Tutorial and tab of (They Long To Be) Close To You as performed by Tommy Emmanuel and published on YT in 2011. Standard tuning, Capo to 2nd fret.
Harmonic Analysis
Burt Bacharach himself requested Tommy Emmanuel to arrange “(They Long to Be) Close To You”. Tommy’s performance was first published on youtube in 2011 (the one transcribed here) and then added to the album “This Guitar’s In Love With You”, a collection of Burt Bacharach’s greatest songs arranged by great guitarists.
Tommy Emmanuel’s arrangement of “(They Long to Be) Close to You” is a superb example of his fingerstyle, which combines melody, harmony, and rhythm into a single guitar performance. Burt Bacharach’s original song is known for its sophisticated harmonic progressions and jazz-infused harmonies, which Emmanuel masterfully reworks for solo guitar. Here’s a harmonic analysis based on my transcription:
Key and Tonality
The piece is written in the key of B Major, as indicated by the key signature with one sharp. However, the sheet music specifies “Capo. fret 2”, meaning the actual sounding key will be C# Major. This is a common technique for guitarists to utilize more open and resonant chord voicings in a different key than the written one. For simplicity, we will refer directly to the key of B major as the perceived key.
Part 1 (Intro):
- Section A (Measures 1-4): The introduction opens by establishing a sense of spaciousness and sophistication, typical of Bacharach’s style. It begins with a tonic chord, Bmaj9, with the added ninth immediately giving the song a jazzy flavor. This sound is maintained for two measures. A diminished chord then creates tension and a sense of movement, setting the stage for the final minor chord of the section. This last chord, while an Em (from the G fingering, sounding Em), functions as an interesting IVm in the key of B (which would be E major) or as a suspended dominant, leaving a feeling of openness.
Part 2:
- Section B (Measures 5-8): This section introduces a fluid and melodic harmonic progression. It starts with the dominant (F#maj7) resolving to the tonic (Bmaj7). This is followed by a progression to the IV chord (Emaj7), and then concludes on the minor VI chord (G#m7). This progression creates a sense of stability and harmonic movement typical of ballads.
- Section C (Measures 9-12): Section C introduces a classic II-V-I progression. It starts from the minor II chord (C#m7) , followed by a dominant chord (F#7sus4 resolving to F#7) , which creates tension and pushes towards the tonic (Bmaj7). The section concludes with the minor VI chord (G#m7), maintaining harmonic continuity and preparing for the repeat.
- Repetition of Sections B and C (Measures 13-20): Sections B and C are repeated, reinforcing the song’s main melodic and harmonic structure and familiarizing the listener with the primary themes.
- Section D (Measures 21-28): This part introduces an interesting, almost modal or bluesy variation. It starts with the tonic (Bmaj7) and the IV chord (Emaj7). However, then chords like Am7 and D7 (if the fingerings were G and C with capo) are inserted. These chords, borrowed from other keys or used as extended secondary dominants, create a moment of greater harmonic complexity and tension, leading the ear in a slightly different direction before returning to the more familiar progressions. The repetition of this sequence emphasizes its transitional effect.
Part 3:
- Succession B C D (Measures 29-44): This section reiterates the same progressions as sections B, C, and D, consolidating the song’s main harmonic and melodic themes. The repetition serves to imprint the structure and musical feelings associated with each part. Section D, in particular, continues to offer its harmonic “deviation,” keeping interest and dynamic alive.
Part 4:
- Succession B C C (Misure 45-56): Sections B and C are presented again, followed by a second repetition of Section C. This further reinforces the fundamental progressions (I-V-IV-VI and II-V-I) and prepares the listener for the final phase of the song. The emphasis on Section C, with its II-V-I movement, solidifies the sense of resolution and stability within the key.
