The 100 most inspiring musicians of all Time

Ray Charles: the 100 most inspiring musicians of all time

Ray Charles: the 100 most inspiring musicians of all time

Ray Charles Robinson (b. Sept. 23, 1930, Albany, Ga., U.S.—d. June 10, 2004, Beverly Hills, Calif.) was an American pianist, singer, composer, and bandleader.

Ray Charles was a leading entertainer, often billed as “the Genius.” Charles was credited with the early development of soul music, a style based on a melding of gospel, rhythm and blues, and jazz music.

When Ray Charles was an infant, his family moved to Greenville, Florida, and he began his musical career at age five on a piano in a neighbourhood café. He began to go blind at six, possibly from glaucoma, completely losing his sight by age seven. He attended the St. Augustine School for the Deaf and Blind, where he concentrated on musical studies, but left school at age 15 to play the piano professionally after his mother died from cancer (his father had died when the boy was 10).

Ray Charles built a remarkable career based on the immediacy of emotion in his performances. After emerging as a blues and jazz pianist indebted to Nat King Cole’s style in the late 1940s, Charles recorded the boogie-woogie classic “Mess Around” and the novelty song “It Should’ve Been Me” in 1952–53. His arrangement for Guitar Slim’s “The Things That I Used to Do” became a blues million-seller in 1953.

By 1954 Charles had created a successful combination of blues and gospel influences and signed on with Atlantic Records. Propelled by Charles’s distinctive raspy voice, “I’ve Got a Woman” and “Hallelujah I Love You So” became hit records. “What’d I Say” led the rhythm-and-blues sales
charts in 1959 and was Charles’s own first million-seller.

ray charles free sheet music & pdf scores download

Ray Charles’s rhythmic piano playing and band arranging revived the “funky” quality of jazz, but he also recorded in many other musical genres. He entered the pop market with the bestsellers “Georgia on My Mind” (1960) and “Hit the Road, Jack” (1961). His album Modern Sounds in
Country and Western Music (1962) sold more than one million copies, as did its single, “I Can’t Stop Loving You.” Thereafter, his music emphasized jazz standards and renditions of pop and show tunes.

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From 1955, Ray Charles toured extensively in the United States and elsewhere with his own big band and a gospelstyle female backup quartet called The Raeletts. He also appeared on television and worked in films such as Ballad in Blue (1964) and The Blues Brothers (1980) as a featured act and soundtrack composer. He formed his own custom recording labels, Tangerine in 1962 and Crossover Records n 1973.

The recipient of many national and international awards, he received 13 Grammy Awards, including a lifetime achievement award in 1987. In 1986 Charles was inducted into the Rock and Roll Hall of Fame and received a Kennedy Center Honor. He published an autobiography, Brother Ray, Ray Charles’ Own Story (1978), written with David Ritz.

Download Ray Charles’ sheet music from our Library.

Ray Charles in Copenhagen 1973

Track List:

0:00 Intro 5:29 Hallelujah I Love Her So (Ray Charles) 9:08 Georgia On My Mind (Hoagy Carmichael & Stuart Gorrell) 15:09 You Made Me Love You (James V. Monaco & Joseph McCarthy) 18:12 Yesterday (Paul McCartney) 23:43 Feel So Bad (J. Johnson) 30:05 Goin’ Down Slow (“St. Louis” Jimmy Oden) 37:27 Goin’ Down Slow (Bis) 39:45 Intro Raelettes 44:16 Rocksteady (Aretha Franklin)

48:55 I Can’t Stop Loving You (Don Gibson) 54:48 Look What They Have Done To My Song, Ma (The New Seekers) 59:58 Indian Love Call (Nelson Eddy & Jeanette MacDonald) 1:14:40 Eleanor Rigby (Paul McCartney & John Lennon) 1:18:47 Introduction John Henderson 1:23:10 Shake (Ray Charles) 1:27:35 Ray introducing Raelettes by name; in call and response improv) 1:39:20 Leave My Man Alone (Vernita Moss) 1:42:54 Introduction band 1:43:41 So Soon (John Henderson) 1:48:30 What’d I Say (Ray Charles)

Jazz & Blues Music

A History of Blues – John Lee Hooker – Tupelo Blues

A History of Blues – John Lee Hooker – Tupelo Blues

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Jazz & Blues sheet music download here.

