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Bach meets The Beatles

Bach meets The Beatles – “Here, There, And Everywhere”

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Bach meets The Beatles – “Here, There, And Everywhere” – Improvised by John Bayless, piano.

bach meets the beatles sheet music

Unfortunately, these great variations have never been published as sheet music, but we have many, many others.

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Did you know? Bach meets The Beatles

Did The Beatles get inspired by J.S. Bach?

Did The Beatles get inspired by J.S. Bach?

The English rock band The Beatles, formed in Liverpool in 1960, is widely considered the most influential band of all time. Led by songwriters Lennon and McCartney, the band was part of 1960s counterculture and inspired an international fan frenzy called “Beatlemania.” They stormed the United States pop market in what was dubbed the “British Invasion” and enjoyed huge commercial success.

The Beatles essentially wrote simple songs emerging from folklore roots. Although primarily rooted in contemporary rock ’n roll, they absorbed different influences and styles, “having been inspired by everything, from Negro blues to Magyar dances.”

And as a scholar writes, “they borrowed here and there with unabashed enthusiasm and made it all their own.” And while they considered “Beethoven a con, just like we are now,” Paul McCartney once said “Bach was always one of our favorite composers.”

the beatles sheet music

Paul and John sang in the church choirs of St. Peter and St. Barnabas in Liverpool, but none of the Beatles could read music. They certainly had no training in classical music and/or on an instrument. That particular aspect was introduced and fostered by their mentor and producer George Martin (1926-2016), a graduate of the Guildhall School of Music. Martin had studied composition, conducting and orchestration, music theory, harmony and counterpoint, and he usually arranged the songs of the band.

Martin strongly denied that he was the real creative genius behind the Beatles. On the contrary, he insisted, “I worked only to their original designs and to their specific requests, even to details of arrangements which they sang to me and which I often transcribed on the spot in the studio.” George Martin was recurrently called the “Fifth Beatle,” and classical influences in the band’s music should essentially be credited to him.

Prior to working with The Beatles, Martin had worked at Parlophone, a branch of EMI, as a producer of classical and baroque records. Tellingly, he always called “classical music his first love.” Martin himself dabbled in composition, and he orchestrated a number of Bach works in the manner of Leopold Stokowski. In addition, he worked traces of Bach into several Beatles songs, and that included the megahit “Yesterday.”

Paul McCartney wrote the melody and chord progression, but it was Martin’s idea to accompany the song with a string quartet. Sir Paul remembers, “that on that session, George explained to me how Bach would have voiced it in a choral voicing or a quartet voicing. And he’d say, ‘This would be the way Bach would do it’.”

Paul also remembered “the original inspiration for “Blackbird” was from a well-known piece by Bach, which I never know the title of, which George and I had learned to play at an early age…we felt that we had a lot in common with Bach. For some reason, we thought his music was very similar to ours.” That particular famous Bach tune, transformed and transposed in “Blackbird,” turns out to be the “Bourrée” from the Lute Suite in E minor, BWV 996.

beatles sheet music pdf

The Beatles: “Blackbird” (Studio Version 1968)

After Paul McCartney listened to Bach’s Brandenburg Concerto No. 2 on a television program, he had the idea of incorporating the high trumpet sound into one of his songs. “Penny Lane” is a nostalgic celebration of his childhood in Liverpool, and the second part of the song features a tune played by the piccolo trumpet.

The song “All you Need is Love” sports a coda by George Martin. The band gave Martin permission to write whatever he wanted, telling him “Put together any tunes you fancy, and just play it out like that.” As such, Martin mingled together the melodies of “Greensleeves,” “In the Mood,” and Bach’s 2-part Invention No. 8 in F Major. A scholar writes, “despite the role of a favorite composer that Bach allegedly played for The Beatles, there are only a few concrete traces in their work, and most of them lead directly or indirectly back to the “Fifth Beatle” George Martin.

Download all the Beatles’ song from our Library.

Bach meets the Beatles – Variations in the style of Bach – “All you need is love” John Bayless, piano

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Bach meets The Beatles

Bach meets the Beatles – “Yesterday”

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Bach meets the Beatles – Variations in the style of Bach “Yesterday” – Improvised by John Bayless, piano.

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bach beatles jazz piano sheet music score download partitura partition spartiti 楽譜 망할 음악 ноты

John Bayless is one of the top classical cross-over recording and concert performing artists, best known for his top-selling albums, “Bach Meets the Beatles,” “The Puccini Album” and “Circle of Life: Songs by Elton John in the Style of Bach.” 

