The Sheet Music Library (PDF) is a non-profit, subscription library of piano, guitar and vocal scores. Sheet music. Partituras. Partitions. Spartiti. Noten. Partituur. Партиту́ра. 망할 음악 Partitur. 楽譜 Musical scores. 乐谱 Nuty. Bladmuziek. Noty. Free SHEET MUSIC PDFs for educational purposes only.
Tim Richards Exploring Jazz Piano Volume 1 PDF. A large and fully comprehensive guide to the inner secrets of the Jazz Piano style. Beginning at first principles, this exhaustive tutorial guides the intermediate Pianist through the nuts and bolts of successful and inspiring improvisation. Author Tim Richards covers all styles from the 1940s to the present day, and includes 28 of his own compositions alongside such celebrated standards as Autumn Leaves, On Green Dolphin Street and Straight, No Chaser. In fact, fans of Monk and Horace Silver will be especially pleased to discover two full transcriptions of solos by these innovative Jazzmen. A small selection of the subjects covered includes: Chord/scale relationships; Modes; Broken chord and scale patterns; Pentatonic and Blues scales; Walking Basslines; Latin rhythms and basslines; Horizontal and vertical improvisation; II-V-I sequences; Tritone substitution; Two-handed voicings; Ear-training; Suggested listening. MP3 is included with the book, featuring stereo-separated recordings of all pieces, along with bass and drums, so you can either hear the full performance or remove the Piano part to play along. Furthermore, the course is packed with assignments and arrangement ideas that will guide you towards the development of your very own Jazz style and sound. Come now and borrow it at our sheet music Library
Why Your Library Needs Music? An interesting article
A growing body of research is affirming the central role of music in early literacy. Librarians are listening—and designing programs with a deep mindfulness of how music supports PreK–learning. Music has been proven to do everything from boosting numeracy to developing empathy among children; from improving speech-language delays to augmenting comprehension. One study from the Music-Science Lab at the Ben-Gurion University of the Negev showed that young children who played hand-clapping games had better cognitive and social skills than those who didn’t.
For librarians, engaging babies and children during 45 minutes of storytime or family sing-along is just part of the job. While making the most of rhyming tunes, props, and the “fun, fun, fun!” factor, as Minnesota children’s librarian Anna Haase Krueger says, librarians also educate parents about music’s importance. A founding principle of the child-adult music program Music Together, created in 1987, is that participation and modeling by adults are critical to children’s musical development.
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While many parents crave the bonding and social aspects of these activities, understanding the latest research makes shaking those egg rattles a richer experience. Librarians help them learn—and encourage them to bring the beat home, or in the car, or on the bus.
The library-parent education initiatives Every Child Ready to Read (ECRR) and Every Child Ready to Read 2 (ECRR2) influence many a storytime across the country. “The whole purpose of ECRR is to inform parents about what they can do” at home to prepare kids for school readiness, says Starr LaTronica, past president of the Association for Library Service to Children, which created ECRR kits for youth librarians in partnership with the Public Library Association. “Songs introduce words that they might not encounter somewhere else.”
ECRR, issued in 2004, identified six key skills that support preliteracy, such as print motivation, phonological awareness, and narrative skills. The idea is that encouraging these skills at home will reinforce libraries’ efforts. The revised ECRR2 (2011) uses terms that parents can grasp more easily to encourage these habits, swapping the six skills with five simpler “practices:” sing, talk, read, write, and play. However librarians convey this information, it’s critical for parents to keep up these habits at home. Attending storytime once a week isn’t enough to build preliteracy skills, according to ECRR research.
Where do librarians find music resources to encourage all of this educational fun? From “the hundreds of storytime blogs I follow,” says Kendra Jones, a children’s librarian at the Vancouver (WA) Community Library (VCL), and many follow suit. Sites such as Storytime Underground, where Jones serves as a joint chief, give librarians a forum for posting questions and sharing knowledge and best practices. These free resources, along with social media, professional networks, and storytime songs posted on YouTube and Vimeo, spark creativity and offer a community for librarians who often work in relative isolation.
While many libraries don’t have extensive physical music collections, some make use of library music downloading services such as Freegal. During live programming, many say, old chestnuts, such as “Five Little Monkeys Jumping on the Bed” and “The Wheels on the Bus,” which pair singing with movement, never go out of style.
Final Fantasy VII is a role-playing video game developed by Square (now Square Enix) and published by Sony Computer Entertainment as the seventh installment in the Final Fantasy series. Released in 1997, the game sparked the release of a collection of media centered on the game entitled the Compilation of Final Fantasy VII. The music of the Final Fantasy VII series includes not only the soundtrack to the original game and its associated albums, but also the soundtracks and music albums released for the other titles in the collection.