Games' music Beautiful Music

Final Fantasy VII OST

Final Fantasy VII and the Music of Final Fantasy VII with sheet music

Sheet music available in our online Library.

Final Fantasy VII is a role-playing video game developed by Square (now Square Enix) and published by Sony Computer Entertainment as the seventh installment in the Final Fantasy series. Released in 1997, the game sparked the release of a collection of media centered on the game entitled the Compilation of Final Fantasy VII. The music of the Final Fantasy VII series includes not only the soundtrack to the original game and its associated albums, but also the soundtracks and music albums released for the other titles in the collection. The first album produced was Final Fantasy VII Original Soundtrack, a compilation of all the music in the game. It was released as a soundtrack album on four CDs by DigiCube in 1997. A selection of tracks from the album was released in the single-disc Reunion Tracks by DigiCube the same year. Piano Collections Final Fantasy VII, an album featuring piano arrangements of pieces from the soundtrack, was released in 2003 by DigiCube, and Square Enix began reprinting all three albums in 2004. To date, these are the only released albums based on the original game’s soundtrack, and were solely composed by regular series composer Nobuo Uematsu; his role for the majority of subsequent albums has been filled by Masashi Hamauzu and Takeharu Ishimoto.

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The Compilation of Final Fantasy VII began eight years after the release of Final Fantasy VII with the release of the animated film sequel Advent Children in 2005. The soundtracks for each of the titles in the collection are included in an album, starting with the album release of the soundtrack to Advent Children that year. The following year, Nippon Crown released a soundtrack album to correspond with the video game Dirge of Cerberus, while Square Enix launched a download-only collection of music from the multiplayer mode of the game, which was only released in Japan. After the launch of the game Crisis Core in 2007, Warner Music Japan produced the title’s soundtrack. The latest album in the collection, Before Crisis: Final Fantasy VII & Last Order: Final Fantasy VII Original Soundtrack, was released by Square Enix the same year as a combined soundtrack album for the game Before Crisis and the animated movie Last Order.

The original music received highly positive reviews from critics, who found many of the tunes to be memorable and noted the emotional intensity of several of the tracks. The reception for the other albums has been mixed, with reactions ranging from enthusiastic praise to disappointment. Several pieces from the soundtrack, particularly “One-Winged Angel” and “Aeris’ Theme”, remain popular and have been performed numerous times in orchestral concert series such as Dear Friends: Music from Final Fantasy and Tour de Japon: Music from Final Fantasy. Music from the Original Soundtrack has been included in arranged albums and compilations by Square as well as outside groups.

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Nobuo Uematsu composed the music of Final Fantasy VII in less than one year, matching the game’s development time, although he had taken two years to create the soundtrack for the previous title, Final Fantasy VI. Final Fantasy VII was the first game in the series to be developed for the PlayStation, and while the media capabilities of the console allowed for pre-recorded Linear PCM (often as Red Book audio tracks on the CD), it was decided to generate the music in real time on the console instead, using samples and note data. This decision has been credited as giving the soundtrack “a very distinctive mood and feel”, forming a strong association for listeners between the game and its soundtrack. Uematsu had initially planned to use vocal performances for the game to take advantage of the console’s capabilities, but found that the advanced audio quality required in turn made the game have much longer loading times in each area. Uematsu decided that the quality was not worth the effects on gameplay, though after the release and seeing Suikoden II (1998, PlayStation), which had used higher-quality music instead, he reversed his stance for Final Fantasy VIII. There was a plan to use a “famous vocalist” for the ending theme to the game as a “theme song” for the game, but time constraints and thematic concerns, caused the idea to be dropped. Uematsu has stated, however, that the move into the “PlayStation era”, which allowed video game composers to use sounds recorded in the studio rather than from synthesizers, had “definitely been the biggest change” to video game music.

