Categories
Beautiful Music

Leonard Cohen – So Long, Marianne (1967)

Leonard CohenSo Long, Marianne

Lyrics

Won’t you come over to the window, my little darling
I’d like to try to read your palm
You know I used to think I was some kind of gypsy boy
Before I let you take me home

So long, Marianne, it’s time that we began
To laugh and cry and cry and laugh about it all again

Well you know, I love to live with you
But you make me forget so very much
I forget to pray for the angels
And then the angels forget to pray for us

So long, Marianne, it’s time that we began
To laugh and cry and cry and laugh about it all again

How we met when was it, we were almost young
Was down by the green lilac park
You held on to me like I was a crucifix
As we went kneeling through the dark

So long, Marianne, it’s time that we began
To laugh and cry and cry and laugh about it all again

So long, Marianne, it’s time that we began
To laugh and cry and cry and laugh about it all again

For now I need your hidden love
I’m cold as a new razor blade
You left when I told you I was curious
I never said that I was brave

So long, Marianne, it’s time that we began
To laugh and cry and cry and laugh about it all again

Oh, you are really such a pretty one
I see you’ve gone and changed your names again
And just when I climbed this whole mountainside
To wash my eyelids in the rain!

So long, Marianne, it’s time that we began
To laugh and cry and cry and laugh about it all again
Oh, oh, so long, Marianne, it’s time that we began
To laugh and cry and cry and laugh about it all again

So Long, Marianne

is a song written by Canadian poet and musician Leonard Cohen. It was featured on his debut album, Songs of Leonard Cohen. Pitchfork Media placed it at number 190 on their list of “The 200 Greatest Songs of the 1960s.”

The song was inspired by Marianne Jensen, born Marianne Ihlen, whom Cohen met on the Greek island of Hydra in 1960. She had recently been left by her husband, the Norwegian writer Axel Jensen, leaving her and their six-month-old son alone on the island. The two hit it off, and Cohen ultimately took her from Hydra back to her home in Oslo, Norway. He later invited her and her son to live with him in Montreal, an offer which she accepted. The two lived together throughout the 1960s, commuting between New York, Montreal, and Hydra.

Cohen dedicated his third volume of poetry, Flowers for Hitler, to her, and she directly inspired many of his other songs and poems. A photo of her appears on the back cover of his second album, Songs from a Room.

Marianne Ihlen died in hospital in Oslo on July 28, 2016, aged 81. Cohen wrote to her shortly before her death, saying: “I’m just a little behind you, close enough to take your hand. […] I’ve never forgotten your love and your beauty. But you know that. […] Safe travels old friend. See you down the road. Love and gratitude.” He died three months later, on November 7.

Cover versions

The song has been covered by Beck, Noel Harrison, John Cale with Suzanne Vega, Straitjacket Fits, Brian Hyland, James, Bill Callahan, Russian Red, Courtney Barnett, and others, including Cohen’s own son, Adam Cohen. In 1984 it became a hit in the Dutch Top 40 sung by José Hoebee, ex-singer of Luv’ and TV host Ron Brandsteder.

Adam Cohen and The Webb Sisters performed the song at the 2017 Tower of Song: A Memorial Tribute to Leonard Cohen concert. Courtney Barnett performed the song in her 2019 MTV Unplugged performance.

A Love Story

Marianne Ihlen was 23 years old when she arrived on the Greek island of Hydra. Leonard Cohen immortalised her in the song “So long, Marianne.” The story begins in the 1950s, in Oslo, a town marked by jazz and a budding youth rebellion. Together with her boyfriend Axel Jensen, Marianne runs away to Greece and lands on the island of Hydra, where a few international artists have already congregated, and they are soon joined by Göran Tunstrøm. Axel and Marianne buy a small white washed house where Axel Jensen amongst other stories writes his novel Line. After a couple of years Axel leaves the island, Marianne and their six months little son, for another woman.

One day Marianne was in the village shop with her basket waiting to pick up bottled water and milk, a dark man is standing in the doorway with the sun behind him. He is saying: “Would you like to join us, we’re sitting outside?” It is Leonard Cohen. He calls her the most beautiful woman he has ever met. Cohen drives her home from Greece to Oslo. Later she receives a telegram from Montreal: “Have house. All I need is my woman and her son. Love Leonard.” Shortly afterwards she goes to Canada with her little boy. Cohen, Marianne and “little Axel” live together during the 60s, and commute between Montreal, New York and Hydra.