He has appeared at Carnegie Hall in a performance of his own West Side Story Concert Variations for solo piano and orchestra, made his Tanglewood debut playing Gershwin’s Rhapsody in Blue with the Boston Pops, opened the San Francisco Summer Pops season with the same work and appeared in three sold-out concerts at the Hollywood Bowl with John Mauceri and the Hollywood Bowl Orchestra.

He performed his West Side Story Concert Variations and his Bach Meets the Beatles repertoire with the Philadelphia Orchestra.  Bayless is Artistic Director for the Waring International Piano Competition. For more information, visit http://www.vwipc.org/John-Bayless-Bio.

Show was directed by Stewart Schulman. Singer actress Jean Kauffman has a cameo. Bayless had a stroke in 2008 which left him paralyzed on his right side. Bayless shares his road to recovery, and his return to composing and performing with one hand. This story of resiliency and hope has something for everyone.

Yesterday

“I really reckon ‘Yesterday’ is probably my best song.” This humble statement from Paul McCartney typifies what many believe to be the truth as to his creative output throughout his career. Although when asked at different times through the years what his favorite original composition was, he came up with many answers.

“Your songs are like your babies, it’s difficult to have a favorite,” he said in 2007. “Here, There And Everywhere” has been stated regularly, although “Hey Jude,” “Blackbird” and “Here Today” have been cited. He also once included “Maybe I’m Amazed” as one of his favorites, saying “that’s a nice song, I like that one.”

the beatles yesterday handwritten lyrics

In 1980, Paul explained why “Yesterday” could be described as his best song. “I like it not only because it was a big success, but because it was one of the most instinctive songs I’ve ever written.” Concerning the song being a “success,” it has been described as the most successful song in history. According to Chris Ingham’s book “The Rough Guide To The Beatles,” “It holds the record as the most recorded song in history, with over 2500 versions, and has been broadcast on American radio over seven million times.”

As to the song being “instinctive,” Paul’s explanation of how it was written has passed into the category of legend, as we’ll investigate below.

The song was written at 57 Wimpole Street, London, the family home of Richard and Margaret Asher where Paul was living while dating their daughter Jane Asher. He slept in a small attic room of the house that was rather cramped without too much extra room for anything, although there was one thing that did manage to get squeezed in. “I eventually got a piano of my own up in the top garret,” remembers Paul. “Very artistic. That was the piano that I fell out of bed and got the chords to ‘Yesterday’ on. I dreamed it when I was staying there.”

Download The Beatles’ sheet music books from our Library.

Paul vividly remembers that morning: “I woke up with a lovely tune in my head. I thought, ‘That’s great, I wonder what that is?’ There was an upright piano next to me, to the right of the bed by the window. I got out of bed, sat at the piano, found G, found F sharp minor 7th – and that leads you through then to B to E minor, and finally back to E. It all leads forward logically. I liked the melody a lot but because I’d dreamed it I couldn’t believe I’d written it. I thought, ‘No, I’ve never written like this before.’

But I had the tune, which was the most magic thing. And you have to ask yourself, ‘Where did it come from?’ But you don’t ask yourself too much or it might go away…There are certain times when you get the essence, it’s all there. It’s like an egg being laid – not a crack or flaw in it.”

Speaking of eggs, so that his memory of the melody wouldn’t “go away,” he wrote some simple words to go along with the phrasing of the melody line. “It had no words. I used to call it ‘Scrambled Eggs.’ The lyrics used to go, ‘Scrambled eggs, oh, my baby, how I love your legs…

There was generally a laugh at that point – you didn’t need to do any more lyrics.” Jane Asher once replied: “Don’t believe that part about ‘How I loved your legs.’ That’s bunk! My legs are horrid!” (And to set the record straight, Paul did not write a second verse that started “Cottage fries, oh, my baby, how I love your thighs.” 

Since we know where the melody was first conceived, many wonder when exactly this morning occurred. Barry Miles, co-author of Paul McCartney’s book “Many Years From Now,” explains this morning as having occurred in May of 1965. While this seems to be the final word, there is evidence to suggest an earlier date. “The song was around for months and months before we finally completed it,” recalls John Lennon.

He continues: “Paul wrote nearly all of it, but we just couldn’t find the right title. Every time we got together to write songs or for a recording session, this would come up. We called it ‘Scrambled Eggs’ and it became a joke between us. We almost had it finished when we made up our minds that only a one word title would suit and, believe me, we just couldn’t find the right one. Then, one morning, Paul woke up, and the song and the title were both there. Completed! I know it sounds like a fairy tale, but it is the plain truth. I was sorry, in a way, because we had so many laughs about it.”