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Uematsu’s approach to composing the game’s music was to treat it like a film soundtrack and compose songs that reflected the mood of the scenes rather than trying to make strong melodies to “define the game”, as he felt that approach would come across too strong when placed alongside the game’s new 3D visuals. As an example, he composed the track intended for the scene in the game where Aerith Gainsborough is killed to be “sad but beautiful”, rather than more overtly emotional, creating what he feels is a more understated feeling. Uematsu has additionally said that the soundtrack has a feel of “realism”, which also prevented him from using “exorbitant, crazy music”. The first piece that Uematsu composed for the game was the opening theme; game director Yoshinori Kitase showed him the opening cinematic to the game and asked him to begin the project there. The track was well received in the company, which gave Uematsu “a sense that it was going to be a really good project”. He later stated in the liner notes for the soundtrack album that the music for Final Fantasy VII was his “greatest harvest” to date. Final Fantasy VII was the first game in the series to include a track with digitized vocals, “One-Winged Angel”. The track has been called Uematsu’s “most recognizable contribution” to the music of the Final Fantasy series, though the composer did not expect it to gain such popularity. The piece, described as “a fanfare to impending doom”, is said to not “follow any normal genre rules” and has been termed “possibly the most innovative idea in the series’ musical history”. Uematsu approached the piece, which accompanies the final battle of the game, in a different manner than previous “boss tracks”: as he felt that using his normal approach would cause unfavorable comparisons to his well-received Final Fantasy VI boss tracks, he instead tried to take a different approach. Inspired by The Rite of Spring by Igor Stravinsky to make a more “classical” track, and by rock and roll music from the late 1960s and early 1970s to make an orchestral track with a “destructive impact”, he spent two weeks composing short unconnected musical phrases, and then arranged them together into a song, an approach he has never used before or since. The lyrics of “One-Winged Angel”, a Latin choral track that plays at the climax of the game, were taken from the medieval poetry that forms the basis of Carl Orff‘s Carmina Burana, specifically “Estuans Interius”, “O Fortuna“, “Veni, Veni, Venias” and “Ave Formosissima”. Uematsu has stated that the intro of “One-Winged Angel” is based on Jimi Hendrix‘s “Purple Haze“, that the piece revolves around the image of Sephiroth, and that despite the chorus and orchestra, he still thinks of it as a “rock piece”. He said in a 2005 interview that “One-Winged Angel” is his favorite tune from the soundtrack, and in 2004 that it was his favorite battle theme from any Final Fantasy game.

Final Fantasy VII Original Soundtrack is a soundtrack album containing musical tracks from the game, composed by Nobuo Uematsu and produced by Uematsu and Minoru Akao. It was originally released on February 10, 1997 through DigiCube and later reissued directly by Square Enix on May 10, 2004. The soundtrack spans 85 tracks over four discs and has a combined duration of 4:39:53. A limited edition was produced along with the original album, containing illustrated liner notes with several pictures of Uematsu’s workspace and personal effects, various cutscenes and in-game screen shots from the game, and a discography.

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The soundtrack covers a wide variety of musical genres, including rock, techno, orchestral, and choral, although the soundtrack as a whole is primarily orchestral. While many of the tracks were intended as background music, reviewers noted the emotional intensity of several tracks, especially “Aerith’s Theme”, which plays during a moment described as “the most shocking moment in video games,” and has been described as the most memorable track from the album. The theme has become popular among fans, and has inspired various arrangements. Other notable tracks include “Main Theme of Final Fantasy VII”. Themes from this track play during several other tunes from the soundtrack, such as “Words Drowned by Fireworks”, to tie the soundtrack together.

