(G - G7 - C - Cmaj7) (G - G7 - C - Cmaj7)
Oscar Peterson’s Days of Wine and Roses isn’t just a transcription exercise — it’s a roadmap to lyrical, intelligent jazz piano. You don’t need to play 300bpm. You need to hear how one great musician bends a simple melody into something personal.
As the progression moves through the ii-V-I turnarounds (Gm7 - C7 - Fmaj7), Peterson introduces altered dominants. Transcriptions show him utilizing sharp 11th, flat 13th, and flat 9th alterations over the dominant chords. These alterations create sharp harmonic tension that resolves smoothly into the subsequent major chords. Furthermore, Peterson frequently inserts passing chords and secondary dominants—such as substituting a standard chord with its tritone equivalent (e.g., substituting Gb7 for C7)—to create a chromatic, downward-stepping bass line that adds momentum to the arrangement. Melodic Decoration and Left-Hand Comping oscar peterson days of wine and roses transcription
The transcription of "Days of Wine and Roses" offers a wealth of musical insights, including:
[Piano Solo] (C major arpeggio pattern) G - B - D - G - B - D G7(#9) - C - C7(#5) - G - G7(#9) (G - G7 - C - Cmaj7) (G
As the performance progresses, Peterson demonstrates his mastery of reharmonization. Jazz educator Jens Larsen specifically highlights in his lessons, using this track to demonstrate how to harmonize and improvise over a standard. The analysis reveals how Peterson re-crafts standard chords to create forward momentum and tension. The provided transcription snippets showcase intricate chromatic patterns and major 10th voicings that push the harmony beyond the basic changes.
[Outro] Cmaj7(#11) G7(#9) Am7 D7(#9)
Peterson’s fast-running lines often consist of swept arpeggios that start from the 3rd or 5th of a chord and extend up to the 9th, 11th, and 13th. This technique allows him to outline the harmony clearly while maintaining an upward melodic trajectory. Technical and Articulatory Demands
A standard transcription of this performance highlights three distinct structural phases: 1. The Intro: Setting the Groove As the progression moves through the ii-V-I turnarounds