Money More

Historical background
Composed in 1947 by Frederick Loewe with lyrics by Alan Jay Lerner for the Broadway musical Brigadoon, “Almost Like Being in Love” captures the head‑rush of new romance felt by Tommy Albright after discovering the enchanted Scottish village. The song leapt from stage to screen (Gene Kelly’s 1954 film version) and into the jazz songbook—Nat King Cole, Ella Fitzgerald, and Frank Sinatra each stamped it with their own buoyant swing, turning Lerner & Loewe’s show‑tune into a perennial standard.

About this trio arrangement
Instrumentation – nylon‑string guitar (melody & chord‑melody), upright bass, and brush‑kit drums
Tempo & feel – set at a sprightly ≈ 120 BPM four‑to‑the‑bar swing that mirrors mid‑century vocal versions while leaving plenty of air for single‑note guitar runs 
.
Key & harmony – arranged in D major (two sharps) and opening on D Maj7 → A 7sus/B before moving through bright II–V cells (E m7 → A 13, B m7 → E 7) that echo the tune’s original uplifts 

Texture – the head is stated in chord‑melody with lightly rolled thirds; bass walks buoyant quarter‑notes while brushes paint soft ride accents. During the solo chorus the guitar slips into Django‑flavored eighth‑note lines, followed by an eight‑bar traded‑fours with brushes. A joyous shout‑tag resolves on a ringing D 6/9 that feels, well, almost like being in love.

Why listen
Press play and imagine stepping into Brigadoon at sunrise—sun‑washed chords, dancing bass lines, and drums that smile on every upbeat. The trio keeps Loewe’s optimism intact while adding a modern, wood‑and‑steel shimmer.

Stay connected
Enjoyed the ride? Explore more arrangements on my YouTube channel (https://www.youtube.com/@rfviolao) and dive into scores, lessons, and musings at https://ricardofarao.com/. Hit Subscribe, leave a comment, and join me for the next chapter in guitar‑led jazz storytelling.

Almost Like Being in Love - F. Loewe

razz my berries

nitro on pearl

doin' the tonic-clonic (CPR not yet initiated)

The Vocals/Poetry: L.A. Rabsatt & C. Double34 Music
The Music & Sampling: C. Double34 Music
The Sampled Vocals: Shai, Brian McKnight, & Stevie Wonder
The Additional Music: Isaac Hayes
The Artwork: The Infamous Strategy

* FAIR USE DISCLAIMER: I do not own copyright for this copyrighted material, but under Section 107 United States Copyright Law as noted by the United States Copyright Office (Copyright Act 1976), allowance is made for fair use for purposes such as criticism, comment, news reporting, teaching, scholarship, and research

Oversexualized, Part 1 (L.A. Rabsatt & C. Double34 Music, vocals)

amour facile

ياناس انا اللي في الهوى مظلوم- درس في تكنيك الريشة - بشير شنان

Nick Chews - Electro Swing House Mix 2023-10-13

Historical background
Cole Porter wrote “At Long Last Love” in 1938 for his Broadway musical You Never Know. Although the show itself was short‑lived, the number’s sophisticated patter melody and tongue‑in‑cheek lyrics quickly found new life on bandstands. Frank Sinatra’s 1964 Nelson Riddle version turned it into a swinging staple, and vocal icons from Ella Fitzgerald to Blossom Dearie have kept the tune in circulation ever since, celebrating its wry optimism about finally meeting the right someone.

About this arrangement
Instrumentation – nylon‑string guitar (lead / chord‑melody), upright bass, brush‑kit drums, and a light vibraphone pad that adds a champagne sparkle. (Parts listed as Bass, Drums, Vibes, and a 2nd Guitar in the score.)
Tempo & feel – a breezy ≈ 120 BPM four‑to‑the‑bar swing—quick enough for playful phrasing, relaxed enough to let the melody breathe. 

Key & harmony – set in A‑major (three sharps). The head opens on A Maj7 → F♯ 7 before slipping through bright II–V chains (B m7 → E 7♯11, D♯°7 connectors, and G♯ m7♭5 → C♯ 7alt), echoing Porter’s original chromatic wit. 

Texture – guitar states the melody in tight chord‑clusters; the vibes swell on long notes, giving a ballroom‑floor shimmer. Bass walks buoyant quarter‑notes, while brushes feather the ride cymbal and punctuate with soft snare pops. A single‑chorus guitar solo dips into Django‑style triplet lines, followed by an eight‑bar vibes break; everyone rejoins for a shout‑tag ending on a ringing A 6/9—the musical equivalent of a toast.

Why listen
Hit play and you’ll feel like you’ve stepped into a 1938 supper club: witty melody, sparkling harmony, and a trio‑plus‑vibes sound that clinks like crystal stemware—proof that love (and swing) really do arrive right on time.

Stay connected
Enjoyed this take? Explore more arrangements on my YouTube channel (https://www.youtube.com/@rfviolao) and dive into scores, lessons, and musings at https://ricardofarao.com/. Tap Subscribe, leave a comment, and join me for the next chapter in guitar‑led jazz storytelling.

At Long Last Love - C. Porter

Please explore--It's a beat-CD!--find something you like. 
My music is a reflection of my auditory journey.

كثيرًا من السجائر .. وقليلًا من الصمت، وآلاف لا ينتهي

Make beats with a message and sample using the fair use act of 1976. Boom Bap Hip Hop is what I vibe to...but I bring all elements of music to the mix. A man of YHWH, God the Father and I give Him the praise and credit for these ideas. Thanks for listening. Peace be with and unto you. Luke 17:21.

Elen Vizerska - Dream twin girl

https://youtube.com/@vizerskaya
https://www.instagram.com/vizerska_official


New tracks tagged #Swing