Cohen dedicated his collection of poetry, Flowers for Hitler, to her. He has written many of his most famous poems and songs inspired by Marianne.

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leonard cohen sheet music pdf

Leonard Cohen’s poems, songs and sheet music available from our Library.

Categories
Beautiful Music

Joe Hisaishi : Studio Ghibli Experience, Part 3

Joe Hisaishi : Studio Ghibli Experience, Part 3 with sheet music 楽譜

00:00 – Symphonic Variation “Merry-go-round” 13:47 – The Wind Rises’- A Journey (Dream of Flight) – Nahoko (The Encounter) 17:27 – The Wind Rises’- Caproni (An Aeronautical Designers Dream) 21:50 – The Wind Rises’- A Journey (The Wedding) 25:39 – The Wind Rises’- Nahoko (I Miss You) – Castorp (The Magic Mountain) 29:31 – The Wind Rises’- Nahoko (An Unexpected Meeting) 32:24 – The Wind Rises’- A Journey (A Kingdom Of Dreams) 36:23 – Kiki’s Delivery Service 41:10 – The Tale of the Princess Kaguya’ – Overture – Mystery of the Moon 42:51 – The Tale of the Princess Kaguya’ – The Joy of Living – The Coming of Spring 46:24 – The Tale of the Princess Kaguya’ – Despair 49:35 – The Tale of the Princess Kaguya’ – Flying 52:49 – The Tale of the Princess Kaguya’ – The Procession of Celestial Beings – The Parting – Moon

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Categories
Music Concerts

Keith Jarrett – Solo Tribute LIVE in Japan (1987)

Keith Jarrett Solo Tribute FULL CONCERT LIVE (1987) The 100th Performance in Japan (with sheet music)

Songs List:

1.”The Night We Called It A Day”
2.”I love you”
3.”Things Ain’t What They Used To Be”
4.”Sound” (K. Jarrett)
5.”I Loves You, Porgy”
6.”There Is No Greater Love”
7.”‘Round About Midnight”
8.”Solar”
9.”Then I’ll Be Tired Of You”
10.”Sweet And Lovely”
11.”The Wind”
12.”Do Nothing Till You Hear From Me”
13.”I Got It Bad And That Ain’t Good”
14.”Summertime”

Captured live at Tokyo’s Suntory Hall, renowned piano virtuoso Keith Jarrett performs some of his most memorable and haunting standards before an enthusiastic crowd. Performed entirely solo, these numbers clearly reveal the breadth and power of his immense musical skills.

Keith Jarrett’s discography embraces solo improvisation, duets, trios, quartets, original compositions, multi-instrumental ventures, masterpieces of the classical repertoire and wide-ranging explorations of the Great American Songbook.

Jarrett was born in Allentown, Pennsylvania, in May 1945. He took his first piano lesson before his third birthday and gave his debut solo recital aged seven. “I grew up with the piano,” he has said, “I learned its language while I learned to speak.”

His earliest training was classical, but by the age of 15 his piano lessons had ceased and Jarrett’s interest in jazz was burgeoning. He turned down an opportunity to study with Nadia Boulanger in Paris and in 1964 took the decisive step of moving to New York to establish himself in the jazz world. After a spell touring with Art Blakey’s New Jazz Messengers, Jarrett joined Charles Lloyd’s quartet in 1966. He also played organ and electric piano with Miles Davis in 1970 and 1971.

Jarrett’s association with ECM dates from November 1971, when he and producer Manfred Eicher first collaborated on the hugely influential solo piano album Facing You, eight short pieces which, in Eicher’s words, “hold together like a suite”. The album also prefigured the solo piano concerts which would be such a defining aspect of Jarrett’s career.

