Step back into the golden age of swing with a fresh twist: my nylon‑string guitar leads a tight trio of bass and brush‑work drums through John Turner Layton’s 1918 classic “After You’ve Gone.” I reharmonized the chorus with luminous chord extensions and slipped in a few passing, Brazilian‑tinged turnarounds, letting the melody flirt between elegant nostalgia and modern bite. The bass walks, prowls, and occasionally sings in counter‑melody, while the drums paint the air with whispering cymbals and snare pops that keep the pulse light on its feet.

First popularized by Marion Harris just days after World War I ended, “After You’ve Gone” became a rite of passage for jazz greats from Louis Armstrong to Ella Fitzgerald—everyone finding new colors in its deceptively simple frame. My take keeps that bittersweet heartbeat but opens new harmonic windows, inviting you to feel both the sepia glow of 1920s ballrooms and the vibrant energy of today’s jam sessions.

Put on your headphones, close your eyes, and let this trio carry you somewhere between past and present. If you enjoy the ride, hit ⬆ Repost, leave a comment, and follow for more intimate jazz stories soon to arrive.

After You've Gone - J. T Layton

Composed in 1959 by the Brazilian guitarist Luiz Bonfá, with lyrics by Antônio Maria, Manhã de Carnaval (“Morning of Carnival”) was written for the landmark film Orfeu Negro (Black Orpheus). The movie, which reimagined the Greek myth of Orpheus and Eurydice during Rio de Janeiro’s Carnival, became an international sensation, winning the Palme d’Or at Cannes and the Oscar for Best Foreign Language Film.

Manhã de Carnaval is one of the most recorded songs in the world, celebrated for its haunting melody and poignant harmony—a bittersweet evocation of love, loss, and hope at sunrise. The tune became a gateway for the bossa nova movement, introducing Brazilian sounds and rhythms to global audiences and inspiring countless jazz interpretations. Its evocative minor-to-major progressions and subtle rhythmic sway are instantly recognizable, making it a staple of both vocal and instrumental jazz repertoires.

Curiosities:

Sometimes titled “A Day in the Life of a Fool” in English versions.

The song is often used in jazz jams as a “Latin standard.”

The melody’s melancholy is offset by lyrics that speak of renewal and the ephemeral nature of happiness.

🌐 Discover more
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Black Orpheus - L. Bonfá

"Blue Skies" is one of the most celebrated standards of the Great American Songbook, composed by Irving Berlin in 1926. The song was originally written for the Rodgers and Hart musical Betsy and famously performed by Belle Baker. Its immediate popularity was so overwhelming that Berlin, seated in the audience, was called to take a bow after the show. The song's cheerful lyrics and optimistic melody have made it a favorite for both vocalists and instrumentalists across generations.

“Blue Skies” quickly became a jazz and pop staple, with notable recordings by Ella Fitzgerald, Frank Sinatra, Willie Nelson, Benny Goodman, and even Thelonious Monk. Its catchy melody and upbeat feel have allowed it to be interpreted in styles ranging from swing to country, from classic pop to jazz improvisation.

Fun fact: “Blue Skies” was featured in the first-ever feature-length “talkie” film, The Jazz Singer (1927), sung by Al Jolson. This helped solidify its place in both musical and cinematic history.

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Blue Skies - I. Berlin

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"In a Sentimental Mood" is one of Duke Ellington’s most beloved ballads, composed in 1935. According to Ellington, the melody came to him spontaneously one evening at a party in Durham, North Carolina, when he tried to calm a tense situation between guests. The tune’s lush, lyrical melody and harmonically rich progression immediately set it apart as an Ellington classic.

The song was first recorded by Ellington and his orchestra in 1935, and it became a jazz standard, later immortalized by legendary collaborations—most famously, the 1962 duet with John Coltrane. “In a Sentimental Mood” has since been interpreted by countless jazz greats, from Billie Holiday to Sarah Vaughan and beyond. Its timeless beauty and gentle melancholy make it a favorite for both vocal and instrumental arrangements.

Fun fact: The version recorded by Ellington and Coltrane is often hailed as one of the greatest jazz ballad performances of all time, blending Ellington’s elegant piano with Coltrane’s warm, expressive saxophone.