Since John relates that it was “around for months and months,” just how many months was it? Producer George Martin has a strong recollection that indicates a good amount of months indeed. “I first heard ‘Yesterday’ when it was known as ‘Scrambled Eggs’ – Paul’s working title – at the George V Hotel in Paris in January 1964.”

George Martin accompanied The Beatles during their residency in Paris as the group played a series of shows at the Olympia Theatre in the latter half of January, 1964. A piano was brought up to their hotel room for songwriting purposes and, if his remembrances are correct, Paul premiered an early version of “Yesterday” to him at this time. Since Paul began living at the Asher home in London in November of 1963, this story could be feasible.

A 1968 quote from Paul appears to tell a different story. “It was called ‘Scrambled Egg’ for a couple of months, until I thought of ‘Yesterday.’ And that’s it. True story.” However, the statement “a couple of months” seems to have been an understatement.

Chris Dreja, the rhythm guitarist for The Yardbirds, clearly remembers an event that occurred during the “Beatles Christmas Show” of late December 1964 when Chris’s group were one of the opening acts. As quoted in Andy Babiuk’s book “Beatles Gear,” he recalls how Paul asked to come into the dressing room of The Yardbirds to premier a new song he was writing. “He sat down with the guitar, and at that point hadn’t got the lyrics, just the melody. He said it was called ‘Scrambled Eggs.’ And of course it was ‘Yesterday.’ There we were witnessing the start of one of the most famous songs of all time, and Paul was just playing it for us on an acoustic.”

Keeping in mind that Paul held off on pushing the song on The Beatles, saying “we were a little embarrassed about it – we were a rock’n’roll band,” it appears that he may have indeed held it back for quite a long time –  through two entire British albums in fact.

The next job was to verify that he did indeed write the song. “It came too easy,” Paul relates, “I couldn’t believe it. I didn’t believe that I had written it. I thought that maybe I had heard it somewhere before, it was some other tune. I went around for weeks playing the chords of the song for people, asking them, ‘Is this like something? I think I’ve written it,’ and people would say, ‘No. It’s not like anything else, but it’s good.’”

One person he auditioned the song for was British singer Alma Cogan, at her flat in Kensington. “Alma was a bit of a song buff,” Paul relates, “and she said, ‘I don’t know what it is, but it’s beautiful.’” Director Richard Lester remembers Paul bothering everyone with the song on the set of their movie “Help!” “At some time during that period, we had a piano on one of the stages and he was playing this ‘Scrambled Eggs’ all the time,” Lester remembers. “It got to the point where I said to him, ‘If you play that bloody song any longer I’ll have the piano taken off stage. Either finish it or give it up!’”

At some point, Paul was convinced that the melody did in fact come from him. “Eventually it became like handing something in to the police. I thought that if no-one claimed it after a few weeks then I would have it.”

The only thing left was writing proper lyrics. After filming for “Help!” was complete, Paul and Jane arranged for a vacation in Albufeira, on the southern coast of Portugal, using a villa borrowed from his friend Bruce Welch, guitarist with Cliff Richard and The Shadows.

After flying from London to Lisbon on May 27th, 1965, Paul and Jane needed to drive 180 miles from Lisbon to get to the villa. “It was a long hot, dusty drive,” Paul remembers. “Jane was sleeping but I couldn’t, and when I’m sitting that long in a car I either manage to get to sleep or my brain starts going. I remember mulling over the tune ‘Yesterday,’ and suddenly getting these little one-word openings to the verse.”

Paul continues, “I started to develop the idea: Scram-ble-d eggs, da-da da. I knew the syllables had to match the melody, obviously: da-da da, yes-ter-day, sud-den-ly, fun-il-ly, mer-il-ly, and ‘Yes-ter-day,’ that’s good. ‘All my troubles seemed so far away.’ It’s easy to rhyme those ‘s’s: say, nay, today, away, play, stay, there’s a lot of rhymes and those fall in quite easily, so I gradually pieced it together from that journey. ‘Sud-den-ly,’ and ‘b’ again, another easy rhyme: e, me, tree, flea, we, and I had the basis of it.”

Then, when he arrived at the villa, he met up with Bruce. “I was packing to leave and Paul asked me if I had a guitar,” remembers Welch. “He’d apparently been working on the lyrics as he drove to Albufeira from the airport at Lisbon. He borrowed my guitar and started playing the song we all now know as ‘Yesterday.’”

“I think I finished the lyrics about two weeks later, which was quite a long time for me,” Paul adds. “Generally, John and I would sit down and finish within three hours, but this was more organic. I put in the words over the next couple of weeks.” This would take it right up to the recording date of the song – June 14th, 1965.