In 1973 ECM organised an eighteen-concert European tour, consisting solely of Jarrett’s solo improvisations. The Köln Concert (1975) has unsurprisingly passed into legend: a multi-million-selling album that has been the subject of books and a complete transcription. But Köln should not eclipse the achievement of the whole sequence of improvised concerts, a genre which Jarrett effectively created. After the success of that first solo tour, Jarrett has continued to pursue the improvised solo concert format, the decades of his career studded with records of his endlessly fertile imagination, usually referred to simply by where they took place: Paris, Vienna, Lausanne, Carnegie Hall, La Scala…

Jarrett has been a member of several outstanding groups. In the mid-1970s he began recording with his so-called “European Quartet” consisting of saxophonist Jan Garbarek, bassist Palle Danielsson and drummer Jon Christensen. Their recordings include Belonging, My Song, Nude Ants, Personal Mountains and Sleeper. No less essential is his contemporaneous “American Quartet” work with Charlie Haden (bass), Paul Motian (drums) and Dewey Redman (sax), whose output included The Survivors’ Suite and Eyes of the Heart (both 1976). The American Quartet extended the range of Jarrrett’s trio with Haden and Motian. The early trio’s work is documented on Hamburg ’72.

In the early 1980s Jarrett formed his “Standards Trio” with bassist Gary Peacock and drummer Jack DeJohnette, which proved to be one of the most fertile and long-lasting partnerships in jazz history. Over the years they have toured and released an unparalleled series of albums of standards and freely improvised sets, including the 6-CD set At the Blue Note, an extraordinary record of three extraordinary nights in June 1994, about which the New York Times wrote: “Jarrett makes each new note sound like a discovery… The music whispered and glimmered, seeking a pure, incorporeal song.”

In 1987, Jarrett initiated a series of recordings of some of the great monuments of the classical keyboard repertoire with Bach’s Wohltempierte Klavier, Book I, which was followed by the Goldberg Variations (1989) and the second book of Wohltempierte Klavier (1990). For a pianist with such a fine command of voicing, Shostakovich’s 24 Preludes and Fugues, Op. 87, was perhaps a natural next step: “It didn’t feel like I was playing someone else’s music,” Jarrett said of his first encounter with these works. “The pieces are coming from some strange quirky place that I’m familiar with.” The New York Times was just one of many to hail this award-winning recording: no mere crossover curiosity, “Jarrett has finally staked an indisputable claim to distinction in the realm of classical music”.

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今にして思うとキース・ジャレットの80年代は脂の乗り切った最高の時期だった気がします。そんなキースの演奏をお気軽に見られてしまうなんて、いい時代になったものです。

このライブは一曲まるまる即興ではないので、区切って見ることも可能です。しかも、全般的に当たりの演奏が多いコンサートだったので、価値を上げています。キースのファンならこの辺の気持ちは分かってくれるはずです。録音は1987年4月14日、東京、サントリーホールにて。

日本での100回目のコンサートということで、気合は十分。Tribute ということで、誰かに捧げてはいるものの、誰に対してかは不明。ただし、曲名から察するに、ビル・エヴァンス、マイルス・デイビスの影がちらつきます。愛奏曲まで含めればオスカー・ピーターソンも入るかな。The Wind だけは、作曲者のラス・フリーマンだろうけど。

ダントツに突き抜けた演奏なのは、マイルス・デイビス作曲のSolar、これ凄いです。サントリーホールの天井から神の啓示が舞い降りてきたような演奏。あっさり始まり、大きく盛り上がり、絶頂に達して、見事収束という演奏の典型。リズムに乗ったキースはピーコックとディジョネットがいなくても、まさしく疾走します。ソウルフルという言葉はキースに似合いませんが、体の芯から発せられる熱気をここまで感じさせる演奏は少ないのでは。

DVD だと一気に102分という辛さがありますが、最後のサマータイムの尻切れエンディング編集を除けば、演奏はすべて一級品。非常にお薦めです。

Categories
Rock & Pop Music

Eric Clapton Tears in Heaven (easy Piano solo)

Eric Clapton Tears in Heaven (easy Piano solo arrangement) with sheet music download.

eric clapton
sheet music pdf
Categories
Rock & Pop Music

Yes Symphonic – And you and I

Yes Symphonic – And you and I (sheet music in our Library)

yes sheet music
Categories
Uncategorized

Thelonious Monk’s Harmony, Rhythm, and pianism (Part 2)

Analitical encounters with music in diverse cultures. Thelonius Monk‘s sheet music transcriptions are available from our Library.