Part 5 (Outro):
- Succession E E E (Measures 57-68): The outro repeats Section E three times in sequence, which is harmonically identical to Section B. This creates a sense of closure and familiarity with the V-I-IV-VI progression. The first two repetitions (Measures 57-64) follow this standard progression, gradually leading the song towards a resolution. The third repetition (Measures 65-68) introduces a small but significant variation in the final chord. Instead of resolving to the minor VI chord (G#m7), it moves to a Gmaj7 chord (real, if the fingering is Fmaj7 with capo). This chord, being non-diatonic to the B major key, creates an effect of suspension—an unexpected “coloring” that avoids an overly conventional ending, typical of many jazz arrangements and Tommy Emmanuel’s own style, leaving a sense of elegance and sophistication at the song’s conclusion.
About “(They Long to Be) Close to You”
“(They Long to Be) Close to You” is one of the most iconic and beloved songs in Burt Bacharach’s repertoire, with lyrics by Hal David. It’s a piece that perfectly embodies the sophisticated and melodic style that made Bacharach one of the most influential composers of the 20th century.
A Brief History of the Song
The song was written by Burt Bacharach and Hal David in 1963. Initially, it didn’t achieve immediate success. The first significant recording was by actor and singer Richard Chamberlain in 1963, but his version failed to climb the charts significantly. Subsequently, Dionne Warwick, one of Bacharach’s muses, also recorded a version in 1964 for her album “Make Way for Dionne Warwick,” but even this didn’t become a major commercial success like their other collaborations.
The song’s fate dramatically changed in 1970 when The Carpenters recorded it for their album “Close to You.” Their interpretation, with Karen Carpenter’s crystalline voice and the distinctive arrangements by Bacharach and Richard Carpenter, captivated audiences worldwide. The Carpenters’ version reached number one on the Billboard Hot 100 in the United States and became an international hit, also winning a Grammy Award. This version is undoubtedly the most famous and the one that cemented the song as a classic.
“(They Long to Be) Close to You” by The Carpenters, with lyrics
Interpretations by Various Artists
The versatility and intrinsic beauty of “(They Long to Be) Close to You” have led numerous artists to reinterpret it over the years, embracing a wide range of musical genres. Here’s a non-exhaustive list:
- Richard Chamberlain (1963) – The first recorded version.
- Dionne Warwick (1964) – The original version by one of Bacharach’s favorite vocalists.
- Dusty Springfield (1964) – Included on her album “Where Am I Going?”.
- The Carpenters (1970) – The version that made the song a global hit and a classic.
- Frank Sinatra (1970) – Recorded for his album “Sinatra & Company.”
- Barbra Streisand (1971) – On her album “Barbra Joan Streisand.”
- Stevie Wonder (1972) – With his unmistakable voice and arrangement.
- Isaac Hayes (1972) – A soulful and orchestral version on his album “Black Moses.”
- The Cranberries (1994) – An alternative rock-style cover for the “Dumb and Dumber” movie soundtrack.
- Diana Ross (1994) – Included on her album “Diana Extended: The Remixes.”
- Harry Connick Jr. (2009) – A jazz version on his album “Your Songs.”
- Jacob Collier (2020) – A modern and complex reinterpretation, often performed live and characterized by his polyphonic vocal and instrumental arrangements.
“(They Long to Be) Close to You” by Stevie Wonder
“(They Long to Be) Close to You” by Burt Bacharach & Barbra Streisand
“(They Long to Be) Close to You” by Jacob Collier
Solo Guitar Interpretations
Thanks to its rich melody and interesting harmonic structure, “(They Long to Be) Close to You” is also a much-appreciated piece in the world of acoustic and classical guitar, with various instrumental interpretations that explore its nuances:
- Tommy Emmanuel – The acoustic guitar virtuoso has performed and recorded this melody, showcasing his fingerstyle prowess and ability to create orchestral arrangements with just one guitar. His versions are known for their complexity and emotion.
- Brooks Robertson – Known for his fingerstyle playing and versatility, Robertson has offered his own interpretation of the song, demonstrating his technical mastery and melodic sensitivity.
- Muriel Anderson – An internationally acclaimed guitarist and composer, Muriel Anderson has included this melody in her repertoire, characterizing her performance with a delicate and harmonious touch.
- Sungha Jung – The young South Korean fingerstyle prodigy has reinterpreted the song with his usual precision and musicality, making it popular among younger guitarists.
