126 Isn’t It Romantic

TEXT: Doug McKenzie
TEXT: [email protected] - live played jazz piano
MARKER: Easy Stride style
MARKER: G triad on an Eb Bass resolves to ......
MARKER: ...... Eb6 chord
MARKER: Internal voice that climbs chromatically up to root of chords
MARKER: Contrary motion - melody ascends, bottom voice (L hand) descends.
MARKER: Nice way to start an ascending run on Eb7
MARKER: First 'surround' the root wuth upper and lower neighbors ...........
MARKER: .......... then play fast up to target note (in this case melody note C)
MARKER: On last beat,LH plays chromatic  run targets 7th of Bb7 at start of next bar
MARKER: Melody harmonised in diatonic thirds
MARKER: C triad on Ab bass resolves to Ab 6
MARKER: Series of diatonic 4ths under melody moving  diatonically down
MARKER: b6 upper structure on Bb7alt - RH plays Gb triad, LH plays 3rd and 7th
MARKER: 6 upper structure on Bb7b9 - RH plays G triad, LH plays 7th and 3rd
MARKER: Another series of 4th chords
MARKER: Nice little decoration to a G13 chord with internal voice 13th - b13th - 5th
MARKER: Crescendo with big two handed chords 'Concerto' style -
MARKER: On turnaround, pedal tone (Bb) played with LH just under RH chords(not low)
MARKER: 'Trio' in
MARKER: Melody note 'drummed' on instead of just being held
MARKER: Octave tremolo in 'lazy' triplet rhythm
MARKER: A half/whole tone ascending diminished scale
MARKER: The F target note is surrounded by its neighbors
MARKER: EbMaj7#5 resolves to Eb6
MARKER: Rolled 2 handed chords ascend chromatically
MARKER: RH triads (2nd inversion) over LH notes Bb/C, Ab/Bb,Gb/Ab, E/Gb,Eb/F
MARKER: On A7 (=Eb7) arpeggiated a triad
MARKER: Fm triad notes with neighboring tones
MARKER: Cm triad notes with neighbors
MARKER: Upper structures again (see bar 17 above))
MARKER: Block chords harmonise diminished scale
MARKER: On Abm, a Gb major scale
MARKER: Double time feel
MARKER: Half/whole diminished scale - RH and LH a minor third apart
MARKER: Triplet 'drumming' on Bb7b9 - LH plays Ab&Bb, RH plays Em7chord
MARKER: Big 2 hand chords-LH rootless voicing-RH  octaves with chord tones b'tween
MARKER: On C7, begin with arpeggio -
MARKER: Continue ascending run with diminished scale
MARKER: On F9 easy run Eb,G,Eb,C,A,Ab,G,Gb,F,Fb,Eb - 3,5,3,2,1,3,1,3,2,1,3
MARKER: Same notes as Bar 17, but triads in RH played  in rhthmic pattern
MARKER: Strong pattern established in previous bars continues even tho' 'wrong ' notes
MARKER: eventually resolve
MARKER: Same rhythmic pattern established earlier continues up in semitones
MARKER: Different rhythmic pattern - still using two handed block voicings
MARKER: Chords in RH are rolled downwards instead of the usual upwards
MARKER: Ending begins on tritone of Eb as half diminished chord (Am7b5)
MARKER: Abm7 - hold Eb as top note of chord
MARKER: Gm7
MARKER: Run begins on Gm9 arpeggio .............
MARKER: ........... then 'Surround' the tonic (G) .............
MARKER: ........ then play up chromatically to target note E (third of C7b9)
MARKER: Down to the bottom of the piano - random notes from C7 altered scale
MARKER: Target note is  a low Gb
MARKER: On Fm9 - block chords in close position - LH doubles top note
MARKER: On Bb7b9, easy 2 handed run - pedal down  to catch low Bb
MARKER: LH plays black notes (Ab&Bb) RH plays white (1st inversion G triad - B,D,G)
MARKER: EbMaj7#11 - then F major pentatonic run to top of piano
  • Path: Disklavier Jazz 2/126-Isn't It Romantic.mid
  • Size: 37 KB
  • Updated: February 10, 2026

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