Browse in the Library:
Artist or Composer / Score name | Cover | List of Contents |
---|---|---|
Alan Silvestri Contact Main Thitle Piano Solo | ||
Alan Silvestri The Avengers | Alan Silvestri The Avengers | |
Alan Walker – Faded | ||
Alan-Menken – Enchanted (Disney) | Enchanted Piano Vocal Guitar | |
Alanis Morisette – Hand In My Pocket | ||
Alanis Morisette – Hands Clean | ||
Alanis Morisette – Ironic | ||
Alanis Morisette – Thank You | ||
Alanis Morisette – That I Would Be Good | ||
Alanis Morisette – Uninvited | ||
Alanis Morisette – You Oughta Know | ||
Alanis Morrissete You Oughta Know Sheet Music | ||
Alban Berg – Schliesse Mir Die Augen Beide (Musescore File).mscz | ||
Alban Berg – Schliesse mir die Augen beide (Piano and voice Noten) | ||
Albeniz Isaac – Tango In D – Para Piano | Albeniz, Isaac – Tango In D – Para Piano | |
Albeniz For Acoustic Guitar with Audio MP3 by Laurindo Almeida | Albeniz for acoustic guitar with audio MP3 | |
Albeniz Suite Española V (Musescore File).mscz | ||
Albéniz, Isaac – Capricho Catalán (Op. 165 no. 5) (Guitarra – Guitar) | ||
Albéniz, Isaac – Capricho Catalán (Op. 165 no. 5) (Piano) | ||
Albert Ammons 5 Boogie Woogie Piano Solos Sheet Music | Albert Ammons 5 Boogie Woogie Piano Solos Sheet Music | |
Albert Ammons – Boogie Woogie Stomp | ||
Albert Ammons – Monday Struggle | Albert Ammons – Monday Struggle | |
Albert Ammons – Shout For Joy | Albert Ammons – Shout For Joy | |
Albert Ammons – Swanee River Boogie Woogie | ||
Albert Harris Sonatina Guitar Solo | ||
Albert Harris Variations And Fugue On A Theme Of Haendel (Guitar) | ||
Albert King The Very Best Of Albert King (Guitar TABs) | Albert King The Very Best Of Albert King | |
Albert Lee – The Best Of Albert Lee Guitar Tabs | Albert Lee – The Best Of Albert Lee Guitar Tabs | |
Albinoni – Adagio (Piano Solo Version) | ||
ALBINONI-Adagio | ||
Album of Russian piano music | Russian music 1 | Russian music 2 |
Album Of Scandinavian Piano Music By Louis Oesterle Vol. 1 (25 Pieces) 1902 | Album Of Scandinavian Piano Music By Louis Oesterle Vol. 1 (25 Pieces) 1902 | |
Alegre Magín – Americana (Guitarra) Habanera (Musescore File).mscz | ||
Alegria Cirque Du Soleil Piano Vocal Guitar Chords Sheet Music | ||
Alejandro Sanz – Amiga Mia | ||
Alejandro Sanz – La Margarita Dijo No | ||
Alejandro Sanz – Y Si Fuera Ella | ||
Aleksander Vertinskiy songbook | Aleksander Vertinskiy songbook | |
Alex North – Spartacus Love Theme (piano sheet music) | Alex North Spartacus Love Theme | |
Alex North Spartacus Love Theme (Lead sheet) | Alex Norrth SpArtacus | |
Alexander Scriabin 24 Preludes Op. 11 1 To 12 Musescore File.mscz | ||
Alexandra Streliski Burnout Fugue | ||
Alexandra Streliski Le Noveau Dèpart | ||
Alexandra Streliski Par La Fenêtre De Théo | ||
Alexandra Streliski Plus Tôt | ||
Alexandra Strevisky Pianoscope | Alexandra Strevisky Pianoscope | |
Alexandre Desplat Elisas Theme Piano from The shape of water | ||
Alexandre Desplat The Shape Of Water Main Theme | ||
Alexandre Desplat – Lust Caution | Alexandre Desplat – Lust Caution | |
Alexandre Desplat – The Imitation Game | ||
Alexandre Desplat – The Meadow New Moon Piano solo Sheet Music | ||
Alexandre Desplat Almost A Kiss (From The Film New Moon) | ||
Alexandre Desplat and Lang Lang Kitty,s Theme from The Painted Veil | Alexandre Desplat and Lang Lang Kitty,s Theme from The Painted Veil | |
Alexandre Desplat Brunos Theme From Suite Fran?aise | ||
Alexandre Desplat Full Moon (From The Film New Moon) | ||
Alexandre Desplat My Week With Marilyn – Marilyn’s Theme | ||
Alexandre Desplat Ost Godzilla Main Theme | ||
Alexandre Desplat The Danish Girl Theme Piano Solo | ||
Alexandre Desplat The Imitation Game | ||
Alexandre Desplat The King Speech | Alexandre Desplat The King Speech | |
Alexandre Desplat The Power Plant from Godzilla | ||
Alexandre Desplat The Wonder Of Life | ||
Alexandrov Piano Works Vol I | ||
Alexandrov Works for Piano Vol II | ||
Alexandrov Works for Piano Vol III Sonatas | ||
Alexandrov, Anatoly 6 Preludes For Piano Op. 1 (1961) | ||
Alexis Ffrench – Bluebird | ||
Alfred Basic Adult Christmas Book Level 1 | ||
Alfred Basic Repertoire Level 4 | ||