In a Sentimental Mood - Duke Ellington

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"A Certain Smile" is a romantic ballad composed by Sammy Fain with lyrics by Paul Francis Webster in 1958. The song was written for the film of the same name, based on the novel by Françoise Sagan. Performed by the legendary Johnny Mathis, “A Certain Smile” received an Academy Award nomination for Best Original Song and quickly became a timeless favorite for its gentle melody and evocative lyrics.

Johnny Mathis’s velvety voice and the song’s lush orchestration evoke the bittersweet nature of love—hopeful yet touched by longing. Over the years, the song has been embraced by jazz artists and vocalists alike, thanks to its elegant harmonic structure and emotional depth. “A Certain Smile” stands as a classic example of the romantic ballad, balancing subtle jazz influences with a sophisticated pop sensibility.

Fun fact: The film “A Certain Smile” was shot on location in Paris, adding a cinematic and European flair to the song’s dreamy atmosphere. Mathis’s rendition remains the definitive version, but the tune has been covered by a wide variety of artists across genres.

A Certain Smile - S. Fain

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"Candy" is a charming jazz and pop standard composed by Alex Kramer with lyrics by Mack David and Joan Whitney in 1944. The song was first made famous by Johnny Mercer and Jo Stafford, but became a signature hit for vocalist Big Maybelle and later Nat King Cole, whose smooth, swinging rendition remains beloved today. "Candy" is celebrated for its playful lyrics and sweet, lighthearted melody that perfectly captures the innocence and joy of newfound love.

Over the decades, “Candy” has been covered by a wide array of artists, including Dinah Washington, Dean Martin, and Tony Bennett, making it a staple in both the jazz and pop repertoires. Its catchy, memorable refrain and bouncy swing rhythm lend themselves well to vocal improvisation and spirited jazz trio arrangements.

Fun fact: In the 1940s, "Candy" was often performed for US troops as a morale booster during World War II, bringing a little sweetness to uncertain times. Its delightful simplicity has kept it fresh and appealing for generations.

Candy - A. Kramer

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"But Beautiful" is a timeless ballad composed by Jimmy Van Heusen with lyrics by Johnny Burke in 1947. The song debuted in the Bing Crosby film Road to Rio and quickly became a jazz and pop standard, cherished for its exquisite melody and poetic, bittersweet lyrics about the paradoxes of love. Its harmonically rich structure and emotional subtlety make it a favorite among both vocalists and instrumentalists.

Over the decades, “But Beautiful” has been interpreted by a dazzling array of artists, including Billie Holiday, Nat King Cole, Frank Sinatra, Ella Fitzgerald, Bill Evans, and Tony Bennett. Each version brings a unique depth, with interpretations ranging from lush orchestral arrangements to intimate jazz trio ballads.

Fun fact: “But Beautiful” is noted for its melodic leaps and nuanced lyricism, which invite a personal touch from each performer. The song is especially popular among jazz musicians for ballad sets, allowing expressive phrasing and improvisational freedom.

But Beautiful - Van Heusen

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"Dark Eyes" (Ochi Chornye) is a world-renowned Russian folk song, whose haunting melody and passionate lyrics have inspired countless arrangements across genres since the late 19th century. The lyrics, written by Ukrainian poet Yevhen Hrebinka in 1843, evoke the mesmerizing and dangerous beauty of a lover’s dark eyes. The melody was adapted from Florian Hermann's "Valse Hommage" (circa 1884), but it was only in the early 20th century that the song gained international popularity.

Over the years, "Dark Eyes" has become a favorite among classical musicians, gypsy jazz performers, and jazz artists alike. The tune’s irresistible harmonic structure and dramatic character make it perfect for reinterpretation—Django Reinhardt, Al Bowlly, Louis Armstrong, and many others recorded their own versions. Your arrangement for solo classical guitar, featured in a jazz trio with acoustic bass and drums, brings a fresh swing and improvisational flair to this timeless classic.

Fun Fact: The song is often associated with Romani (Gypsy) performers, whose virtuosic playing styles have shaped the way "Dark Eyes" is interpreted in both classical and jazz settings. Its modal minor tonality and dramatic phrasing offer endless possibilities for expressive jazz improvisation.

Dark Eyes

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"Broadway" is a swinging jazz standard composed in 1940 by Henry “Bird” Woody, Billy Bird, and Teddy McRae. The tune was first made popular by the Count Basie Orchestra, which recorded it as a showcase for its tight, riff-driven arrangements and energetic solos. Known for its catchy, bluesy melody and infectious groove, “Broadway” became a jam session favorite and a must-play for big bands and small groups alike.

