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How Do YOU Play "Happy Birthday" ? ? ?


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It has occurred to me that I need to relearn how to play "Happy Birthday" as I prep for some solo piano gigs, so as not to lose out on a tip or two...  I'm thinking of playing it straight (yawn...), and then breaking into a raucous rendition of the Beatles "Birthday".

 

But this lady has that beat in spades!!  It's funny, it's on point for the styles, and it's dang impressive playing for sure!

 

I am pretty sure I can't top that performance....

 

Old No7

 

 

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Yamaha MODX6 * Hammond SK Pro 73 * Roland Fantom-08 * Crumar Mojo Pedals * Mackie Thump 12As * Tascam DP-24SD * JBL 305 MkIIs

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For a long time I got to hang out in the Steve Coleman talks and that was when Negative Harmony was the big thing and it's something Steve had studied a lot under the various names it's been called over the history of music.      When he'd would first explain it to new people us would usually use Happy Birthday as his example tune to show how the melody would change.   I loved how the Negative approach turned Happy Birthday into anything but happy sounding tune.    

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One one level, obviously, one has to ask who gives a flying what-have-you.   However, on various gigs over the years when called upon to play this tune, my inner geek couldn't help but ask me "ok let's try to figure out a way to play this that makes some musical sense".  There are various ways to approach it that make sense, but for me it always comes down to melody.   Figure out a set of changes that supports, and makes sense with, the melody.  The bar(s) that can go wrong with this 8-bar tune, to me, are bars  6, and possibly, bars on either side of it.  Let's use the key of C as an example.  Melody for bars 5,6,7, and 8:  |  gg|ge c|ba ff|ec d|c   |.     For me, the trouble spot is  Bar 6:  "Dear Per-son".   Depending on which changes you use, "Dear Person" can, potentially, clash.   I usually use the following changes for bars 5 to 8:  |C    |F  Dm7(b5)|C/G  G7|C   |.   However, I only play the Dm7(b5) in bar 6  for the 4th beat.  and I only play the G7 at the end of bar 7 for the 4th beat.   Doing it this way means there are no clashes of melody against chord change.  There are other ways to make it work.   One way is to keep it dirt simple (bars 5-8):  |C   |F   |C   |C   |.    The clashes can happen when there are multiple chord and/or melody instruments, and one or more try to "get fancy" with it.    I know some are thinking (if they've bothered to read this far):  "What the h-e-double hocky-sticks?", and you definitely have a point! 😄

 

 

 

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have to play it almost every week in NYC, as it seems it's always somebody who supports us' b-day.  we do it new orleans style kinda like IKO IKO. short and sweet with a cha cha cha ending.  dunno if this video link will work or not if you don't have FB:

 

https://www.facebook.com/margie.goldsmith.7/videos/10156240236093951

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I'm amazed that Muggles get the "dear PERson" note right or close to right as they do, as often as they do. It's lydian to the chord it's over. But no one ever waits long enough after "person" and it drives me crazy.

Anyway, as to the original question, around here if we're doing the Mildred and Patty Hill Happy Birthday it's most often a boppy country thing. 

Now out! "Mind the Gap," a 24-song album of new material.
www.joshweinstein.com

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2 hours ago, MathOfInsects said:

I'm amazed that Muggles get the "dear PERson" note right or close to right as they do, as often as they do. It's lydian to the chord it's over. But no one ever waits long enough after "person" and it drives me crazy.

Anyway, as to the original question, around here if we're doing the Mildred and Patty Hill Happy Birthday it's most often a boppy country thing. 

Yeah, it's that lydian #4 note that can cause havoc (if I can call it that!).   Not sure what you mean by no one ever waits long enough, though.

 

 

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8 hours ago, Floyd Tatum said:

Yeah, it's that lydian #4 note that can cause havoc (if I can call it that!).   Not sure what you mean by no one ever waits long enough, though.

Humans in the world--Muggles. Not musicians. Everyone makes a big "dear perrrsonnnnn...." and then no one knows how long to wait before the next "Happy birthday."

Now out! "Mind the Gap," a 24-song album of new material.
www.joshweinstein.com

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At one point I was playing it like Richard Tee does here, but nobody could sing along with it (lol) so I reverted back to a simple version in the same key (F).

 

https://www.youtube.com/watch?v=ubYaWgp4Jn0

 

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1 minute ago, slg1013 said:

Yes. Huge fan of Greg. Saw him play years ago with Eric Clapton, Nathan West and Phil Collins. Absolutely amazing show. He always looks like he's having so much fun while playing just the right part/groove...

 

He must be Nathan East's fiercest rival.

 

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Now out! "Mind the Gap," a 24-song album of new material.
www.joshweinstein.com

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5 minutes ago, slg1013 said:

Yes. Huge fan of Greg. Saw him play years ago with Eric Clapton, Nathan West and Phil Collins. Absolutely amazing show. He always looks like he's having so much fun while playing just the right part/groove...

Yes, me too,  never knew him since I'm from the Netherlands.   Researched what he did after this YouTube.  

 

 

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A story that I have already told on this very forum a lifetime ago...

Summer gig in a restaurant, when I was very young. Inevitably, a girl approached me between tunes, saying, "hi, today is my birthday, could you play the song for me?"

Now, this particular girl was exceptionally cute... so I played "Happy Birthday" surrounding it with octave runs, jazzy arpeggios, suspensions, diminished chords series, in the hope of impressing her.

After I had finished with a crashing cadenza, she came back to the piano, saying - of course - "wow, that piece was great, who wrote it? And when are you going to play "Happy Birthday"? My friends are waiting with the champagne bottle..."

I guess I have understood several life facts that night.

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Just noting that this song needs to be in F (or within 1 step) for the most number of voices to feel the most comfortable with the melody. 
 

F also allows for sopranos and basses who want to add spontaneous harmony to do so without too much effort.

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