Chords and Voicings: From Lead Sheet to Performance

In modern jazz, seventh chords specified by lead sheets may appear simply as shown in figure 4.2a , but musicians rarely follow what the lead sheet specifies to the letter. Well before Thelonious Monk came on the scene, jazz pianists vied to distinguish themselves with ingenious voicings. A kind of common practice prevailed in bebop, though we emphasize that musicians can and did step outside this practice in search of particular expressions and logics. In the main, though, four complementary techniques developed, two concerning voicing as such and two concerning chord choice—what chord to play where:

Voicing

• Extension and omission: addition of tones foreign to the chord proper, and/or dropping tones that are part of it
• Spacing and doubling: distribution of a voicing on the piano or among instruments in an ensemble.

Harmonic choice

• Substitution: replacement of one chord by another with equivalent function
• Insertion and deletion: increase or decrease in the rate of harmonic motion by adding to or subtracting from changes specified on the lead sheet.

Extension, omission, spacing and doubling

Figures 4.2b and 4.3 illustrate possibilities for extending minor seventh, dominant seventh, and major seventh harmonies, and apply them to the initial ii–V–I of ISC. In the fi rst staff each chord is extended upward by thirds beyond the seventh to include the ninth, eleventh, and thirteenth above the root. Each of the resulting seven-note stacks of thirds includes all notes of the D major scale. The fact that all three chords extend through the exact same pitch collections, in the same intervallic arrangement (i.e., a stack of thirds), demonstrates the fundamental role that harmonic function—and not chord or voicing—plays in determining tonal meaning in jazz.

The chords could in some cases even be voiced in identical ways, but their func-tional context would make them heard and understood differently. Here is a significant way in which, it seems to us, jazz harmony differs in emphasis from European practice.

To the extent that the distinction between ii, V, and I voicings blurs, what is it precisely that distinguishes their functions? The second staff shows which of the seven diatonic tones are directly involved in the progression toward and away from the V chord’s tritone.

Typically these tones are necessary and suffiicient to convey harmonic function. Surprisingly for anyone familiar with European harmony, neither the fi fth nor the root of the chord are necessary; indeed these may be dropped (and possibly supplied by a bass player, but not necessarily). But in order to convey function and quality most effectively, the essential tones are typically arranged in the lower register of the voicing, with extension tones higher up.

The third staff of figure 4.2b distills the optional diatonic tones, which may be used without diluting function or quality, and the fourth staff shows how the tonic note (D) and the fourth scale step (G) are carefully avoided in the dominant and tonic chords, respectively, so as not to carry them over from the chords that precede them, which would impede the ii–V–I motion (see dashed arrows).

Outside the diatonic pitch collection remain fi ve tones completing the chromatic aggregate, which can provide rich “upper structures” to voicings. In some cases these work against important diatonic intervals; for example, using a G with the Em chord could obscure the minor third between E and G; using it with the A7 chord would weaken the C#/G tritone. But with the DM7 it sounds all right because its diatonic “shadow,” G, is already avoided. Figure 4.3 sketches the effect of chromaticism in each chordal context.

All optional diatonic and chromatic tones may be withheld or used, and they may be spaced from low to high in limitless ways. Attention is paid to the choice of lowest pitch, the registers of all others, thickness (number of notes played at once), and the use of some pitches in more than one octave doubling. This topic is discussed later in reference to specifi c instances in short excerpts by pianists Bill Evans and Oscar Peterson ( figures 4.4a and b), and also at length in relation to Monk.