Although John had intimated in 1966 that he had played a part in writing the song, saying “We just helped finish off the ribbons ‘round it, you know – tying it up,” this appears to be an isolated case. For instance, in 1980 he remembered it differently. “That’s Paul’s song, and Paul’s baby. Well done. Beautiful – and I never wished I’d written it.” In a 2001 interview in Readers’ Digest, Paul interestingly states: “John always said he had nothing to do with that song.” Even Ringo concurs: “Paul, of course, had written his ‘Yesterday,’ the most recorded song in history – What a guy!”

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Bach meets The Beatles

Bach meets The Beatles – “Golden Slumbers – You Never Give Me Your Money”

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Bach meets The Beatles – “Golden Slumbers – You Never Give Me Your Money” – Improvised by John Bayless, piano.

the beatles sheet music pdf

John Bayless is one of the top classical cross-over recording and concert performing artists, best known for his top-selling albums, “Bach Meets the Beatles,” “The Puccini Album” and “Circle of Life: Songs by Elton John in the Style of Bach.”  He has appeared at Carnegie Hall in a performance of his own West Side Story Concert Variations for solo piano and orchestra, made his Tanglewood debut playing Gershwin’s Rhapsody in Blue with the Boston Pops, opened the San Francisco Summer Pops season with the same work and appeared in three sold-out concerts at the Hollywood Bowl with John Mauceri and the Hollywood Bowl Orchestra.

He performed his West Side Story Concert Variations and his Bach Meets the Beatles repertoire with the Philadelphia Orchestra.  Bayless is Artistic Director for the Waring International Piano Competition. For more information, visit http://www.vwipc.org/John-Bayless-Bio.

Show was directed by Stewart Schulman.  Singer actress Jean Kauffman has a cameo. Bayless had a stroke in 2008 which left him paralyzed on his right side. Bayless shares his road to recovery, and his return to composing and performing with one hand. This story of resiliency and hope has something for everyone.

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Bach meets The Beatles

Bach meets the Beatles: “Nowhere Man”

Bach meets The Beatles: “Nowhere Man”. Variations in the style of J.S. Bach. John Bayless, piano.

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Bach meets the Beatles sheet music pdf

THE ART OF IMPROVISATION

Throughout the history of music improvisation has played an important role as a tool for the per­former to exhibit not only virtuosic technique but also a wide range of personal emotions. Taking a basic melody and spontaneously reworking, embellishing and developing it into something new and excitingly different is a rare talent that is not often seen today apart from the contemporary and jazz fields. What was once a necessary skill for a young artist has faded from importance in today’s musical world.

However, on this new recording we find John Bayless -scholar, composer, virtuoso … improviser. His creations draw on elements from many different styles of music and fuse them into something uniquely his. Whether he is playing Bach. Lenon and McCartney or Bayless you will find an imagination at work that is fresh and singular. The Art of Improvisation is back, and it may never be the same again!

“BACH MEETS THE BEATLES”

Imagine! What if these two revolutionary musical forces of all time were to meet face to face? What would happen? Would they talk about music? Play their latest compositions? Discuss philosophy? Since this association is impossible presented here are some of the most popular songs of The Beatles improvised as Johann Sebastian Bach might have.

The four pillars of Bach’s world were the Fugue. Canon, Chorale, and Chorale Prelude. All of these improvisations were built on these four forms. In most instances the lyrics helped define which of the four forms would b the most illuminating to the melody of each song. Then came the decision of which kind of mood should be portrayed. The use of counterpoint interacting between melody and harmony was essential in creating the ap­propriate mood to support each melody.

As the opening selection. “Imagine” is improvised in the style of a toccata, using melodic and rhythmic imitations to set the spirit of these inter­pretations.

The three-note melodic phrase in “All You Need ls Love” provides the chorale in this chorale prelude selection. The continuous sixteenth note accompaniment flows along while from time to time the Chorale melody appears. The strong melodic line in “Hey Jude” required an equally strong accompanying figure. The style and nobili­ty of the French Overtures helped inspire this im­provisation. The purity of the long, sorrowful line in “Because” reminded me of the slow movements of Bach’s concerti. The ensemble and voicing of this three-part counterpoint, plus the unexpected harmonic progressions, show the sophistication of The Beatles’ music.

The lyrics of “Let It Be” expressed a certain peace and tranquility. The beautiful, melodic line in “The Long And Winding Rod” reminded me of the strength and passion found in the chorales. The development of this improvisation uses the form of a Chorale Prelude, ending with another version of the previously improvised chorale.”Penny Lane” ends the first side in a lively, spirited “gigue.”

