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The Shadow of your Smile – Piano solo

The Shadow of your Smile – Piano solo with sheet music Play along

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Lyrics

One day we walked along the sand
One day in early spring
You held a piper in your hand
To mend its broken wing
Now I’ll remember many a day
And many a lonely mile
The echo of a piper’s song
The shadow of a smileThe shadow of your smile
When you are gone
Will color all my dreams
And light the dawn
Look into my eyes
My love and see
All the lovely things
You are to meOur wistful little star
Was far too high
A teardrop kissed your lips
And so did I
Now when I remember spring
All the joy that love can bring
I will be remembering
The shadow of your smile

Songwriters: Johnny Mandel / Paul Webster

The song

The Shadow of Your Smile“, also known as “Love Theme from The Sandpiper“, is a popularsong. The music was written by Johnny Mandel with the lyrics written by Paul Francis Webster.The song was introduced in the 1965 filmThe Sandpiper, with a trumpet solo by Jack Sheldon and later became a minor hit for Tony Bennett (Johnny Mandel arranged and conducted his version as well). It won the Grammy Award for Song of the Year and the Academy Award for Best Original Song.In 2004 the song finished at #77 in AFI’s 100 Years…100 Songs poll of the top tunes in American cinema.

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Jazz & Rock Play Along Bill Evans Harmony

Laurie by Bill Evans with sheet music

Laurie by Bill Evans with sheet music

bill evans sheet music

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Book review: The Studio Recordings of the Miles Davis Quintet, 1965-68, By Keith Waters. New York: Oxford University Press, 2011

Book review: The Studio Recordings of the Miles Davis Quintet, 1965-68, By Keith Waters. New York: Oxford Univ. Press, 2011.

Unlocking the Mysteries of the Second Miles Davis Quintet

The Studio Recordings of the Miles Davis Quintet, 1965-68 examines six studio recordings—E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro—of the Miles Davis “second quintet.” The group featured Wayne Shorter (tenor saxophone), Herbie Hancock (piano and keyboards), Ron Carter (bass), and Tony Williams (drums).

It is difficult to overstate the importance of this group, both as an ensemble and as a collection of individual players and composers, to the evolution and current state of jazz, as well as to other aspects of contemporary popular music. From a strictly personal perspective, when I think of the most significant jazz recordings and groups in the last fifty years, the first two that come to my mind, are the John Coltrane quartet and this version of the Miles Davis quintet.

miles davis sheet music pdf

Miles is Miles—throughout his career restlessly and relentlessly pushing himself and everyone else through extensive changes in approaches to jazz soloing, band leading, and composing. Hancock and Shorter, both as players and composers, have been major forces and continue to move music forward in numerous ways; Carter has long been one of jazz’s top bassists and bandleaders; and Williams helped shape modern jazz drumming.

Keith Waters, in his understated and self-effacing fashion, sets out his goals in his preface: “The analyses presented here…merely explore ideas that may be of particular interest to jazz musicians, listeners, writers, historians, and analysts, present features of the music that I think are audible but may not be immediately apparent, and consider ways in which these recordings broached or broke with jazz traditions”. These are anything but modest goals, considering the intricate, elusively mysterious, and even magical quality of these recordings—certainly among the most important records in jazz.


Waters listens to the music from an analyst’s point of view of course, but also as an experienced jazz pianist. This enables him to make fascinating and illuminating observations regarding performance-oriented issues, such as the form being lost and found during solos, incorrect entrances, and clashing chords. These touches give us a more direct connection with the music and the musicians and add spice to the analyses.

Besides his clearly insightful listening, the primary sources for the analyses are Waters’s effective and extensive transcriptions of the compositions and improvisations (there are 63 musical examples). Waters also cites a broad cross-section of literature about the quintet, its members, and these compositions, as well as larger issues in jazz studies. He also refers extensively to Library of Congress sources (Wayne Shorter’s copyright deposits), extant lead sheets, and interviews.

This is an extremely thorough, in-depth, and insightful analytical study. It is a major addition to the field of jazz studies for a variety of reasons. First, it gives us minutely detailed and skillful analyses of these wonderful and innovative recordings. These sessions present essential compositions from the band members, including of course Wayne Shorter, one of jazz’s great composers—particularly for small group writing—and Herbie Hancock.

miles davis sheet music pdf

Waters also puts forth his notion of how to analyze jazz solos, an area still in its relative infancy and rife with slippery slopes. He also makes a successful foray into issues of group interaction, an area that has drawn much attention in the field of jazz studies, including writings by Ingrid Monson, Paul Berliner, and Robert Hodson.

Perhaps most importantly, while employing his analytical and theoretical skills and drawing on the strengths, vocabulary, and methodology of the field of music theory, Waters also manages to convey how jazz musicians generally think and speak about music without feeling the necessity to contextualize these assumptions within traditional music theory models. For example, he unapologetically speaks of an essential element in jazz, the use of complex and colorful chords with chord tones above the seventh.

These chords and chord tones can be manipulated in innumerable ways and are part of the standard jazz harmonic vocabulary; they do not need explaining or rationalizing, or, for that matter, resolving. For example,
rather than conceiving of the ninth as a consonant chord tone that has a myriad of voice-leading possibilities, the music theory orthodoxy at times imposes its traditional tonal approach on jazz by referring to this tone as a dissonance in need of resolution. Waters has brought in the practitioner’s perspective, and feel that this is an important and much-needed advance in the field of jazz studies and, more specifically, music theory and analysis as it relates to jazz.

This approach more clearly articulates composers’ and players’ practical application of complex chords. Jazz and pop scholarship—the two often tend to intertwine—is a relatively young field that is rapidly gaining theoretical maturity.

Within it, from a gross standpoint, are two streams, cultural and analytical. In his preface, Waters speaks to his perception of such a split in the jazz community: “Jazz studies has profited considerably by recent intersections with cultural studies… Yet occasionally such studies critique other approaches that allow more detailed views of musical organization, structure, and theorizing about them”.

Waters seems to be heading off in advance what he perceives to be unnecessary criticism of his approach.

Though he has created theoretical models, such as the six levels of form in improvisation, Waters explicitly stakes out ground for “analysis for analysis’s sake,” independently of these models. And while this book is firmly rooted in the music theory world, it also reaches well beyond it, speaking to all jazz musicians regardless of training or familiarity with music theory literature and vocabulary.

Only occasionally are there analyses employing traditional music theory models that are a slight stretch in this context. For example, at times his claims of long-range voice-leading maneuvers over the course of a solo do not reflect the aural effect as I perceive it and seem to imply an intention that I do not believe is present.

Waters looks at these recordings holistically—examining the overall forms,
including the improvisations—and then closely analyzes both the head and improvisations for issues such as harmonic content, motive (or what he calls “a rather general and loose notion of motive” [xiv]), form, and meter (including hypermeter), bringing a unique analytical perspective to each. Some analysts have focused on particular solos, while others concentrate on formal compositional issues; Waters, on the other hand, examines an admirably broad range of analytical topics.