Track listing

1.“The Prelude” (プレリュード Pureryūdo)2:52
2.“Opening – Bombing Mission” (オープニング~爆破ミッション Ōpuningu ~ Bakuha Misshon)3:58
3.“Mako Reactor” (魔晄炉 Makō Ro)3:20
4.“Anxiety” (不安な心 Fuan na Kokoro, lit. “Anxious Heart”)4:02
5.“Tifa’s Theme” (ティファのテーマ Tifa no Tēma)5:06
6.“Barret’s Theme” (バレットのテーマ Baretto no Tēma)3:27
7.“Hurry!” (急げ! Isoge!)2:29
8.“Lurking in the Darkness” (闇に潜む Yami ni Hisomu)2:33
9.“Shinra, Inc” (神羅カンパニー Shinra Kanpanī, lit. “Shinra Company”)4:02
10.“Let the Battles Begin!” (闘う者達 Tatakau Monotachi, lit. “Those Who Fight”)2:47
11.“Fanfare” (ファンファーレ Fanfāre)0:55
12.“Flowers Blooming in the Church” (教会に咲く花 Kyōkai ni Saku Hana)4:59
13.“Turks’ Theme” (タークスのテーマ Tākusu no Tēma)2:19
14.“Under the Rotting Pizza” (腐ったピザの下で Kusatta Piza no Shita de)3:22
15.“The Oppressed” (虐げられた民衆 Shiitagerareta Minshū)2:38
16.“Honeybee Inn” (蜜蜂の館 Mitsubachi no Yakata)3:52
17.“Who…Are You?” (お前は…誰だ Omae wa… Dare da)1:24
18.“Don of the Slums” (スラムのドン Suramu no Don)2:11
19.“Infiltrating Shinra” (神羅ビル潜入 Shinra Biru Sennyū)3:49
20.“Fight On!” (更に闘う者達 Sarani Tatakau Monotachi, lit. “Those Who Fight Further”)3:32
21.“Red XIII’s Theme” (レッドXIIIのテーマ Reddo XIII no Tēma)1:28
22.“The Chase” (クレイジーモーターサイクル Kureijī Mōtāsaikuru, lit. “Crazy Motorcycle”)3:37
23.“Dear to the Heart” (想いを胸に Omoi o Mune ni)2:14
1.“Main Theme of Final Fantasy VII” (F.F.VIIメインテーマ F. F. VII Mein Tēma)6:29
2.“On Our Way” (旅の途中で Tabi no Tochū de)3:44
3.“Good Night, Until Tomorrow” (お休み,また明日 Oyasumi, Mata Ashita)0:10
4.“On That Day, Five Years Ago” (5年前のあの日 Gonen Mae no Ano Hi)3:13
5.“Farm Boy” (牧場の少年 Bokujō no Shōnen)2:52
6.“Waltz de Chocobo” (ワルツ・デ・チョコボ Warutsu de Chokobo)0:34
7.“Electric de Chocobo” (エレキ・デ・チョコボ Ereki de Chokobo)4:02
8.“Cinco de Chocobo” (シンコ・デ・チョコボ Shinko de Chokobo)3:00
9.“In Search of the Man in Black” (黒マントの男を追え Kuro Manto no Otoko o Oe)3:04
10.“Fort Condor” (鷲の砦 Washi no Toride)4:00
11.“Rufus’ Welcoming Ceremony” (ルーファウス歓迎式典 Rūfausu Kangei Shikiten)2:14
12.“It’s Hard to Stand on Both Feet!” (二本足で立つのも難しいものだな Nihon Ashi de Tatsu no mo Muzukashī Mono da na)3:31
13.“Trail of Blood” (血の跡 Chi no Ato)4:13
14.“J-E-N-O-V-A” (J-E-N-O-V-A)2:32
15.“Continue” (つづきから Tsuzuki Kara)0:37
16.“Costa del Sol” (太陽の海岸 Taiyō no Kaigan, lit. “Sun Coast”)2:28
17.“Mark of a Traitor” (裏切り者の烙印 Uragirimono no Rakuin)3:32
18.“Mining Town” (炭坑の街 Tankō no Machi)3:00
19.“Gold Saucer” (ゴールドソーサー Gōrudo Sōsā)1:58