Chord Substitution, Insertion, and Deletion

Because every dominant-quality seventh chord shares its tritone with the dominant-quality seventh chord whose root is a tritone away, the chords in each such pair may be substituted for one another ( figure 4.2c, first staff).

thelonious monk sheet music

Substitutions for V are idiomatic in ii–V–I motion. In D major, this turns Em7–A7–DM7 into Em7–Eb7 –DM7 and causes the roots to descend chro-matically by half step rather than by fi fth, an especially characteristic marker of modern jazz sound. The second staff of figure 4.2c illustrates another kind of substitution, involving change of chord quality. In the fi rst stage, the ii of

Thelonious monk sheet music

the ii–V–I progression is intensifi ed by raising its third from G to G# . Th is makes it E7, a dominant seventh chord, that is, V7 in relation to the A7 chord, and thus “tonicizes” the root of A7 as if A were momentarily the home key. From here it is a matter of applying the tritone substitution principle just discussed to convert the pair of chords into progression from Bb7 to Eb7 . Monk does just this in ISC ( figures 4.1 and 4.5 , mm. 15-16).

Harmonic rhythm is the rate at which harmonies change. A scan of the various versions of ISC in figure 4.1 shows chords changing usually every two or four beats, though Oscar Peterson achieves special intensity in mm. 1-2 by changing on each beat, and there are scattered instances of chords held longer. Since harmony’s depth of field is rich, even with these severe constraints on harmonic rhythm there can be infinite ways to realize the harmonies in a song and suggest unexpected aural routes through it.

Sometimes root progressions by fifth are concatenated, as in figure 4.1, staff 2, mm. 2-3. Here, rather than have mm. 3-4 be a repetition of mm. 1-2, as it is in Monk’s version (staff 3), the ii chord of m. 3 is treated as a local tonic and preceded by its own ii–V. The two new bass tones F and B are part of the D major scale, so the motion feels activated but the connections do not jar.

The major third (D# ) of the B7 chord is the only chromatic alteration implied. In Bill Evans’s version, the bass player faithfully provides the root tones ( figure 4.4b ), but Evans does not refl ect the change on the piano. Without the D# , the feeling of tonicization is absent and we have labeled the chord as Bm7.

Earlier we mentioned a more deeply hued insertion, at mm. 8 and , which introduces a ii–V (Gm7 to C7) progression borrowed from F major, a key built on a tonic foreign to the D major scale. This motion is so distinctive that it might be heard as one of the strongest markers of the song as a whole. In the fake book version, after slipping momentarily toward F in this way the music slips right back to DM7 in m. 9. Monk, however, reinterprets the C7 as a tritone substitution for an F#7, and resolves in m. 9 to Bm7 (the fake book does this too, but later, at the parallel moment in mm. 25). Another insertion in the fake book version, refl ecting a mix of diatonic and chromatic moves, comes at the final measures (31-2).

This characteristic “turnaround” revs up the motion, propelling the music toward the next repetition of the form. Monk’s seeming extension of this passage and the two prior measures reflect a musical action we shall describe later; in figure 4.1 we condense his chords into the thirty-two-measure form (the actual measure numbers cor-responding to mm. 29-38of the transcription in figure 4.5 are shown below the lowest staff ).

Deletions put the brakes on chord progression. In this idiom they are somewhat rarer than insertions but noteworthy for that reason. When Monk slows down the fake book chords at m. 2 he wants to focus on the very repetition of the chord progression in the initial two pairs of measures, and when he does it again at mm. 15-16 it is as if we are asked to savor the tritone substitutions selected for those moments.

Modern jazz harmonic practice often seems to be founded on the intensifi cation and complexifying of its diatonic basis in the several ways we have just described all at once—so the instances in which this process is slowed or impeded provide a special repose.

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Keith Jarrett - The Art of Improvisation

Keith Jarrett – The Art of Improvisation Part 8/10 remastered

Keith Jarrett – The Art of Improvisation Part 8/10 remastered by Sheet Music Library

Keith Jarrett – The Art of Improvisation Part 8/10 remastered https://sheetmusiclibrary.website/ Watch Part 1 here: https://youtu.be/iorjfNH-NH8 Part 2 here: https://youtu.be/c0Byu3HsULw Part 3 here: https://youtu.be/HQMQFx3GZDE Part 4: https://youtu.be/5foIr7S-Y3U Part 5: https://youtu.be/lo1NruM4ZaI Part 6: https://youtu.be/A3k-0U0jAwI Part 7: https://youtu.be/At7FKwqRh00 (Part 8: https://youtu.be/UrR1ZyswD04)

Watch also Exclusive Interviews with Keith Jarrett, Gary Peacock and Jack DeJohnette.: https://youtu.be/in8swOjn8GY (part 9) and https://youtu.be/zVOyUlwP9iM (part 10/10).