He seems most comfortable when writing about Hancock’s and Shorter’s compositional and improvisational strategies. He also examines Miles’s contributions, of course, but the trumpeter’s overall presence as a player and bandleader should feel much larger than it does in the book.

Williams’s contributions, while acknowledged as vast, are sorely overlooked here. Even without transcriptions—a drastic omission by the author’s own admission— the drummer’s role could have been examined in much more detail. While more attention is paid to Carter than to Williams, the bassist’s presence here is also much smaller than I would expect or hope.

Hancock’s role is certainly emphasized, which is understandable given Waters’s inclinations and the pianist’s pivotal role in the band. Clearly, Waters has chosen to focus on the issues that are important to him, but these biases are big issues for me. In my opinion, Miles is the most important member of this group on many levels, and Williams is next in line.

So obviously we have a different perspective. After the preface, the book is logically and neatly divided into eight chapters. The first examines the quintet itself, its studio processes and personnel. Chapter 2 gives an extremely detailed description of analytical techniques employed throughout the book. Chapters 3 to 6 examine one album each—E.S.P., Miles Smiles, Sorcerer, and Nefertiti—while chapter 7 tackles Miles in the Sky and Filles de Kilimanjaro. The final chapter examines the legacies of the quintet.

Chapter 1 contextualizes the group, which Waters position as a link between hard bop practices and the avant-garde. Regarding the group’s compositional impact, Waters states, “The compositions themselves represent a significant contribution to the jazz repertory, and their innovations form a cornerstone of contemporary jazz composition”.

He substantiates this claim by discussing elements such as chord types employed, chord successions, non-functional progressions, motivic development, and a determined deviation from standard forms.

Waters also introduces the studio processes of the band, which play an important role throughout the book and add a much-appreciated practical point of view. In the process, Waters debunks Miles’s reputation as a “one-take” artist by closely examining alternate takes. Waters provides detailed discussions of the evolution of each work through the rehearsal process, including comparisons between the recordings and Shorter’s lead sheets, and builds upon what we generally know of these recordings from writers such as Todd Coolman, Jack Chambers, Ian Carr, and John Szwed.

Chapter 2 provides a detailed overview of the analytical strategies employed throughout the book, and Waters takes advantage of this opportunity to address major issues in jazz analysis. For example, he tackles the ambiguous term “modal jazz” and lays out various complexities and approaches to the style, in relation to both Miles’s recordings and jazz more generally. After historically contextualizing the style, Waters analyzes the quintet’s use of “modal harmony” in depth, as well the members’ approach to mode/scale improvisation.

Motivic analysis plays a major role in Waters’s analyses of both the compositions and the solos. He states that he examines motivic development less to find cohesion and unity in improvisations than to provide “ways to help hear how these players worked out individual ideas during the flow of improvisation”. His analyses, however, often feel more like a discussion of a composition, highlighting the difficulty of analyzing improvisational material.

After a brief contextualization, he parses the discussion into three basic areas: the use of motivic cells, the interaction of motivic material between players, and the expansion of motivic material. Another major methodology employed by Waters examines rhythm and phrase structure to discuss meter, hypermeter, and metrical conflict in improvisation.

Waters speaks of four basic methods here: elasticizing harmonic rhythm, the shifting of accents to create metrical ambiguity, metrical conflict, and the creation of formal ambiguity through the blurring of formal divisions.
This analytical introduction concludes with Waters’s theory of form in improvisation, which looms large throughout this study.

He has created this useful system to categorize various approaches to “free” improvisation and “provide a more nuanced view of formal solutions and attitudes in the 1960s, one that more richly describes formal practice and that more closely acknowledges the band’s notion of ‘controlled freedom’”.

He has classified levels of form in improvisation, ranging from Level 3—where the rhythm section and soloist preserve hypermeter, meter, pulse, harmonic progression, and harmonic rhythm from the head—to Level 0, where the soloist and rhythm section essentially abandon these elements (Levels 1 and 2 are subdivided to make six levels altogether).

In the following chapters, which examine the albums chronologically, Waters introduces each album as a whole and then proceeds to each composition. After an introduction to the track, he generally chooses one or two primary analytical areas to focus on. One of the great strengths of the book is that he manages to cover an extensive range of issues while also employing a wide array of analytical techniques.

Each analysis is deep and detailed and allows—indeed requires—intense study. Throughout, Waters contextualizes the compositions, giving us a feel for the composers’ styles and compositional evolution, as well the group’s evolving compositional approach. For example, Waters points out that Hancock’s “Little One,” from E.S.P., is an important composition for the group harmonically, as the pianist explores shifting harmonies over bass pedal points, a significant stylistic element for Hancock and the group. Waters does not contextualize the players’ improvisations as effectively, however, and this is a rich avenue for further study.

Waters does, however, provide a model for this technique in an analysis of Shorter’s solo on “Pinocchio”. Hancock’s and Shorter’s harmonic conceptions were essential to the character of these recordings, as well as to the future of jazz, and in his discussion of “Little One” Waters provides valuable insight into Hancock’s harmonic sensibilities as a
composer.

Loosely and freely borrowing from a Schenkerian perspective, Waters examines the composition’s bass line from a large-scale perspective. He then discusses the tune’s intensely colorful chromatic progressions in close detail from a mode/scale perspective, pointing out that the progressions generally rely upon principles of tritone substitutions but in a fascinating permutation.

For this recording, however, Waters primarily examines Miles’s solo, initially discussing his handling of a Fsus4 chord in terms of scales and modes. While Shorter and Hancock avoid the third in their solos, “Davis’s solo offers a study in how he negotiates and reevaluates that harmony in real time over the course of his three choruses. It suggests a remarkably rapid learning curve in adapting to that harmony, and altering the harmonic implications of the opening 4 bars in each chorus”. This is an engaging examination of a soloist’s thought process and his journey through an improvisation.

Waters also uses this solo to make an important observation regarding the limitations of mode/scale analysis: “Davis seems unconcerned with careful negotiations of each individual harmony. Instead, the solo attains much of its expressive power through memorable and malleable motives”. Waters’s discussion of Miles’s use of motives is perceptive and detailed, yet I feel he does not quite manage to convey the actual character of the solo. I found myself longing for more adjectival writing that attempts to express the beauty, excitement, and other intangibles that make a solo, soloist, or composition special.

Waters has shown himself quite capable of doing so, but seems a bit reticent in this regard. For example, in this solo, I find myself completely enthralled by Miles’s careful and extremely colorful pitch choices as he floats over this knotty and complicated harmonic progression, though it clearly presents him with a bit of difficulty. Also, his ability to make the strange melody he creates seem natural and melodic— almost as if he is playing “Bye, Bye Blackbird”—is essential to his style and appeal.

Waters alludes to this when he states, “Davis seems uninterested in negotiating and expressing each harmony carefully…”, but he does not capture Miles in the analysis as I hear him. Davis’s lyrical quality and melodic gift are not discussed, nor is the enigmatic yet unmistakable emotional content of his work. So again, Davis’s impact on this music is not nearly as significant in Waters’s overall analysis as I feel it deserves to be.

