Browse in the Library:
Artist or Composer / Score name | Cover | List of Contents |
---|---|---|
All Sondheim Vol IV Music and lyrics | All Sondheim Vol IV Music and lyrics | |
All That Jazz piano-vocal Arrangement | ||
All The Things You Are (Guitar And Tabs) | All The Things You Are (Guitar And Tabs) | |
All The Things You Are (Guitar And Tabs) (Musescore File).mscz | ||
All The Things You Are By Jerome Kern Guitar Transcription | ||
All The Things You Are Jerome Kern Oscar Hammerstein 2nd 1940 Jazz Standard (Vintage sheet music) | ||
All Time Standards (Songbook) Jazz Guitar Tablature Chord Melody Solos (Jeff Arnold) | All Time Standards (Songbook) Jazz Guitar Tablature Chord Melody Solos (Jeff Arnold) | |
All Time Standards Piano (Arr. Gabriel Bock) | All Time Standards Piano (Arr. Gabriel Bock) | |
All You Need Is Ears George Martin with Jeremy Hornsby 1979 (Book) The story o the recording genius who created The Beatles | ||
Allan Holdsworth Just for the curious book Guitar with Tablature | ||
Allan Holdsworth Melody Chords For Guitar | ||
Allan Holdsworth Super Guitarist with TABs | Allan Holdsworth Super Guitarist with TABs | |
Alle prese con una verde Milonga (Paolo Conte) | ||
Allevi, Giovanni – Back To Life | ||
Allie Wrubel – Gone with the Wind | ||
Allman Brothers Guitar Songbook | Allman Brothers Guitar Songbook | |
Allman Brothers, Best Of The (Piano, Vocal, Guitar) | Allman Brothers, Best Of The (Piano, Vocal, Guitar) | |
Allman Brothers, The – The Definitive Collection For Guitar Vol 1 with Tablature | Allman Brothers, The – The Definitive Collection For Guitar Vol 1 | |
Alma Redemptoris Mater | ||
Almeno tu nell’universo (Mia Martini) | ||
Almir Chediak Ivan Lins Guitar Songbook Vol 2 | Ivan Lins Guitar Songbook Vol 1 by Almir Chediak | |
Alok – Hear Me Now Sheet Music | ||
Alone together (Howard Dietz & Arthur Schwartz) | Alone together (Howard Dietz Arthur SchwArtz) | |
Alone Together (Musescore File).mscz | ||
Alone Togheter Guitar Solo Transcription Jazz Standard | ||
Alphaville Forever Young (piano & Guitar) | Alphaville Forever Young (piano & Guitar) | |
Also Sprach Zarathustra Op. 30 – Richard Strauss (Musescore File).mscz | ||
Alternative Rock Sheet Music Collection | Alternative Rock Sheet Music Collection | |
Always on my mind – Elvis Presley – easy arrangement for piano, with fingering | ||
Amadeus – W.A. Mozart (film score arr. for piano solo by D. Fox) | Amadeus – W.A.Mozart | |
Amadeus (original soundtrack piano solo arrangements) | Amadeus (Film score book) Piano Solos | |
Amalia Rodriguez FADOS Melodias De Sempre (GUITAR) | Amalia Rodriguez FADOS Melodias De Sempre (GUITAR) | |
Amando amando (Renato Zero) | ||
Amar Pelos Dois (Salvador Sobral) | ||
Amarcord (Nino Rota) | ||
Amazing Grace – Tradicional (Piano ) | ||
Amazing Grace Traditional (Jazzy ver. sheet music) | ||
Amazing Phrasing – Guitar 50 Ways to Improve Your Improvisational Skills (Guitar TABs Amazing Phrasing) (Tom Kolb) | Amazing Phrasing – Guitar 50 Ways to Improve Your Improvisational Skills (Guitar TABs Amazing Phrasing) (Tom Kolb) | |
Amelie Poulain – 6 pieces for piano – Yann Tiersen – Yann Tiersen | ||
America (My Country ‘Tis of Thee Easy Piano Level 2 | ||
America Greatest Hits Piano Vocal Guitar chords | America Greatest Hits Piano Vocal Guitar chords | |
America Greatest Hits (piano & Guitar) | America greatest | |
America Horse With No Name Piano vocal | America Horse With No Name Piano vocal | |
America’s Songs The Stories Behind The Songs Of Broadway, Hollywood, And Tin Pan Alley (Philip Furia, Michael Lasser) Book | ||
American Folk Songs For Guitar with Tablature | American Folk songs | |
American Folk Songs, My First Book of – Bergerac | ||
American Indian Melodies A. Farwell Op.11 (1901) | American Indian Melodies A. Farwell Op.11-min | |
American Pie (sheet music) | ||
American Popular Music (Book) by Larry Starr and Christopher Waterman | ||
Americana – Alegre, Magín (Guitarra) | Americana – Alegre, Magín (Guitarra) | |
Amici Miei (Carlo Rustichelli) | ||
Amor mio (Battisti) | ||
Amore bello (Claudio Baglioni) | ||
Amy Beach – Op.15 Four Sketches in Autumn | ||
Amy Grant – Breath Of Heaven | ||
Amy MacDonald This Is The Life | AMY MACDONLAD | |
