September 18th is that most special day once a year to reflect on the musical legacy of Emily Remler. There are many favorites to be shared and requested throughout the day. Be sure to send your most loved selections to a friend or station and be part of the bond that connects us all to her memory. We are grateful to Rob Strait for preparing the head transcription of Waltz For My Grandfather in honor of Em's day.
Strait-Waltz"Waltz is another beautiful Emily composition. I've transcribed the main theme here which is played chord-melody style. This one is deceptively difficult with lots of challenging chord voicings (and tough to transcribe too!). I've included the left hand fingerings which are critical because Emily utilizes her thumb, as well as many full and partial finger barres. She often uses the first finger, but she also barres the second and third finger at times. It takes some practice to learn to collapse the left hand finger joints to execute these barres, but slow and patient practice will yield great benefits as there are some really hip voicings to learn.

The key to making this transcription sound good is to try and let all the notes ring as much as possible (listening to Emily's performance will help immensely). The chord symbols indicated are related to their function in the harmony of the tune (dictated by the bass), but many of the chord forms will be recognized as substitutions, inversions, or misspellings. I've noted a couple of these in the music. For example, in measure 25 the chord form is clearly a Gmaj7, but it "functions" in the harmony as an Em9. That's actually a common chord substitution and soloing device, whenever you want a min9 sound, you simply play a Maj7 chord/arpeggio up a minor third from the root of the minor chord (i.e. Gmaj7 for an Em9 sound). Hip! - Rob Strait"

And a remembrance from Rob Dyer who met and played with Emily while in New Orleans.

chance passages held tightly in hand how could we know
candles brightly arranging our lives how could we know
the soft harmonies of the dirge how could we know
they say the good die young when she passed, I knew I would live forever
~ R. Dyer

Just a thank you for the recognition given to Emily here. We met and played a few times in New Orleans in '78 & '79, Hank Mackie was a local teacher (World of Strings) and I worked with his younger brother. As fate would have it, my mentor, Steve Smith was taking lessons from Hank and during a visit he recommended I come to an open jam at a little smoothie bar place.

RobDyer I recall we covered Great Stream (Pat Martino) and I was petrified at Emily's calmness and skill...her gigs with Lil' Queenie (Leigh harris) were nothing compared to her jazz chops.

There I was on a small stage with Emily and her 330, Johnny Vidacovich on drums and maybe 6 people listening including Hank, it was one of my most cherished jams. I was blessed to have had a short meeting with her and so many who have, surely feel the same way.

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