Thankfully Waters does not support the wildly faulty and often-discussed notion that Miles was a limited trumpet player technically. But Waters also says little to refute this idea. Davis in fact became a wonderful player, as evidenced by his magnificent work as featured melodist and soloist on studio recordings such as Birth of the Cool and the albums with arranger Gil Evans. Additionally, on the recordings discussed in this book, his solos are, in my listening, the most direct and musically and emotionally compelling. Unfortunately, Waters’s writing does not convey Miles’s brilliance, his level of musicianship, or the sound that has captivated
me for so many years.

This does not apply to Hancock’s playing, however, and Waters’s analysis of Hancock’s “Madness” from Nefertiti is a prime example. The CD set of the complete studio recordings of the quintet includes alternate takes that give us added insight into the workings of this group, and for “Madness” there is also a rehearsal take.

For the rehearsal, they play the tune as a slow waltz in two sections—evidently Hancock’s original conception of the piece—while the released take and alternate takes are in a quick 4/4 with only one section.
After a brief discussion of the form, Waters analyzes the head of the released take, which consists of six chords/harmonies, all rich and colorful. The fifth, however, cannot be labeled with a traditional chord name, and Waters solves this dilemma by naming it the “Madness” chord (he does this elsewhere with the “Riot” chord, also on Nefertiti). The “Madness” chord consists of a B in the bass, left-hand pitches A3-C4-Eb-Ab, and right-hand pitches B-D-D#-E/Fb.

Naming the chord is only the first problem, and Waters goes on to relate it to doubly diminished harmonies (simultaneous diminished seventh chords a half step apart) used by Hancock. This proves problematic, as he points out, because the chord, combined with the six-note melody stated by the horns, employs eleven of the twelve chromatic pitches.

Though all of Waters’s analyses are cogent and insightful, I cannot help but feel that he is most at home when discussing Hancock’s playing. He offers a detailed analysis of Hancock’s “Madness” solo, declaring it “an improvisational tour de force.” I greatly appreciate Waters’s overview of what makes this solo so exceptional.

He discusses an array of issues such as group interaction, and the freedom
from meter and hypermeter while maintaining a sense of pulse (Level 1 in his scheme of form in improvisation). Waters then details Hancock’s navigation through three cycles of the six-chord progression, focusing on his use of the diminished scale (octatonic collection).

Fortunately, in this solo analysis, Waters has a brief yet solid section that addresses the rhythm section’s improvisational strategies, which are crucial to this tune. In this case, however, a more thorough analysis of the drums and bass would be quite illustrative and helpful in conjunction with the harmonic analysis of Hancock’s solo. It would also help explore more deeply the “controlled freedom” that this group was so intently developing. In the case of Williams, for example, a discussion of his cymbal patterns (a crucial element in his playing and influence)—
as well as the dynamics, colors and orchestration aspects of the drum kit—would have proved useful.

This is another important area for future study. Waters’s approach to “Pinocchio,” also from Nefertiti, shows off another of his analytical strengths—his insight into Wayne Shorter’s compositional style, including
contextualization of his composing and playing in relation to his past work.

In chapter 2, Waters discusses Shorter’s use of motivic expansion in his solo on “Orbits,” from Miles Smiles, and notes that in “Pinocchio” these principles carried over into his composing. In the analysis of “Pinocchio” he traces the main motive as it expands throughout its three statements while also transforming harmonically, and contrasts this with Shorter’s earlier reliance upon “motives that recur at regular 2-bar intervals”.

Shorter’s solo on “Pinocchio” is then parsed into five sections, each introducing new motivic material. Waters also points out connections between these sections, stating for example that “As Shorter initiates new motivic ideas every 8 bars, the pitch material at Sections 3 and 4 emanates from the pitches stated just previously.

This illustrates a compelling improvisational tactic in which events flow out of preceding material and suggests that soloists establish musical relationships and continuity not only from overt motivic correspondences, but also from pitch relationships that then launch new motivic ideas”. While Waters makes a strong argument for the tactic in this particular case, further exploration is needed to support his broader claim that it is a feature in other soloists’ improvisations.

As he does elsewhere, Waters points out discrepancies between The Real Book (the most prominent “fake book” used by musicians) and the recording, noting that some previous analyses have relied on incorrect lead sheets. In a quick but fascinating examination, he adds that while the fake book changes appear to be more tonally functional at first, the actual changes on the recording are actually more functional upon closer inspection. His analysis is steeped in both the functional harmony and jazz tradition, and his language is understandable to anyone with either theoretical or practical experience—a rare combination in works of this sort.

He manages to blend his jazz musicianship and his analytical chops in an unusually effective manner—another indication of the value of this book as it both corrects and builds upon past work on this material.

The Studio Recordings of the Miles Davis Quintet, 1965-68 advances the field of jazz analysis through its thoroughness and analytical insight, applying creative approaches to explain music that has often seemed structurally opaque and mysterious and that has often been discussed only in superlatives. This study has few counterparts for comparison and stands in a rather lonely position in the world of contemporary jazz analysis.

ABOUT THE CONTRIBUTOR

BENJAMIN BIERMAN is a composer, trumpeter, bandleader, and assistant professor at John Jay College, CUNY. He has published articles in Jazz Perspectives and American Music Review, and has contributed essays to the book Pop- Culture Pedagogy in the Music Classroom as well as the forthcoming The Cambridge Companion to Duke Ellington.

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Miles Davis – Kind Of Blue (Full Album)

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“Kind of Blue” is a studio album by American jazz musician Miles Davis, released on August 17, 1959, by Columbia Records. Recording sessions for the album took place at Columbia’s 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis’s ensemble sextet, with pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian “Cannonball” Adderley.

After the entry of Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) by basing Kind of Blue entirely on modality, in contrast to his earlier work with the hard bop style of jazz. Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis’s best-selling album, but as the best-selling jazz record of all time.

On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis’s masterpiece.

The album’s influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums ever made. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine’s list of the 500 greatest albums of all time.

This book will be available from our Library as from January, 2022.

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Béla Bartók Mikrokosmos, complete, 6 Books (with sheet music)

Table of Contents

Béla Bartók Mikrokosmos, complete, the 6 Books, with sheet music

bela bartok sheet music pdf

Béla Bartók and his music

Béla Viktor János Bartók (25 March 1881 – 26 September 1945) was a Hungarian composer, pianist, and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary’s greatest composers.Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology.

Paul Wilson lists as the most prominent characteristics of Bartók’s music from late 1920s onwards the influence of the Carpathian basin and European art music, and his changing attitude toward (and use of) tonality, but without the use of the traditional harmonic functions associated with major and minor scales.

Although Bartók claimed in his writings that his music was always tonal, he rarely uses the chords or scales of tonality, and so the descriptive resources of tonal theory are of limited use. George Perle (1955) and Elliott Antokoletz (1984) focus on alternative methods of signaling tonal centers, via axes of inversional symmetry.