The intrinsic beauty of “(They Long to Be) Close to You” lies in its timeless melody and its ability to touch the hearts of listeners, making it an enduring classic in the vast musical landscape.
“(They Long to Be) Close to You” by Brooks Robertson
“(They Long to Be) Close to You” by Muriel Anderson
“(They Long to Be) Close to You” by Sungha Jung
About Tommy Emmanuel
Tommy Emmanuel is an Australian guitarist, born on May 31, 1955, widely recognized as one of the greatest acoustic guitar virtuosos of our time. He’s celebrated for his incredible technique, stylistic versatility, and his ability to transform the guitar into a veritable orchestra.
His solo guitar music is the cornerstone of his career and what made him famous worldwide. Emmanuel is a master of the fingerstyle (or fingerpicking) technique, an approach that involves using the fingers (rather than just a pick) to pluck the strings, allowing him to play melody, harmony, and bass simultaneously. This enables him to create incredibly rich and complex arrangements that often give the impression of multiple musicians playing at once.
Emmanuel possesses astonishing precision and speed. He’s known for using a thumbpick and the pads of his other fingers, which allow him to obtain a powerful and articulate sound.
Although his roots are in country and bluegrass, Tommy Emmanuel effortlessly navigates a wide range of genres, including jazz, blues, pop, folk, and classical music. His original compositions and reinterpretations of famous tunes range from delicate ballads to energetic and rhythmically complex pieces.
Every solo guitar piece by Emmanuel is imbued with melody, even in the most virtuosic passages. His ability to incorporate pulsing bass lines, rich chords, and captivating melodies simultaneously is one of his distinguishing features.
It’s not just about technique; Emmanuel is a master of dynamics and expressiveness. His performances are full of nuances, with delicate, whispered passages alternating with moments of great intensity and power.
He often incorporates percussive elements by tapping on the guitar body or strings, adding a rhythmic and percussive dimension that further enriches the sound, simulating drums or a complete rhythmic accompaniment.
His discography includes both original pieces and virtuosic interpretations of standards, pop songs, and classical pieces, all uniquely rearranged for solo guitar.
In essence, Tommy Emmanuel’s solo guitar music is not just a display of technical virtuosity, but a celebration of the acoustic guitar as a complete and self-contained instrument, capable of moving, entertaining, and surprising, transcending the boundaries of musical genres. His performances are an immersive experience that goes beyond mere music, thanks also to his charismatic personality and his ability to connect with the audience.
Tommy Emmanuel interview to Guitar Interactive Magazine (2018)
Given Tommy Emmanuel’s prolific career and numerous collaborations, a comprehensive discography would be extensive. However, focusing on his solo acoustic guitar work, here’s a selection of some of his most significant albums that highlight his mastery:
Key Solo Guitar Albums & Albums Featuring Significant Solo Guitar Work:
- 1987 – Up from Down Under: This early album showcases his developing fingerstyle and compositional prowess.
- 1990 – Dare to Be Different: A landmark album for Emmanuel, reaching platinum status in Australia, a rare feat for an instrumental album at the time.
- 1991 – Determination: Another strong showing of his technical skill and musicality.
- 1993 – The Journey: A highly acclaimed album that further solidified his reputation as a solo guitar innovator.
- 1995 – Classical Gas (with Australian Philharmonic Orchestra): While featuring an orchestra, this album highlights his interpretation of classical pieces for solo guitar within a larger arrangement.
- 1999 – Only: This is often considered a pivotal album, being his first entirely solo, all-acoustic album. It marked a distinct shift towards his signature “one-man band” sound.
- 2004 – Endless Road: A fan favorite, this album further exemplifies his captivating melodies and intricate arrangements.
- 2005 – Live One: An essential live album that truly captures the energy and sheer brilliance of his solo acoustic performances. It offers over 100 minutes of his classic “live” solo hits.
- 2006 – The Mystery: Showcases his evolving compositional style and continued exploration of different moods and textures on the guitar.
- 2008 – Center Stage (Live Album): Another excellent live recording demonstrating his captivating stage presence and unparalleled live performance skills.
- 2010 – Little by Little: A diverse album that continues to blend his signature fingerstyle with various musical influences.
