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Final Fantasy VII OST

Final Fantasy VII and the Music of Final Fantasy VII with sheet music

Sheet music available in our online Library.

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.

final fantasy VII sheet music pdf

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.

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Nobuo Uematsu composed the music of Final Fantasy VII in less than one year, matching the game’s development time, although he had taken two years to create the soundtrack for the previous title, Final Fantasy VI. Final Fantasy VII was the first game in the series to be developed for the PlayStation, and while the media capabilities of the console allowed for pre-recorded Linear PCM (often as Red Book audio tracks on the CD), it was decided to generate the music in real time on the console instead, using samples and note data. This decision has been credited as giving the soundtrack “a very distinctive mood and feel”, forming a strong association for listeners between the game and its soundtrack. Uematsu had initially planned to use vocal performances for the game to take advantage of the console’s capabilities, but found that the advanced audio quality required in turn made the game have much longer loading times in each area. Uematsu decided that the quality was not worth the effects on gameplay, though after the release and seeing Suikoden II (1998, PlayStation), which had used higher-quality music instead, he reversed his stance for Final Fantasy VIII. There was a plan to use a “famous vocalist” for the ending theme to the game as a “theme song” for the game, but time constraints and thematic concerns, caused the idea to be dropped. Uematsu has stated, however, that the move into the “PlayStation era”, which allowed video game composers to use sounds recorded in the studio rather than from synthesizers, had “definitely been the biggest change” to video game music.

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Uematsu’s approach to composing the game’s music was to treat it like a film soundtrack and compose songs that reflected the mood of the scenes rather than trying to make strong melodies to “define the game”, as he felt that approach would come across too strong when placed alongside the game’s new 3D visuals. As an example, he composed the track intended for the scene in the game where Aerith Gainsborough is killed to be “sad but beautiful”, rather than more overtly emotional, creating what he feels is a more understated feeling. Uematsu has additionally said that the soundtrack has a feel of “realism”, which also prevented him from using “exorbitant, crazy music”. The first piece that Uematsu composed for the game was the opening theme; game director Yoshinori Kitase showed him the opening cinematic to the game and asked him to begin the project there. The track was well received in the company, which gave Uematsu “a sense that it was going to be a really good project”. He later stated in the liner notes for the soundtrack album that the music for Final Fantasy VII was his “greatest harvest” to date. Final Fantasy VII was the first game in the series to include a track with digitized vocals, “One-Winged Angel”. The track has been called Uematsu’s “most recognizable contribution” to the music of the Final Fantasy series, though the composer did not expect it to gain such popularity. The piece, described as “a fanfare to impending doom”, is said to not “follow any normal genre rules” and has been termed “possibly the most innovative idea in the series’ musical history”. Uematsu approached the piece, which accompanies the final battle of the game, in a different manner than previous “boss tracks”: as he felt that using his normal approach would cause unfavorable comparisons to his well-received Final Fantasy VI boss tracks, he instead tried to take a different approach. Inspired by The Rite of Spring by Igor Stravinsky to make a more “classical” track, and by rock and roll music from the late 1960s and early 1970s to make an orchestral track with a “destructive impact”, he spent two weeks composing short unconnected musical phrases, and then arranged them together into a song, an approach he has never used before or since. The lyrics of “One-Winged Angel”, a Latin choral track that plays at the climax of the game, were taken from the medieval poetry that forms the basis of Carl Orff‘s Carmina Burana, specifically “Estuans Interius”, “O Fortuna“, “Veni, Veni, Venias” and “Ave Formosissima”. Uematsu has stated that the intro of “One-Winged Angel” is based on Jimi Hendrix‘s “Purple Haze“, that the piece revolves around the image of Sephiroth, and that despite the chorus and orchestra, he still thinks of it as a “rock piece”. He said in a 2005 interview that “One-Winged Angel” is his favorite tune from the soundtrack, and in 2004 that it was his favorite battle theme from any Final Fantasy game.