Others view Bartók’s axes of symmetry in terms of atonal analytic protocols. Richard Cohn (1988) argues that inversional symmetry is often a byproduct of another atonal procedure, the formation of chords from transpositionally related dyads. Atonal pitch-class theory also furnishes the resources for exploring polymodal chromaticism, projected sets, privileged patterns, and large set types used as source sets such as the equal tempered twelve tone aggregate, octatonic scale (and alpha chord), the diatonic and heptatonia secunda seven-note scales, and less often the whole tone scale and the primary pentatonic collection.

He rarely used the simple aggregate actively to shape musical structure, though there are notable examples such as the second theme from the first movement of his Second Violin Concerto, commenting that he “wanted to show Schoenberg that one can use all twelve tones and still remain tonal”. More thoroughly, in the first eight measures of the last movement of his Second Quartet, all notes gradually gather with the twelfth (G♭) sounding for the first time on the last beat of measure 8, marking the end of the first section.

The aggregate is partitioned in the opening of the Third String Quartet with C♯–D–D♯–E in the accompaniment (strings) while the remaining pitch classes are used in the melody (violin 1) and more often as 7–35 (diatonic or “white-key” collection) and 5–35 (pentatonic or “black-key” collection) such as in no. 6 of the Eight Improvisations. There, the primary theme is on the black keys in the left hand, while the right accompanies with triads from the white keys. In measures 50–51 in the third movement of the Fourth Quartet, the first violin and cello play black-key chords, while the second violin and viola play stepwise diatonic lines.

On the other hand, from as early as the Suite for piano, Op. 14 (1914), he occasionally employed a form of serialism based on compound interval cycles, some of which are maximally distributed, multi-aggregate cycles. Ernő Lendvai analyses Bartók’s works as being based on two opposing tonal systems, that of the acoustic scale and the axis system, as well as using the golden section as a structural principle.

Milton Babbitt, in his 1949 critique of Bartók’s string quartets, criticized Bartók for using tonality and non-tonal methods unique to each piece. Babbitt noted that “Bartók’s solution was a specific one, it cannot be duplicated”. Bartók’s use of “two organizational principles”—tonality for large scale relationships and the piece-specific method for moment to moment thematic elements—was a problem for Babbitt, who worried that the “highly attenuated tonality” requires extreme non-harmonic methods to create a feeling of closure.

The cataloguing of Bartók’s works is somewhat complex. Bartók assigned opus numbers to his works three times, the last of these series ending with the Sonata for Violin and Piano No. 1, Op. 21 in 1921. He ended this practice because of the difficulty of distinguishing between original works and ethnographic arrangements, and between major and minor works. Since his death, three attempts—two full and one partial—have been made at cataloguing.

The first, and still most widely used, is András Szőllősy‘s chronological Sz. numbers, from 1 to 121. Denijs Dille subsequently reorganised the juvenilia (Sz. 1–25) thematically, as DD numbers 1 to 77. The most recent catalogue is that of László Somfai; this is a chronological index with works identified by BB numbers 1 to 129, incorporating corrections based on the Béla Bartók Thematic Catalogue. On 1 January 2016, his works entered the public domain in the European Union.

Mikrokosmos

Béla Bartók‘s Mikrokosmos Sz. 107, BB 105 consists of 153 progressive piano pieces in six volumes written between 1926 and 1939. The individual pieces progress from very easy and simple beginner études to very difficult advanced technical displays, and are used in modern piano lessons and education. In total, according to Bartók, the piece “appears as a synthesis of all the musical and technical problems which were treated and in some cases only partially solved in the previous piano works.”

Volumes one and two are dedicated to his son Péter, while volumes five and six are intended as professionally performable concert pieces. Bartók also indicated that these pieces could also be played on other instruments; Huguette Dreyfus for example has recorded pieces from Books 3 through 6 on the harpsichord.

In 1940, shortly before they emigrated to the United States, he arranged seven of the pieces for two pianos, to provide additional repertoire for himself and his wife Ditta Pásztory-Bartók to play.

Volumes

All of the six volumes progress in difficulty, namely:

  • Volumes I and II: Pieces 1–36 and 37–66, beginner level
  • Volumes III and IV: Pieces 67–96 and 97–121, moderate to advanced level
  • Volumes V and VI: 122–139 and 140–153, professional level

The list of pieces is as follows:

Volume I Six Unison Melodies (I) (a) Six Unison Melodies (II) (b) Six Unison Melodies (II) Six Unison Melodies (III) Six Unison Melodies (IV) Six Unison Melodies (V) Six Unison Melodies (VI) Dotted Notes Repetition (1) Syncopation (I) With Alternate Hands Parallel Motion Reflection Change of Position Question and Answer Village Song Parallel Motion with Change of Position Contrary Motion Four Unison Melodies (I) Four Unison Melodies (II) Four Unison Melodies (III) Four Unison Melodies (IV) Imitation and Counterpoint Imitation and Inversion (I) Pastorale Imitation and Inversion (II) Repetition (II) Syncopation (II) Canon at the Octave Imitation Reflected Canon at the Lower Fifth Dance in Canon Form In Dorian Mode Slow Dance In Phrygian Mode Chorale Free CanonVolume II In Lydian Mode Staccato and Legato (I) Staccato and Legato (Canon) In Yugoslav Style Melody with Accompaniment Accompaniment in Broken Triads (a) In Hungarian Style (for two pianos) (b) In Hungarian Style Contrary Motion (2) (for two pianos) Meditation Increasing-Diminishing County Fair In Mixolydian Mode Crescendo-Diminuendo Minuetto Waves Unison Divided In Transylvanian Style Chromatics Triplets in Lydian Mode (for two pianos) Melody in Tenths Accents In Oriental Style Major and Minor Canon with Sustained Notes Pentatonic Melody Minor Sixths in Parallel Motion Buzzing (a) Line against Point (b) Line against Point Dialogue (with voice) Melody DividedVolume III Thirds against a Single Voice Hungarian Dance (for two pianos) Study in Chords Melody against Double Notes Thirds Dragons’ Dance Sixths and Triads (a) Hungarian Matchmaking Song (b) Hungarian Matchmaking Song (with voice) Triplets In Three Parts Little Study Five-Tone Scale Hommage à Johann Sebastian Bach Hommage à Robert Schumann Wandering Scherzo Melody with Interruptions Merriment Broken Chords Two Major Pentachords Variations Duet for Pipes In Four Parts (I) In Russian Style Chromatic Invention (I) Chromatic Invention (II) In Four Parts (II) Once Upon a Time… (a) Fox Song (b) Fox Song (with voice) Jolts
Volume IV Notturno Thumbs Under Hands Crossing In Folk Song Style Diminished Fifth Harmonics Minor and Major (a) Wandering through the Keys (b) Wandering through the Keys Game (with Two Five-Tone Scales) Children’s Song Melody in the Mist Wrestling From the Island of Bali And the Sounds Clash and Clang… Intermezzo Variations on a Folk Tune Bulgarian Rhythm (I) Theme and Inversion Bulgarian Rhythm (II) Song Bourrée Triplets in 9
8 Time
Dance in 3
4 Time
Triads Two-Part Study
Volume V Chords Together and in Opposition (a) Staccato and Legato (II) (b) Staccato and Legato (II) Staccato Boating Change of Time New Hungarian Folk Song (with voice) Stamping Dance Alternating Thirds Village Joke Fourths Major Seconds Broken and Together Syncopation (III) (a) Studies in Double Notes (b) Studies in Double Notes (c) Studies in Double Notes Perpetuum mobile Whole-Tone Scales Unison Bagpipe Music Merry Andrew

