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Oliver Jones and Oscar Peterson – Just Friends (sheet music)

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Live at the Montreal Jazz Festival (with sheet music)

Just Friends” is a popular song that has become a jazz standard. The song was written in 1931 by John Klenner with lyrics by Sam M. Lewis. Although introduced by Red McKenzie and His Orchestra in October 1931, it first became a hit when singer Russ Columbo performed it with Leonard Joy’s Orchestra in 1932. It charted again the same year in a version by Ben Selvin and His Orchestra and has been recorded often since. The sheet music is availabe in our Library.

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https://en.wikipedia.org/wiki/List_of_1930s_jazz_standards

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Jazz & Blues Music

Jazz and Blues Music (with sheet music)

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Jazz & Blues Music

Dexter Gordon ♪Georgia on My Mind

Dexter Gordon ♪Georgia on My Mind (with sheet music in our Library)

Personnel

Dexter Gordon Quartet- Georgia On My Mind.
From album- “Biting the Apple”.
Dexter Gordon- Tenor Sax.
Barry Harris- Piano.
Sam Jones- Bass.
Al Foster- Drums

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Jazz & Blues Music Beautiful Music LIVE Music Concerts

Outstanding Live Music concerts and performances (especially Jazz)

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Keith Jarrett - The Art of Improvisation Jazz & Blues Music

Keith Jarrett – Danny Boy (Londonderry Air) LIVE in Tokyo 2002

Keith Jarrett – Danny Boy (Londonderry Air) LIVE in Tokyo 2002, sheet music available in our Library

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Keith Jarrett – Danny Boy (Londonderry Air) LIVE in Tokyo 2002, sheet music available in our Library

Keith Jarrett – Danny Boy (Londonderry Air) LIVE in Tokyo 2002 with sheet music

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Musical Analysis Jazz & Blues Music

LEARNING JAZZ IMPROVISATION: EXERCISES ON KEITH JARRETT STYLE

Exercises Developed from Excerpts of a Keith Jarrett Improvisation on All The Things You Are“.

Jazz educators tell students that transcribing solos will help them learn to improvise. It will certainly improve their ears if they are trying to hear the relationships of pitches in a phrase. It will do little to help their ears if they are using software to move the solo note by note and hunt and peck to find that note.

Students often ask what they should do with the solos after transcribing them. Should they learn it note for note matching articulations. I can imagine this would be very helpful. But has playing non-jazz etudes and pieces note for note with correct style helped them with improvisation? Students who focus just on memorizing other’s work, whether it is jazz solos or classical pieces are typically the least prepared to improvise, even though they may have very well developed technique on their instruments.

In order to improvise, one must get into the thinking behind the notes. That is difficult when dealing with memorizing a 128 measure solo. It might be easier when breaking apart shorter excerpts from that solo. One of my primarily classically trained students transcribed the first 36 measures of a Keith Jarrett improvisation over the chord changes to All the Things You Are from YouTube. She can probably sight read it at tempo, but is unable to improvise using the vocabulary.

I suggested taking excerpts; breaking them down, applying them several places in the progression, finding ways to connect these excerpts, and through this process, develop vocabulary. Attention should be paid to appropriate jazz phrasing, articulations, accents and good time feel.

SIMPLE EXCERPTS

Jarrett plays this simple line in the first measure of the form. It clearly lines up with the chord – a 5- 3-1 arpeggio idea with one passing tone, which could be expressed as a 5-3-2-1 pattern.

Apply this fragment to the entire progression (only the first eight measures are shown). As the pattern becomes more familiar, try different rhythmic variations.

Here is a line from m.2. It could be described as a descending arpeggio (7-5-3-1) with one pickup note or leading tone, and one passing tone.

Apply this idea to the entire progression. Some rhythmic variations and displacements can disguise the repeated pattern and make it sound more organic.

Jarrett plays this 3-5-7-9 arpeggio in m.4. In the tune itself, this chord is played as a major 7 chord.

This is a very good exercise for connecting all the chords using a 3-5-7-9 arpeggio. These arpeggios can ascend, as in mm.1-2. Eventually, you will run out of range on your instrument. A solution is to invert the arpeggios as in mm.3, 5, and 7. Repeat the exercise exchanging where you play ascending or inverted arpeggios. Several kinds of rhythmic variations can be applied, including anticipation and delayed resolutions. This exercise follows outline no. 1 (see discussion below).

Apply this arpeggio idea to the progression. Some of these excerpts may be too active to be played in every measure. It is a good idea to practice them in alternating measures. This reinforces a sense of stop and go in your phrasing. The example below plays the line in the odd measures and comes to rest on the 3rd in the even measures. (The connection of this idea resolving to the 3rd of the next chord is outline no. 2, discussed below.)

