The Best Is Yet To Come: E-Z Play Today

Students connect immediately with Sinatra's optimistic energy in this tune, and the two-page length makes it accessible without sacrificing the harmonic richness that distinguishes a real standard. The straightforward piano voicings let young players focus on phrasing and touch rather than fighting technical complexity.

Buoyant and forward-looking, with an almost conversational ease that hides considerable harmonic sophistication. The melody floats over changes that feel inevitable rather than complex, inviting the performer to settle into a relaxed swing feel.

Piano students exploring jazz standards and singers working on interpretation will find this an ideal entry point into Sinatra's songbook. Teachers seeking material that bridges classical technique with contemporary jazz style can use this to develop students' ear for harmonic color and phrasing.

• Shape the melody with genuine legato through sustained chords; avoid treating this as accompaniment music by letting your left hand anchor the harmonic movement.
• Follow Sinatra's natural speech rhythm in the vocal line rather than locking to metronomic time; this standard rewards players who listen for where the lyric wants to breathe.
• Balance the hands so the tune emerges clearly without overwhelming the harmonic foundation; think of yourself supporting a singer rather than displaying technique.

Pair this with other standards from the American Songbook to build a thematic recital around optimism and resilience in post-war composition. It works equally well as a standalone jazz piano piece or as accompaniment for a vocalist exploring mid-century popular song.

• Jazz chord voicing and harmonic substitution
• Singing quality in melodic lines (even on piano)
• Rubato and phrase shaping within a swing feel
• Left-hand independence and harmonic support