Browse in the Library:
Artist or Composer / Score name | Cover | List of Contents |
---|---|---|
Verdi – Libiamo Ne Lieti Calici (La Traviata) (Musescore File).mscz | ||
Verdi – Va pensiero Piano Solo arr. NABUCCO ACTE III Choeur des ésclaves hébreux.mscz | ||
Verdi La dona e mobile Rigoletto Piano Solo with lyrics | ||
Verdi La Dona E Mobile Rigoletto Piano Solo With Lyrics Musescore File.mscz | ||
Verdi Requiem Cambridge Music Handbooks (Book) | ||
Vernon Duke Autumn In New York | ||
Vernon Duke – Autumn In New York (guitar arr. with TABs) | ||
Vertical Horizon – Best I Ever Had | ||
Via con me (Paolo Conte) | ||
Via del Campo (Fabrizio De Andrè) | ||
Vianne Sets Up Shop (Chocolat OST) Rachel Portman | ||
Vicente Amigo Ciudad De Las Ideas (Guitar TAB) | ||
Victor Herbert’s masterpiece Ah Sweet Mystery Of Life | ||
Victor Jara Un Canto Truncado Joan Jara (Book) Español – Spanish Biography – Biografía | ||
Victor Labenske Piano Miniatures 24 Short Solos In All Major And Minor Keys (Intermediate Piano) | Victor Labenske Piano Miniatures 24 Short Solos In All Major And Minor Keys (Intermediate Piano) | |
Victor Wooten Best of – transcribed by Victor Wooten Guitar Tabs | Victor Wooten Best of – transcribed by Victor Wooten Guitar Tabs | |
Victor Young When I Fall In Love | ||
Victor Young – Blue Star The Medic Theme | ||
Victor Young – Stella By Starlight Jazz Standard | ||
Victor Young – When I Fall In Love | ||
Victor young – When I Fall In Love Sheet Music as recorded by Celine Dion and Clive Griffin (fromm Sleepless in Seate) | ||
Victor Young (Bill Evans) – When I Fall In Love (Musescore File).mscz | ||
Victor Young And Peggy Lee Johnny Guitar | ||
Victor Young Around the World (piano solo sheet music) | Victor Young Around the World (piano solo sheet music) | |
Victor Young Around The World In 80 Days Easy Piano Solo | ||
Victor Young Love Letters (Piano Solo arr.) | ||
Victor Young Stella by Starlight | Stella-By-Starlight-Victor-Young | |
Victor Young Stella By Starlight Easy Piano Solo | ||
Victor Young Stella By Starlight Victor Young & Ned Washington Sheet Music 1946 Jazz Standard (Vintage sheet music) | ||
Vida Y Arte De Glenn Gould – by Bazzana Kevin (Español Spanish) | ||
Viktor Semenuita Suite The Spring Awakening for Guitar quartet | ||
Villa-Lobos – 12 Guitar Etudes (Doze Estudios para Violao) | ||
Villa-Lobos – Bachiana Brasileira no. 4 | ||
Villa-Lobos – Bachianas Brasileiras No. 5 – Aria (Cantilena) partitura | ||
Villa-Lobos – Choros (N°1) Guitar Sheet Music (Musescore File).mscz | ||
Villa-Lobos – Prelude N° 3 (Musescore File).mscz | ||
Villa-Lobos -Etude №1 (Musescore File).mscz | ||
Villa-Lobos A Lenda do Caboclo | Villa-Lobos Lenda do Caboclo | |
Villa-Lobos Five Preludes for Guitar, W419 | Wes Montgomery The Early Years (Mel Bay) Jazz Guitar Solos Tablature | |
Villa-Lobos Guia Patrico Album 2 | Villa-Lobos-GP-Album-2 | |
Villa-Lobos Guia Patrico Album 3 | Villa-Lobos Guia Patrico Album 3 | |
Villa-Lobos Prelude 1 for Guitar | Villa-Lobos prelude 1 | |
Villa-Lobos Prelude No 1 (Musescore File).mscz | ||
Villa-Lobos Tristorosa Guitar arr. by Gorbunov | ||
Villa-Lobos, Heitor – Obras Completas (complete works for GUITAR) | Villa-Lobos obra completa guitarra | |
Villa-Lobos, Heitor – Aria (Cantilena) arr. for voice and guitar | Villa-Lobos, Heitor – Aria (Cantilena) arr. for voice and guitar | |
