Darn That Dream & Don Alberts...

Try to make things easier -- if it looks complex -- analyze it until the inner logic becomes apparent! For years I would avoid playing Darn That Dream. Songs that change chords every two beats, or worse, every beat -- too much for me -- and too difficult to "read down" on a Real Book gig. For one thing, the hand-written notation of the old Real Books obscure the orderly structure of most tunes, and the chords are so "50-ish" with all those dominant flat nine chords. But much of the time when our mind rebels it's because we don't understand, not because there's something intrinsically wrong with the object of our attention. Just the same, I prefer the orderly notation of the New Real Book series.

So when I decided to tackle Darn That Dream for once and for all, I based my study first on the NRB chart, and a lead sheet from the "Jazz Fake Book" series that pretty much consists of words, melody and chords cropped from the original published sheet music. I remember hearing Marian McPartland discussing this on her NPR "Piano Jazz" show. (Sorry we lost her, but what a great body of work she left us!) The conversation made me realize that at some point the professionals get down to considering each measure carefully, the music doesn't just flow out like magic with no preparation. I don't remember exactly, but the conversation went something like "What do you do in measure six of the bridge? I always play this ... but other pianists use ..." And she illustrated different ways to harmonize the melody. For 2 or 3 minutes she and her guest talked about one measure of the song!

Taking the time to look at this composition carefully, comparing four different charts (RB, NRB, Jazz Fake and Colorado Book) I see mini-controversy, or perhaps just alternate thinking, when it comes to measures 3 and 6 of the A section, and 3 and 6 of the bridge. The song is published in concert G, the chords for measure 3 can be written:

| Em Em/D A7/C# Cm6 |  or  | Em7 / D7 Cm6 |  or
| Em7 Em/D C#m7 CMaj7 |  or  |Em Em/D# D7 D7/C |  (!)

Simplifying, it looks like the choice is between two descending bass lines: E D C# C and E D# D C to connect between E minor (measure 3)  and B half-diminished (measure 4). (The E7 in measure 4 can also be an E7b9.)

There's another difference in approach in measure 6 of the A section: Either Bm7 to Bb dim, or Bm7 to Bbm7. The Bb diminished chord avoids the parallel fifth that results from Bm7 to Bbm7, but contemporary ears forgive the parallelism, and sometimes welcome the gliding quality that comes from keeping the same chord quality to approach from a half step above (or below). [To repeat the obvious: since the verse (letter A) is repeated, measure 3 = 11 = 27, and 6 = 14 = 30...]

Measure 3 of the bridge: | EbM7 / C7b9 / |  (| Gm7 / C7b9 / |)  or
| Gm7 / F#m7 B7 |  depends again on the level of concern over parallel fifths.

Measure 6 of the bridge, originally | Gm Gm/F Em7b5 / | could be simply Gm for 4 beats or  | Am7b5 D7 Gm / |

The Roman numerals look more like hieroglyphics and are confusing compared to just considering the chords, especially since this song is almost always played in G. But just for drill, looking at Darn That Dream by the numbers, the oft-used patterns, dare I say "cliches" become obvious.

Measure 1 -- up to flat 3, always a good root movement. Melody moves from 5 on the I chord to 4 against the biiim7.
Measure 2 is not cliched -- the II7 could be considered a fully altered dominant or a dom7b5 depending on how it's voiced. We already discussed measures 3-4. Measure 5 is a familiar sound, minor chord moving to a Lydian dominant a major third below. In this case iim7 to bVII7+11, and the bVII chord moves to iii instead of "relaxing" to the I. Bar 6 to bar 7 is a variation on a "long cadence" and the first ending is a turn-around. Second ending sets us up for a bridge in Eb, the b6 of G. (The Colorado Book doesn't resolve to G in measure 16, goes immediately to the ii-V in Eb.)

The first five bars of the bridge are "ice cream changes" with a possible modification in measure 3. Measure 6 was discussed above and measures 7 & 8 of the bridge can be considered as alterations of V7 to bVI7 - V7.

Back to the verse (letter A) use a turn-around or ending of your choice -- home free! There's really little that's out of the ordinary purvey of European harmonic theory in ths composition. Music by Jimmy Van Heusen, obviously a master of the craft. (Lyrics by Eddie DeLange.) Get the chords in your left hand, work out the alternate harmonies with the bass player (!), memorize the melody, and then start to improvise your own take on this one. I was inspired to sit down and study Darn That Dream after hearing pianist Don Alberts absolutely tear it up one Wednesday last year at Original Joe's in San Francisco. Don slyly shifted styles as he reiterated the whole tune about 5-6 times and it was always brilliant, a joy to behold! Music, the Saviour! Check out Don's novel, The Rushing and marvel at the output of this prolific musician and author, 4 pages at Lulu.com!