Volume VI

  1. Free Variations
  2. Subject and Reflection
  3. From the Diary of a Fly
  4. Divided Arpeggios
  5. Minor Seconds, Major Sevenths
  6. (a) Chromatic Invention (III)(b) Chromatic Invention (III)
  7. Ostinato
  8. March
  9. Six Dances in Bulgarian Rhythm (I)
  10. Six Dances in Bulgarian Rhythm (II)
  11. Six Dances in Bulgarian Rhythm (III)
  12. Six Dances in Bulgarian Rhythm (IV)
  13. Six Dances in Bulgarian Rhythm (V)
  14. Six Dances in Bulgarian Rhythm (VI)

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Beethoven – Klaviersonate N. 14 Mondscheinsonate (Piano Sonata No. 14 Moonlight) 3rd Mov mit noten

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Beethoven – Klaviersonate No. 14 Mondscheinsonate Piano Sonata No 14 Moonlight 3rd Mov. mit noten (sheet music)

Die Klaviersonate Nr. 14 op. 27 Nr. 2 in cis-Moll von Ludwig van Beethoven, vollendet 1801, wird auch als Mondscheinsonate bezeichnet.

Klaviersonate noten sheet music

Titelblatt der Klaviersonate Nr. 14 aus dem Jahr 1802

Beethoven selbst nannte sein Werk eine Sonata quasi una Fantasia [„gleichsam eine Fantasie“] per il Clavicembalo o Piano-Forte. Die Bezeichnung Fantasia bezieht sich auf die ungewöhnliche Satzfolge der Klaviersonate, deren Sätze in ihren Tempi von der herkömmlichen Sonatenform abweichen.

So hat das Werk keinen ersten (schnellen) Satz in Sonatenhauptsatzform, wie ihn Sonaten dieser Zeit üblicherweise enthalten. Es beginnt vielmehr mit einem Adagio, dem ein lebhafteres Allegretto mit Trio folgt, worauf sich ein schnelles, hochdramatisches Finale anschließt, das die Struktur eines Sonatenhauptsatzes aufweist. Auffällig ist hierbei, dass sich das Tempo von Satz zu Satz steigert. Franz Liszt charakterisierte den zweiten Satz als „eine Blume zwischen zwei Abgründen“.

beethoven klaviersonate sheet music pdf

Aufbau

  • Erster Satz, Adagio sostenuto, cis-Moll, alla breve, 69 Takte
Beethoven piano sonata 14 mvmt 1 bar 1-4.svg
  • Zweiter Satz, Allegretto, Des-Dur, 3/4-Takt, 60 Takte
Beethoven piano sonata 14 mvmt 2 bar 1-8.svg
Beethoven piano sonata 14 mvmt 3 bar 1-3.svg

Geschichte und Wirkung

Ludwig van Beethoven unterhielt zur Familie des ungarischen Adelsgeschlechts Brunsvik freundschaftliche Beziehungen. In den Jahren 1800, 1801 und 1806 weilte er auf Einladung des Grafen Joseph Brunsvik (1750–1827) auf einem der Herrensitze der Familie, im Schloss Unterkrupa.

Während seiner Aufenthalte bewohnte er das Obergeschoss des barocken Gärtnerhäuschens, wo er nach mündlicher Überlieferung der Familie Brunsvik die Mondscheinsonate komponiert haben soll. In diesem in der Nähe des Schlosses gelegenen Gärtnerhäuschen ist heute ein kleines Beethoven-Museum eingerichtet.

Beethoven widmete die Sonate später seiner damals 20-jährigen Klavierschülerin Gräfin Julie Guicciardi (1782–1856), in die er für kurze Zeit verliebt war. Offenbar war diese Widmung als „Vergeltung“ für ein Geschenk gedacht, das Beethoven von Julies Mutter erhalten hatte. Anton Schindler behauptete 1840, Julie sei auch die Adressatin des berühmten Briefs an die „Unsterbliche Geliebte“, was sich später als reine Spekulation erwies.

Schon zu Beethovens Lebzeiten war diese Sonate eines seiner populärsten Klavierwerke – so beliebt, dass er selbst anmerkte, „doch wahrhaftig Besseres geschrieben“ zu haben. Sie gilt mit ihren formalen Freiheiten und ihrem emotionsbestimmten Stil als wichtiger Vorläufer der musikalischen Romantik. Ihr Formschema wurde später unter anderem von Robert Volkmann in seinem Klaviertrio b-Moll op. 5 aufgegriffen.

Von Franz Liszt wird berichtet, dass er die Komposition nicht von seinen Schülern spielen ließ, weil er sie für äußerst anspruchsvoll hielt. Alexander Siloti soll von Liszts Spiel der Sonate auf einem Bechstein-Flügel so angetan gewesen sein, dass er das Stück danach nie wieder von einem anderen Interpreten hören wollte.

Beiname

Während jener Zeit, in der die Sonate ihren ersten Bekanntheitsgrad erwarb, wurde sie auch „Laubensonate“ genannt, da Beethoven den ersten Satz in einer Laube improvisiert haben soll. Den populären Namen Mondscheinsonate erhielt das Werk erst später, einige Jahre nach Beethovens Tod.

Die vielleicht erste gedruckte Quelle, in der das Werk als Mondscheinsonate bezeichnet wird, stammt von 1837. Ein anonymer Wiener Musikkritiker schreibt, dass das Werk „nicht ganz mit Unrecht Mondscheinsonate genannt wurde“.[7] 1840 findet sich der Titel auch in Anton Schindlers Beethoven-Biographie, als Zusatz in einer Überschrift: „Die Sonate in Cis-moll Op. 27. No. 1. (Mondschein-Sonate)“.

1852 behauptete dann der deutsch-baltische Beethoven-Forscher Wilhelm von Lenz, die Bezeichnung gehe auf den Berliner Musikkritiker Ludwig Rellstab zurück, kritisiert sie aber zugleich als unzutreffend:

„Rellstab compare cette œuvre à une barque, visitant, par un clair de lune, les sites sauvages du lac des quatre cantons en Suisse. Le sobriquet de „Mondscheinsonate“, qui, il y a vingt ans, faisait crier au connaisseur en Allemagne, n’a pas d’autre origine. Cet Adagio est bien plutôt un monde de morts, l’épitaphe de Napoléon en musique, Adagio sulla morte d’un eroe! (Rellstab vergleicht dieses Werk mit einer Barke, mit der er bei Mondschein die wilden Seiten des Vierwaldstättersees in der Schweiz besuchte. Der Spitzname „Mondscheinsonate“, der, vor zwanzig Jahren, in Deutschland Kenner zum Schreien brachte, hat keinen anderen Ursprung. Dieses Adagio ist eher eine Totenwelt, Napoleons Epitaph in der Musik, Adagio sulla morte d’un eroe!)“

Es konnte bisher nicht ermittelt werden, wann und wo Rellstab diese Bezeichnung geprägt haben soll. In seinen literarischen Werken ist sie nicht zu finden.