Final Fantasy VII Original Soundtrack is a soundtrack album containing musical tracks from the game, composed by Nobuo Uematsu and produced by Uematsu and Minoru Akao. It was originally released on February 10, 1997 through DigiCube and later reissued directly by Square Enix on May 10, 2004. The soundtrack spans 85 tracks over four discs and has a combined duration of 4:39:53. A limited edition was produced along with the original album, containing illustrated liner notes with several pictures of Uematsu’s workspace and personal effects, various cutscenes and in-game screen shots from the game, and a discography.

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The soundtrack covers a wide variety of musical genres, including rock, techno, orchestral, and choral, although the soundtrack as a whole is primarily orchestral. While many of the tracks were intended as background music, reviewers noted the emotional intensity of several tracks, especially “Aerith’s Theme”, which plays during a moment described as “the most shocking moment in video games,” and has been described as the most memorable track from the album. The theme has become popular among fans, and has inspired various arrangements. Other notable tracks include “Main Theme of Final Fantasy VII”. Themes from this track play during several other tunes from the soundtrack, such as “Words Drowned by Fireworks”, to tie the soundtrack together.

Track listing

1.“The Prelude” (プレリュード Pureryūdo)2:52
2.“Opening – Bombing Mission” (オープニング~爆破ミッション Ōpuningu ~ Bakuha Misshon)3:58
3.“Mako Reactor” (魔晄炉 Makō Ro)3:20
4.“Anxiety” (不安な心 Fuan na Kokoro, lit. “Anxious Heart”)4:02
5.“Tifa’s Theme” (ティファのテーマ Tifa no Tēma)5:06
6.“Barret’s Theme” (バレットのテーマ Baretto no Tēma)3:27
7.“Hurry!” (急げ! Isoge!)2:29
8.“Lurking in the Darkness” (闇に潜む Yami ni Hisomu)2:33
9.“Shinra, Inc” (神羅カンパニー Shinra Kanpanī, lit. “Shinra Company”)4:02
10.“Let the Battles Begin!” (闘う者達 Tatakau Monotachi, lit. “Those Who Fight”)2:47
11.“Fanfare” (ファンファーレ Fanfāre)0:55
12.“Flowers Blooming in the Church” (教会に咲く花 Kyōkai ni Saku Hana)4:59
13.“Turks’ Theme” (タークスのテーマ Tākusu no Tēma)2:19
14.“Under the Rotting Pizza” (腐ったピザの下で Kusatta Piza no Shita de)3:22
15.“The Oppressed” (虐げられた民衆 Shiitagerareta Minshū)2:38
16.“Honeybee Inn” (蜜蜂の館 Mitsubachi no Yakata)3:52
17.“Who…Are You?” (お前は…誰だ Omae wa… Dare da)1:24
18.“Don of the Slums” (スラムのドン Suramu no Don)2:11
19.“Infiltrating Shinra” (神羅ビル潜入 Shinra Biru Sennyū)3:49
20.“Fight On!” (更に闘う者達 Sarani Tatakau Monotachi, lit. “Those Who Fight Further”)3:32
21.“Red XIII’s Theme” (レッドXIIIのテーマ Reddo XIII no Tēma)1:28
22.“The Chase” (クレイジーモーターサイクル Kureijī Mōtāsaikuru, lit. “Crazy Motorcycle”)3:37
23.“Dear to the Heart” (想いを胸に Omoi o Mune ni)2:14
1.“Main Theme of Final Fantasy VII” (F.F.VIIメインテーマ F. F. VII Mein Tēma)6:29
2.“On Our Way” (旅の途中で Tabi no Tochū de)3:44
3.“Good Night, Until Tomorrow” (お休み,また明日 Oyasumi, Mata Ashita)0:10
4.“On That Day, Five Years Ago” (5年前のあの日 Gonen Mae no Ano Hi)3:13
5.“Farm Boy” (牧場の少年 Bokujō no Shōnen)2:52
6.“Waltz de Chocobo” (ワルツ・デ・チョコボ Warutsu de Chokobo)0:34
7.“Electric de Chocobo” (エレキ・デ・チョコボ Ereki de Chokobo)4:02
