I've Got A Crush On You: E-Z Play Today

Gershwin's melodic gift shines here in a form that teaches without preaching. The lead sheet format lets students encounter sophisticated harmony (those characteristic 7th and 9th chords) in a piece they actually want to play, making jazz vocabulary feel natural rather than imposed.

Charming and slightly mischievous, with that unmistakable Gershwin blend of blue notes and sophisticated chord changes. The melody stays conversational and warm, never demanding virtuosity but always rewarding thoughtful phrasing.

Pianists preparing for jazz standards repertoire or students seeking an accessible entry point into Gershwin's harmonic language. It works equally well for vocalists needing a flexible, playable accompaniment or jazz combo pianists building their repertoire of classic tunes.

• Anchor the left hand groove first. The swing feel depends on your comping pattern staying steady while the right hand floats over it.
• Listen to Sinatra's recorded version to absorb the phrasing and rhythmic nuance. Notice how he pulls slightly behind the beat in certain phrases.
• Approach the bridge with fresh dynamics. A subtle lift in volume and touch here prevents the form from flattening out.
• Let the form breathe. This 32-bar song structure (AABA) reveals itself best when you honor the natural phrase endings rather than rushing between sections.

Pair this with other Gershwin standards in a Broadway or American songbook unit to show his harmonic signature across different pieces. It also serves as a perfect warm-up or encore in a jazz concert, offering audiences a familiar entry point while keeping musicians engaged with real compositional craft.

• Swing rhythm and jazz articulation
• Chord symbol reading and improvisation over changes
• Phrasing and rubato in a melodic context
• Recognizing and playing AABA song form
• Left-hand comping patterns and voicing reductions