Now play the 3rd in the odd measures with the line in the even measures.

Jarrett’s line from mm.11-12 can be reduced to a simple line that connects the thirds of each chord. Jarrett also plays a 3-5-7-9 arpeggio that connects the octave leap from G to F. (This is outline no. 1, discussed below.)

Practice the line for alternating measures as shown in the previous exercises. Odd to Even:

Even to Odd:

BASIC OUTLINES

There are three common lines found in music from the Baroque period to the present. They may appear with out embellishment or may be highly figured. (I have written a book that deals exclusively with these structures: Connecting Chords with Linear Harmony, Hal Leonard, Inc.)

Outline No. 1 connects the 3rd of one chord down to the 3rd of the next.

Outline No. 2 begins with an ascending 1-3-5 arpeggio and the 7th resolves to the 3rd of the next chord.

Outline No. 3 begins with a descending 5-3-1 arpeggio and the 7th resolves to the 3rd of the next chord.

The three outlines are shown below for a G7 to C progression. The outlines are used anytime the chords progress down a fifth. Almost the entire progression for this piece is based on chords resolving down a fifth, so these basic outlines will be essential vocabulary.

OutlineNo.1 OutlineNo.2 Outline No.3

Jarrett strings two outlines together in mm.13-15. It is interesting to hear how Jarrett’s rhythmic displacement creates interest, but it is better to begin practicing them as they line up with the chords. When the lines become more familiar, experiment with displacement (both octave and rhythmic) and with various levels of embellishment.

Jarrett Line Basic Outline No. 2 & No. 1

Outline No. 2 applied to the progression using alternating measures.

Even too odd:

Jarrett Outline No. 1 Basic Outline No. 1

Jarrett outline no. 1 idea sequenced through the progression using alternating measures. Odd to Even:

Even to Odd:

Jarrett plays a 3-5-7-9 arpeggio in m.17 followed by outline no. 2 in m.18.

It may be easier to see as shown belowb. In the second setting below, a Bb replaces the An in the descending arpeggio over the D7. The B is more colorful and suggests chromatic voice-leading from the B .

The basic 3-5-7-9 arpeggios are followed by outline no. 3 in the exercise below. A very basic shape is shown on the top line. The bottom line is more embellished and rhythmically interesting and may represent how it might be in an improvised solo. It is important to be able to play the basic shapes before attempting to embellish them.

This exercise is the reverse of the previous one. This one begins with outline no. 3 followed by a 3- 5-7-9 arpeggio. The basic shapes are shown on the top line and more embellished and rhythmically active lines are shown on the bottom.

TRIADS & NEIGHBOR TONE GROUPS

Jarrett plays a simple triad shape in m.23. The basic idea is 3-5-1. Jarrett uses a neighbor tone group before playing the E.

Upper neighbor tones are usually diatonic and lower neighbor tones are chromatic. A simple 3-5-1 arpeggio is sequenced below for the progression.

Jarrett uses another 3-5-1 arpeggio in m.35, but begins with a neighbor tone group around the 3rd.

Apply this idea to the progression. As it becomes more familiar, try other rhythmic placements of the line.

The two neighbor tone groups could be combined in numerous other ways over any basic triad shape. Jarrett used a neighbor tone group around the root in m.23 and around the 3rd in m.35. The exercise below combines those groups and applies them to the progression.

ALTERED DOMINANT LINES

Jarrett plays an interesting embellishbmebnt #of outline no. 1 in mm.24-25. Jarrett’s embellishment calls.

Basic Outline No. 1Shape Jarrett’s Embellishment

This line is also useful resolving to major and may be applied to any of the V7 – I cadences in the progression.

Writers keep journals. Jazz improvisers and composers should keep notebooks of simple and embellished lines as a way of cataloging, fostering and keeping track of creative growth. All of these exercises can be transposed and used in other standard jazz progressions. Many of these exercises can be combined with one another in interesting ways. (For instance, try using one of the triad patterns with neighbor tone groupings to lead to the altered dominant line, then using another variation of the triad pattern when resolving to the I or i chord.)

All of these lines in Jarrett’s improvisation can be found in many other jazz solos, yet we can recognize his solos as uniquely Jarrett. As you internalize these common lines your own unique way of putting them together will emerge. Keep the metronome on and keep practicing!

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Jazz & Blues Music

McCoy Tyner – “Wave”

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Great Jazz pianist McCoy Tyner was born December 11, 1938, in Philadelphia, Pennsylvania, of parents with roots in North Carolina. Tyner attended Martha Washington Grade School and Sulzberger Jr. High School. Tyner, with the encouragement of his teacher Ms. Addison and his mother, Beatrice Stephenson Tyner, began taking beginning piano lessons from a neighbor, Mr. Habershaw. Later, a Mr. Beroni taught Tyner classical piano.