8.“Cinco de Chocobo” (シンコ・デ・チョコボ Shinko de Chokobo)3:00
9.“In Search of the Man in Black” (黒マントの男を追え Kuro Manto no Otoko o Oe)3:04
10.“Fort Condor” (鷲の砦 Washi no Toride)4:00
11.“Rufus’ Welcoming Ceremony” (ルーファウス歓迎式典 Rūfausu Kangei Shikiten)2:14
12.“It’s Hard to Stand on Both Feet!” (二本足で立つのも難しいものだな Nihon Ashi de Tatsu no mo Muzukashī Mono da na)3:31
13.“Trail of Blood” (血の跡 Chi no Ato)4:13
14.“J-E-N-O-V-A” (J-E-N-O-V-A)2:32
15.“Continue” (つづきから Tsuzuki Kara)0:37
16.“Costa del Sol” (太陽の海岸 Taiyō no Kaigan, lit. “Sun Coast”)2:28
17.“Mark of a Traitor” (裏切り者の烙印 Uragirimono no Rakuin)3:32
18.“Mining Town” (炭坑の街 Tankō no Machi)3:00
19.“Gold Saucer” (ゴールドソーサー Gōrudo Sōsā)1:58
20.“Cait Sith’s Theme” (ケット・シーのテーマ Ketto Shī no Tēma)3:34
21.“Desert Wasteland” (砂の流刑地 Suna no Ryūkeichi)5:33
1.“Cosmo Canyon” (星降る峡谷 Hoshi Furu Kyōkoku, lit. “Valley of the Falling Stars”)3:36
2.“Lifestream” (生命の流れ Seimei no Nagare, lit. “Stream of Life”)3:36
3.“The Great Warrior” (偉大なる戦士 Idai naru Senshi)3:24
4.“Descendant of Shinobi” (忍びの末裔 Shinobi no Matsuei)2:45
5.“Those Chosen by the Planet” (星に選ばれし者 Hoshi ni Erabareshi Mono)3:16
6.“The Nightmare Begins” (悪夢の始まり Akumu no Hajimari)2:58
7.“Cid’s Theme” (シドのテーマ Shido no Tēma)3:11
8.“Steal the Tiny Bronco!” (タイニーブロンコを奪え! Tainī Buronko o Ubae!)1:16
9.“Wutai” (ウータイ Ūtai)4:29
10.“Stolen Materia” (マテリアいただき Materia Itadaki)1:36
11.“Win / Place / Show Chocobo!” (本命穴チョコボ Honmei Ana Chokobo, lit. “Place Chocobo”)1:50
12.“Fiddle de Chocobo” (フィドル・デ・チョコボ Fidoru de Chokobo)2:50
13.“Jackpot!” (大当たりぃ~ Ōatarī~)0:47
14.“Tango of Tears” (涙のタンゴ Namida no Tango)0:49
15.“Debut” (初舞台 Hatsubutai)2:36
16.“Words Drowned by Fireworks” (花火に消された言葉 Hanabi ni Kesareta Kotoba)2:50
17.“Forested Temple” (樹海の神殿 Jukai no Shinden)3:51
18.“Listen to the Cries of the Planet” (星の声が聞こえる Hoshi no Koe ga Kikoeru)3:40
19.“Aerith’s Theme” (エアリスのテーマ Earisu no Tēma)4:18
20.“Buried in Snow” (雪に閉ざされて Yuki ni Tozasarete)4:51
21.“The North Cave” (北の大空洞 Kita no Daikūdō)6:05
22.“Reunion” (リユニオン Riyunion)3:34
23.“Who… Am I?” (俺は…誰だ Ore wa… Dare da)1:37
1.“Shinra’s Full-Scale Assault” (神羅軍総攻撃 Shinra Gun Sōkōgeki)2:57
2.“Attack of the Weapon” (ウェポン襲来 Wepon Shūrai)2:52
3.“The Highwind Takes to the Skies” (空駆けるハイウィンド Sora Kakeru Haiwindo)3:35
4.“Secret of the Deep Sea” (深海に眠る秘密 Shinkai ni Nemuru Himitsu)4:17
5.“Provincial Town” (偏狭の村 Henkyō no Mura)2:26
6.“From the Edge of Despair” (絶望の淵から Zetsubō no Fuchi Kara)4:15
7.“Other Side of the Mountain” (山の向こうに Yama no Mukō ni)2:35
8.“Hurry Up!” (もっと急げ! Motto Isoge!)2:57
9.“Launching a Dream into Space” (宇宙への夢 Uchū e no Yume)2:50
10.“Countdown” (秒読み開始 Byōyomi Kaishi)0:50
11.“Open Your Heart” (心開けば Kokoro Akeba)2:47
12.“Mako Cannon – The Destruction of Shinra” (魔晄キャノン発射~神羅爆発 Makō Kyanon Hassha ~ Shinra Bakuhatsu)1:33
13.“Judgment Day” (最期の日 Saigo no Hi)4:07
14.“Jenova Complete” (完全なるジェノヴァ Kanzen naru Jenova)3:59
15.“Birth of a God” (神の誕生 Kami no Tanjō)4:11
16.“One-Winged Angel” (片翼の天使 Katayoku no Tenshi)7:19
17.“The Planet’s Crisis” (星の危機 Hoshi no Kiki)8:05
18.“Ending Credits” (スタッフロール Sutaffu Rōru, lit. “Staff Roll”)6:51
Jazz & Blues Music