The song’s title is a nod to the famous theater district in New York City, evoking images of bright lights, lively nights, and the energy of mid-century Manhattan. “Broadway” has been recorded by countless jazz greats, including Stan Getz, Gerry Mulligan, Dexter Gordon, and the Oscar Peterson Trio, making it a timeless vehicle for swinging improvisation and musical camaraderie.

Fun fact: The signature riff of “Broadway” has become so iconic that it is often quoted in jazz solos and referenced in jazz education as an example of classic swing phrasing.

Broadway - H. Woody

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"Bye, Bye Blues" is a cheerful, uplifting jazz and pop standard composed in 1925 by Fred Hamm, Dave Bennett, Bert Lown, and Chauncey Gray. Originally written as an instrumental, lyrics were soon added, turning the tune into a perennial favorite among vocalists and jazz musicians. The song’s bright, optimistic melody and message of bidding farewell to sadness helped make it a hit during the Roaring Twenties and beyond.

“Bye, Bye Blues” became especially popular during the Great Depression, when its spirit of resilience and hope offered comfort to listeners. Over the decades, it has been recorded by a wide array of artists—from Les Paul & Mary Ford, Bing Crosby, and Guy Lombardo to Brenda Lee and Django Reinhardt—each bringing their own flavor to the classic. Its simple, catchy structure makes it ideal for improvisation and reinterpretation in jazz, swing, and even country styles.

Fun fact: The song’s timeless appeal made it a staple in dance bands and variety shows throughout the 20th century, and it has been featured in films, television, and even as a theme for radio programs.

Bye, Bye Blues - Grey, Bennett, Lown & Hamm

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"Call Me Irresponsible" is a beloved American standard composed by Jimmy Van Heusen with lyrics by Sammy Cahn. First introduced in 1962 in the film Papa’s Delicate Condition, the song quickly earned an Academy Award for Best Original Song and became a signature tune for Frank Sinatra, whose suave and playful delivery made the most of its witty lyrics and sophisticated melody.

The song is renowned for its tongue-in-cheek humor and self-deprecating charm, capturing the spirit of the classic crooner era. “Call Me Irresponsible” has since been performed by countless artists, including Jack Jones, Bobby Darin, and Brenda Lee, and has found a special place in the repertoires of jazz vocalists and instrumentalists alike. Its harmonically rich structure and elegant lyricism make it a favorite for creative jazz arrangements.

Fun fact: Sammy Cahn reportedly wrote the lyrics with Judy Garland in mind, but it was Jack Jones who introduced the song in the movie. Sinatra’s later recording helped immortalize it as a jazz classic.

Call Me Irresponsible - J. Hensen & S. Cahn

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“Valsa de Eurídice” is a poignant and lyrical waltz composed by the legendary Brazilian poet and songwriter Vinicius de Moraes. First published in 1956, this piece was written for the play “Orfeu da Conceição,” a Brazilian retelling of the Orpheus and Eurydice myth set in the favelas of Rio de Janeiro—a story that later became the internationally acclaimed film “Black Orpheus” (1959).

The waltz is characterized by its gentle, flowing melody and a harmonic palette that bridges European classical tradition with the melancholy and passion of Brazilian popular music. Its haunting beauty makes it a favorite among guitarists and vocalists alike, often interpreted in both classical and jazz idioms.

Fun fact: “Valsa de Eurídice” represents one of the earliest collaborations between Vinicius de Moraes and guitarist Luiz Bonfá, helping to lay the groundwork for the bossa nova movement that would sweep the world just a few years later.

Valsa de Euridice - Vinícius de Moraes

My arrangement of “Chega de Saudade” for jazz trio beautifully respects the original bossa nova pulse while adding subtle jazz sophistication. The bass part outlines the classic root-and-fifth motion typical of the genre, but also includes walking lines and chromatic approaches, blending samba and jazz idioms. The drums employ a delicate use of hi-hat and cross-stick, creating a relaxed, syncopated groove that never overpowers the melody.