The first album produced was Final Fantasy VII Original Soundtrack, a compilation of all the music in the game. It was released as a soundtrack album on four CDs by DigiCube in 1997. A selection of tracks from the album was released in the single-disc Reunion Tracks by DigiCube the same year. Piano Collections Final Fantasy VII, an album featuring piano arrangements of pieces from the soundtrack, was released in 2003 by DigiCube, and Square Enix began reprinting all three albums in 2004. To date, these are the only released albums based on the original game’s soundtrack, and were solely composed by regular series composer Nobuo Uematsu; his role for the majority of subsequent albums has been filled by Masashi Hamauzu and Takeharu Ishimoto.
The Compilation of Final Fantasy VII began eight years after the release of Final Fantasy VII with the release of the animated film sequel Advent Children in 2005. The soundtracks for each of the titles in the collection are included in an album, starting with the album release of the soundtrack to Advent Children that year. The following year, Nippon Crown released a soundtrack album to correspond with the video game Dirge of Cerberus, while Square Enix launched a download-only collection of music from the multiplayer mode of the game, which was only released in Japan. After the launch of the game Crisis Core in 2007, Warner Music Japan produced the title’s soundtrack.
The latest album in the collection, Before Crisis: Final Fantasy VII & Last Order: Final Fantasy VII Original Soundtrack, was released by Square Enix the same year as a combined soundtrack album for the game Before Crisis and the animated movie Last Order.
The original music received highly positive reviews from critics, who found many of the tunes to be memorable and noted the emotional intensity of several of the tracks. The reception for the other albums has been mixed, with reactions ranging from enthusiastic praise to disappointment. Several pieces from the soundtrack, particularly “One-Winged Angel” and “Aeris’ Theme”, remain popular and have been performed numerous times in orchestral concert series such as Dear Friends: Music from Final Fantasy and Tour de Japon: Music from Final Fantasy. Music from the Original Soundtrack has been included in arranged albums and compilations by Square as well as outside groups.
2010年在DG推出第二張個人專輯《Transformation》，收錄了史特拉汶斯基、斯卡拉蒂、布拉姆斯、拉威爾等人作品。2011年在DG推出第三张个人专辑《Rachmaninov: Piano Concerto No. 2 / Rhapsody on a Theme of Paganini》。2012年在DG推出第四张个人专辑《Fantasia》，收录了拉赫曼尼諾夫、斯卡拉蒂、舒伯特、蕭邦等人作品。
王羽佳在新一代華人鋼琴家中以技巧高超著稱，演奏風格大氣而硬朗。她亦擁有與眾不同的性格，曾在其私人Facebook頁面上自稱「an egocentric, shameless prima donna…have the possibility of turning to a geisha」（自我中心、不知廉恥的傲嬌女王……有成為藝伎的潛質）。2010年5月30日在德國巴登-巴登演出結束後的記者會上，有人問「古典音樂家以外，誰對你影響最大？」王羽佳回答：「Lady Gaga」
This LP comes from a live 1975 concert by the Bill Evans Trio, which was broadcast by Radio Suisse in Switzerland. The pianist is in superb form, joined by longtime bassist Eddie Gomez and newcomer Eliot Zigmund on drums. The sound is excellent, without the annoying announcers or distortion, so this release could have very well been produced from the master tape itself. The set is wide-ranging, including both recent and older compositions by Evans, “Gloria’s Step” (the best-known work by former Evans sideman Scott LaFaro, who died far too young), along with standards like a buoyant “My Romance.
” The leader’s treatment of his ballad “Turn Out the Stars” is rather upbeat, while his somewhat avant-garde composition “T.T.T.T.” (also known as “Twelve Tone Tune Two”) is a modern masterpiece. Perhaps the greatest surprise was Evans‘ inventive treatment of pop singer Bobbie Gentry‘s “Morning Glory.”
This CD comes from a live 1975 concert by the Bill Evans Trio, which was broadcast by Radio Suisse in Switzerland. The pianist is in superb form, joined by longtime bassist Eddie Gomez and newcomer Eliot Zigmund on drums.
The sound is excellent, without the annoying announcers or distortion, so this release could have very well been produced from the master tape itself. The set is wide-ranging, including both recent and older compositions by Evans, “Gloria’s Step” (the best known work by former Evans sideman Scott LaFaro, who died far too young), along with standards like a buoyant “My Romance.” The leader’s treatment of his ballad “Turn Out the Stars” is rather upbeat, while his somewhat avant-garde composition “T.T.T.T.” (also known as “Twelve Tone Tune Two”) is a modern masterpiece. Perhaps the greatest surprise was Evans’ inventive treatment of pop singer Bobbie Gentry’s “Morning Glory.”