Side II opens with one of the most popular songs ever. ”Yesterday.” The opening phrases of the Brandenburg Concerto #J, seemed fitting and right for the introduction to this improvisation.

With Michelle l sought a dramatic contrast from the original smooth, romantic version of the song. The lyrics once again helped to set the mood and define the form of Nowhere Man. The undulating and brooding accompaniment gives support to this beautifully simple and pure melody. The drive and Hf e in the melodic line of And I Love Her gave me the essential idea for this improvisation.

An improvised canon, using a nine-note phrase from “Golden Slumbers” serves as the introduc­tion to this improvisation. In Bach’s music the repetition of a single note gives a certain kind of strength and direction to the phrase.

In the improvisation on Something the com bi na­tion of the harmonic strength, with the repeated notes in the melody, dictated a strict and grander interpreation.

The long lyrical and soaring melody in Here, There and Everywhere gave me a chance to set this improvisation in a simple and pastoral way. I find this one of the most complete and satisfying songs by The Beatles.

During the evolution and recording of this album, I felt a journey had been taken … through the music of the 60s and 70s, and through the life of one of the most thrilling and vibrant composers of all time. The finality and completeness of the Aria from the Goldberg Variations with the
humility of Imagine brought me a sense of fulfillment and Joy!

John Bayless

John Bayless was born and raised in Texas though his musical roots extend to New York, specifically Broadway, the home of the great theatrical composers George Gershwin. Cole Porter and Richard Rodgers, whom Bayless plays and loves. Bayless is also a trained classical pianist and composer, and a graduate of the Julliard School.

In 1980, he made his Carnegie Hall debut, performing his own piano concerto with the Or­chestra of New York. This led to future commis­sions from the Newport Music Festival and the University of Maryland Piano Competition.

In 1983, Bayless received his master’s degree from New York University’s prestigious program in musical theatre. Bayless’s first musical, Grand Duchy, was given a staged reading at New York’s Playwrights Horizon and will go into production in early 1985. Bayless has also recently been asked by London’s Royal Academy of Music to create a study program in improvisation.

Mr. Bayless has recently recorded two digital albums for Pro Arte, the other entitled Happy Birthday, Bach features improvisations on the
theme ‘Happy Birthday’ in the style of J.S. Bach, Mozart, Chopin, Beethoven and several other composers.

The best selection of classical sheet music is available for immediate download from our Library.

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Bach meets The Beatles

Bach meets the Beatles: “Golden Slumbers”

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Bach meets the Beatles: “Golden Slumbers – You Never Give Your Money” – John Bayless, piano

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Download the best sheet music from our Library!

THE ART OF IMPROVISATION

Throughout the history of music improvisation has played an important role as a tool for the per­former to exhibit not only virtuosic technique but also a wide range of personal emotions. Taking a basic melody and spontaneously reworking, embellishing and developing it into something new and excitingly different is a rare talent that is not often seen today apart from the contemporary and jazz fields. What was once a necessary skill for a young artist has faded from importance in today’s musical world.

However, on this new recording we find John Bayless -scholar, composer, virtuoso … improviser. His creations draw on elements from many different styles of music and fuse them into something uniquely his. Whether he is playing Bach. Lenon and McCartney or Bayless you will find an imagination at work that is fresh and singular. The Art of Improvisation is back, and it may never be the same again!

“BACH MEETS THE BEATLES”

Imagine! What if these two revolutionary musical forces of all time were to meet face to face? What would happen? Would they talk about music? Play their latest compositions? Discuss philosophy? Since this association is impossible presented here are some of the most popular songs of The Beatles improvised as Johann Sebastian Bach might have.

the beatles bach sheet music pdf

The four pillars of Bach’s world were the Fugue. Canon, Chorale, and Chorale Prelude. All of these improvisations were built on these four forms. In most instances the lyrics helped define which of the four forms would b the most illuminating to the melody of each song. Then came the decision of which kind of mood should be portrayed. The use of counterpoint interacting between melody and harmony was essential in creating the ap­propriate mood to support each melody.

As the opening selection. “Imagine” is improvised in the style of a toccata, using melodic and rhythmic imitations to set the spirit of these inter­pretations.