1858 bemerkte Otto Kade, das Werk sei als Mondscheinsonate „in Deutschland allgemein bekannt“.

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The 100 most inspiring musicians of all Time Rock & Pop Music

Eric Clapton: the 100 most inspiring musicians of all time

Eric Clapton: the 100 most inspiring musicians of all time

British rock musician Eric Clapton (born Eric Patrick Clapp (b. March 30, 1945, Ripley, Surrey, Eng.) was a highly influential guitarist in the late 1960s and early 1970s, and later became a major singer-songwriter.

Eric Clapton was raised by his grandparents after his mother abandoned him at an early age. He began playing the guitar in his teens and briefly studied at the Kingston College of Art. After playing lead guitar with two minor bands, in 1963 he joined the Yardbirds, a rhythm-and-blues group in
which his blues-influenced playing and commanding technique began to attract attention.

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Clapton left the Yardbirds in 1965 when they pursued commercial success with a pop-oriented style. That same year he joined John Mayall’s Bluesbreakers, and his guitar playing soon became the group’s principal drawing card as it attracted a fanatic following on the London club scene.

In 1966 Clapton left the Bluesbreakers to form a new band with two other virtuoso rock musicians, bassist Jack Bruce and drummer Ginger Baker. This group, Cream, achieved international popularity with its sophisticated,
high-volume fusion of rock and blues that featured improvisatory solos. Clapton’s mastery of blues form and phrasing, his rapid runs, and his plaintive vibrato were widely imitated by other rock guitarists.

The high energy and emotional intensity of his playing on such songs as “Crossroads” and “White Room” set the standard for the rock guitar solo. Cream disbanded in late 1968, however, after having recorded such albums as Disraeli Gears (1967), Wheels of Fire (1968), and Goodbye (1969).

In 1969 Clapton and Baker formed the group Blind Faith with keyboardist-vocalist Steve Winwood and bassist Rick Grech, but the group broke up after recording only one album. Clapton emerged as a capable vocalist on his first solo album, which was released in 1970. He soon
assembled a trio of strong session musicians (bassist Carl Radle, drummer Jim Gordon, and keyboardist Bobby Whitlock) into a new band called Derek and the Dominos, with Clapton as lead guitarist, vocalist, and songwriter.

The guitarist Duane Allman joined the group in making the classic double album Layla and Other Assorted Love Songs (1970), which is regarded as Clapton’s masterpiece and a landmark among rock recordings. Disappointed by Layla’s lackluster sales and addicted to heroin, Clapton
went into seclusion for two years. Overcoming his addiction, he made a successful comeback with the album 461 Ocean Boulevard (1974), which included his hit remake of Bob Marley’s “I Shot the Sheriff.” On the album, Clapton adopted a more relaxed approach that emphasized his songwriting
and vocal abilities rather than his guitar playing.

eric clapton sheet music play along

Over the next 20 years Clapton produced a string of albums, including
Slowhand (1977), Backless (1978), Money and Cigarettes (1983), August (1986), Unplugged (1992)—which featured the Top Five hit “Tears in Heaven,” written after the death of his son—and From the Cradle (1994). He explored his musical influences with a pair of Grammy-winning collaborations:

Riding with the King (2000) with blues legend B.B. King and The Road to Escondido (2006) with roots guitarist J.J. Cale. The critical and commercial success of these albums solidified his stature as one of the world’s greatest rock musicians. Clapton, an autobiography, was published in 2007. In 2000 Clapton was inducted into the Rock and Roll Hall of Fame.

Download and Play Along with Eric Clapton’s sheet music here.

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ERIC CLAPTON Live at Budokan, Tokyo, 2001 (Full Concert)

Live at Budokan, Dec 4, 2001

Eric Clapton – guitar / vocals Andy Fairweather Low – guitar / vocals David Sancious – keyboards / guitar / vocals Greg Phillinganes – keyboards Nathan East – bass / vocals Steve Gadd – drums

Key To The Highway 0:38 Reptile 3:41 Got You On My Mind 10:25 Tears In Heaven 14:21 Layla (acoustic) 18:51 Bell Bottom Blues 23:33 Change The World 28:37 River Of Tears 35:15 Goin’ Down Slow 44:04 She’s Gone 49:28 I Want A Little Girl 57:01 Badge 1:01:36 Hoochie Coochie Man 1:07:42 Five Long Years 1:12:39 Cocaine 1:20:57 Wonderful Tonight 1:25:44 Layla (electric) 1:32:58 Sunshine Of Your Love 1:43:05 Somewhere Over The Rainbow 1:50:00

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Best Classical Music

György Ligeti – Musica Ricercata No. 2-11 with sheet music

György Ligeti – Musica Ricercata 2-11 with sheet music

György Ligeti

György Ligeti, in full György Sándor Ligeti, (born May 28, 1923, Diciosânmartin [now Tîrnăveni], Transylvania, Romania—died June 12, 2006, Vienna, Austria), a leading composer of the branch of avant-garde music concerned principally with shifting masses of sound and tone colours.

ligeti free downloadsheet music & scores pdf

Ligeti, the great-nephew of violinist Leopold Auer, studied and taught music in Hungary until the Hungarian Revolution in 1956, when he fled to Vienna; he later became an Austrian citizen. He subsequently met avant-garde composers such as Karlheinz Stockhausen and became associated with centres of new music in Cologne and Darmstadt, Germany, and in Stockholm and Vienna, where he composed electronic music (e.g., Artikulation, 1958) as well as music for instrumentalists and vocalists. In the early 1960s he caused a sensation with his Future of Music—A Collective Composition (1961) and his Poème symphonique (1962). The former consists of the composer regarding the audience from the stage and the audience’s reactions to this; the latter is written for 100 metronomes operated by 10 performers.

Most of Ligeti’s music after the late 1950s involved radically new approaches to music composition. Specific musical intervals, rhythms, and harmonies are often not distinguishable but act together in a multiplicity of sound events to create music that communicates both serenity and dynamic anguished motion. Examples of these effects occur in Atmosphères (1961) for orchestra; Requiem (1963–65) for soprano, mezzo-soprano, two choruses, and orchestra; and Lux Aeterna (1966) for chorus. These three works were later featured in Stanley Kubrick’s film 2001: A Space Odyssey (1968), which brought Ligeti a wider audience; his music appeared in later movies, including several others by Kubrick. In Aventures (1962) and Nouvelles Aventures (1962–65), Ligeti attempts to obliterate the differences between vocal and instrumental sounds. In these works the singers hardly do any “singing” in the traditional sense.