Although inspired by the music of Art Tatum and Thelonius Monk, it was his neighborhood Philadelphia musicians that pushed Tyner’s musical development. He engaged in neighborhood jam sessions with Lee Morgan, Bobby Timmons and Reggie Workman. Tyner was hand picked by John Coltrane in 1956, while still a student at West Philadelphia High School. Around this same time, Tyner converted to Islam.

After high school, Tyner toured with Bennie Golson and Art Farmer, and can be heard on their hit record, Killer Joe and the album Meet The Jazztet. In 1960, he became a part of John Coltrane’s legendary quartet that included Elvin Jones and Jimmy Garrison.

Later, the group included Eric Dolphy, Pharoah Sanders and others exploring themes of spirituality and African identity. Tyner can be heard on Africa Brass, A Love Supreme, My Favorite Things and Kulu Se’ Mama. He also recorded as a leader on Impulse! Records’ Inception, Night of Ballads, Blues, Live at Newport and several others.

McCoy Tyner -  "Wave" free sheet music & scores pdf

Leaving Coltrane in 1965, Tyner played with a who’s who of jazz greats including: Joe Henderson, Freddie Hubbard, Gary Bartz, Ron Carter, Billy Cobham, Roy Haynes, Stanley Clarke, Sonny Rollins, and many others. He can be heard on a number of albums, including: The Real McCoy, 1967, Asante, 1970, Sahara, 1972, Trident, 1975, The Greeting, 1978, Inner Voices, 1990, and Infinity, 1995, displaying his variety and flexibility as a jazz musician.

An innovator, Tyner performed with strings on 1976’s Fly With The Wind and with a big band on The Turning Point , 1991. With over eighty albums to his credit and five Grammy Awards, Tyner was nominated at the 45th Grammy Awards for Best Instrumental Jazz Recording for McCoy Tyner Plays John Coltrane: Live at the Village Vanguard, and in 2004, Tyner’s Illuminations won a Grammy for Best Jazz Album, Individual or Group. Like John Coltrane, Tyner strives to elevate his listeners’ consciousness.

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Tyner’s energetic style embraces African, Latin, Eastern and bebop rhythms, which he plays in bright clusters. His block chords, pentatonic scales and modal structures have earned him international recognition among the top jazz pianists of all time. Tyner is the recipient of numerous honors including the National Endowment of the Arts’ Jazz Master Award in 2002 and the 2003 Heroes Award from the Philadelphia Chapter of the Recording Academy. In 2005, Tyner received an honorary doctorate of music from Berklee College in Boston, Massachusetts.

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Tyner passed away on March 6, 2020.

“Wave,” by composer Antonio Carlos Jobim, is one of the all-time great tunes in the Bossa Nova style. Jobim and his musical peers created the Bossa Nova sound in Brazil during the late 1950s-early 1960s, and their influence can still be felt in pop music and jazz today.

The English lyrics were used on the February 11, 1969 recording by Frank Sinatra, on his 1970 album Sinatra & Company. The English lyrics were also used by Johnny Mathis in his 1970 Close to You album. The English lyrics were also used by Sergio Mendes & Brasil ’66 (sung by Lani Hall with Mendes) on their second album, Equinox, in 1967.

The song was voted by the Brazilian edition of Rolling Stone to be the 73rd greatest Brazilian song.

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According to The Jazz Discography by Tom Lord, the song has been recorded nearly 500 times by jazz artists.

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LIVE Music Concerts Jazz & Blues Music

Chet Baker My Funny Valentine – Chet Baker in Tokyo LIVE!

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Chet Baker My Funny Valentine – Chet Baker in Tokyo LIVE! SHEET MUSIC

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Jazz & Blues Music Bill Evans Harmony

Bill Evans – Portrait in Jazz (1960 Album)

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Bill Evans – Portrait in Jazz (1960 Album) with sheet music

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Bill Evans sheet music transcriptions

Portrait in Jazz

00:00 – Come Rain or Come Shine (1959) (Harold Arlen, Johnny Mercer)
03:21 – Autumn Leaves (1959) (Joseph Kosma, Jacques Prévert, Johnny Mercer)
09:20 – Witchcraft (1959) (Cy Coleman, Carolyn Leigh)
13:55 – When I Fall in Love (1959) (Victor Young, Edward Heyman)
18:50 – Peri’s Scope (1959) (Bill Evans))
22:06 – What Is This Thing Called Love? (1959) (Cole Porter)
26:41 – Spring Is Here (1959) (Richard Rodgers, Lorenz Hart)
31:41 – Someday My Prince Will Come (1959) (Frank Churchill, Larry Morey)
36:44 – Blue in Green (1959) (Miles Davis, Bill Evans)

Portrait in Jazz is an album by American jazz pianist Bill Evans, released in 1960.