The three-note melodic phrase in “All You Need ls Love” provides the chorale in this chorale prelude selection. The continuous sixteenth note accompaniment flows along while from time to time the Chorale melody appears. The strong melodic line in “Hey Jude” required an equally strong accompanying figure. The style and nobili­ty of the French Overtures helped inspire this im­provisation. The purity of the long, sorrowful line in “Because” reminded me of the slow movements of Bach’s concerti. The ensemble and voicing of this three-part counterpoint, plus the unexpected harmonic progressions, show the sophistication of The Beatles’ music.

The lyrics of “Let It Be” expressed a certain peace and tranquility. The beautiful, melodic line in “The Long And Winding Rod” reminded me of the strength and passion found in the chorales. The development of this improvisation uses the form of a Chorale Prelude, ending with another version of the previously improvised chorale.”Penny Lane” ends the first side in a lively, spirited “gigue.”

Side II opens with one of the most popular songs ever. ”Yesterday.” The opening phrases of the Brandenburg Concerto #J, seemed fitting and right for the introduction to this improvisation.

With Michelle l sought a dramatic contrast from the original smooth, romantic version of the song. The lyrics once again helped to set the mood and define the form of Nowhere Man. The undulating and brooding accompaniment gives support to this beautifully simple and pure melody. The drive and Hf e in the melodic line of And I Love Her gave me the essential idea for this improvisation.

An improvised canon, using a nine-note phrase from “Golden Slumbers” serves as the introduc­tion to this improvisation. In Bach’s music the repetition of a single note gives a certain kind of strength and direction to the phrase.

In the improvisation on Something the com bi na­tion of the harmonic strength, with the repeated notes in the melody, dictated a strict and grander interpreation.

The long lyrical and soaring melody in Here, There and Everywhere gave me a chance to set this improvisation in a simple and pastoral way. I find this one of the most complete and satisfying songs by The Beatles.

During the evolution and recording of this album, I felt a journey had been taken … through the music of the 60s and 70s, and through the life of one of the most thrilling and vibrant composers of all time. The finality and completeness of the Aria from the Goldberg Variations with the
humility of Imagine brought me a sense of fulfillment and Joy!

Categories
Bach meets The Beatles

Bach meets the Beatles: “Imagine (Sinfonia)”

Bach meets The Beatles: “Image (Sinfonia)”. Variations in the style of J.S. Bach. John Bayless, piano.

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Bach meets the Beatles sheet music pdf

THE ART OF IMPROVISATION

Throughout the history of music improvisation has played an important role as a tool for the per­former to exhibit not only virtuosic technique but also a wide range of personal emotions. Taking a basic melody and spontaneously reworking, embellishing and developing it into something new and excitingly different is a rare talent that is not often seen today apart from the contemporary and jazz fields. What was once a necessary skill for a young artist has faded from importance in today’s musical world.

However, on this new recording we find John Bayless -scholar, composer, virtuoso … improviser. His creations draw on elements from many different styles of music and fuse them into something uniquely his. Whether he is playing Bach. Lenon and McCartney or Bayless you will find an imagination at work that is fresh and singular. The Art of Improvisation is back, and it may never be the same again!

“BACH MEETS THE BEATLES”

Imagine! What if these two revolutionary musical forces of all time were to meet face to face? What would happen? Would they talk about music? Play their latest compositions? Discuss philosophy? Since this association is impossible presented here are some of the most popular songs of The Beatles improvised as Johann Sebastian Bach might have.

The four pillars of Bach’s world were the Fugue. Canon, Chorale, and Chorale Prelude. All of these improvisations were built on these four forms. In most instances the lyrics helped define which of the four forms would b the most illuminating to the melody of each song. Then came the decision of which kind of mood should be portrayed. The use of counterpoint interacting between melody and harmony was essential in creating the ap­propriate mood to support each melody.

As the opening selection. “Imagine” is improvised in the style of a toccata, using melodic and rhythmic imitations to set the spirit of these inter­pretations.

The three-note melodic phrase in “All You Need ls Love” provides the chorale in this chorale prelude selection. The continuous sixteenth note accompaniment flows along while from time to time the Chorale melody appears. The strong melodic line in “Hey Jude” required an equally strong accompanying figure. The style and nobili­ty of the French Overtures helped inspire this im­provisation. The purity of the long, sorrowful line in “Because” reminded me of the slow movements of Bach’s concerti. The ensemble and voicing of this three-part counterpoint, plus the unexpected harmonic progressions, show the sophistication of The Beatles’ music.

The lyrics of “Let It Be” expressed a certain peace and tranquility. The beautiful, melodic line in “The Long And Winding Rod” reminded me of the strength and passion found in the chorales. The development of this improvisation uses the form of a Chorale Prelude, ending with another version of the previously improvised chorale.”Penny Lane” ends the first side in a lively, spirited “gigue.”

