An arrangement for solo piano of the classic song from the film Breakfast at Tiffany's. Performance duration is about 3 minutes, and a performance can be viewed at youtube.com/c/rupertaustin/videos.

Several passages feature significant melodic material in both hands. In some of these (bars: 9-12, 17-24, 41-43, 55-59) the performer can explore which part to make more prominent. In other passages (bars: 37-40, 45-48, 73-80) the prominence should definitely be in the left hand part.

Fingering suggestions have been included.

An arrangement of the timeless classic song that combines the rich harmonic palette of the jazz idiom with some keyboard techniques of the 19th century romantic composers. Performance duration is about 3 minutes 45 seconds, and a performance can be viewed at youtube.com/c/rupertaustin/videos.

A six bar introduction hints at the bridge of the song before the first two verses are presented; the first with chordal writing and the second introducing some left hand arpeggios. The first appearance of the bridge stays close to the original. This is followed by two more verses where the right hand takes flight with figurations that at first outline the famous melody, before the roulades of notes lose sight of the melody and instead weave around the harmonic changes. At bar 48 the bridge reappears with the melody incorporated into a right hand figuration inspired by passages from a Chopin etude (Op. 25, No. 11). However, the much slower tempo makes this section far more approachable than Chopin's fearsome etude. At bar 56 an earlier version of the verse is repeated, which then leads to the close.

A flexible tempo should be used, with generous rubato in appropriate places. In particular, bar 41 should not sound rushed and tempo can be held back significantly here. Fingering suggestions are given in many places, but these will not suit all hands. The closest attention to fingering is required in bars 48-49 and 52-54. The dynamic markings should be viewed as a rough guide and the performer is encouraged to find their own interpretation.

An arrangement of the beautiful Gershwin song, that unusually appeared in two different Broadway productions: Treasure Girl from 1928 and Strike Up The Band from 1930. Performance duration is about 4 minutes 45 seconds, and a performance can be viewed at youtube.com/c/rupertaustin/videos.

The verse is presented in the first 16 bars, where much freedom of tempo should be used. The chorus is then presented three times, with the second version (bars 34 to 50) using more florid keyboard writing and requiring a slightly slower and freer tempo than the first (bars 17 to 33) and third (bars 51 to 70) versions.

Some fingering suggestions have been included.

An arrangement of Errol Garner's classic melody for solo piano in a relaxed jazz ballad style. Performance duration is about 4 minutes, and a performance can be viewed at youtube.com/c/rupertaustin/videos.

The first two verses (bars 1-16) and the first appearance of the bridge (bars 17-24) are presented with little change to the original melody. Rich harmonies are used along with some substitutions of the original chord changes. Two more verses are then presented (bars 25-39) where the tempo remains the same but shorter note values in the right hand are used to explore aspects of the melody and the harmonic changes. Here the left hand mostly moves in quarter notes and maintains the pulse of the music. The highly ornamented approach in the right hand continues in the second appearance of the bridge (bars 40-47). The piece then returns to the more simple presentation of the main melody with a repeat of the first 14 bars, followed by a brief coda to close.

An arrangement for solo piano of the much loved song from the 1971 film Willy Wonka and the Chocolate Factory. A performance can be viewed at youtube.com/c/rupertaustin/videos.

The song is first presented in a gentle jazz ballad style (bars 1-24). The tempo then picks up for a swing exploration, at a relaxed tempo, of the song in bars 25-74. During bars 70-74 the tempo slows and the mood changes in preparation for a very different dream-like presentation of the song, where the melody is mostly played by the left hand with the right hand providing a rippling accompaniment that gently splashes across a wide range of the keyboard. In this section the accent marks in the score do not indicate strong accents, but indicate where moderate emphasis is required to bring out the melody above the surrounding accompaniment. In bars 99-115 the arrangement returns to the style of the opening. From bar 116 a coda takes the opening three notes of the melody and wistfully explores them in a chromatic and richly harmonized descent towards a peaceful close.

Performance duration is about 6 minutes, but shorter versions of the arrangement are possible such that the swing section or the dream section (or both) can be omitted, with directions for this marked in the score in bars 25 and 74.