The guitar voicings reflect Jobim’s harmonic language, with extended chords (like 7b9#11, m7b5, and Maj7), lush tensions, and passing chords that add richness to the harmony. Syncopated rhythms and tasteful embellishments in the melody keep the feel authentic, while the transitions and endings are arranged to allow space for improvisation—ideal for a modern jazz setting.

This arrangement honors the iconic status of “Chega de Saudade,” blending respect for the original with creative freedom, and offers an elegant, engaging approach for both listeners and musicians.

Chega de Saudade - A. Jobim

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"Come Rain or Come Shine" is a beloved standard from the golden age of American songwriting, composed by Harold Arlen with lyrics by Johnny Mercer. The song was written for the 1946 Broadway musical St. Louis Woman, where it was first performed by Ruby Hill and Harold Nicholas. Its instantly memorable melody and heartfelt lyrics quickly made it a favorite among singers and musicians alike.

The song’s theme is one of steadfast, unwavering love, expressed through poetic lines like “I’m gonna love you, like nobody’s loved you, come rain or come shine.” “Come Rain or Come Shine” has since become a staple in both jazz and pop repertoires, with iconic recordings by Ray Charles, Billie Holiday, Frank Sinatra, Judy Garland, and many more. The song’s dramatic harmonic structure and emotional directness provide a perfect canvas for both vocal and instrumental interpretation.

Fun fact: The song’s initial reception was somewhat overshadowed by other numbers in St. Louis Woman, but it soon became the breakout hit, thanks to its universal message and memorable tune. Today, it is regarded as one of Harold Arlen’s finest works.

Come Rain or Come Shine - H. Arlen

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"Can't We Talk It Over" is a classic ballad composed by Victor Young with lyrics by Ned Washington, first published in 1931. The song became an immediate hit in the early days of the Great Depression, resonating with audiences through its poignant lyrics about longing, regret, and hope for reconciliation. Its gentle melody and heartfelt sentiment made it a favorite for both vocalists and instrumentalists during the golden era of American popular song.

Originally popularized by Bing Crosby, the song was soon recorded by leading artists of the time such as Guy Lombardo and Art Tatum, and later revived by jazz and pop icons including Ella Fitzgerald, Frank Sinatra, and Billie Holiday. The ballad’s lush harmonies and melodic expressiveness provide an ideal canvas for both tender vocal interpretations and jazz improvisation.

Fun fact: Victor Young was one of the most prolific film composers of Hollywood’s Golden Age, and “Can’t We Talk It Over” showcases his gift for combining lyrical elegance with rich harmonies—qualities that would define his later work for the silver screen.

Can't We Talk it Over - V. Young

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"Cool Blues" is a lively and soulful jazz tune that showcases Duke Ellington’s genius for blending blues traditions with the sophistication of big band jazz. Though not as widely known as some of his major standards, “Cool Blues” embodies the relaxed swing and subtle harmonic playfulness that characterized Ellington’s output in the late 1940s and 1950s.

The piece is notable for its smooth, laid-back groove and catchy melodic riffs, capturing the essence of the “cool” jazz movement—where blues feeling met polished orchestration and creative improvisation. Ellington often featured “Cool Blues” as a vehicle for soloists in his orchestra, allowing musicians to stretch out over its infectious changes. It’s a favorite for jazz musicians who appreciate the intersection of tradition and innovation.

Fun fact: Duke Ellington’s ability to draw from the blues, and make it “cool” in a sophisticated setting, helped shape the development of modern jazz. His orchestra’s arrangements, marked by clever voicings and vibrant solos, turned every tune—even lesser-known ones—into a concert experience.

Cool Blues - C. Parker

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"Cherokee" is a legendary jazz standard composed by British bandleader Ray Noble in 1938 as part of his "Indian Suite." Originally intended as a dance band number, the song quickly became a staple in the jazz world for its sophisticated chord changes, rapid tempo, and challenging structure. "Cherokee" is especially beloved by bebop musicians, who use its complex harmony as a vehicle for virtuoso improvisation.

Charlie Barnet’s 1939 recording brought the tune to wide popularity, but it was Charlie Parker’s use of "Cherokee" as the basis for his own composition "Ko-Ko" that cemented the song’s iconic status in jazz history. The tune’s 64-bar AABA form (unusual for its time) and distinctive, modulating bridge make it a favorite “test piece” for jazz soloists—pushing the boundaries of melodic invention and harmonic agility.