Villa-Lobos, Heitor – Bachianas Brasileiras No 4 No 2 – Choral Song Of The Jungle | ||
Villa-Lobos, Heitor – Saudades das selvas brasileras (pour piano) | Villa-Lobos – Saudades das selvas brasileras | |
Vince Guaraldi A Charlie Brown Christmas | Vince Guaraldi A Charlie Brown Christmas | |
Vince Guaraldi Christmas Time Is Here | ||
Vince Guaraldi Linus And Lucy (Piano Solo) Peanuts Theme | Vince Guaraldi Linus And Lucy (Piano Solo) Peanuts Theme | |
Vince Guaraldi – Cast Your Fate To The Wind | Vince Guaraldi – Cast Your Fate To The Wind | |
Vince Guaraldi – Linus And Lucy (Piano Solo) Peanuts Theme (Musescore File).mscz | ||
Vince Guaraldi A Charlie Brown Christmas For Solo Jazz Guitar with TAB | Vince Guaraldi A Charlie Brown Christmas For Solo Jazz Guitar with TAB | |
Vince Guaraldi A Charlie Brown Christmast Beginning Piano Solos | Vince Guaraldi A Charlie Brown Christmast Beginning Piano Solos | |
Vince Guaraldi Collection 9 transcriptions | Vince Guaraldi Collection 9 transcriptions | |
Vince Guaraldi The Christmas Song | ||
Vince Guaraldi The Christmas Song (Mel Tormé and Robert Wells) Piano Solo | Vince Guaraldi The Christmas Song (Mel Tormé and Robert Wells) Piano Solo | |
Vineyard Songbook (2011) Guitar Songchords | Vineyard Songbook (2011) Guitar Songchords | |
Vinicius De Moraes Vols 1,2 & 3 Guitar | Vinicius de Moraes 1,2 & 3 books | |
Vinnie Moore Masterclass (audio Mp3 Tab And Backing Track) GUITAR TABS and Al Di Meola Reh Video Booklet | ||
Violin Songs Big Book Of (Songbook) 130 songs | Violin Songs Big Book Of (Songbook) 130 songs | |
Virtuosity And The Musical Work The Transcendental Studies Of Liszt By Jim Samson Book | ||
Vittorio Monti Czardas (Piano Solo arr.) | ||
Vittorio Monti Czardas Piano violin arr. by J. Godderis | ||
Viva Italia Songbook A Travelogue In Song Piano Vocal Chordsby Curt Appelgren | Viva Italia Songbook A Travelogue In Song Piano Vocal Chordsby Curt Appelgren | |
Viva La Vida – Coldplay (Musescore File).mscz | ||
Vivaldi Largo Concerto D Guitar Arr | ||
Vivaldi Summer The Four Seasons Piano Solo Arr. | Vivaldi Summer The Four Seasons Piano Solo Arr. | |
Vivaldi The Four Seasons (Piano Solo Arrangement) | ||
Vivaldi The Four Seasons Guitar arr. (A Suite of Themes) by Alxander Glüklikh | ||
Vivaldi Violin Concerto In F Major Op. 8 No. 3 Rv. 293 Autumn For Solo Piano | Vivaldi Violin Concerto In F Major Op. 8 No. 3 Rv. 293 Autumn For Solo Piano | |
Vivaldi – Concert in G minor Summer arr. violin and piano | ||
Vivaldi – Concerto No. 2 In G Minor Op. 8 Rv 315mov. 3 Presto Summer L’estate Piano Solo Arr. (Musescore File).mscz | ||
Vivaldi – Concerto No. 2 in G minor, Op. 8, RV 315 mov. 3 Presto Summer L’estate Piano Solo arr. sheet music | Vivaldi – Concerto No. 2 in G minor, Op. 8, RV 315 mov. 3 Presto Summer L’estate Piano Solo arr. sheet music | |
Vivaldi – Summer The Four Seasons Piano Solo arr..mscz | ||
Vivaldi – Winter Guitar Arr. Based On Violin Concerto In F Minor Rv 297 L’inverno (Sheet Music) (Musescore File).mscz | ||
Vivaldi – Winter Guitar arr. based on Violin Concerto in F minor, RV 297 L’inverno (sheet music) | Vivaldi – Winter Guitar arr. based on Violin Concerto in F minor, RV 297 L’inverno (sheet music) | |
Vivaldi Gloria Piano Reduction | ||
Vivaldi Master Musicians Series (Book) Biography by Michael Talbot | ||
Vivo Per Lei – Bocelli | ||
Vivo per lei (Bocelli – Giorgia) | ||
