Oscar Peterson - All of me. Bill Evans - You Must Believe In Spring. Bill Evans - Who Can I Turn to vers.3. Bill Evans - Who Can I Turn To vers.2. Bill Evans - Who Can I Turn to vers.1. Bill Evans - When I fall in love vers.2.
Moanin Lead Sheet Free Sheet MusicLEAD SHEET FOR BRINGING HIS UNIQUE GOSPEL TINGED VOICE TO THE.Sheet Music, CDs and Songbook Arrangements of Lambert, Hendricks and Ross. Moanin PDF free sheet music Free scores com. Instead of using chords, the interest in this head mainly lies in the dissonant (I am almost tempted to say atonal), rhythmically-complex melodic counterpoint between Shorter's saxophone part and the bass part.Moanin Intermediate Sheet Music Piano Solo. Despite this, I do prefer the more recent, fast, and loose live versions which Shorter has played with his "Footprints Quartet." Besides the simple tonic-to-dominant harmonic vamp in A minor over which solos are played on the 1988 version, the majority of the head lacks many clearly discernible chords, and I have only notated the chords of which I am fairly certain. I transcribed this while listening to the version of the tune which appears on Shorter's 1988 album of the same name, mainly because it is a clear studio recording and it is played relatively slowly. Oscar Peterson - A Little Jazz Exercise.This is a transcription of the head of the piece "Joy Ryder" by Wayne Shorter.This one's extremely difficult to do to hear the wood from the trees etc. I asked Itibere if he had the sheet, but he said it was lost.Dam! Here's the only recorded version of the comp by Qt Maogani (the best guitar arrangers for guitar quarterts in Brazil) (there's another YT vid which says its "Pra Lucia" but its a different comp, so just use the link I've shown). Bass 2012 Page 35 of 67.Sorry to post so many requests.this one's something special (not jazz, but with jazzy chords).written by Hermeto's superb bassist Itibere Zwarg.an exquisite wistful progessive choro he dedicated to his ex-wife Lucia.I think I captured it.Then there was the issue of bars 259. If anyone fancies having a go.magic! Cheers.Chick Corea Brasilia - a new transcription for tThis is surely one of Chick's most beautiful compositions!This piece, Brasilia, comes from Chicks album, Lyric Suite For Sextet.Overall, the album is dark and moody and I don't like it.However, this track stands out like a beacon - as if Chick felt he should add something light and airy.I first transcribed this composition over 13 years ago but was never fully satisfied.Of course, the problem is that it's an *orchestral* piece and, by definition, not every note can be replicated by two hands.Anyway, I continued to get enjoyment from it (mostly) until at the start of 2019.At this point, I decided I really needed to complete it 100% to my satisfaction.The piece builds up wonderfully to bar 233 - which is the crux of the piece.The solo piano bars from 233 to 238 are truly exquisite and took some working out. Only a handful of Brazilians can compose in this style, to this level (principally Hermeto, Guinga, Itibere and Nene). Its in the tradition of Hermeto's "alice in wonderland" style choros.I hope that you enjoy it.Chick Corea The Sky v.1.24 final *repost*Chick Corea The Sky, some corrections to Brian WThe Sky is a wonderful composition by Chick Corea from his 1976 album My Spanish Heart.I am very familiar with this piece and have listened to it on a regular basis since the album first came out.Part One is Children's Song No.3 and is published in written form in 'Chick Corea Volume Two'.Thanks to Brian Werner and Thomas Mueller, Part Two has now been transcribed and they have done a fantastic job.This version corrects some errors and refines certain bars to play closer to the original.I have used Brian and Thomas's version as a start point.However, I have listened closely to the original and have come to my own conclusions with chords etc.Note that every single note has been typed in from scratch using Noteworthy.These amendments will be detailed below with the bar numbers.The bar numbers have been kept the same for ease of cross-reference.It should be noted that generally, in some areas, it is very difficult attempting to work out the actual notes being played.Therefore, there can be other interpretations.I believe the piece now plays very close to the original especially in the climax at bars 158-160Some of the changes are quite subtle. I've simply chosen one of them.Overall, I am happy with it and it captures the beauty of the piece. These could be written in a number of ways. It seems to work.Of course, there are many strange key signatures as you would expect from Chick.Take bars 41-49. Office home and student 2019 product keyThe original transaction shows A+C# in the bass. I think the initial 'F#' is an octave - as a single note lacks depth.-02- Bars 14-17. This has been smoothed out particularly in the bass line.Here is a complete list of the main changes (there are some more subtle changes):-01- Bar 1. As the piece reaches its final crescendo in bars 158 through 160, the original transcription lacked depth.On closer listening this is because, I believe, Chick plays octaves in the left hand which gives it a lot more power.It now sounds very close to the original.-3- Bars 145-148. Removes the G from the first left-hand chord as this continues the F/G, E/F from previous chord.-11- Bar 141. Corrected right-hand chord.-10- Bar 137. Corrected right-hand chord.-09- Bar 131. Has a C as well as Db to give the chord a discordant feel.-08- Bar 129. Has a Db as well as F and Gb-05- Bar 77. As with bar 1, I think this is an octave on the B-04- Bar 76. Initial LH F has a 'C' and revised second LH chord to remove the G-17- Bar 151-152 Now plays like the recording.-18- Bar 158-160. Smooths out the bass line and revises the treble slightly to play better.-16- Bar 149. The initial LH G is a minim and the final G and A are crotchets.-14- Bar 145-147. Continues the appregio from bar 139 and corrects the notes.-13- Bar 144. It is a great tune, nonetheless. I know he's released a book of tune transcriptions, I personally haven't seen it, this chart was done as more of an exercise for me. Slight revision to LH and RH chords.If you have another interpretation, drop me a post and I will include it.I've done a lead sheet for Kurt Rosenwinkel's great tune Brooklyn Sometimes, from his latest Deep Song album. Omron repeat cycle timerI'm sure Kurt could have sung that top line, but he chose to sing the rising one, adding a shimmering rising texture to the major sixth, which falls to a perfect fifth, which lifts the figure. Rosenwinkel said that sometimes some harmonies need a richness added to certain tones, and he will try and add this richness through his singing. The vocal line also adds a certain specialness to some parts here: note in bar 10 how the vocal line doubles the bottom rising figure, which is quieter from the piano, and does not double the higher figure. The vocal line is very quiet, and difficult to discern, but is there, and elegantly sows some of the seeds of the melody within the harmony by embelleshing the melodic tones. I think on the recording Kurt plays the piano here, so his singing is a part of the tone colour of the introduction. I've done a pretty long analysis, and any corrections would be useful!The first 16 bars are piano introduction, the same chords as the repeated section at the sign. However the voicings should be strictly adheared to. I've written chord symbols, most probably to aid in improvisation over the section, or to make the harmony understandable. The embellesment of the rising figure makes a point of highlighting the slip from the slightly more dissonant sixth to the more consonant fifth, rather than a mere fall from the D# to D natural.The chords themselves appear beautifully chosen and structured when the melody appears in bar 17. Instead of having a section of movement around the dominant, the bassline conceals the key centre by hovering on the B and F#. This second subsection would appear to be a dominant section, but is not quite what it seems. Really this is an E chord, but the Asus makes for more clarity of voicing than E7(omit3)/A, and really the Asus is a true Asus performing the function of the E chord. In the first 4 bars the harmony moves up, and then twice down, and in the second four bars performs a similar outing except for the B major(add4) in bar 24.The cadence here falls to the Asus in bar 25.
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