Fun fact: Because of its harmonic complexity and quick pace, "Cherokee" is often considered a “rite of passage” for jazz musicians. Its influence can be heard in countless jazz improvisations and recordings.

Cherokee - R. Noble

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“A Child Is Born” began life in 1969 as an instrumental by Thad Jones for the Thad Jones/Mel Lewis Orchestra’s album Consummation, recorded May 25, 1970 in New York and released on Solid State Records . The underlying melody actually sprang from pianist Roland Hanna’s spontaneous improvisations during Village Vanguard gig breaks; after several weeks he and the band had refined the tune until Jones “put it on paper,” formally composing it as his own .

Shortly after hearing the original instrumental, Alec Wilder—the self-taught composer who made the Algonquin Hotel his home—wrote a set of lyrics in one sitting, creating what many consider his finest independent lyric . Wilder and Jones never collaborated in person, yet their union produced a song whose gentle 3/4 waltz feel and modal harmonies evoke a hushed sense of wonder—so much so that it has become a perennial favorite at Christmas, despite not being conceived as a holiday piece .

Over the decades “A Child Is Born” has been embraced by countless artists—from Bill Evans & Tony Bennett (1977’s Together Again) to Dee Dee Bridgewater and Stanley Turrentine—each reinterpreting its 30–36-bar form with personal nuance . Soloists prize its simple, memorable theme and expansive chord changes, which offer both lyricism and room for improvisatory exploration .

A Child is Born - T. Jones

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“Why Don’t You Do Right?” began life in 1936 as “Weed Smoker’s Dream,” recorded October 2, 1936 by the Harlem Hamfats in Chicago and released on Decca; the tune—credited to Kansas Joe McCoy and Herb Morand—is a minor-key, twelve-bar blues with a few chord substitutions that became a classic “woman’s blues” standard. 
McCoy later refined both lyrics and melody, retitling it “Why Don’t You Do Right?”, and in 1941 singer Lil Green cut the new version (with guitar by William “Big Bill” Broonzy), which became an early R&B hit. The song’s biggest breakthrough came in 1942, when Peggy Lee recorded it with Benny Goodman’s orchestra in New York (July 27, 1942); the single sold over one million copies, featured in the 1943 film Stage Door Canteen, and climbed to #4 on both the Billboard chart and the Harlem Hit Parade.
Decades later it resurfaced memorably in the 1988 film Who Framed Roger Rabbit?, voiced by Amy Irving as Jessica Rabbit. B
eyond this song, McCoy’s songwriting legacy includes co-writing “When the Levee Breaks,” later famously covered by Led Zeppelin on Led Zeppelin IV.

Why don't you do Right - Joe McCoy

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“Misty” is a jazz standard written and originally recorded in 1954 by pianist Erroll Garner. He laid it down as an instrumental on July 27, 1954 for his album Contrasts in a classic 32-bar form .

Garner composed the melody at altitude—reportedly while flying, inspired by the view of clouds and thoughts of his wife—and, unable to write music notation, committed it to memory until he could record it later with his trio.

In 1959, lyricist Johnny Burke added words, transforming “Misty” into a vocal ballad. That same year, Johnny Mathis’s rendition on his album Heavenly reached No. 12 on the U.S. Pop Singles chart and became Mathis’s signature song.

The tune gained cinematic fame in 1971, when it underpins the score of Clint Eastwood’s directorial debut Play Misty for Me, in which a radio DJ is repeatedly implored—“play Misty for me”—by an obsessed fan.

Over the decades, hundreds of artists have made “Misty” their own. Icons such as Ella Fitzgerald, Sarah Vaughan and Frank Sinatra have recorded it, cementing its status as one of the most beloved standards in both instrumental and vocal jazz.

Misty - Erroll Garner

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“Come Sunday” is a sacred-jazz composition by Duke Ellington, originally woven into the first movement (“Black”) of his extended suite Black, Brown and Beige, which premiered at Carnegie Hall on January 23, 1943. At that debut concert, Ellington featured the tender melody first on violin and then on alto saxophone, evoking the depth and emotion of a Black spiritual.

Shortly thereafter, Ellington extracted “Come Sunday” as a standalone item. In 1944 he recorded it for The Complete RCA-Victor Mid-Forties Recordings, spotlighting trumpeter Ray Nance and saxophonist Johnny Hodges, cementing the tune’s status as a jazz standard.