Amy Winehouse – Valerie | ||
Amy Winehouse – Valerie (sheet music) | ||
Amy Winehouse Amy Amy Amy | ||
Amy Winehouse Back To Black Songbook | Amy Winehouse Back To Black Songbook | |
Amy Winehouse Frank Songbook | Amy Winehouse Frank | |
Amy Winehouse I Heard Love Is Blind | ||
Amy Winehouse Just Friends | ||
Amy Winehouse Rehab | ||
Amy Winehouse You Know Im No Good | ||
An affair to remember (Harry Warren) | ||
An American In Paris An George Gershwin (Concert Band)An American In Paris An George Gershwin (Concert Band) Arr. by Naohiro Iwai | ||
An American Tail – The Marketplace – James Horner | ||
An Introduction To Bach Studies (eBook) | ||
An Irish Blessing (Musescore File).mscz | ||
An Irish Blessing (SATB) Choral | An Irish Blessing (SATB) | |
Analisis musical claves para entender e interpretar la Música (M. y A. Lorenzo) Español | ||
Analysis Of Tonal Music An Schenkerian Approach Allen Cadwallader and David Gagné (Book) | ||
Analyzing Bach Cantatas by Eric Chafe (eBook) | ||
Analyzing Schubert by Suzannah Clark (Cambridge Un. Press) (eBook) | ||
Anastacia Not That Kind Songbook | Anastacia songbook | |
Anastasia Once Upon A December arr. by John Brimhall (Piano Solo 2 Versions Easy And Intermediate) | ||
Anastasia Sheet Music songbook Piano & vocal | Anastasia Sheet Music songbook Piano & vocal | |
Ancora ancora ancora (Mina) | ||
Ancora qui (Django Unchained) Elisa – Ennio Morricone | ||
And the Waltz goes on (Anthony Hopkins) | ||
Andante (from String Quartet op. 22) P. I. Tchaikovsky | ||
Anderson Freire – So Voce Piano | ||
Andras Schiff – Music Comes Out Of Silence Book | ||
Andre Gagnon – L’air Du Soir | ||
Andre Gagnon – Le Reve De L’automne (sheet music Collection) | Andre Gagnon – Le Reve De L’automne (sheet music Collection) | |
Andre Gagnon – Les Jours Tranquilles | Andre Gagnon – Les Jours Tranquilles | |
Andre Gagnon – Meguriai | ||
Andre Gagnon – Nelligan | ||
Andre Gagnon – Petite Nostalgie | ||
Andre Gagnon – Reves D’Automne | Andre Gagnon – Reves D’Automne | |
Andre Gagnon – The Very Best Of Andre Gagnon (Sheet Music Songbook) | Andre Gagnon – The Very Best Of Andre Gagnon (Sheet Music Songbook) | |
Andre Gagnon Ciel D’Hiver | ||
Andre Gagnon Entre Le Boeuf et l’Ane Gris Musique Traditionelle | ||
André Gagnon L’air Du Soir | ||
Andre Gagnon Neiges | ||
André Gagnon Nelligan | ||
André Gagnon Origami | ||
André Gagnon Pensées Fugitives | ||
Andre Gagnon Pensées Fugitives | ||
André Gagnon Piano Solitude | Gagnon, André Piano Solitude | |
Andre Gagnon Prologue | ||
André Gagnon Selection Speciale de chansons (partitions musicales) | André Gagnon Selection Speciale de chansons (partitions musicales) | |
André Gagnon Un Piano Sur La Mer (Piano Solo Partition Sheet Music) | Gagnon André Un Piano Sur La Mer (Piano Solo Partition Sheet Music) | |
Andre Popp Paul Mauriat Love Is Blue Piano Solo Arr. | ||
André Previn – Play Like André Previn no. 1 | Andre Previn sheet music | |
Andre Previn – The Genius of (Piano Solos sheet music) | The genius of André Previn | |
Andre Rieu La Vie Est Belle (Songbook Collection As Performed By André Rieu) | Andre Rieu La Vie Est Belle (Songbook Collection As Performed By André Rieu) | |
Andrea Bocceli – Time To Say Goodbye | ||
Andrea Boccelli – Time To Say Goodbye | ||
Andrea Bocelli Romanza songbook (Guitar & Voice) | Andrea Bocelli Romanza songbook | |
Andrea Bocelli – Anthology (songbook) | ||
Andrea Bocelli – Con te partiro (Time to say Goodbye) Piano Solo arr | Andrea Bocelli – Con te partiro (Time to say Goodbye) Piano Solo | |
Andrea Bocelli – Con te partiro (Time to say Goodbye) Piano Solo.mscz | ||
Andrea Bocelli – The Best Of Songbook | Andrea Bocelli best of | |
Andrea Bocelli Celine Dion The Prayer Easy Piano And Vocal By David Foster, Carole Bayer Sager, Alberto Testa And Tony Renis | ||
Andrea Bocelli Celine Dion – The Prayer – Easy Piano and Vocal by David Foster, Carole Bayer Sager, Alberto Testa and Tony Renis.mscz | ||
Andrea Bocelli Cieli Di Toscana (Piano, guitar & Vocal) | Andrea Bocelli Cieli Di Toscana | |
Andrea Bocelli Sogno Songbook | Andrea Bocelli sogno | |
Andrea Bocelli The Prayer |
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.