20.“Cait Sith’s Theme” (ケット・シーのテーマ Ketto Shī no Tēma)3:34
21.“Desert Wasteland” (砂の流刑地 Suna no Ryūkeichi)5:33
1.“Cosmo Canyon” (星降る峡谷 Hoshi Furu Kyōkoku, lit. “Valley of the Falling Stars”)3:36
2.“Lifestream” (生命の流れ Seimei no Nagare, lit. “Stream of Life”)3:36
3.“The Great Warrior” (偉大なる戦士 Idai naru Senshi)3:24
4.“Descendant of Shinobi” (忍びの末裔 Shinobi no Matsuei)2:45
5.“Those Chosen by the Planet” (星に選ばれし者 Hoshi ni Erabareshi Mono)3:16
6.“The Nightmare Begins” (悪夢の始まり Akumu no Hajimari)2:58
7.“Cid’s Theme” (シドのテーマ Shido no Tēma)3:11
8.“Steal the Tiny Bronco!” (タイニーブロンコを奪え! Tainī Buronko o Ubae!)1:16
9.“Wutai” (ウータイ Ūtai)4:29
10.“Stolen Materia” (マテリアいただき Materia Itadaki)1:36
11.“Win / Place / Show Chocobo!” (本命穴チョコボ Honmei Ana Chokobo, lit. “Place Chocobo”)1:50
12.“Fiddle de Chocobo” (フィドル・デ・チョコボ Fidoru de Chokobo)2:50
13.“Jackpot!” (大当たりぃ~ Ōatarī~)0:47
14.“Tango of Tears” (涙のタンゴ Namida no Tango)0:49
15.“Debut” (初舞台 Hatsubutai)2:36
16.“Words Drowned by Fireworks” (花火に消された言葉 Hanabi ni Kesareta Kotoba)2:50
17.“Forested Temple” (樹海の神殿 Jukai no Shinden)3:51
18.“Listen to the Cries of the Planet” (星の声が聞こえる Hoshi no Koe ga Kikoeru)3:40
19.“Aerith’s Theme” (エアリスのテーマ Earisu no Tēma)4:18
20.“Buried in Snow” (雪に閉ざされて Yuki ni Tozasarete)4:51
21.“The North Cave” (北の大空洞 Kita no Daikūdō)6:05
22.“Reunion” (リユニオン Riyunion)3:34
23.“Who… Am I?” (俺は…誰だ Ore wa… Dare da)1:37
1.“Shinra’s Full-Scale Assault” (神羅軍総攻撃 Shinra Gun Sōkōgeki)2:57
2.“Attack of the Weapon” (ウェポン襲来 Wepon Shūrai)2:52
3.“The Highwind Takes to the Skies” (空駆けるハイウィンド Sora Kakeru Haiwindo)3:35
4.“Secret of the Deep Sea” (深海に眠る秘密 Shinkai ni Nemuru Himitsu)4:17
5.“Provincial Town” (偏狭の村 Henkyō no Mura)2:26
6.“From the Edge of Despair” (絶望の淵から Zetsubō no Fuchi Kara)4:15
7.“Other Side of the Mountain” (山の向こうに Yama no Mukō ni)2:35
8.“Hurry Up!” (もっと急げ! Motto Isoge!)2:57
9.“Launching a Dream into Space” (宇宙への夢 Uchū e no Yume)2:50
10.“Countdown” (秒読み開始 Byōyomi Kaishi)0:50
11.“Open Your Heart” (心開けば Kokoro Akeba)2:47
12.“Mako Cannon – The Destruction of Shinra” (魔晄キャノン発射~神羅爆発 Makō Kyanon Hassha ~ Shinra Bakuhatsu)1:33
13.“Judgment Day” (最期の日 Saigo no Hi)4:07
14.“Jenova Complete” (完全なるジェノヴァ Kanzen naru Jenova)3:59
15.“Birth of a God” (神の誕生 Kami no Tanjō)4:11
16.“One-Winged Angel” (片翼の天使 Katayoku no Tenshi)7:19
17.“The Planet’s Crisis” (星の危機 Hoshi no Kiki)8:05
18.“Ending Credits” (スタッフロール Sutaffu Rōru, lit. “Staff Roll”)6:51
Best Classical Music