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“In this in-depth portrait of one of the world’s superstars of Jazz, pianist Keith Jarrett talks about the range of his music, the importance of improvisation, the great artists he has worked with, nd about the highs and lows of his life. Further iniaghts are provided by fellow musicians, family members and other musical assocaites. Incorporating recordings and rare archive footage of concerts dating back to thr 1960s and including such greats as Miles Davis and Charles Lloyd, this first-ever major documetary has been made with the full cooperation of Keith Jarrett himself.” “With, in order of appearance, Keith Jarrett, Manfred Eicher, Gary Peacock, Jack DeJohnette, Steve Cloud, Scott Jarrett, George Avakian, Gary Burton, Toshinari Koinuma, Chick Corea, Charlie Haden, Dewey Redman, Rose Anne Jarrett and Palle Danielsson.” Directed and narrated by Mike Dibb. Programme consultant; Ian Carr.

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Categories
Bill Evans Harmony

The Harmony of Bill Evans (3b) “Time remembered”

The Harmony of Bill Evans (3b) “TIME REMEMBERED” – MODAL ANALYSIS (with sheet music)

This analysis totally ignores the harmonic progression composed by Bill, in order to observe the theme as a complete entity; one that doesn’t need harmony to prove its existence.

In the Modal period (pre-Bach), polyphony reigned supreme; harmony was accidental and therefore not a factor in determining the form or length of a composition. The theoretical basis derived from this period was the MODES or scales: Ionian, Dorian, Phrygian, Lydian, MixoLydian, Aeolian, and Locrian, all beginning on the pitch “c.”

After Bach, the modes disappeared, or rather, were swallowed up, allowing for a synthesis which gave birth to the major/ minor system and a theory of harmony based on 12 major and 12 minor scales ( called scales to differentiate between the pre-Bach Modal period and the Tonal post-Bach era). This tonal period lasted roughly 300 years before a new and higher synthesis-Atonality-came into being.

When a synthesis is reached, it always inherits the previous period. Inherent in the Tonal system is the Modal system; inherent in the Atonal system are both the Modal and the Tonal systems. Bill Evans was born with this awareness, and through his study of the Schoenberg harmony, counterpoint, and compositional books, he created his wonderfully rich composi­tions, full of the past and present and achieving a new synthesis: the conscious merging of classical music with jazz.

There is a term coined by Gunther Schuller: “Third Stream Music.” It means the synthesis of two streams, classical and ja,zz, to produce a third stream. Bill Evans’ compositions are Third Stream, and the following analysis of “Time Remembered” is an attempt to prove that statement true.
Here are eight examples that break down the theme into eight phrases (the measure lengths are altered slightly for Part 1 ).

Each example show how the theme expresses a mode based on the gravity caused by the succession of tones in each phrase. The clue lies in the Directional Tones in each phrase. In EX. lA, our ear retains (remembers) the opening “f#” at the arrival of the last note “b,” and identifies these pitches as the dominant or 5th note (f#) and tonic (1st note) of the B Aeolian mode.

Bill Evans sheet music harmony

The rest of the pitches in this phrase support this conclusion. “C#” is the super-tonic note, “a” is the leading tone, “e” the sub-dominant, etc. The high point on the pitch “d” links up with the” f#” and “b” to form a tonic B minor triad, but I must not use that to support my conclusion, since I stated above that this analysis is linear (horizontal) and not chordal (vertical)!

Our ear does, however, group (link) tones to form chords because it’s almost impossible to forget our 20th century inheritance: harmony! I have therefore included an analysis of what our 20th century ear picks up chord-wise in each example.

Looking at EX. lA again, you’ll see that my ear groups these pitches vertically to form a V7, 1 V7 & I chord (F#m7, Em7 & Bm triad respectively). The modes are very slippery and our ear could very easily shift the tonic to the pitch” e,” giving us an E Dorian mode. This is obvious because both the B Aeolian and E Dorian contain the same pitches. In the latter instance, my ear picked up the Directional Tone” e” (low point, and linked it with the “b” in measure 4, plus the opening “f#,” pulling me gravitationally to the “e” as a tonic note).

