Straighten Up And Fly Right, Diana Krall (Leçon)

Music Lesson: "Straighten Up and Fly Right" by Diana Krall

Hey, how's it going? I'm James, and today we're looking at "Straighten Up and Fly Right" by Diana Krall as a Grade 8 piece for Rock School. This piece is based in a jazz style known as swing.

Understanding Swing

Swing is unique compared to other kinds of music. We're going to break it down and see what we can do.

Solo Left Hand

The start of this piece features the solo left hand playing low down on the piano. What we're doing here is emulating walking bass lines. In a jazz group, you usually have:

• Saxophone or singer
• Piano or guitar
• Bass
• Drums

The rhythm section (bass and drums) gives the music its energy and drive.

Emulating the Bass

In this case, there's no bass player because you're playing alone, but the piano emulates the bass. Here are some key points:

• Play really low down with lots of grace notes and articulation.
• This should sound like a bass popping and flicking the strings, creating percussive effects that give swing its raw sound.

Grace Notes

While you're playing these grace notes, ensure they sound super tight. The G sharps and D sharps you hear may not be within the key, but they serve as passing notes, adding interesting chromaticism.

Importance of Pauses

You'll notice a lot of empty bars in this piece. Part of being a good jazz musician is knowing when not to play. Sitting out can create a great effect on the overall vibe and sound of the group.

For example, from Bar 13, we have quite a lot of rests. Use this time to get your page turns in order, as there are multiple pages for this piece.

Voicings

As we progress through the piece, we encounter quaver chords, known as voicings. Voicings in jazz allow for various interpretations of a chord, like E7 or A7.

• If you're playing this at home, try using your own shapes.
• For example, at Bar 29, the E7 can be played in multiple ways.

If you're doing the exam, stick to what's written, but feel free to experiment when playing casually.

The Solo

Now, the hardest part of this piece is clearly the solo. Here's why:

• It features octave leaps, grace notes, and a lot of detail.
• The solo is over half of the piece, based around the same melody and the B section.
• The intensity is key: there's no time to let up.

Left Hand and Chords

Focus on the left hand first; it consists mainly of the same voicings throughout. For instance:

• At Bar 45, we have a C13 shape followed by A, D, and G chords.
• Pay attention to passing notes, such as the B flat, but mostly stick to the consistent chords.

Syncopation

We're playing swing, so being precise with rhythm is essential.

• In the left hand, focus on playing off the beat.
• The right hand features solo lines and chords, particularly starting from the C blues scale.

Octave Leaps

The big octave leaps begin around Bar 53 and are most pronounced around Bar 74. This section is climactic and exciting, aim for a big band sound!

High Notes and Coordination

In Bar 81, we're reaching high on the piano. Ensure your left hand has the patterns memorized to focus on the right hand.

• Memorizing helps in reducing reliance on the sheet music, making those big leaps more manageable.

Creating Your Own Solo

During the solo section, have fun trying your own solo using the same left-hand shapes.

• Everything is primarily based around the C blues scale.
• Utilize the chord tones as guides for your improvisation.

Difficult Aspects of the Solo

One of the more challenging parts includes a grace note at the end of Bar 52, where you transition.

Transitioning Between Sections

Transition sections can be tricky, notably between Bar 57 and Bar 61, as you shift from big octaves to intricate lines:

• Pay attention to how you play the right hand, this involves a change in technique and finger positioning.

Recap

To summarize:

• Emulate the walking bass in your solo.
• Be mindful of those challenging transitions.
• Focus on voice shape and chord analysis.
• Attempt to memorize much of the piece for smoother play.
• Embrace the space within the music; not playing can be just as powerful.

As always, listening to great jazz records, including Diana Krall, Miles Davis, and others, will deepen your understanding of swing. See you next time!