Beethoven – Symphony No 6 Pastoral (1st movement) Piano solo arr. with sheet music

Beethoven – Symphony No 6 Pastoral (1st movement) Piano solo arr. with sheet music

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The Symphony No. 6 in F major, Op. 68, also known as the Pastoral Symphony (German: Pastorale), is a symphony composed by Ludwig van Beethoven and completed in 1808. One of Beethoven’s few works containing explicitly programmatic content, the symphony was first performed in the Theater an der Wien on 22 December 1808 in a four-hour concert.

Beethoven was a lover of nature who spent a great deal of his time on walks in the country. He frequently left Vienna to work in rural locations. The composer said that the Sixth Symphony is “more the expression of feeling than painting”, a point underlined by the title of the first movement.

The first sketches of the Pastoral Symphony appeared in 1802. It was composed simultaneously with Beethoven’s more famous—and fierier—Fifth Symphony. Both symphonies were premiered in a long and under-rehearsed concert in the Theater an der Wien in Vienna on 22 December 1808.

Frank A. D’Accone suggested that Beethoven borrowed the programmatic ideas (a shepherd’s pipe, birds singing, streams flowing, and a thunderstorm) for his five-movement narrative layout from Le Portrait musical de la Nature ou Grande Symphonie, which was composed by Justin Heinrich Knecht (1752–1817) in 1784.

The symphony has five, rather than the four movements typical of symphonies preceding Beethoven’s time. Beethoven wrote a programmatic title at the beginning of each movement:

No.German titleEnglish translationTempo markingKey
I.Erwachen heiterer Empfindungen bei der Ankunft auf dem LandeAwakening of cheerful feelings on arrival in the countrysideAllegro ma non troppoF major
II.Szene am BachScene by the brookAndante molto mossoB♭ major
III.Lustiges Zusammensein der LandleuteMerry gathering of country folkAllegroF major
IV.Gewitter, SturmThunder, StormAllegroF minor
V.Hirtengesang. Frohe und dankbare Gefühle nach dem SturmShepherd’s song. Cheerful and thankful feelings after the stormAllegrettoF major

The third movement ends on an imperfect cadence that leads straight into the fourth. The fourth movement leads straight into the fifth without a pause. A performance of the work lasts about 40 minutes.

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I. Allegro ma non troppo

The symphony begins with a placid and cheerful movement depicting the composer’s feelings as he arrives in the country. The movement, in 24 meter, is in sonata form, and its motifs are extensively developed. At several points, Beethoven builds up orchestral texture by multiple repetitions of very short motifs. Yvonne Frindle commented that “the infinite repetition of pattern in nature [is] conveyed through rhythmic cells, its immensity through sustained pure harmonies.”

II. Andante molto mosso

The second movement is another sonata-form movement, this time in 128 and in the key of B♭ major, the subdominant of the main key of the work. It begins with the strings playing a motif that imitates flowing water. The cello section is divided, with just two players playing the flowing-water notes on muted instruments, and the remaining cellos playing mostly pizzicato notes together with the double basses.

