"Fly Me To The Moon" free download

[harry likas]

I've arranged "Fly Me To The Moon" using my 2+2 chord arranging method for solo piano. “Fly Me to the Moon” was writtenby Bart Howard, first titled “In Other Words,” as a popular standard intended for cabaret and vocal performance. Although it began as a slow waltz in 3/4 time, it later gained fame in a swung 4/4 jazz style, especially after Frank Sinatra’s iconic 1964 recording with the Count Basie Orchestra and arrangements by Quincy Jones, which gave it a lively, big-band swing feel. Over the years, many jazz artists have covered the tune, including Tony Bennett, Diana Krall, Nat King Cole, and Joe Pass, each bringing their own interpretation, but Sinatra’s version with Basie remains the most celebrated and widely recognized in the jazz world. Frank Sinatra - Fly Me To The Moon (Audio) ft. Count Basie And His Orchestra

In 2+2 chord arranging, the left hand anchors the harmony, typically playing the root and 7th or the root and 3rd, and sometimes the root and 5th on tonic chords. The right-hand thumb completes the chord by adding either the 3rd or 7th—whichever is not already covered by the left hand—while the remaining fingers carry the melody above.

2+2 voicings are hand-friendly, balanced, and versatile. The left-hand notes can stand alone as a complete accompaniment, while the right hand adds fills or improvisation. With regular practice, the 2+2 system helps pianists move from guessing at chords to playing confident, expressive harmony.

I’ve arranged over 1,400 solo jazz piano arrangements using the 2+2 method and produced 65 tutorials, all available at www.Patreon.com/HarryLikas

I was also the technical editor for Mark Levine’s "The Jazz Theory Book" and a contributor to "The Jazz Piano Book."

[hawkes]

That's a great tune to demonstrate the 2+2 approach. I like how the method keeps the arrangement sounding full while still feeling comfortable to play, especially for solo piano.

fnaf

[harry likas]

Thanks! That’s exactly the goal of the 2+2 approach—full harmony without forcing big stretches or dense textures. It keeps the hand shapes simple, but still outlines the chord clearly enough that the melody and harmony stay connected in real time.

Once the basic 2+2 shell is in place, it also becomes easy to expand it with small additions like a 2+3 shape or light rhythmic variation, without changing the physical feel too much.