In each of the following examples, you must sing (and/ or play) the phrase as written; then sing the analytical sections above and below; then sing the modes; then repeat and repeat until your ear gravitates toward the tonic of each mode. It is entirely with_ill !he realm of probability that you will arrive at other modal conclusions, but rememoer, it is the Directional Tones-the high and low point in each phrase-that will support my conclusion. I’ll stand firmly on all of them! Ultimately, it should be child’s play when you finally sit down with thiswonderful composi­tion, “Time Remembered.”

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Bill Evans – Time Remembered – Full Album

Tracklist:

1) “Danny Boy” (Frederick Weatherly) – 00:00 2) Like Someone in Love” (Johnny Burke, Jimmy Van Heusen) – 10:40 3) “In Your Own Sweet Way” (Dave Brubeck) – 17:08 4) “Easy to Love” (Cole Porter) – 20:07 5) “Some Other Time” (Leonard Bernstein, Betty Comden, Adolph Green) – 24:49 6) “Lover Man” (Jimmy Davis, Ram Ramirez, James Sherman) – 31:01 7) “Who Cares?” (George Gershwin, Ira Gershwin) – 36:07 8) “What Is This Thing Called Love?” (Cole Porter) – 41:32 9) “How About You?” (Ralph Freed, Burton Lane) – 47:21 10) “Everything Happens to Me” (Tom Adair, Matt Dennis) – 51:27 11) “In a Sentimental Mood” (Duke Ellington, Manny Kurtz, Irving Mills) – 56:15 12) “My Heart Stood Still” (Lorenz Hart, Richard Rodgers) – 01:00:41 13) “Time Remembered” (Bill Evans) – 01:05:16

Categories
Games' music

Final Fantasy X OST To Zanarkand (Piano solo)

Final Fantasy X OST To Zanarkand 楽譜 Sheet music download.

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Final Fantasy X : The game

Final Fantasy X is a role-playing video game developed and published by Square as the tenth main entry in the Final Fantasy series. Originally released in 2001 for PlayStation 2, the game was re-released as Final Fantasy X/X-2 HD Remaster for PlayStation 3 and PlayStation Vita in 2013, for PlayStation 4 in 2015, Microsoft Windows in 2016, and for Nintendo Switch and Xbox One in 2019. The game marks the Final Fantasy series transition from entirely pre-rendered backdrops to fully three-dimensional areas (though some areas were still pre-rendered), and is also the first in the series to feature voice acting.

The story of Final Fantasy X is one of the best stories ever told in the franchise, if not the entirety of gaming. The story takes several twists and turns that somehow make sense in the context of the game’s world — something that can’t be said for the majority of Final Fantasy games.

The overarching theme of loss contrasts perfectly with the love story of Tidus and Yuna, with the melancholic ending being the perfect cherry on top of this absolutely brilliant treat of a storyline.

Final Fantasy X replaces the Active Time Battle (ATB) system with the “Conditional Turn-Based Battle” (CTB) system, and uses a new leveling system called the “Sphere Grid”.

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Set in the fantasy world of Spira, a setting influenced by the South Pacific, Thailand and Japan, the game’s story revolves around a group of adventurers and their quest to defeat a rampaging monster known as Sin. The player character is Tidus, a star athlete in the fictional sport of blitzball, who finds himself in Spira after Sin destroyed his home city of Zanarkand. Shortly after arriving to Spira, Tidus joins the summoner Yuna on her pilgrimage to destroy Sin.

However, it must be said that Final Fantasy X is one of the best names one can take in this regard. The first Final Fantasy game on the PlayStation 2 was also one of the very best titles in the franchise, integrating modern nuances with classic Final Fantasy tropes and elements to create something truly magical.

Of course, nothing is perfect, and the same goes for Final Fantasy X. However, there are several strong points that one can make when it comes to announcing this title as the best Final Fantasy title, along with certain negative aspects that make it fall short of this goal. Here are five points each to solidify both sides of the argument.