History

Eight months after his successful collaboration with Miles Davis on the album Kind of Blue, Evans recorded Portrait in Jazz with a new group (the Bill Evans Trio) that helped change the direction of modern jazz.

Most noticeably, LaFaro’s bass is promoted from a mere accompanying instrument to one of almost equal status to the piano (though not to the extent that it would be on later albums such as Sunday at the Village Vanguard). It is one of Evans’ more up-tempo and swinging albums (the presence of several ballads notwithstanding).

Reception

Reviewing it for Allmusic, music critic Scott Yanow wrote of the album: “… the influential interpretations were far from routine or predictable at the time. LaFaro and Motian were nearly equal partners with the pianist in the ensembles… A gem.” Danny Eccleston of Mojo wrote: “Portrait In Jazz – Evans’ fifth record as a band leader – gets you every which way. At its least great, it is merely brilliant… But what makes Evans extra-extra-special is the way his playing drags you in and shares the vulnerability at its core. Oh, the humanity!”

Track listing

  1. Come Rain or Come Shine” (Harold Arlen, Johnny Mercer) – 3:24
  2. Autumn Leaves” (Joseph Kosma, Jacques Prévert, Johnny Mercer) – 6:00
  3. Witchcraft” (Cy Coleman, Carolyn Leigh) – 4:37
  4. When I Fall in Love” (Victor Young, Edward Heyman) – 4:57
  5. “Peri’s Scope” (Bill Evans) – 3:15
  6. What Is This Thing Called Love?” (Cole Porter) – 4:36
  7. Spring Is Here” (Richard Rodgers, Lorenz Hart) – 5:09
  8. Someday My Prince Will Come” (Frank Churchill, Larry Morey) – 4:57
  9. Blue in Green” (Miles Davis, Bill Evans) – 5:25

Personnel

Additional personnel

  • Orrin Keepnews – producer
  • Jack Higgins – engineer
  • George Horn – mastering

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Jazz & Blues Music

Burton • Corea • Metheny • Haynes • Holland ‎– Like Minds (1998 – Full Album)

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Burton • Corea • Metheny • Haynes • Holland ‎– Like Minds (1998 – Full Album)

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Guitar – Pat Metheny Liner Notes – Gary Burton Mastered By – Greg Kalbi Mixed By – James Farber Photography By – Gildas Boclé Piano – Chick Corea Producer, Vibraphone – Gary Burton Recorded By – James Farber.

Like Minds is a 1998 jazz album by vibraphonist Gary Burton with Chick CoreaPat MethenyRoy Haynes, and Dave Holland. In 1999, the album won a Grammy Award for Best Jazz Instrumental Performance, Individual or Group. Recordings took place in the Avatar Sound Studio in New York City.

All tracks are written by Pat Metheny except where noted.

No.TitleLength
1.“Question and Answer” (Pat Metheny)6:24
2.“Elucidation” (Pat Metheny)5:21
3.“Windows” (Chick Corea)6:17
4.“Futures” (Chick Corea)10:41
5.“Like Minds” (Gary Burton)5:50
6.“Country Roads” (Gary Burton)6:26
7.“Tears of Rain” (Pat Metheny)6:33
8.“Soon” (George Gershwin/Ira Gershwin)6:24
9.“For a Thousand Years” (Pat Metheny)5:23
10.“Straight Up and Down” (Chick Corea)9:02
Total length:68:25
 

Elucidation Written By Pat Metheny

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_11.html

Futures by Chick Corea

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_46.html

Windows, by Chick Corea

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_3.html

Question And Answer by Pat Metheny

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland.html

Like Minds Written By Gary Burton

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_7.html

Country Roads By Gary Burton

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_082847182.html

Tears Of Rain By Pat Metheny

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_0244307520.html

Soon By George Gershwin

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_01645065842.html

For A Thousand Years By Pat Metheny

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_0193269694.html

Straight Up And Down By Chick Corea

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_01588644615.html

Like Minds Written By Gary Burton

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_7.html

Country Roads By Gary Burton

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_12.html

Tears Of Rain By Pat Metheny

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_23.html

Soon By George Gershwin

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_47.html

For A Thousand Years By Pat Metheny

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_13.html

Straight Up And Down By Chick Corea

https://freesheetmusiclibrary.blogspot.com/2022/01/burton-corea-metheny-haynes-holland_50.html

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