Fingering suggestions are provided in many places, but these will not suit all hands and alternative effective fingerings are possible.

An arrangement of the popular Christmas song for solo piano in jazz ballad style. Performance duration is about 2 minutes 45 seconds, and a performance can be viewed at youtube.com/c/rupertaustin/videos. A flexible approach to tempo, with much rubato in places, is appropriate.

An arrangement of the classic Christmas song for solo piano in jazz ballad style. Performance duration is about 3 minutes. A flexible approach to tempo, with much rubato in places, is appropriate. A performance can be viewed at youtube.com/c/rupertaustin/videos.

An arrangement of the classic Gershwin song for solo piano. Performance duration is about 5 minutes, and a performance can be viewed at youtube.com/c/rupertaustin/videos.

The arrangement begins with the verse of the song in a slow to moderate tempo. Freedom from strict tempo can be used in this section. In bars 11 to 15 a chromatic descending counter melody (mostly played by the left hand) should be emphasized, and these notes are indicated by accent symbols. The main focus of the arrangement is then an exploration of the chorus material of the song in a medium swing tempo, and this commences at bar 25.

Some fingering suggestions have been included, but these may not suit all hands.

An arrangement of Gershwin's famous melody for solo piano, using both jazz ballad and up-tempo bebop jazz styles. Performance duration is about 4 minutes 45 seconds, and a performance can be viewed at youtube.com/c/rupertaustin/videos.

The arrangement begins in a slow moody jazz ballad style with a four bar introduction and two presentations of the 16 bar melody; with the second (from bar 21) exploring aspects of the melody in improvisatory syle. The performer can optionally omit the extensive up-tempo section that follows, and jump from end of bar 34 to bar 136, providing a fairly brief ballad performance. Alternatively the tempo picks up at bar 35 and six up-tempo improvisatory explorations of the melody, with much use of syncopation, are given (double bar lines marking beginning of each of the six sections). This is followed by a slowing of the tempo from bar 134 and a quiet close of the piece. Swinging quavers should be used between bars 35 and 135, with the final two bars returning to straight quavers.

An arrangement of Jobim's haunting song for solo piano. Performance duration is about 3
minutes 30 seconds, and a performance can be viewed at youtube.com/c/rupertaustin/videos.
The numerous syncopations will sound best if a constant tempo is used. MM=126 is a useful guide.

An arrangement of the classic Rodgers and Hart song for solo piano in a simple jazz ballad style. Performance duration is about 2 minutes 30 seconds, and a performance can be viewed at youtube.com/c/rupertaustin/videos.and#65279; Plenty of rubato should be used, particularly in the first 16 bars.

An arrangement of the classic Victor Young melody for solo piano in a moody jazz ballad style. Performance duration is about 4 minutes 15 seconds, and a performance can be viewed at youtube.com/c/rupertaustin.and#65279;

The main melodic material of the original song is presented during the first 32 bars, with some use of harmonic substitutions. From bar 33 to 77 the song is explored in an extensive improvisatory section where much use of rubato would suit the style. Some significant tempo changes are marked during this section. The arrangement then provides a restatement of the first 28 bars before closing with a brief coda.

An arrangement of Billy Joel's classic 1977 song, in jazz style for solo piano. Syncopation is frequently used in the arrangement but straight 8th notes, rather than swinging 8th notes, should be used throughout. The jazz style is enhanced through use of many extended and altered chords. Performance duration is about 4 minutes 30 seconds, and a performance can be viewed at youtube.com/c/rupertaustin/videos.

A four bar introduction leads into two verses and the bridge before another two more verses (bars 56 to 91) and bridge (bars 92 to 107) are presented in more improvisatory style. A final verse is played in similar style to the first verse, before material from the introduction is used, along with a slowing of the tempo, to quietly end the piece.

An arrangement of the beautiful Gershwin song for solo piano in jazz ballad style. Performance duration is about 2 minutes 40 seconds, and a performance can be viewed at youtube.com/c/rupertaustin/videos. The use of reharmonisations and some improvisatory touches have been used to enhance the jazz ballad style. Some dynamic markings are included, but the performer is encouraged to develop their own interpretation.