In 1958, Ellington revisited the work on his album Black, Brown and Beige, adding lyrics and enlisting gospel legend Mahalia Jackson. Her impassioned rendition—in effect a sacred hymn set to jazz orchestration—brought the piece to new audiences and linked the worlds of big-band swing and gospel expression.



Come Sunday - D. Ellington

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“Prelude to a Kiss” was composed in 1938 by Duke Ellington, with lyrics by Irving Gordon and Irving Mills. It debuted that year in Ellington’s Carnegie Hall concert and was first recorded in June 1938. The ballad’s sophisticated harmonies—lush major–minor shifts and unexpected chromatic turns—marked a departure from the swing-era simplicity, showcasing Ellington’s gift for blending jazz with romantic, almost orchestral textures.

Lyricist Irving Gordon reportedly wrote the words in a single afternoon, inspired by the idea of love as a timeless prelude—“like the tender grace before an embrace.” The song became an early favorite of band vocalists; Manny Trent recorded a notable version in 1940, and Ella Fitzgerald later made it a staple of her 1957 Ella Fitzgerald Sings the Duke Ellington Songbook.

Over the decades, “Prelude to a Kiss” has been interpreted by both vocalists and instrumentalists. Bill Evans’s 1961 piano trio rendition emphasized its rich voicings, while Tony Bennett’s 1999 duet with k.d. lang rekindled its popularity for a new generation.

Prelude to a Kiss - D. Ellington

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“Tuyo” (“Yours”) is a bolero-style song written and performed in Spanish by Brazilian singer-songwriter Rodrigo Amarante as the opening theme for Netflix’s Narcos (2015). It was released on August 28, 2015 as a single from Narcos: A Netflix Original Series Soundtrack.

Amarante conceived “Tuyo” by asking himself what kind of lullaby Pablo Escobar’s mother might have sung to her son—writing from her perspective to evoke both tenderness and the darker undertow of loyalty and obsession.

He recorded the spare arrangement himself—just voice, nylon-string guitar and subtle accordion—allowing his warm, intimate delivery to carry the melody’s yearning quality.

Upon its debut, “Tuyo” climbed to No. 6 on Billboard’s Latin Pop Digital Songs chart, marking Amarante’s first major international hit. It was also nominated for a Primetime Emmy Award for Outstanding Main Title Theme Music, cementing its status as one of television’s most hauntingly memorable themes. Over the years, “Tuyo” has become emblematic of Amarante’s solo career, drawing listeners into his wider catalog—starting with his 2014 album Cavalo and beyond.

Tuyo - R. Amarante

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“Unchain My Heart” is a rhythm and blues song written by Robert Sharp Jr. and Teddy Powell, first recorded by Ray Charles and released as a single in November 1961.
Sharp originally sold the tune to Powell for just $50, and although Powell claimed half the songwriting credit, Sharp later fought to reclaim his rights and renewed the copyright for his publishing company in 1987.
Ray Charles’s recording—driven by his emotive vocals, the call‑and‑response of his backup singers the Raelettes, and a dynamic saxophone solo by David “Fathead” Newman—became an instant classic. It peaked at number nine on the Billboard Hot 100 and reached number one on the R&B singles chart, further cementing Charles’s title as the “Genius of Soul”.
Over the years, the song’s enduring appeal has inspired covers by artists such as Trini Lopez (1963) and Joe Cocker (1987), the latter bringing the track back into the Top 20 in several countries.

Unchain my Heart - R. Sharp Jr

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“Speak Low” is a popular song composed by Kurt Weill with lyrics by Ogden Nash in 1943.
 It was introduced by Mary Martin and Kenny Baker in the Broadway musical One Touch of Venus, which opened on October 7, 1943 at New York’s Imperial Theatre and ran for 567 performances. 
he song later appeared in the 1948 film adaptation of One Touch of Venus, where it was performed onscreen by Ava Gardner (dubbed by Eileen Wilson) and Dick Haymes.

Over time, “Speak Low” has become one of the most celebrated jazz standards, recorded by Billie Holiday, Tony Bennett, Ella Fitzgerald & Joe Pass, Chet Baker, John Coltrane, and many others .