Alfred Brendel A Pianists A-Z A Piano Lovers Reader Book | Andrew Hill 21 Piano Compositions | |
Alfred’s Basic Adult Piano Course Level 1 | Lessons Alfred’s Basic Adult Piano Course Level 1 | |
Alfred’s Basic Adult Piano Course Level 2 | Lessons Alfred’s Basic Adult Piano Course Level 2 | |
Alfred’s Basic Adult Piano Course Level 3 | Lessons Alfred’s Basic Adult Piano Course Level 3 | |
Alfred’s Basic Piano Level 2B | ||
Alfred’s Basic Piano Level 4 Jazz Rock Course | ||
Alfred’s Basic Piano Library Essentials Of Jazz Theory Book 2 | Alfred’s Basic Piano Library Essentials Of Jazz Theory Book 2 | |
Alfred’s Basic Piano Library – Solo Book Complete Levels 2 & 3 for the later beginner | Alfred’s Basic Piano Library – Solo Book Complete Levels 2 & 3 for the later beginner | |
Alfred’s Basic Piano Library – Top Hits! Solo Book – Level 4 | ||
Alfred’s Basic Piano Library Essentials Of Jazz Theory Book 1 | Alfred’s Basic Piano Library Essentials Of Jazz Theory Book 1 | |
Alfred’s Basic Piano Library Essentials Of Jazz Theory Book 3 | Alfred’s Basic Piano Library Essentials Of Jazz Theory Book 3 | |
Alfred’s Basic Piano Library Lesson Book Level 3 | ||
Alfred’s Teach Yourself To Play Guitar Everything You Need To Know To Start Playing The Guitar! (with Tablature) | ||
Alfred’s Essentials Of Music Theory, Complete (Andrew Surmani, Karen Farnum Surmani Etc.) Sheet Music | ||
Ali and Nino (Dario Marianelli) | ||
Alice Coltrane Monument Eternal (book) The Music of – by Franya J. Berkman | ||
Alice In Chains Dirt Full album Guitar TAB with lyrics | Alice In Chains Dirt Full album Guitar TAB with lyrics | |
Alicia Keys – A Woman’s Worth | Alicia Keys – A Woman’s Worth | |
Alicia Keys – A Womans Worth | ||
Alicia Keys – And I | ||
Alicia Keys – As I Am (Songbook) | ALICIA KEYS SONGBOOK | |
Alicia Keys – Butterflyz | ||
Alicia Keys – Diary | ||
Alicia Keys – Fallin | ||
Alicia Keys – Fallin’ (Sheet Music – Piano) | Alicia Keys – Fallin’ (Sheet Music – Piano) | |
Alicia Keys – Goodbye | ||
Alicia Keys – How Come You Dont Call Me | ||
Alicia Keys – If I Aint Got You | ||
Alicia Keys – Impossible | ||
Alicia Keys – Never Felt This Way | ||
Alicia Keys Diary Song Book | ALICIA KEYS DIARY SONGBOOK | |
Alicia Keys The Element Of Freedom Songbook | ALICIA KEYS | |
Alicia Keys Unplugged | ALICIA KEYS UNPLUGGED | |
Alkan, Charles Valentin Concerto For Solo Piano 1st Movement Opus 39 No. 8 In G Minor (Piano Solo Reduction) | ||
All 4 One – I Can Love You Like That | ||
All 4 One – I Swear | ||
All American Folk Complete Sheet Music Editions Volume One (Creative Concepts Publishing Corp.) | All American Folk Complete Sheet Music Editions Volume One (Creative Concepts Publishing Corp.) ( | |
All Blues For Jazz Guitar Comping Styles Chords And Grooves by Jim Ferguson Guitar Tablature | All Blues For Jazz Guitar Comping Styles Chords And Grooves by Jim Ferguson Guitar Tablature | |
All Blues Soloing For Jazz Guitar – Jim Gerguson Play Along (Book + audio MP3) with Tablature | All Blues Soloing jazz guitar | |
All By Myself – Celine Dion (Musescore File).mscz | ||
All I Want For Christmas Is You (Musescore File).mscz | ||
All Of Me – Jazz Standard Stride Piano arr. Gerald Marks and Seymour Simons | All of me (Gerald Marks and Seymour Simons) Jazz Piano Solo arr. sheet music | |
All Of Me – Jazz Standard Stride Piano Arr. Gerald Marks And Seymour Simons (Musescore File).mscz | ||
All Of Me Fingerstyle Guitar TABs By Lucas Brar Jazz Standard (Gerald Marks and Seymour Simons) | All Of Me Fingerstyle Guitar TABs By Lucas Brar Jazz Standard | |
All Of Me Gerald Marks & Seymour Simons 1931 Jazz Standard (Vintage sheet music) | All Of Me Gerald Marks & Seymour Simons 1931 Jazz Standard (Vintage sheet music) | |
All Of The Jazz Standard Vol. 1 | All Of The Jazz Standard Vol. 1 | |
All Of The Jazz Standard Vol. 2 | All Of The Jazz Standard Vol. 2 | |
All Saints – Never Ever | ||
All Sondheim Vol I Music and lyrics | All Sondheim Vol I Music and lyrics | |
All Sondheim Vol II Music and lyrics | All Sondheim Vol II Music and lyrics | |
All Sondheim Vol III Music and lyrics | All Sondheim Vol III Music and lyrics |
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.