Dave Brubeck Trio feat. Gerry Mulligan & Paul Desmond – Berliner Jazztage 1972

● Tracklist:

00:00:23 – Blues for Newport 00:14:14 – All The Things You Are 00:25:21 – For All We Know 00:29:27 – Line for Lyons 00:35:17 – Blessed Are The Poor (The Sermon on The Mount) 00:40:57 – Mexican Jumping Bean 00:47:31 – Sign Off 00:58:44 – Someday My Prince Will Come 01:07:18 – These Foolish Things (That Reminds Me Of You) 01:11:46 – Take The “A” Train

● Personnel:

Dave Brubeck – piano Paul Desmond – alto sax Gerry Mulligan – baritone sax Jack Six – bass Alan Dawson – drums ● Dave Brubeck Trio feat. Gerry Mulligan & Paul Desmond – Berliner Jazztage 1972 Recorded live on November 4th, 1972 at Berliner Philharmonie, Berlin, Germany.

dave brubeck sheet music pdf

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Jazz sheet music download.

Jazz & Rock Play Along

Jazz Play Along: Herbie Hancock “Watermelon Man”

Jazz Play Along: Herbie Hancock “Watermelon Man” with sheet music

jazz play along sheet music transcription

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Film & TV Music Beautiful Music

Out of Africa – music by John Barry (piano solo)

Out of Africa – music by John Barry (piano solo arrangement) with sheet music.

john barry sheet music out of Africa piano solo

John Barry

John Barry Prendergast, OBE (3 November 1933 – 30 January 2011) was an English composer and conductor of film music and films.

He composed the scores for eleven of the James Bond films between 1963 and 1987, and also arranged and performed the “James Bond Theme” to the first film in the series, 1962’s Dr. No. He wrote the Grammy- and Academy Award-winning scores to the films Dances with Wolves and Out of Africa, as well as The Scarlet Letter, The Cotton Club, The Tamarind Seed, Mary, Queen of Scots, Game of Death, and the theme for the British television cult series The Persuaders!, in a career spanning over 50 years. In 1999, he was appointed with an OBE for services to music.

Born in York, Barry spent his early years working in cinemas owned by his father. During his national service with the British Army in Cyprus, Barry began performing as a musician after learning to play the trumpet. Upon completing his national service, he formed his own band in 1957, the John Barry Seven.

He later developed an interest in composing and arranging music, making his début for television in 1958. He came to the notice of the makers of the first James Bond film Dr. No, who were dissatisfied with a theme for James Bond given to them by Monty Norman. Noel Rogers the head of music at United Artists approached Barry. This started a successful association between Barry and Bond series that lasted for 25 years.

He received many awards for his work, including five Academy Awards; two for Born Free, and one each for The Lion in Winter (for which he also won the first BAFTA Award for Best Film Music), Dances with Wolves and Out of Africa (both of which also won him Grammy Awards). He also received ten Golden Globe Award nominations, winning once for Best Original Score for Out of Africa in 1986.

Barry completed his last film score, Enigma, in 2001 and recorded the successful album Eternal Echoes the same year. He then concentrated chiefly on live performances and co-wrote the music to the musical Brighton Rock in 2004 alongside Don Black.