Side II opens with one of the most popular songs ever. ”Yesterday.” The opening phrases of the Brandenburg Concerto #J, seemed fitting and right for the introduction to this improvisation.

With Michelle l sought a dramatic contrast from the original smooth, romantic version of the song. The lyrics once again helped to set the mood and define the form of Nowhere Man. The undulating and brooding accompaniment gives support to this beautifully simple and pure melody. The drive and Hf e in the melodic line of And I Love Her gave me the essential idea for this improvisation.

An improvised canon, using a nine-note phrase from “Golden Slumbers” serves as the introduc­tion to this improvisation. In Bach’s music the repetition of a single note gives a certain kind of strength and direction to the phrase.

In the improvisation on Something the com bi na­tion of the harmonic strength, with the repeated notes in the melody, dictated a strict and grander interpreation.

The long lyrical and soaring melody in Here, There and Everywhere gave me a chance to set this improvisation in a simple and pastoral way. I find this one of the most complete and satisfying songs by The Beatles.

During the evolution and recording of this album, I felt a journey had been taken … through the music of the 60s and 70s, and through the life of one of the most thrilling and vibrant composers of all time. The finality and completeness of the Aria from the Goldberg Variations with the
humility of Imagine brought me a sense of fulfillment and Joy!

John Bayless

John Bayless was born and raised in Texas though his musical roots extend to New York, specifically Broadway, the home of the great theatrical composers George Gershwin. Cole Porter and Richard Rodgers, whom Bayless plays and loves. Bayless is also a trained classical pianist and composer, and a graduate of the Julliard School.

In 1980, he made his Carnegie Hall debut, performing his own piano concerto with the Or­chestra of New York. This led to future commis­sions from the Newport Music Festival and the University of Maryland Piano Competition.

In 1983, Bayless received his master’s degree from New York University’s prestigious program in musical theatre. Bayless’s first musical, Grand Duchy, was given a staged reading at New York’s Playwrights Horizon and will go into production in early 1985. Bayless has also recently been asked by London’s Royal Academy of Music to create a study program in improvisation.

Mr. Bayless has recently recorded two digital albums for Pro Arte, the other entitled Happy Birthday, Bach features improvisations on the
theme ‘Happy Birthday’ in the style of J.S. Bach, Mozart, Chopin, Beethoven and several other composers.

The best selection of classical sheet music is available for immediate download from our Library.

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Bach meets The Beatles

Bach meets the Beatles: “Here, There, And Everywhere”

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Bach meets the Beatles: “Here, There, And Everywhere” Variations in the style of Bach

Bach meets the Beatles sheet music pdf

THE ART OF IMPROVISATION

Throughout the history of music improvisation has played an important role as a tool for the per­former to exhibit not only virtuosic technique but also a wide range of personal emotions. Taking a basic melody and spontaneously reworking, embellishing and developing it into something new and excitingly different is a rare talent that is not often seen today apart from the contemporary and jazz fields. What was once a necessary skill for a young artist has faded from importance in today’s musical world.

However, on this new recording we find John Bayless -scholar, composer, virtuoso … improviser. His creations draw on elements from many different styles of music and fuse them into something uniquely his. Whether he is playing Bach. Lenon and McCartney or Bayless you will find an imagination at work that is fresh and singular. The Art of Improvisation is back, and it may never be the same again!

“BACH MEETS THE BEATLES”
Imagine! What if these two revolutionary musical forces of all time were to meet face to face? What would happen? Would they talk about music? Play their latest compositions? Discuss philosophy? Since this association is impossible presented here are some of the most popular songs of The Beatles improvised as Johann Sebastian Bach might have.

The four pillars of Bach’s world were the Fugue. Canon, Chorale, and Chorale Prelude. All of these improvisations were built on these four forms. In most instances the lyrics helped define which of the four forms would b the most illuminating to the melody of each song. Then came the decision of which kind of mood should be portrayed. The use of counterpoint interacting between melody and harmony was essential in creating the ap­propriate mood to support each melody.

As the opening selection. “Imagine” is improvised in the style of a toccata, using melodic and rhythmic imitations to set the spirit of these inter­pretations.

The three-note melodic phrase in “All You Need ls Love” provides the chorale in this chorale prelude selection. The continuous sixteenth note accompaniment flows along while from time to time the Chorale melody appears. The strong melodic line in “Hey Jude” required an equally strong accompanying figure. The style and nobili­ty of the French Overtures helped inspire this im­provisation. The purity of the long, sorrowful line in “Because” reminded me of the slow movements of Bach’s concerti. The ensemble and voicing of this three-part counterpoint, plus the unexpected harmonic progressions, show the sophistication of The Beatles’ music.