- 2015 – It’s Never Too Late: This album received critical acclaim and features some of his most cherished solo compositions.
- 2017 – Live! At The Ryman: A powerful live album recorded at the iconic Ryman Auditorium, showcasing his incredible stage presence and musicality.
Collaborations with notable solo guitar contributions:
- 1997 – The Day Finger Pickers Took Over the World (with Chet Atkins): A historic collaboration with his idol and mentor, Chet Atkins, highlighting the shared lineage of their fingerstyle techniques.
- 2000 – Chet Lag (with Jim Nichols): A tribute to Chet Atkins, featuring impressive duo work with Jim Nichols.
- 2009 – Just Between Frets (with Frank Vignola): A compelling duo album with jazz guitarist Frank Vignola.
- 2013 – The Colonel & the Governor (with Martin Taylor): A collaborative album with the esteemed jazz guitarist Martin Taylor.
- 2018 – Accomplice One / 2023 – Accomplice Two: These albums feature a wide array of collaborations with various artists, often including significant solo or duo guitar interplay.
- 2019 – Heart Songs (with John Knowles): Marks the first collaboration between Tommy Emmanuel and John Knowles, two of the last three Certified Guitar Players, a designation personally bestowed by Chet Atkins.
This list primarily focuses on albums where his solo acoustic guitar work is central. Tommy Emmanuel’s discography also includes numerous other collaborations, compilations, and DVDs that offer a deeper dive into his extensive musical output.
About Burt Bacharach
Burt Bacharach, born on May 12, 1928, and passed away on February 8, 2023, was an American composer, pianist, arranger, and record producer whose influence on pop and contemporary music was immense. Recognized for his unique and sophisticated melodies, Bacharach created a distinctive sound that blended elements of pop, jazz, and classical music, characterized by complex harmonies, syncopated rhythms, and memorable melodies.
His music was often distinguished by unusual time signatures, meter changes, and lush arrangements that incorporated brass and string sections. He wrote hundreds of hit songs, many in collaboration with lyricist Hal David, and his compositions were performed by a wide range of artists, including Dionne Warwick, Dusty Springfield, Tom Jones, Aretha Franklin, and The Carpenters.
His genius lay in his ability to create pieces that were both accessible and musically complex, capable of evoking deep emotions. His songs became the soundtrack to countless films and television shows, cementing his status as an icon of American popular music. His work received numerous awards, including six Grammy Awards and three Academy Awards, and he was inducted into the Songwriters Hall of Fame. His legacy continues to influence new generations of musicians and composers.
Burt Bacharach interview (2012)
Burt Bacharach’s Most Played Songs as Jazz Standards
Many of his compositions, thanks to their rich harmonies and interesting melodic structures, have been adopted and reinterpreted by countless jazz musicians. Here are some of the most well-known:
- “Walk On By”: Originally a hit for Dionne Warwick, its harmonic progressions and distinctive melody make it fertile ground for jazz improvisation.
- “I Say a Little Prayer”: Another big hit for Dionne Warwick, it has become a classic also loved by jazz musicians for its engaging melody.
- “The Look of Love”: Made famous by Dusty Springfield, this song has a sensual atmosphere and sophisticated harmony that lends itself beautifully to jazz interpretations.
- “Raindrops Keep Fallin’ on My Head”: Famous from the movie “Butch Cassidy,” its cheerful melody and catchy structure have also made it popular in the jazz world.
- “(They Long to Be) Close to You”: An iconic hit for The Carpenters, its sweet melody and harmonic progression make it a frequent choice for jazz soloists.
- “What the World Needs Now Is Love”: First sung by Jackie DeShannon, it’s a song with a universal message and an easily adaptable melody.
- “Alfie”: Originally sung by Cilla Black and then by Cher and Dionne Warwick, the harmonic complexity and expressiveness of this song make it a favorite among jazz musicians.
- “A House Is Not a Home”: A deep and touching piece, often performed with great intensity by jazz vocalists.
These songs are a testament to the versatility and depth of Bacharach’s music, which has managed to transcend genres, remaining ever relevant and beloved.
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