Toward the end is a cadenza for woodwind instruments that imitates bird calls. Beethoven helpfully identified the bird species in the score: nightingale (flute), quail (oboe), and cuckoo (two clarinets). 
{#(set-global-staff-size 14)
\set Score.proportionalNotationDuration = #(ly:make-moment 1/13)
  \new StaffGroup <<
    \new Staff = "flute" \with {
      instrumentName = #"Fl."
    } {
        \new Voice = "up" \relative c'''{
          \set Staff.midiInstrument = #"flute"
          \stemUp \voiceOne
          \clef treble 
          \once \hide TimeSignature
          \key bes \major
          \time 12/8
          g8^(^"Nachtigall." f) r g^( f) r g^( f) g16^(^> f) g^(^> f) g^(^> f) g^(^> f) f1.~\startTrillSpan f4.~ f16^( \stopTrillSpan  e f8) r
        \new Voice = "down" \relative c”{
          \stemDown \voiceTwo
          R1. R r2.
    \new Staff = "oboe" \with {
      instrumentName = #"Ob."
    } {
        \new Voice = "up" \relative c''' {
          \set Staff.midiInstrument = #"oboe"
          \stemUp \voiceOne
          \key bes \major
          r2. r4. r8^"Wachtel." r8 d16. d32 d8 r r r4 d16. d32 d8 r r r4 d16. d32 d8 r d16. d32 d8 r r
        \new Voice = "down" \relative c''{
            \stemDown \voiceTwo
            R1. R r2.
    \new Staff = "clarinet" \with {
      instrumentName = #"Cl."
    } {
       \new Voice = "up" \relative c''{
          \set Staff.midiInstrument = #"clarinet"
          \transposition bes
          \key c \major
          R1. e8^"Kukuk." c r r4. e8 c r r4. e8 c r e c r
          \new Voice = "down" \relative c''{
          s1. e8 c s s4. e8 c s s4. e8 c s e c s
” width=”792″ height=”240″></p>

<figure class=

III. Allegro

The third movement is a scherzo in 34 time, which depicts country folk dancing and reveling. It is in F major, returning to the main key of the symphony. The movement is an altered version of the usual form for scherzi, in that the trio appears twice rather than just once, and the third appearance of the scherzo theme is truncated. Perhaps to accommodate this rather spacious arrangement, Beethoven did not mark the usual internal repeats of the scherzo and the trio. Theodor Adorno identifies this scherzo as the model for the scherzos by Anton Bruckner.

The final return of the theme conveys a riotous atmosphere with a faster tempo. The movement ends abruptly, leading without a pause into the fourth movement.

IV. Allegro

The fourth movement, in F minor and 44 time, depicts a violent thunderstorm with painstaking realism, building from just a few drops of rain to a great climax with thunder, lightning, high winds, and sheets of rain. The storm eventually passes, with an occasional peal of thunder still heard in the distance. There is a seamless transition into the final movement. This movement parallels Mozart‘s procedure in his String Quintet in G minor K. 516 of 1787, which likewise prefaces a serene final movement with a long, emotionally stormy introduction.[9]

V. Allegretto

The finale, which is in F major, is in 68 time. The movement is in sonata rondo form, meaning that the main theme appears in the tonic key at the beginning of the development as well as the exposition and the recapitulation. Like many finales, this movement emphasizes a symmetrical eight-bar theme, in this case representing the shepherds’ song of thanksgiving.

The coda starts quietly and gradually builds to an ecstatic culmination for the full orchestra (minus “storm instruments”) with the first violins playing very rapid triplet tremolo on a high F. There follows a fervent passage suggestive of prayer, marked by Beethoven pianissimo, sotto voce; most conductors slow the tempo for this passage. After a brief period of afterglow, the work ends with two emphatic F-major chords.

Source: Wikipedia.

Jazz & Blues Music

A History of the Blues Lowell Fulson – Tollin Bells

A History of the Blues
Lowell Fulson – Tollin Bells

Lowell Fulson. Blues guitarist and songwriter. One of the founders of West Coast blues, he recorded steadily from the 1940s through 1990s.

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Blues and Jazz sheet music download.

Jazz & Blues Music

A HISTORY OF THE BLUES – Muddy Waters – I Just Want To Make Love With You

A HISTORY OF THE BLUES – Muddy Waters – I Just Want To Make Love With You

Written by Willie Dixon and first recored in 1954 by McKinley Morganfield, aka Muddy Waters, the father of Chicago blues.