The lyrics of “Let It Be” expressed a certain peace and tranquility. The beautiful, melodic line in “The Long And Winding Rod” reminded me of the strength and passion found in the chorales. The development of this improvisation uses the form of a Chorale Prelude, ending with another version of the previously improvised chorale.”Penny Lane” ends the first side in a lively, spirited “gigue.”

Side II opens with one of the most popular songs ever. ”Yesterday.” The opening phrases of the Brandenburg Concerto #J, seemed fitting and right for the introduction to this improvisation.

With Michelle l sought a dramatic contrast from the original smooth, romantic version of the song. The lyrics once again helped to set the mood and define the form of Nowhere Man. The undulating and brooding accompaniment gives support to this beautifully simple and pure melody. The drive and Hf e in the melodic line of And I Love Her gave me the essential idea for this improvisation.

An improvised canon, using a nine-note phrase from “Golden Slumbers” serves as the introduc­tion to this improvisation. In Bach’s music the repetition of a single note gives a certain kind of strength and direction to the phrase.

In the improvisation on Something the com bi na­tion of the harmonic strength, with the repeated notes in the melody, dictated a strict and grander interpreation.

The long lyrical and soaring melody in Here, There and Everywhere gave me a chance to set this improvisation in a simple and pastoral way. I find this one of the most complete and satisfying songs by The Beatles.

During the evolution and recording of this album, I felt a journey had been taken … through the music of the 60s and 70s, and through the life of one of the most thrilling and vibrant composers of all time. The finality and completeness of the Aria from the Goldberg Variations with the
humility of Imagine brought me a sense of fulfillment and Joy!

John Bayless

John Bayless was born and raised in Texas though his musical roots extend to New York, specifically Broadway, the home of the great theatrical composers George Gershwin. Cole Porter and Richard Rodgers, whom Bayless plays and loves. Bayless is also a trained classical pianist and composer, and a graduate of the Julliard School.

In 1980, he made his Carnegie Hall debut, performing his own piano concerto with the Or­chestra of New York. This led to future commis­sions from the Newport Music Festival and the University of Maryland Piano Competition.

In 1983, Bayless received his master’s degree from New York University’s prestigious program in musical theatre. Bayless’s first musical, Grand Duchy, was given a staged reading at New York’s Playwrights Horizon and will go into production in early 1985. Bayless has also recently been asked by London’s Royal Academy of Music to create a study program in improvisation.

Mr. Bayless has recently recorded two digital albums for Pro Arte, the other entitled Happy Birthday, Bach features improvisations on the
theme ‘Happy Birthday’ in the style of J.S. Bach, Mozart, Chopin, Beethoven and several other composers.

The best selection of classical sheet music is available for immediate download from our Library.

Categories
Bach meets The Beatles

Bach meets the Beatles: “Penny Lane”

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Bach meets the Beatles: “Penny Lane” Variations in the style of Bach “Let it be” – Improvised by John Bayless, piano.

The best scores are in our Sheet Music Library (PDF)

the beatles sheet music

John Bayless is one of the top classical cross-over recording and concert performing artists, best known for his top-selling albums, “Bach Meets the Beatles,” “The Puccini Album” and “Circle of Life: Songs by Elton John in the Style of Bach.” 

He has appeared at Carnegie Hall in a performance of his own West Side Story Concert Variations for solo piano and orchestra, made his Tanglewood debut playing Gershwin’s Rhapsody in Blue with the Boston Pops, opened the San Francisco Summer Pops season with the same work and appeared in three sold-out concerts at the Hollywood Bowl with John Mauceri and the Hollywood Bowl Orchestra.

He performed his West Side Story Concert Variations and his Bach Meets the Beatles repertoire with the Philadelphia Orchestra.  Bayless is Artistic Director for the Waring International Piano Competition. For more information, visit http://www.vwipc.org/John-Bayless-Bio.

Show was directed by Stewart Schulman.  Singer actress Jean Kauffman has a cameo. Bayless had a stroke in 2008 which left him paralyzed on his right side. Bayless shares his road to recovery, and his return to composing and performing with one hand. This story of resiliency and hope has something for everyone.

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Bach meets The Beatles

Bach meets the Beatles – Variations in the style of Bach “And I love her”

Bach meets the Beatles – Variations in the style of Bach “And I love her” – Improvised by John Bayless, piano.

bach meets the beatles
bach meets the beatles
bach meets the beatles
bach meets the beatles