How to understand the chords in George Shearing's Somewhere Over the Rainbow

[abacaba]

I am working on George Shearing's Somewhere Over the Rainbow (RCM Grade 9 piano list D). I really love it but the chords are so difficult to understand and I have difficulty memorizing it  ? Can anyone shed some light here?

[abacaba]

What I mean is, classical chords are easier to understand, dominant -> tonic, etc. I do not find it difficult to memorize Mozart or Schubert or Beethoven. But George Shearing's Somewhere Over the Rainbow seems different and beyond my understanding of how the chords come about ...

[j_menz]

I suspect the difference is that the piece is written using more of a jazz framework.  The theory underlying that is a pretty big area, though.  Some posts in the Theory sub-board may get you started - just have a browse through to see what may be useful.

[abacaba]

Thx j_menz. Will go take a look.

[abacaba]

I think I should report here, especially to j_menz ...
So I did research a bit on jazz chords and learnt something on "the shearing chords" which does help me understand a bit about the song "Somewhere".
Then I took the exam and this piece got 11 marks out of 12! Examiner's comment: .".. well-observed phrasing details ... sensitive use of rubato ... contrasting tone colours and touches ... very enjoyable..."
So my advice to other persons playing this song is: just play it!

[j_menz]

I think I should report here, especially to j_menz ...
So I did research a bit on jazz chords and learnt something on "the shearing chords" which does help me understand a bit about the song "Somewhere".
Then I took the exam and this piece got 11 marks out of 12! Examiner's comment: .".. well-observed phrasing details ... sensitive use of rubato ... contrasting tone colours and touches ... very enjoyable..."
So my advice to other persons playing this song is: just play it!

Cool. Congratulations! 

[4greatkeyboards]

This is what I think: chords are approximations but melodies and counter-rmelodies are exact.

I have come to believe this as both a Rachmaninoff concerto player and a jazz musician.

[j_menz]

This is what I think: chords are approximations but melodies and counter-rmelodies are exact.

I have come to believe this as both a Rachmaninoff concerto player and a jazz musician.

Then you better explain lest we think you're a fool.

[abacaba]

Isn't it so that Rachmaninoff is very exact while jazz is more of approximations?

[4greatkeyboards]

For j_menz,

I'll expand on the 'approximate chords' statement.

Here's the thing: notation that uses chords instead of explicit notes can never be anymore than a sketch, an approximation, since chords are so ambiguous. As a jazz player who reads chords like you and I do we both are aware each chord notated (as in a fakebook) has three or more possible voicings in, say, just the left hand. So the notes indicated by that chord notation are approximate. Also, many chords have the same notes as other chords, as in the augmenteds and diminished. So if we are playing and reading things only of chords we have a multiple choice way of getting there, some better than others. Not so in explicitly notated music where melodies and countermelodies rule. The composer/arranger has put in more thought for us. Possibly is better (not always).

Finally, no chordal notation can surpass Chopin, Rachmaninoff, Beethoven, Mozart, Bach, and the other masters as a way of writing a masterpiece, imho.

That said, I do acknowledge jazz interpretive masters among us who can work from chords to produce works full of rich melodies and countermelodies. They can read and transcend chords.

[j_menz]

I'll expand on the 'approximate chords' statement.

Much better. Makes perfect sense now.