Development of Final Fantasy X began in 1999, with a budget of more than US$32.3 million (US$49.6 million in 2019 dollars) and a team of more than 100 people. The game was the first in the main series not entirely scored by Nobuo Uematsu; Masashi Hamauzu and Junya Nakano were signed as Uematsu’s fellow composers. Final Fantasy X was both a critical and commercial success, selling over 8.5 million units worldwide on PlayStation 2. It is considered to be one of the greatest video games of all time. On March 13, 2003, it was followed by Final Fantasy X-2, making it the first Final Fantasy game to have a direct game sequel.

FINAL FANTASY X : THE MUSIC

Final Fantasy games are generally known for sporting excellent music, with the legendary Nobuo Uematsu contributing to some of the most iconic scores in video game history. Final Fantasy X is no exception to this rule, with everything from bombastic battle themes to calming tunes omnipresent throughout one’s journey through Spira.

Watching the touching scene between Tidus and Yuna while Suteki Da Ne is playing in the background is truly one of the most moving sequences in video game history.

Final Fantasy X marks the first time regular series composer Nobuo Uematsu has had any assistance in composing the score for a game in the main series. His fellow composers for Final Fantasy X were Masashi Hamauzu and Junya Nakano. They were chosen for the soundtrack based on their ability to create music that was different from Uematsu’s style while still being able to work together. PlayOnline.com first revealed that the game’s theme song was completed in November 2000. As Square still had not revealed who would sing the song, GameSpot personally asked Uematsu, who jokingly answered “It’s going to be Rod Stewart.”

The game features three songs with vocalized elements, including the J-pop ballad “Suteki da ne“, which translates to “Isn’t it Wonderful?”. The lyrics were written by Kazushige Nojima, and the music was written by Uematsu. The song is performed by Japanese folk singer Rikki, whom the music team contacted while searching for a singer whose music reflected an Okinawan atmosphere. “Suteki da ne” is also sung in Japanese in the English version of Final Fantasy X.

Like “Eyes on Me” from Final Fantasy VIII and “Melodies of Life” from Final Fantasy IX, an orchestrated version of “Suteki da ne” is used as part of the ending theme. The other songs with lyrics are the heavy metal opening theme, “Otherworld”, sung in English by Bill Muir; and “Hymn of the Fayth”, a recurring piece sung using Japanese syllabary.

The original soundtrack spanned 91 tracks on four discs. It was first released in Japan on August 1, 2001, by DigiCube, and was re-released on May 10, 2004, by Square Enix. In 2002, Tokyopop released a version of Final Fantasy X Original Soundtrack in North America entitled Final Fantasy X Official Soundtrack, which contained 17 tracks from the original album on a single disc.

Other related CDs include feel/Go dream: Yuna & Tidus which, released in Japan by DigiCube on October 11, 2001, featured tracks based on Tidus’ and Yuna’s characters. Piano Collections Final Fantasy X, another collection of music from the game,and Final Fantasy X Vocal Collection, a compilations of exclusive character dialogues and songs were both released in Japan in 2002.

The Black Mages, a band led by Nobuo Uematsu that arranges music from Final Fantasy video games into a rock music style, have arranged three pieces from Final Fantasy X. These are “Fight With Seymour” from their self-titled album, published in 2003, and “Otherworld” and “The Skies Above”, both of which can be found on the album The Skies Above, published in 2004. Uematsu continues to perform certain pieces in his Dear Friends: Music from Final Fantasy concert series.

The music of Final Fantasy X has also appeared in various official concerts and live albums, such as 20020220 Music from Final Fantasy, a live recording of an orchestra performing music from the series including several pieces from the game. An odd note; the unreleased/promo CD-R (Instrumental) version of Madonna’s “What It Feels Like For A Girl” done by Tracy Young was used in the blitzball sequences. Additionally, “Swing de Chocobo” was performed by the Royal Stockholm Philharmonic Orchestra for the Distant Worlds – Music from Final Fantasy concert tour, while “Zanarkand” was performed by the New Japan Philharmonic Orchestra in the Tour de Japon: Music from Final Fantasy concert series.

Independent but officially licensed releases of Final Fantasy X music have been composed by such groups as Project Majestic Mix, which focuses on arranging video game music. Selections also appear on Japanese remix albums, called dojin music, and on English remixing websites.

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