“Waltz For Debby” Solo Piano Tutorial
In this lesson, we will create a solo piano arrangement of the well-known standard “Waltz For Debby” written by the great Bill Evans.
The Form & Structure
“Waltz For Debby” has a seemingly long form. It is often viewed as an AABAC form which is an unusual form classification. We will explore and examine the harmony to identify the common progressions within this beautiful tune.
A Bill Evans Inspired Arrangement
For the arrangement, Tuomo highlights material that has either been transcribed from Bill’s recordings of this tune, or material that has been strongly influenced by the style and nuances of Bill’s playing.
Bill played some very interesting inversions to achieve specific bassline movement. All of these inversions will be explained and examined in detail.
Notable Recordings Of “Waltz For Debby”
Bill Evans recorded Waltz For Debby many times in different settings: solo piano, many times with his trio, and also with numerous vocalists.
The key versions to check out are the first ones to be recorded. The solo piano version on his album “New Jazz Conceptions” is a great place to start. Perhaps the most famous version of the tune is the trio version on the album “waltz For Debby” which was recorded at the Village Vanguard.
Another great version is the recording with alto saxophonist – Cannonball Adderly. All of these recordings are worth checking out… see the practice tips area for more information.
Always Start By Listening To Vocal Versions
When learning a new song, it’s important that you listen to vocal versions and recordings. This is the most effective way to learn the song, and understand the nuances of the melody and phrasing.
Some notable vocal versions of the tune are the Bill Evans duo recordings with Tony Bennet, and also Swedish singer Monica Zetterlund.
Related Lessons
We explore inner voice movement over major, minor, and dominant chords, and then we will apply this information to a well-known jazz standard.
In this lesson I explain what drop 2 voicings are, how to construct them and how to practice drop 2 so that you are familiar with them in all 12 keys.
Intros can be useful to extend the length of your performance and also to establish the tonality or the key in which the tune is being played.
Practice Tips
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Check out this forum thread which lists YouTube embeds for all of the versions mentioned:
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Before learning any tune, you should immerse yourself in the recordings. Spend a few days just listening to what has been recorded... and you will be rewarded.
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Spend some time to analyse the voicings covered. Much can be learnt from Bill's use of inversions.
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Enjoy playing this challenging, but wonderfully rewarding tune.
Hi,
Quick question:
When you play the C7 chord in the B part why do we play F# in the voicing?
Thanks.
Ariel
Hi Ariel 👋
The note F# over a C7 chord is the #11. The #11 is a chord alteration that can be used on dominant chords to add colour and tension to the harmony.
Take any dominant chord in your left hand, and play the tritone of the root in your right hand, and you will be playing the #11. It’s a beautiful colour to add to dominant chords and creates a floating, uplifting quality.
We explore the chord alterations in our course on Altered Harmony, check it out here: https://www.pianogroove.com/jazz-piano-lessons/altered-harmony-upper-structure-triads/
In particular, check out the second lesson in the practice series of that course which specifically covers the #11 chord alteration, find that lesson here: https://www.pianogroove.com/jazz-piano-lessons/altered-chord-drills-sharp-11/
Check out the above lessons and any further questions let me know.
Cheers,
Hayden
This just made my day. Wow. What a superb lesson. Thanks so much! I just had to keep that playing over again 😀 haha to keep me inspired – is there any chance to also download the mp3 of this song please? Thank you so much. – Kristeta
Hi Kristeta, unfortunately we don’t have mp3 of this, but here’s a link to a related seminar where we listen to lots of great versions of the tune:
https://www.pianogroove.com/live-seminars/waltz-for-debby-deepdive/
I’m so glad you liked the lesson – I think you will enjoy the seminar too!
All the best,
-Tuomo
hi
in the measure 13 Am7, the last note are F and C , for minor chord , can we use this 6flat (F) ?
Hi, yes we can, the chord in its entirety is now Am7b6. This is a common addition to the 3rd degree minor chord.
Let me know if you have any further questions,
all the best,
-Tuomo