VK Vanros Kloud Wings Of Piano | ||
Vladimir Cosma Les Musiques De Films Vol 2 | Vladimir Cosma Les Musiques De Films Vol 2 | |
Vladimir’s Blues (Musescore File).mscz | ||
Volker Bertelmann – Lion Main Theme sheet music | ||
Volodos Mozart’s Turkish March From Sonata No. 11 | ||
Volodos – Rachmaninoff Where Beauty Dwells Melodiya Op. 21 No. 7 Version Putsmeiser Piano Solo | ||
Volumia – Afscheid | ||
Volumia – Hou Me Vast | ||
Vorrei (Lunapop) | ||
W.C. Handy The St. Louis Blues | W.C. Handy The St. Louis Blues | |
W.C. Handy – The St. Louis Blues (Musescore File).mscz | ||
W.E. – Evgenis Waltz Abel Korzeniowski | ||
Wagner – Die Meistersinger von Nürnberg – complete (arr. for piano solo & voice) | Wagner – Die Meistersinger… | |
Wagner – Die Meistersinger von Nürnberg -Vorspiel (arr. 2 for pianos) | Wagner – Die Meistersinger…Vorspiel | |
Wagner – Die Walküre Ride of the Valkyries (arr. 2 for pianos) | Wagner – Die Walküre | |
Wagner – Isoldens Liebestod For Two Pianos | ||
Wagner – Parsifal – Entrance into the Castle of the Holy Grail (arr. piano) | ||
Wagner – Prélude To Lohengrin (Musescore File).mscz | ||
Wagner – Prélude to Lohengrin (piano solo arr.) | ||
Wagner – Ride of the Valkyries – piano solo arr. | Wagner Ride of the Valkyries | |
Wagner – Ride of the Valkyries (Piano solo) | Wagner – Ride of the Valkyries (Piano solo) | |
Wagner – Ride Of The Valkyries (Piano Solo) (Musescore File).mscz | ||
Wagner – Tannhäuser Pilgrims Chorus – Richard Wagner Piano Solo with guitar Chords | ||
Wagner – Tristan und Isolde – Isoldes Liebestod (arr. piano solo) | ||
Wagner – Tristan und Isolde Prelude & Isoldes Liebestod (arr. for 2 pianos) | Wagner – Tristan und Isolde | |
Wagner Ouverture Thanhauser (Musescore File).mscz | ||
Wagner Siegfried’s Funeral March From Götterdämmerung (Piano Solo) (Musescore File).mscz | ||
Wagner Tannhauser Piano Solo arr. | Wagner Tannhauser Piano Solo arr. | |
Wagner-Busoni – Funeral March (Il Crepuscolo degli Dei) arr. piano solo | Wagner-Busoni Funeral March | |
Wagner, Richard TANNHÄUSER Piano solo arr. J. Doebber | ||
Waiss Elena Andante From Mi Amigo El Piano (Musescore File).mscz | ||
Waiss, Elena Mi Amigo El Piano | ||
Waitress (The Musical) – Opening Up Sara Bareilles (Voice and Piano) | Waitress sheet music | |
Walking In The Footsteps Of Paul Chambers (Bass technique) | Walking In The Footsteps Of Paul Chambers | |
Walt Disney Pictures Intro (Musescore File).mscz | ||
Walter Carroll Tunes From Nature First Piano Lessons Easy Pieces For Beginners (Vintage sheet music) | ||
Walter Kent – White Cliffs Of Dover | ||
Waltz – Boston (Alexander Rozenbaum) |
Jazz: Keith Jarrett – The Art of Improvisation. Exclusive Interviews with Keith Jarrett, Gary Peacock and Jack Dejohnette.
Keith Jarrett’s sheet music transcriptions are available from our Library.
Keith Jarrett: The Art of Improvisation
While he can often engender all manner of contention and argument, it’s unquestionable that Keith Jarrett is one of the most significant pianists to emerge in the second half of the 20th Century.
An artist who has done it all — performed his own sometimes lyrical, sometimes free-spirited compositions with two groundbreaking quartets in the ’70s; taken solo improvisation to a whole new level with a series of important recordings, including the classics Facing You and The Köln Concert.