In Ligeti’s Cello Concerto (1966), the usual concerto contrast between soloist and orchestra is minimized in music of mainly very long lines and slowly changing, very nontraditional textures. Other works include Clocks and Clouds (1972–73) for female chorus and orchestra, San Francisco Polyphony (1973–74) for orchestra, Piano Concerto (1985–88), and Hamburg Concerto (1999) for horn. Ligeti also wrote 18 piano études (1985–2001) and the opera Le Grande Macabre (1978, revised 1997). Ligeti was the recipient of many honours, including the Grand Austrian State Prize for music (1990), the Japan Art Association’s Praemium Imperiale prize for music (1991), and the Theodor W. Adorno Prize from the city of Frankfurt for outstanding achievement in music (2003).

Musica Ricercata

Musica ricercata is a set of eleven pieces for piano by György Ligeti. The work was composed from 1951 to 1953, shortly after the composer began lecturing at the Budapest Academy of Music. The work premiered on 18 November 1969 in Sundsvall, Sweden. Although the ricercata (or ricercar) is an established contrapuntal style (and the final movement of the work is in that form), Ligeti’s title should probably be interpreted literally as “researched music” or “sought music”. This work captures the essence of Ligeti’s search to construct his own compositional style ex nihilo, and as such presages many of the more radical directions Ligeti would take in the future.

In response to a request by the Jeney Quintet, six of the movements were arranged for wind quintet as Six Bagatelles for Wind Quintet (1953). They are, in order: III, V, VII, VIII, IX, X.

Eight movements (I, III, IV, VII, VIII, IX, X, XI) were transcribed for bayan by Parisian accordionist Max Bonnay.

No. 2

II. Mesto, rigido e cerimoniale

Both the material and mood of this movement differ markedly from the first. The principal theme is a plaintive alternation between E♯ and F♯ (a mere semi-tone). This theme is heard both solo (i.e., in a single octave), and in quiet (una corda) octaves on both ends of the piano. The entrance of G near the middle of the piece is particularly stark, being vigorously attacked in an accelerando similar to that in the first movement. The G continues to sound in an unmetered tremolo as the main theme returns in a more “menacing” context. The movement gradually dissolves, with both the main theme and repeated G’s fading into silence.

Portions of this movement were featured on the soundtrack to Stanley Kubrick‘s Eyes Wide Shut.

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Jazz & Blues Music

Chet Baker Quartet ‎– No Problem (1980)

Chet Baker Quartet ‎– No Problem (1980) Full Album (sheet music)

Tracklist:

01 No Problem 0:00

02 Sultry Eve 9:50

03 Glad I Met Pat 16:54

04 Kiss Of Spain 22:06

05 The Fuzz 29:26

06 My Queen Is Home To Stay 35:35

07 Jealous Blues [bonus track] 42:51

Personnel:

Bass – Niels-Henning Ørsted Pedersen Drums – Norman Fearrington Engineer [Assisting] – Tom West Engineer [Recording] – Freddy Hansson, Thomas Brekling Piano, Composed By – Duke Jordan Trumpet – Chet Baker

chet baker free sheet music & scores pdf

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The 100 most inspiring musicians of all Time

Bob Marley: the 100 most inspiring musicians of all time

Bob Marley: the 100 most inspiring musicians of all time

The thoughtful, ongoing distillation of early ska, rock steady, and reggae forms by Jamaican singersongwriter Bob Marley (b. Feb. 6, 1945, Nine Miles, St. Ann, Jam.—d. May 11, 1981, Miami, Fla., U.S.) blossomed in the 1970s into an electrifying rock-influenced hybrid that made the musician an international superstar.

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The son of a white rural overseer, Norval Sinclair Marley, and the black daughter of a local custos (respected backwoods squire), the former Cedella Malcolm, Bob Marley would forever remain the unique product of parallel worlds—his poetic worldview was shaped by the countryside,
his music by the tough West Kingston ghetto streets.

Bob Marley’s maternal grandfather was not just a prosperous farmer but also a bush doctor, adept at the mysticism steeped herbal healing that guaranteed respect in Jamaica’s remote hill country. As a child, Marley was known for his shy aloofness, his startling stare, and his penchant for palm
reading. Virtually kidnapped by his absentee father (who had been disinherited by his own prominent family for marrying a black woman), the preadolescent Marley was taken to live with an elderly woman in Kingston until a family friend rediscovered the boy by chance and returned
him to Nine Miles.

By his early teens, Marley was back in West Kingston, living in a government-subsidized tenement in Trench Town, a desperately poor slum. In the early 1960s, while a schoolboy serving an apprenticeship as a welder, Bob Marley was exposed to the languid, jazz-infected shuffle-beat
rhythms of ska, a Jamaican amalgam of American rhythm and blues and native mento (folk-calypso) strains, then catching on commercially.

Bob Marley was a fan of Fats Domino, the Moonglows, and pop singer Ricky Nelson, but, when his big chance came in 1961 to record with producer Leslie Kong, he cut “Judge Not,” a peppy ballad he had written based on rural maxims learned from his grandfather. Among his other early tracks was “One Cup of Coffee,” issued in 1963 in England on the Island Records label.

Marley also formed a vocal group in Trench Town with friends who would later be known as Peter Tosh (original name Winston Hubert MacIntosh) and Bunny Wailer (original name Neville O’Reilly Livingston). The trio,
which named itself the Wailers (because, as Marley stated, “We started out crying”), received vocal coaching by noted singer Joe Higgs. Later they were joined by vocalist Junior Braithwaite and backup singers Beverly Kelso and Cherry Green.

In December 1963, the Wailers entered Coxsone Dodd’s Studio One facilities to cut “Simmer Down,” a song by Marley that he had used to win a talent contest in Kingston. “Simmer Down” was an urgent anthem from the shantytown precincts of the Kingston underclass. A huge overnight smash, it played an important role in recasting the agenda for stardom in Jamaican music circles. No longer did one have to parrot the stylings of overseas entertainers; it was possible to write raw, uncompromising
songs for and about the disenfranchised people of the West Indian slums.

This bold stance transformed both Marley and his island nation, engendering the urban poor with a pride that would become a pronounced source of identity in Jamaican culture—as would the Wailers’ Rastafarian faith, a creed popular among the impoverished people of the Caribbean, who worshiped the late Ethiopian emperor Haile Selassie I as the African redeemer foretold in popular quasi-biblical prophecy.

The Wailers did well in Jamaica during the mid-1960s with their ska records, even during Marley’s sojourn to Delaware in 1966 to visit his relocated mother and fi nd temporary work. Reggae material created in 1969–71 increased the contemporary stature of the Wailers; and, once they signed in 1972 with the (by that time) international label Island and released Catch a Fire, their uniquely rock-contoured reggae gained a global audience.

bob marley free sheet music & scores pdf

It also earned the charismatic Marley superstar status, which gradually led to the dissolution of the original triumvirate about early 1974. Although Peter Tosh would enjoy a distinguished solo career before his murder in 1987, many of his best solo albums (such as Equal Rights [1977]) were underappreciated, as was Bunny Wailer’s excellent solo album Blackheart Man (1976).

