I’ve Got a Crush On You – Dave Barduhn arrangement – Trombone and Piano United

I’ve been playing I’ve Got a Crush On You in big bands for around 15 years now, and I’ve never been able to figure out what the trombone is doing in the intro verse. Well, the other night I took a photo of the trombone part, and today I wrote out a chart that should have been in Dave Barduhn’s original piano part. In the interest of saving the world one chart at a time, here’s my contribution. Feel free to download it! I ve Got a Crush On You – Trombone and Piano Verse
I have this in jpg as well, if you need it. Just send me a comment.

Back to pop.

To prepare for an upcoming house party gig, I’m having to learn songs that I ignored all through the ’70’s, when I was into Yes,¬† Genesis, Gentle Giant and Steely Dan; through the ’80’s when all I listened to was Canadian jazz, in particular the Boss Brass,¬†Lorraine Desmarais, and Oscar Peterson; and through the ’90’s when it was all about kid’s music: Sharon Lois and Bram, Fred Penner, and Sesame Street. So goodbye to all that and hello to Bruce Springsteen, Billy Joel, Elton John, Neil Diamond, Kenny Rogers, Jim Croce, Counting Crows,…stuff I thought I’d managed to avoid for good.

Coming at them after all these years, though, I can really appreciate how great some of these songs are.


I recently returned to an old nemesis of mine from my teens, Debussy’s “Claire de Lune”. Despite the first two lyrical pages, the middle section of this piece is quite intimidating and requires a very muscular approach, both to the arpeggios and the two-note chords in the fourth and fifth fingers of the left hand. Since having drifted away from the “curled fingers” hand shape that I was forced to adopt as a child, and towards a more relaxed, flattened, and flexible position, I find myself much more comfortable with all those black notes.

I’ve been asked to play Claire de Lune as an accompaniment to a flute solo, and I was given a “simplified” piano part to play in a one-off concert. Since the flute has the melody, the left-hand arpeggios have been split between the two hands, and the right hand is assigned the lower part of any two-part passages.

Between you and me, I’ll be damned if I’m going to learn it. Learning a “simplified” version would just destroy the solo piano version I worked so hard on.