How to play like Musical Analysis

How to play (3) like Keith Jarret

How to play (3) like Keith Jarret

KEITH JARRETT IS ONE OF THE MOST INFLUENTIAL JAZZ PIANISTS AND improvisers in the history of modern music. Emerging from his predecessors and influences (including Art Tatum, Bud Powell,
Oscar Peterson, Bill Evans, and Cecil Taylor), Jarrett forged a style that’s immediately identifiable to this day.

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Long flowing lines and a prodigious technique are just two of his trademarks, as is a style that’s at once precise and loose, tonal and atonal, reserved and explosive. These dichotomies have come to define his
playing, which appears in formats from acclaimed solo concerts and
jazz trios to classical fare and beyond. Sprinkle some of Keith’s
inspired musical magic into your own playing with these exercises.

Ex. 1. Right Hand Lines

keith jarret sheet music

Keith’s single-note right hand lines are probably his best-known trademark. This Keith-inspired melodic line is built over the first eight measures of “Rhythm Changes,” a jazz staple in turn built on the chords of George
Gershwin’s “I Got Rhythm.” Jarrett’s own bebop-derived language is seen here in what I call “neo-bop,” which employs eight-note bebop scales, chromatic approach notes, upper and lower neighbor tones, as well as diatonic and chromatic passing tones.

The left hand voicings also demonstrate Keith’s frequent use of dominant seventh sus4 chords in place of minor chords. Note that Keith sometimes lets his left hand crawl like a spider, using common tones between chords. Tip: Play the right hand alone at a fast clip to capture more of Keith’s sound in these lines.

Ex. 2. Country, Gospel, and Reggae

keith jarret sheet music

Keith fashioned a funky rhythmic style that at times seems to cunningly combine these three musical genres. This passage leans in the reggae and Gospel directions, with a nod towards country. Note the sixteenth-note triplets before the last chord. The left hand octaves and four-note voiced chords are other essential components of this sound.

Ex. 3. Polyphony

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Keith can improvise poignant contrapuntal and polyphonic vignettes, evidencing his time spent playing the music of Bach and other Baroque composers. Ex. 3a has a Baroque flavor with modern harmonies, inner voice movements, and unusual cadences and resolutions.

keith jarret sheet music

Ex. 3b highlights Keith’s atonal explorations, which often erupt in dissonant and free sounding flurries. Keith’s immersion in 20th-century classical composers such as Bartok, Berg, Schoenberg, Hindemith, and Webern has informed his approach to this type of improvisation.

Ex. 4. Ostinatos and Vamps

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Keith often employs a simple left hand repeated figure (known as an ostinato or vamp), while using his right hand to explore rhythms and tonalities that may or may not coincide with it. This takes a great deal of hand independence. Here, the right hand remains scalar and diatonic, over the left hand ostinato.

The use of eighth-note triplets is a Jarrett hallmark as well. The left hand remains anchored on F, which can be seen as a pedal point, another one of Keith’s trademark devices. These ostinatos and vamps are sometimes used as intros or endings, while other times they stand as pieces on their own.

Ex. 5. Endings

keith jarret sheet music

Unlike many jazz musicians who end solos and tunes with dramatic flourishes of arpeggios and big chords, Keith often takes a minimalistic approach to many of his endings. This type of progression shown here is usually found at the end of standards, which ends quietly on the root of the I chord without fanfare. It’s not a staccato ending, but rather a soft landing, which sounds only as long as the given eighth-note value indicates.

The left hand rootless fragments are typical Jarrett sonorities, as is the added chromatic II-V of F#min7 to B7. This surprising ending has a drama all its own—just like all of Keith Jarrett’s music!

Download Keith Jarrett’s sheet music transcriptions from our Library!

Keith Jarrett Standards Trio

Keith Jarrett, Gary Peacock and Jack Dejohnette

1. I Wish I Knew 2. If I Should Lose You 3. Late Lament 4. Rider 5. It’s Easy to Remember 6. So Tender 7. Prism 8. Stella by Starlight 9. God Bless the Child 10. Delaunay’s Dilemma

Best Classical Music

Edvard Grieg Piano Concerto in A minor with score

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

Jazz Music

Django Reinhardt & Stephane Grappelli “Minor Swing”

Django Reinhardt & Stephane Grappelli “Minor Swing”

Django Reinhardt sheet music pdf

YouTube link.

Django Rreinhardt

Jean Reinhardt (23 January 1910 – 16 May 1953), known to all by his Romani nickname Django, was a Belgian-born Romani-French jazz guitarist and composer. He was the first major jazz talent to emerge from Europe and remains the most significant.

With violinist Stéphane Grappelli, Reinhardt formed the Paris-based Quintette du Hot Club de France in 1934. The group was among the first to play jazz that featured the guitar as a lead instrument. Reinhardt recorded in France with many visiting American musicians, including Coleman Hawkins and Benny Carter, and briefly toured the United States with Duke Ellington‘s orchestra in 1946. He died suddenly of a stroke at the age of 43.

Reinhardt’s most popular compositions have become standards within gypsy jazz, including “Minor Swing“, “Daphne”, “Belleville”, “Djangology”, “Swing ’42”, and “Nuages“. Jazz guitarist Frank Vignola claims that nearly every major popular-music guitarist in the world has been influenced by Reinhardt. Over the last few decades, annual Django festivals have been held throughout Europe and the U.S., and a biography has been written about his life. In February 2017, the Berlin International Film Festival held the world premiere of the French film Django.

Stéphane Grapelli

Stéphane Grappelli (26 January 1908 – 1 December 1997), born Stefano Grappelli, was a French-Italian jazz violinist who founded the Quintette du Hot Club de France with guitarist Django Reinhardt in 1934. It was one of the first all-string jazz bands. He has been called “the grandfather of jazz violinists” and continued playing concerts around the world well into his eighties.

For the first three decades of his career, he was billed using a gallicised spelling of his last name, Grappelly, reverting to Grappelli in 1969. The latter, Italian spelling is now used almost universally when referring to the violinist, including reissues of his early work.