your Own

“Their self-effacing name to the contrary, Average White Band are anything but — one of the few white groups to cross the color line and achieve success and credibility playing funk,” AllMusic reports. “With their tight, fiery sound also belying their Scottish heritage, evoking American R&B hotbeds like Detroit, Memphis, and Philadelphia instead.”

Wikipedia details that the band had several soul and disco hits between 1974 and 1980: “They are best known for their million-selling instrumental track ‘Pick Up the Pieces’, and for their albums AWB and Cut the Cake … They have influenced others, such as the Brand New Heavies, and been sampled by various musicians, including the Beastie Boys, Public Enemy, TLC, Too Short, Ice Cube, Eric B. & Rakim, Nas, A Tribe Called Quest, and Arrested Development, making them the 15th most sampled act in history.” Despite many changes in lineup, as of 2020, the band continues on — 48 years after it was formed.

“A Love of Your Own” (1976) starts in F# minor, shifts to A minor at 0:44, then returns to F# minor at 1:12. The pattern holds through a second verse (through 2:24), where a wholesale shift upwards to G minor kicks in for the balance of the tune — which amounts to an extended 3-minute chorus/outro. Many thanks to stalwart mod wrangler JB for submitting this tune!

Bobby Darin | Beyond The Sea

“Beyond The Sea,” with music adopted from the 1945 song “La Mer,” by French composer/singer Charles Trenet and lyrics adapted by Jack Lawrence, was made famous with Bobby Darin’s cover in 1959. Originally envisioned by Trenet as an homage and ode to the changing moods of the sea, Lawrence added “beyond” to the title and re-fashioned it into a love song. Darin’s version reached the #6 spot on the Billboard Hot 100 chart; other notable artists who have covered the tune include Benny Goodman, Django Reinhardt, George Benson, Rod Stewart and Barry Manilow. The tune, written in AABA form, stays in F through the A sections and passes through A (0:53, 1:57) and C (1:04, 2:08) in the B section.

Camille Saint-Saëns | Mazurka #1, Op. 21 (Geoffrey Burleson)

From Naxos’ liner notes for its release Camille Saint-Saëns Complete Piano Music 4: Dances and Souvenirs:

“There is a long history of composers writing instrumental dances that were and are intended as ‘concert’ works, initially flourishing in the Baroque era. By the late 18th century, the allemandes, courantes and gigues that were once all the rage were all but outmoded, save for the minuet, which appears copiously in works of Haydn, Mozart and in Beethoven’s early period. By the mid-19th century the fast triple metre of the waltz prevailed, along with the wealth of musical variety and contrast composers brought to its manifestations. Chopin codified the waltz as a stand-alone solo piano genre, as well as the much more vernacular, and resolutely Polish mazurkas and polonaises.

Camille Saint-Saëns (1835–1921) inhabited all of these eras as a composer of concert music in dance genres, even though his first works didn’t see the light of day until the mid-19th century. Among his many formidable musical feats was as a pioneering editor and advocate for French Baroque music, especially works of Lully and Rameau, spearheading the revival of this music in the late 19th century. More famously to the 19th century public, Saint-Saëns was one of the greatest keyboard prodigies of the past 200 years. When he made his piano recital debut at the age of 10 … he announced to the audience that he would be pleased to perform any of Beethoven’s 32 sonatas as an encore. A good deal later, Liszt referred to him as the greatest organist on earth.”

1892’s Mazurka No. 1, Op. 21 starts in G minor. The “B” section (first heard here at 1:02) is in the parallel major. The French composer’s trademark chromaticism softens the lines between these two primary keys throughout. The pianist featured on this recording is Geoffrey Burleson.

The Hold Steady | Massive Nights

The Hold Steady is “an acclaimed and respected Minneapolis-bred indie rockers who boast a melodic, contemporary take on mid-’70s classic rock,” reports AllMusic. “Craig Finn and Tad Kubler — two N.Y.C. transplants from Minneapolis — decided to blend their punk roots with album-oriented classicism and a frenetic literary sense, winding up with a careening, open-hearted rock & roll that seemed to exist just outside of time.”

The AV Club reviews 2006’s “Massive Nights” as “a hard-partying prom theme … one of The Hold Steady’s fastest and most celebratory-sounding songs … Both in the studio and in concert, that chorus gets an extra reprise with a frenzied key change in the final stretch … though the key changes generally aren’t go-to moves in The Hold Steady’s arsenal … a key change is basically the only thing it can do to kick itself into higher gear before its three minutes are up.”

Careen is exactly what this uptempo 12/8 rocker does, propelled by backing vocals that sound like a hyped-up live crowd proclaiming the hook — even on the studio track. A whole-step key change hits at 2:24.

Todd Rundgren | Hope I’m Around

“In 1970, singer/songwriter/multi-instrumentalist Todd Rundgren, fresh off of a successful stint as a co-songwriter and guitarist for rock outfit The Nazz, began experimenting with the additional roles of vocalist and producer. The album Runt, released in 1970 when Rundgren was 22, was perhaps understandably somewhat spare and tentative compared to his later output. AllMusic reports that “such isolationism lends Runt its unique atmosphere — it is the insular work of a fiercely talented artist finally given the opportunity to pursue his off-kilter musical vision … it’s apparent that Rundgren could never have made Runt with the Nazz — and that’s before the introspective ballads or the willfully strange stuff kicks in. Throughout the record, Rundgren reveals himself as a gifted synthesist, blending all manners of musical styles and quirks into a distinctive signature sound …”

That the word finally can be justly applied to Rundgren at 22 gives some idea of his early-career impact. Runt hinted at much of what was to come in Rundgren’s future career (50 years and counting) — not least a sustained refusal of a formulaic approach to songwriting subject matter. “Hope I’m Around” wasn’t included on the initial pressing of the album, but was added to later versions. Hardly a throwaway track, it focuses on the messy/long goodbye phase of an apparently rocky relationship.

Starting in C major, the choruses throughout make ample use of a distinctive bVII – IV – I progression for the title line. That same bVII chord is the substrate for most of the bridge (2:56 – 3:09), ringing out on nearly every beat — oddly static in comparison with the balance of the tune. The piano-driven contemporary pop harmonies are clearly influenced by Rundgren’s Philly-centric youthful listening, as well as his newfound focus on the work of iconic singer / songwriter / pianist Laura Nyro. The country-tinged traditional ballad waltz feel provides an unexpected contrast to the broad harmonic vocabulary. 4:13 brings a vivid transition, lofting us all the way up into A major at 4:17 on our way to the closing measures.