In 2001, Barry became a Fellow of the British Academy of Songwriters, Composers and Authors, and, in 2005, he was made a Fellow of the British Academy of Film and Television Arts. Barry was married four times and had four children. He moved to the United States in 1975 and lived there until his death in 2011.

Awards and nominations

In 1999 Barry was made an Officer of the Order of the British Empire (OBE) for services to music. He received the BAFTA Academy Fellowship Award in 2005. In 2005, the American Film Institute ranked Barry’s score for Out of Africa No. 15 on their list of the greatest film scores. His scores for the following films were nominated:

Grammy Award

Emmy Award nominations

  • 1964 Outstanding Achievement in Composing Original Music for Television for Elizabeth Taylor in London (a 1963 television special)
  • 1977 Outstanding Achievement in Music Composition for a Special (Dramatic Underscore) for Eleanor and Franklin: The White House Years[50]

Golden Raspberry Award

Max Steiner Lifetime Achievement Award (presented by the City of Vienna)

  • 2009

Lifetime Achievement Award from World Soundtrack Academy (presented at the Ghent Film Festival)

  • 2010

In 2011, he received the Brit Award for Outstanding Contribution to Music.

Barry was inducted into the Songwriters Hall of Fame in 1998.

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Jazz & Blues Music

Thelonious Monk – Don’t blame me

Along with Charlie Parker and Dizzy Gillespie, Thelonious Monk (1917-1982) was a vital member of the jazz revolution which took place in the early 1940s.

Monk’s unique piano style and his talent as a composer made him a leader in the development of modern jazz. Find his sheet music transcriptions in our Library.

He’s not just another genius pianist. We are proud to have many of Thelonious monk’s piano sheet music transcriptions and melodies in our Library.

When Thelonious Monk began performing his music in the early 1940s, only a small circle of New York’s brightest jazz musicians could appreciate its uniqueness. His melodies were angular, his harmonies full of jarring clusters, and he used both notes and the absence of notes in unexpected ways. He flattened his fingers when he played the piano and used his elbows from time to time to get the sound he wanted.

Critics and peers took these as signs of incompetency, giving his music “puzzled dismissal as deliberately eccentric,” as Jazz Journal noted. “To them, Monk apparently had ideas, but it took fleshier players like pianist Bud Powell to execute them properly.” The debate over his talent and skill continued as the years passed, but Monk eventually found himself with a strong following. By the time of his death in 1982 he was widely acknowledged as a founding father of modern jazz.

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Aspects of his compositions that once were ridiculed are now analyzed at colleges and universities throughout the country. Amateur and professional pianists continue to cite him as a major influence in their styles. Many of his works, which number over 60, are jazz classics. “Round Midnight” is considered “one of the most beautiful short pieces of music written in twentieth-century America,” as record producer Orrin Keepnews noted in Keyboard Magazine.

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Though his career was beset by personal and societal obstacles, Monk always believed in his music. He never spoke to his audiences end rarely granted interviews, preferring to let his music speak for itself. Aside from his wife and two children, his music was his life. “So absorbed was he in jazz,” commented Keyboard, “that he would walk the New York streets for hours or stand still on a corner near his apartment on West 63rd Street, staring into his private landscape and running new songs and sounds through his mind. As he himself succinctly explained it, ‘I just walk and dig.”

Thelonious Monk free sheet music & scores pdf

Because Monk’s music was beyond the grasp of most listeners, the media tended to look for peripheral details to write about. They had plenty of material; as the New York Post wrote, Monk was “one of jazz’s great eccentrics.” During concerts and recording sessions he would rise from his bench every so often and lunge into a dance, emphasizing the rhythm he wanted from his bandmembers with his 200-pound frame. With his strange hats, bamboo-framed sunglasses, and goatee, he became an obvious subject for Sunday supplement caricatures. There was also the way he talked: He and his peers—saxophonist Charlie Parker, trumpeters Dizzy Gillespie and Miles Davis, drummer Max Roach, and tenor saxophonist Sonny Rollins—were known for popularizing such expressions a “groovy,” “you dig, man,” and “cool, baby.” But most Americans first heard of him in the early 1950s when he and a couple of friends were arrested for allegedly possessing drugs—for Monk, one among other instances of legal harassment that would create severe obstacles in his work.