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I don’t want you to be no slave
I don’t want you to wake all day
I don’t want you to be true
I just want to make love to you
I don’t want you to wash my clothes
I don’t want you to keep our home
I don’t want your money too
I just want to make love to you
Love to you
Love to you
Love to you

They tell about the way you
Switch and walk
Now I can see by the way you
Now I can know by the way you
Treat your man
That I could love you baby until’ the
Cryin’ shame
I don’t want you to cook my bread
I don’t want you to make my bed
I don’t want you because I’m sad and blue
I just want to make love to you
Love to you
Love to you
Love to you

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Jazz & Blues Music

Dave Brubeck Trio feat. Gerry Mulligan & Paul Desmond – Berliner Jazztage 1972

● Tracklist:

00:00:23 – Blues for Newport 00:14:14 – All The Things You Are 00:25:21 – For All We Know 00:29:27 – Line for Lyons 00:35:17 – Blessed Are The Poor (The Sermon on The Mount) 00:40:57 – Mexican Jumping Bean 00:47:31 – Sign Off 00:58:44 – Someday My Prince Will Come 01:07:18 – These Foolish Things (That Reminds Me Of You) 01:11:46 – Take The “A” Train

● Personnel:

Dave Brubeck – piano Paul Desmond – alto sax Gerry Mulligan – baritone sax Jack Six – bass Alan Dawson – drums ● Dave Brubeck Trio feat. Gerry Mulligan & Paul Desmond – Berliner Jazztage 1972 Recorded live on November 4th, 1972 at Berliner Philharmonie, Berlin, Germany.

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Jazz & Rock Play Along

Jazz Play Along: Herbie Hancock “Watermelon Man”

Jazz Play Along: Herbie Hancock “Watermelon Man” with sheet music

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Jazz & Blues Music Beautiful Music

Hello, Dolly! Louis Armstrong & Barbra Streisand (1969)

Hello, Dolly! Louis Armstrong & Barbra Streisand (1969) with sheet music

Hello, Dolly! Louis Armstrong & Barbra Streisand (1969) with sheet music sheet music pdf

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Best Classical Music LIVE Music Concerts

Berlioz : Symphonie Fantastique

Berlioz : Symphonie Fantastique

L’Orchestre philharmonique de Radio France dirigé par Myung-Whun Chung interprète la “Symphonie fantastique” d’Hector Berlioz. Enregistré le 13 septembre 2013 à la Salle Pleyel (Paris). 00:35 1er mouvement: Rêveries – Passions. Largo – Allegro agitato e appassionato assai – Religiosamente 15:08 2eme mouvement: Un bal. Valse. Allegro non troppo 22:09 3eme mouvement: Scène aux champs. Adagio 39:53 4eme mouvement: Marche au supplice. Allegretto non troppo 00:00 5eme mouvement: Songe d’une nuit de sabbat. Larghetto – Allegro

La Symphonie fantastique a été créée en 1830, en plein courant du romantisme, l’année de la bataille d’Hernani. Première “musique à programme”, qui fait éclater le cadre strictement classique de la symphonie, elle est un chef-d’œuvre en avance sur son temps, influençant bien des compositeurs romantiques, Liszt, Wagner ou Mahler. Narration à la fois autobiographique et fantasmée de son amour pour l’actrice Harriet Smithson, l’œuvre tourne autour d’une “idée fixe” qui revient de façon obsessionnelle dans les différents mouvements. Après une Introduction lente et incertaine, l’idée fixe est exposée puis développée dans le premier mouvement Allegro.

Une valse légère et célèbre retentit dans le deuxième mouvement “ Un bal”, qui s’achève dans une coda effrénée. L’Adagio de la Scène aux champs commence avec un duo hautbois / cor anglais dressant un paysage champêtre, avant une série de variations rappelant Beethoven. La Marche au supplice, d’une durée courte, est une vision d’horreur où le héros s’imagine avoir tué sa bien-aimée. Le dernier mouvement , Songe d’une Nuit de Sabbat est sans doute celui qui va le plus loin dans les innovations musicales, l’annonce du Dies Irae par deux cloches sonnant dans le vide est sans doute le passage le plus effrayant.

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