Speak Low - K. Weill

Air on the G String – Solo Guitar Arrangement (J. S. Bach)
Transcribed and Arranged by Ricardo Farão

Bring the timeless beauty of Bach to your fingertips with this elegant solo guitar arrangement of the beloved “Air on the G String” from the Orchestral Suite No. 3 in D Major, BWV 1068.

Thoughtfully transcribed in the key of D major, this arrangement preserves the lyrical flow, contrapuntal lines, and emotional depth of the original while adapting it naturally to the classical guitar. 

Air on the G String - J. S. Bach

Oscar Chilesotti was a dedicated Italian musicologist at the turn of the 19th century, passionate about Renaissance repertoire. In 1890, he published the precious manuscript “Da un Codice Lauten-Buch del Cinquecento”, transcribing numerous ancient lute pieces into modern notation — many of which now reappear under our hands as guitar music.

This piece, entitled "Vaghe bellezze et bionde treccie d'oro, vedi che per te moro", is No. 17 from that collection. Its title evokes the vivid elegance of golden braids and the ardent emotion of a lover on the verge of dying for his beloved — imagery typical of Italian Renaissance poetry.

Although there is no surviving record of lyrics or text, the music, with its sweet melody and gentle ornamentation, conveys an atmosphere full of ardor and nostalgia. It is as if, through the strings, the instrument whispers a passionate lament imbued with beauty and melancholy.

In this guitar arrangement, I sought to preserve that delicate and intimate aura, respecting the nuances of the counterpoint and the timbral colors that recall the soft resonance of the ancient lute.

This is my arrangement based on the original 1890 book, available at IMSLP: “Da un Codice Lauten-Buch del Cinquecento (Chilesotti, Oscar)”.

Vedi che per te Moro

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“My Funny Valentine” was written in 1937 by Richard Rodgers & Lorenz Hart for the Broadway musical Babes in Arms. It was introduced on opening night (April 14, 1937) by Mitzi Green, sung by her character Billie Smith to Valentine “Val” LaMar—the source of the title. The lyric’s affectionate litany of a lover’s “flaws” helped the song feel modern and emotionally honest.

Though born on Broadway, it became a major jazz standard: early chart success arrived in 1945 (Hal McIntyre/Ruth Gaylor), and Frank Sinatra’s 1954 recording pushed it deep into the jazz repertoire. Chet Baker’s 1954 vocal turned it into a signature, and Miles Davis’s 1964 Philharmonic Hall performance (issued as My Funny Valentine: Miles Davis in Concert) sealed its iconic status for modern jazz.

My Funny Valentine - R. Rodgers

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“Honey” is a sentimental foxtrot composed by Richard A. Whiting, with lyrics by Haven Gillespie and Seymour Simons, published in 1928.
The melody’s delicate sentiment paired with nostalgic lyrics made “Honey” a staple of early 20th-century popular music. It was featured in the 1945 film Her Highness and the Bellboy.
Richard A. Whiting was a prolific American songwriter behind many enduring classics—such as Hooray for Hollywood, Ain’t We Got Fun?, and On the Good Ship Lollipop.
Haven Gillespie, similarly, contributed lyrics to other timeless works including “You Go to My Head” and “Santa Claus Is Comin’ to Town”.

Honey - R. Whiting

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“Por una Cabeza” is a celebrated tango composed in 1935 by Carlos Gardel, with lyrics by Alfredo Le Pera, created for the film Tango Bar the same year.

The title, "Por una cabeza", is a horse racing metaphor (“by a head”), used in the lyric to compare narrowly losing a race to the sway of love and the allure of a woman.

Tragically, Gardel and Le Pera both died in a plane crash on June 24, 1935—just months after the song’s release—cementing their legacy as icons of tango.

The tango has since become a tango classic, featured in numerous films, notably Scent of a Woman (1992), Schindler’s List (1993), and True Lies (1994), contributing to its enduring popularity.

Por una Cabeza - C. Gardel

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Lamentos (Pixinguinha) — Solo Guitar

A modern, intimate take on the 1928 choro: a singing melody over a syncopated 2/4 sway, with walking bass and tasteful rubato.
Details: solo classical guitar • standard tuning • key: D major • instrumental (no lyrics).
Credits: arrangement & performance by Ricardo Farão.
Score: https://www.sheetmusicdirect.com/en-US/se/ID_No/1824606/Product.aspx
Public Domain (US) source; recording © Ricardo Farão.

Ricardo Farão

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