The only real problem with this CD is the sloppy composer credits on two numbers. This 1990 release may be somewhat difficult to find, but it is one of the better bootlegs issued under Bill Evans’ name. — Ken Dryden, Rovi.
01 Sugar Plum 07:27
02 Midnight Mood 08:23
03 Turn Out The Stars 04:56
04 Gloria's Step 07:09
05 Up With The Lark 06:19
06 Twelve Toned Tune 07:10
07 Morning Glory 04:25
08 Sareen Jurer 06:59
09 Time Remembered 05:38
10 My Romance 07:54
11 Waltz For Debby 05:58
12 Yesterday I Heard The Rain 05:42
Bill Evans, piano
Eddie Gomez, bass
Eliot Zigmund, drums
Epalinges, Switzerland, 6th February 1975
Bill Evans was on an upswing in 1968. There had been tragedy and depression and demons to bear, but the jazz pianist had made his way forward over the previous few years. He had collaborated fruitfully with such peers as Jim Hall, gained a devoted new manager, signed with the high-profile Verve label, and won his first Grammy Award. Evans had also developed rapport with a virtuoso young bassist, Eddie Gomez, and they eventually added an up-and-coming force of a drummer, Jack DeJohnette, for a new trio — one that seemed to hold a dynamic promise that the pianist’s groups hadn’t quite shown since his famously inspired trio with drummer Paul Motian and short-lived bassist Scott LaFaro in 1959–61.
A European tour by Evans, Gomez, and DeJohnette in the summer of ’68 would yield an ebullient live album, At the Montreux Jazz Festival, that garnered the pianist his second Grammy. Then Miles Davis broke up the band.
That is, Davis lured DeJohnette away to his own group. Evans could scarcely blame the drummer for leaving him to join the era’s most iconic jazz bandleader. After all, the pianist had made his own name as the trumpeter’s kindred-spirit collaborator on Kind of Blue, the LP that would turn on more people to jazz than any in music history. (DeJohnette would end up playing on Davis’s Bitches Brew, an album almost as epochal for the late sixties as Kind of Blue was for the late fifties.)
But it seemed like a missed opportunity, as the Evans trio with DeJohnette and Gomez, having been together for just six months, was only able to make that one live recording, nothing in the studio. Or at least that’s the way the story went until 2016, when Resonance Records released Some Other Time: The Lost Session from the Black Forest, a two-disc set derived from impromptu recordings made by the trio in a German studio just five days after that celebrated Montreux concert.
For reasons not quite clear, the recordings had never been issued before Resonance’s sleuthing. But all’s well that ends well, at least for today’s Bill Evans fans.
Then lightning struck twice. Last year, Resonance followed up Some Other Time by releasing a second, contemporaneous discovery: Another Time: The Hilversum Concert, which presents a pristine recording of Evans, Gomez, and DeJohnette performing for an audience in the intimate hall of the Netherlands Radio Union, just two days after that studio session in Germany. Moreover, the set list for that Dutch broadcast recording only features two numbers in common with the Montreux concert from the week before. Suddenly, we have two valuable “new” albums — recordings never even bootlegged before — by one of the most beloved and widely influential pianists in the annals of jazz.
“Bill Evans has shaped the harmony of every jazz pianist of the past fifty years, whether they want to admit it or not — because even if they didn’t listen to Bill, they listened to players who did listen to him, from Herbie Hancock on down,” says ace jazz pianist Frank Kimbrough, who teaches at the Juilliard School. “And for the public, the beauty of his music, particularly his early work, has always been accessible — easy to listen to, even if it isn’t ‘easy listening.’”
The Music’s on Me is the latest album from Pianist/Vocalist Wendy Kirkland and follows her successful début Piano Divas album released in early 2017. The album contains a blend of original compositions combined with arrangements of instrumentals from Wes Montgomery, Michel Petrucciani, Don Grolnick and Russell Malone with lyrics added by Wendy herself.
With her previous release being a homage to the female performers that influenced her musical development, this current album is less thematic in nature yet stylistically similar. In a recent interview published on London Jazz News Wendy said: “With Piano Divas I was focusing on singer-pianists, whereas this time I was really looking to create as much variety as possible…” I would have to agree with this, The Music’s on Me provides the listener with a wide palette of feels, ranging from the medium swing of the title track to the more adventurous rendition of Don Grolnick’s “Pools”.