Contributed a fresh spontaneity to the Great American Songbook with his Standards Trio; tackled the challenging classical repertoires of Bach, Mozart and Shostakovich and composed his own classical works; and played in landmark groups including Charles Lloyd in the ’60s and Miles Davis in the ’70s — Jarrett is also more than a little enigmatic.
Fastidious, perfectionist and, some might argue, highly controlled in his life, Jarrett paradoxically defines the concept of pure abandon in his playing.
With a life’s work that, classical repertoire aside, has always been about spontaneous creation, Jarrett is in an especially capable position to shed light on the true meaning of improvisation.
And so, British producer/director Mike Dibb, responsible for ’02’s The Miles Davis Story, has fashioned a new documentary which, while never explicitly defining what that elusive meaning is, nevertheless manages — after 85 minutes and a series of remarkably erudite interviews with Jarrett and those who have been close to him over the past 30 years — to create a vivid impression that is both inspirational to aspiring musicians and uniquely clarifying to others who want to understand the process of how musicians create something out of nothing.
Rather than present a chronological examination of Jarrett’s life thus far, Dibb chooses, much like Jarrett’s own work, to use a seemingly non-linear approach that focuses on Jarrett’s improvisational process although, in the final analysis — just like Jarrett’s extemporization — there is an arc.
Beginning with the Standards Trio, then jumping back to his early days and ultimately ending with his European Quartet including saxophonist Jan Garbarek, bassist Palle Danielsson and drummer Jon Christensen, what becomes evident is that Jarrett’s goal has essentially been the same as when, precociously, he would add both his own original compositions and spontaneous creations to the classical repertoire of recitals dating back as early as when he was only eight years old.
Amongst the many interviews with past and present collaborators including Garbarek, Danielsson, Christensen, Charlie Haden, Gary Peacock, Jack DeJohnette, Chick Corea, Gary Burton and Dewey Redman, perhaps the most significant footage is that with ECM label owner and producer Manfred Eicher, with whom Jarrett found the perfect creative partner early in his career.
Keith Jarrett goes as far as saying that his albums are the product of two people — himself and Eicher — which is a significant distinction.
That Eicher has recorded far more Jarrett performances than have ever been or will ever be released in order to catch those moments of pure magic, those performances where Jarrett alone or with a group is truly at the moment, also demonstrates the high standard and level of discernment that both he and Jarrett apply to deciding what will ultimately be commercially distributed.
That Jarrett has, for 20 years, chosen only to document live performances, rather than record in the studio, is another distinction, one that points to a belief that the audience is, indeed, an integral part of each and every performance.
Jarrett comes across as deeply committed, albeit unquestionably idiosyncratic and unapologetically purist; while he admits to enjoying his time with Miles Davis — the only time in his career where he totally gave up acoustic piano for electric instruments — he also dismisses his electric work by calling such instruments “toys.
Few, if any, pianists other than Jarrett insist that a choice of pianos be provided for each performance, so that he can choose the best one for the concert hall. And the sheer physicality of his playing, along with his total and absolute involvement with the music to the exclusion of anything else, paints a unique picture — as does his level of communication.
Virtually all concert footage — including performances with Lloyd, Miles, the Standards Trio, and the American and European Quartets — demonstrates the incredible interaction that exists at every performance.
Jarrett has, in recent years, come under criticism with regard to the Standards Trio which, at over 20 years, is the longest-lasting group of his career — and, with rare exception, is one of the longest collaborations in the jazz period. Some say that the group has lost its creative edge.
But watching the footage of the trio, and listening to Jarrett, Peacock and DeJohnette discuss how little rehearsal takes place — in fact, rehearsals typically only occur in sound checks before concerts, and it’s not uncommon for the trio to work on something at a sound check and never actually play it in concert — one is truly drawn into the sense of adventure applied to every performance.
And the performance footage, in concert with the interview clips, manages to demonstrate the kinds of risks the trio take with each and every tune; how any one of the members can suggest a new direction with complete confidence that the others will follow.
By the time Dibb’s documentary reaches its end, one may not be able to explicitly define the art of improvisation, but there are profound conclusions implicitly reached. And the documentary compels one to either play some Jarrett recordings or, if Jarrett’s music is new to the viewer, to go out and find some.
The level of excitement and discovery is so vivid that even those who have become jaded with Jarrett in recent times may find themselves with renewed interest. While some bemoan Jarrett’s abandonment of writing, what becomes clear — and Jarrett articulates this at one point — is that every performance involves the act of composition. And that, perhaps more than anything, is the true meaning of improvisation.