Eric Clapton’s version of the Wailers’ “I Shot the Sheriff ” in 1974 spread Marley’s fame. Meanwhile, Marley continued to guide the skilled Wailers band through a series of potent, topical albums. By this point, Marley also
was backed by a trio of female vocalists that included his wife, Rita; she, like many of Marley’s children, later experienced her own recording success.

Featuring eloquent songs like “No Woman No Cry,” “Exodus,” “Could You Be Loved,” “Coming in from the Cold,” “Jamming,” and
“Redemption Song,” Marley’s landmark albums included Natty Dread (1974), Live! (1975), Rastaman Vibration (1976), Exodus (1977), Kaya (1978), Uprising (1980), and the posthumous Confrontation (1983). Exploding in Marley’s reedy tenor, his songs were public expressions of personal truths—eloquent in their uncommon mesh of rhythm and
blues, rock, and venturesome reggae forms and electrifying in their narrative might.

He also loomed large as a political figure, and in 1976 survived what was believed to have been a politically motivated assassination attempt. Marley’s attempt to broker a truce between Jamaica’s warring political factions led in April 1978 to his headlining the “One Love” peace
concert. His sociopolitical clout also earned him an invitation to perform in 1980 at the ceremonies celebrating majority rule and internationally recognized independence for Zimbabwe. In April 1981, the Jamaican
government awarded Marley the Order of Merit.

A month later, he died of cancer. Although his songs were some of the best-liked and most critically acclaimed music in the popular canon,
Marley was far more renowned in death than he had been in life. Legend (1984), a retrospective of his work, became the best-selling reggae album ever, with international sales of more than 12 million copies.

Download Bob Marley’s sheet music here.

Legend Bob Marley

0:00 Is This Love 3:54 No Women, No Cry 11:01 Could you be loved 14:58 Three Little Birds 17:59 Buffalo Soldier 22:17 Get Up, Stand up 25:35 Stir It Up 31:06 Easy Skanking 34:01 One Love/ People Get Ready 36:53 I shot the sheriff 41:35 Waiting in vain 45:48 Redemption song 49:34 Satisfy My soul 54:06 Exodus 1:01:45 Jamming 1:05:18 Punky Reggae Party

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Edvard Grieg Piano Concerto in A minor with score

Table of Contents
  • Edvard Grieg Piano Concerto in A minor with sheet music.
    • 00:00 – I. Allegro molto moderato
    • 11:59 – II. Adagio – attacca
    • 18:04 – III. Allegro moderato molto e marcato
  • Edvard Grieg
  • Grieg’s Music
  • The Piano Concerto
  • List of selected works

Edvard Grieg Piano Concerto in A minor with sheet music.

Composer: Edvard Hagerup Grieg (15 June 1843 — 4 September 1907) – Orchestra: New Philharmonia Orchestra – Conductor: Rafael Frühbeck de Burgos – Soloist: Arturo Benedetti Michelangeli – Year of recording: 1965 (live) Piano Concerto in A minor, Op. 16, written in 1868.

00:00 – I. Allegro molto moderato
11:59 – II. Adagio – attacca
18:04 – III. Allegro moderato molto e marcato
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Edvard Grieg

Edvard Hagerup Grieg 15 June 1843 – 4 September 1907) was a Norwegian composer and pianist. He is widely considered one of the leading Romantic era composers, and his music is part of the standard classical repertoire worldwide. His use and development of Norwegian folk music in his own compositions brought the music of Norway to international consciousness, as well as helping to develop a national identity, much as Jean Sibelius did in Finland and Bedřich Smetana did in Bohemia.

Grieg is the most celebrated person from the city of Bergen, with numerous statues depicting his image, and many cultural entities named after him: the city’s largest concert building (Grieg Hall), its most advanced music school (Grieg Academy) and its professional choir (Edvard Grieg Kor). The Edvard Grieg Museum at Grieg’s former home Troldhaugen is dedicated to his legacy.

Grieg’s Music

Some of Grieg’s early works include a symphony (which he later suppressed) and a piano sonata. He also wrote three violin sonatas and a cello sonata.

Grieg also composed the incidental music for Henrik Ibsen‘s play Peer Gynt, which includes the famous excerpt titled, “In the Hall of the Mountain King“. In this piece of music, the adventures of the anti-hero, Peer Gynt, are related, including the episode in which he steals a bride at her wedding. The angry guests chase him, and Peer falls, hitting his head on a rock. He wakes up in a mountain surrounded by trolls. The music of “In the Hall of the Mountain King” represents the angry trolls taunting Peer and gets louder each time the theme repeats. The music ends with Peer escaping from the mountain.

In an 1874 letter to his friend Frants Beyer, Grieg expressed his unhappiness with Dance of the Mountain King’s Daughter, one of the movements he composed for Peer Gynt, writing “I have also written something for the scene in the hall of the mountain King – something that I literally can’t bear listening to because it absolutely reeks of cow-pies, exaggerated Norwegian nationalism, and trollish self-satisfaction! But I have a hunch that the irony will be discernible.”

Grieg’s Holberg Suite was originally written for the piano, and later arranged by the composer for string orchestra. Grieg wrote songs in which he set lyrics by poets Heinrich Heine, Johann Wolfgang von Goethe, Henrik Ibsen, Hans Christian Andersen, Rudyard Kipling and others. Russian composer Nikolai Myaskovsky used a theme by Grieg for the variations with which he closed his Third String Quartet. Norwegian pianist Eva Knardahl recorded the composer’s complete piano music on 13 LPs for BIS Records from 1977 to 1980. The recordings were reissued in 2006 on 12 compact discs, also on BIS Records. Grieg himself recorded many of these piano works before his death in 1907.

The Piano Concerto

– The concerto opens with a drum-roll and solo flourish, after which the winds play a simple, unsophisticated main theme that the piano preempts, and embroiders at length, Allegro, molto moderato. The cello subject (più lento — a little slower) is contrasting “soulful.” Trumpets usher in the development, and later on the reprise. A solo cadenza comes just before the end.

– In the second movement, the key shifts from A minor to D flat major. This structurally uncomplicated Adagio in 3/8 time begins introspectively with muted strings. The piano rhapsodizes until a dramatically angular version of the main theme shatters the mood.

– Eventually, calm is restored, and a quiet ending leads without pause to the third movement another quick-but-not-too-quick movement in A minor, additionally marked marcato, whose structure combines sonata and rondo. The piano introduces a main theme based on the 2/4 rhythm of a Norwegian folk dance, the halling. The second subject is quirkier and more elaborate but no less folk-like. The solo flute initiates a tranquil episode, after which the main theme returns for extended development. A short solo cadenza precedes Grieg’s long-delayed transition from minor to major for yet another dance, this one in 3/4 time at an accelerated tempo. During a final cadenza, Lisztian bravura blows away any lingering traces of Schumann.

List of selected works

Main article: List of compositions by Edvard Grieg

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