The album features Wendy’s regular working band comprising Pat Sprakes (guitar), Paul Jefferies (double bass) and Steve Wyndham (drums) along with special guests Roger Beaujolais (vibraphone) and Tommaso Starace (saxophone) both contributing.
Since the release of Piano Divas, the band has been holding down a rigorous touring schedule, and this can be heard in the interplay the group have developed. Sprakes, Jefferies and Wyndham form a formidable rhythm section providing a strong base for Kirkland to weave her vocalese.
Vibraphonist Roger Beaujolais makes an appearance on “Pools” with an impressive unisono version of the melody together with Wendy before moving into a well-crafted solo. Italian Saxophonist Tommaso Starace appears on the “September Second” and the closing track “Travelling Home” providing strong solos on both tunes and in particular the soprano solo on the latter.
My personal highlights on the album are “Pools” and the closing track “Travelling Home”, Both tracks display a slightly more modern flavour. I particularly enjoyed Pat Sprakes guitar work with wonderful solos on “O Gato Molhado” and “Sunday In New York.”
Wendy stated in a recent interview here on Jazz In Europe that she considers herself a pianist that sings and this is evident in the strong piano work throughout the album. This in no way detracts from her vocal ability and in fact, it is the instrumental nature of her vocals that make it so attractive. When listening to this album I keep coming back to Blossom Dearie and yet, while obviously influenced by Dearie it’s clear that Wendy has developed her take on it.
Originally a jolly little show tune sung by Eddie Cantor, updated as female empowerment jazz number by Nina Simone, and re-arranged in the style of Al Jarreau’s ‘We’re In This Love Together’ to commemmorate Al’s untimely passing this year.
from Piano Divas, released March 21, 2017 Wendy Kirkland – piano and voice Pat Sprakes – guitar Paul Jefferies – double bass Stevie Smith – drums
She was a childhood piano student then professional engineer and is now the English pianist who sings (an important distinction), with influences including Eliane Elias, Dena Derose, Carol Welsman and Shirley Horn
Pianist and singer Wendy Kirkland has been a mainstay of the UK Jazz scene since the late noughties, but it was her first album, Piano Divas, released in 2017 that began her ascent to wider recognition as a “Singing Pianist”, as dubbed by Jazz Journal.
The ability to sing at the same time as comping and craft solos on the piano or unison piano/voice scat lines is her forte, with influences such as Diana Krall, Eliane Elias and Dena DeRose. Further accolades were given for her 2019 release The Music’s On Me, dubbed “a huge leap forward” by Jazz Views. Both albums prompted ACE funded tours all over the UK and constant radio airplay ever since.
During lockdown from March 2020, Wendy and guitarist/bassist husband Pat Sprakes entertained with a daily dose of Latin American music on Facebook which they entitled Latin Lockdowns. After 86 such performances they decided it was time to move on to other musical endeavours, but were amazed and pleased to receive daily messages from people who described the videos in such terms as “a ray of sunshine” in their lockdown situations.
Wendy’s musical career began at age 10, when she started taking piano lessons. She won a scholarship to have all her lessons paid for by Derbyshire Music, and continued to take her ABRSM piano grades.
Switching to jazz in her late teens, Wendy continued her playing career as a dance class pianist, accompanist to singers and as a keyboardist in club bands.
After being persuaded to sing by a great friend and guitarist, Bill McCreath, Wendy learned to reach people who are perhaps turned off by instrumental jazz, as she learnt to communicate with the audience through the songs. Wendy’s voice has been likened to Blossom Dearie with hints of Diana Krall.
Current projects include Piano Divas, a tribute to the female pianist singers of jazz; hammond organ jazz outfit Organik Fource featuring Pat Sprakes on guitar and guest saxophonist; Organik Trio Goes To The Movies and The Organik Cookbook celebrating the early soul-jazz albums of George Benson.
Wendy is married to jazz guitarist and bass player Pat Sprakes. They met by chance on a gig and have been making music together ever since.
Amy Marcy Cheney Beach (September 5, 1867 – December 27, 1944) was an American composer and pianist. She was the first successful American female composer of large-scale art music. Her “Gaelic” Symphony, premiered by the Boston Symphony Orchestra in 1896, was the first symphony composed and published by an American woman. She was one of the first American composers to succeed without the benefit of European training, and one of the most respected and acclaimed American composers of her era. As a pianist, she was acclaimed for concerts she gave featuring her own music in the United States and in Germany. From Wikipedia, the free encyclopedia (full biography and compositions here)
You can listen to this romantic pieces (4 Sketches, Op.15, no. 3), here. And very soon the Sheet Music Library will include this tender romantic composition.