Oscar Peterson Days Of Wine And Roses Transcription
(Am7 - D7 - G - G7) Am7 D7 And you are now beside me, still the one I adore G G7 But days of wine and roses, they don't live anymore
Peterson starts with the Henry Mancini/Johnny Mercer melody but quickly reharmonizes. Before diving into the transcription, be solid on the standard chord changes (Bb major for his version). Then note where Peterson substitutes chords (e.g., using ii-Vs, diminished passing chords, and tritone subs).
But the second chorus is where the detective work begins.
If you're ready to study the solo, you have several excellent options: oscar peterson days of wine and roses transcription
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Peterson heavily employs rootless voicings in his left hand, a technique that leaves the bass notes to Ray Brown while allowing the piano to focus on color tones. In the opening measures, rather than playing a simple F major triad, Peterson voices the chord as an F major 9 or F major 13, stacking thirds and fourths to create an open, modern sound.
Before touching the piano, listen to the track repeatedly. Internalize the of the swing, the tone of the piano, and the interaction between the trio. Mark the structure in your mind. (Am7 - D7 - G - G7) Am7
Oscar’s playing can feel overwhelming: blinding speed, huge left-hand voicings, and endless embellishments. But transcribing him is valuable because:
In this blog post, we'll take a closer look at the transcription of "Days of Wine and Roses" as played by Oscar Peterson, exploring the intricacies of his performance and what makes this piece so timeless.
Leonard whispered. “Look at bar 47. The bridge. Mancini wrote a simple ascending line. Peterson turns it into a descending chromatic tantrum, then catches himself, throws in a two-bar quote from ‘Ol’ Man River,’ and lands back on the melody like nothing happened. Most players would break a wrist. Peterson just raises an eyebrow.” But the second chorus is where the detective work begins
A transcription allows you to see how Peterson shifts his rhythmic density—using longer, flowing eighth-note lines versus rapid-fire sixteenth-note flurries—to build excitement.
[A1] Cmaj7(#11) G7(#9) Am7 D7(#9) | Cmaj7(#11) G7(#9) Fmaj7(#5) Cmaj7(#11) | G7(#9) Am7 D7(#9) Cmaj7(#11) | G7(#9) Am7 D7(#9) Cmaj7(#11)