Surprisingly, there are no biographies in book form on Monk. There is, however, the excellent 1989 film documentary, Straight, No Chaser (Warner Bros.), which combines footage shot in the late 1960s with more recent interviews with his son, Thelonious Monk, Jr., tenor saxophonist Charlie Rouse, and others. According to a New York Times interview, the film features “some of the most valuable jazz ever shot. Closeups of Monk’s hands on the keyboard reveal a technique that was unusually tense, spiky and aggressive. Other scenes show him explaining his compositions and chord structures, giving instructions in terse, barely intelligible growls that even his fellow musicians found difficult to interpret.” The film also provides glimpses into the emotional turbulences in his personal life. He was “acutely sensitive and moody and perhaps a manic-depressive,” according to the same review. “Illness eventually made it impossible for him to perform.”

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Teaches Self to Read Music

Thelonious Sphere Monk was born October 10, 1917, in Rocky Mount, North Carolina. The first musical sounds he heard were from a player piano that his family owned. At the age of five or six he began picking out melodies on the piano and taught himself to read music by looking over his sister’s shoulder as she took lessons. About a year later the family moved to the San Juan Hill section of New York City, near the Hudson River. His father became ill soon afterward and returned to the South, leaving Thelonious’s mother, Barbara, to raise him and his brother and sister by herself. Mrs. Monk did all she could to encourage her young son’s interest in music. Though the family budget was tight, she managed to buy a baby grand Steinway piano, and when Thelonious turned 11 she began paying for his weekly piano lessons. Even at that young age it was clear that the instrument was part of his destiny. “If anybody sat down and played the piano,” he recalled in Crescendo International, “I would just stand there and watch ’em all the time.”

As a boy Thelonious received rigorous training in the gospel music style, accompanying the Baptist choir in which his mother sang and playing piano and organ during church services. At the same time he was becoming initiated into the world of jazz; near his home were several jazz clubs as well as the home of the great Harlem stride pianist James P. Johnson, from whom Thelonious picked up a great deal. By the age of 13 he was playing in a local bar and grill with a trio. A year later he began playing at “rent” parties (parties thrown to raise money for rent), which meant holding his own among the pianists who would each play in marathon displays of virtuosity. He gained further distinction at the Apollo Theater’s famous weekly amateur music contests, which he won so many times that he was eventually banned from the event. At 16 he left school to travel with an evangelical faith healer and preacher for a year-long tour that indoctrinated him into the subtleties of rhythm and blues accompaniment.

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“I was about nineteen to twenty, I guess, when I started to hear my music in my mind,” Monk told Crescendo International. “So I had to compose music in order to express the type of ideas that I had. Because the music wasn’t on the scene. It had to be composed…. All the musicians that were thinking liked my music—and wanted to learn how to play the different songs that we were playing. And the most talented ones used to be on the scene. Like Charlie Parker and Dizzy. They were about the fastest-thinking musicians. And so they would come and play all the time, and I would teach ’em the songs, you know, and the chords. They didn’t just hear it. I had to tell ’em what it was…. They got themselves together by playing a lot with me…. I wasn’t trying to create something that would be hard to play. I just composed music that fit with how I was thinking…. I didn’t want to play the way I’d heard music played all my life. I got tired of hearing that. I wanted to hear something else, something better.”

As the 1940s progressed and bebop became more and more the rage, Monk’s career declined. “By 1948,” Keyboard noted, “he was only doing occasional nights at Birdland, and days were often spent sitting in his room, writing tunes, gazing silently at the television, or staring for long hours at a pictured Billie Holiday taped to his ceiling…. Nellie, his wife, helped keep food on the table with outside work during his periods of moody immobility.” In 1951 he was arrested with pianist Bud Powell on an extremely questionable charge of narcotics possession. Not only was he confined for 60 days in prison but the New York State Liquor Authority rescinded his cabaret card, without which he could not get hired for local club dates. For the next several years he survived only with the help of his good friend and patron the Baroness de Koenigswarter.

sheet music pdf

By the mid-1950s, though, his fortune took a turn for the better. In 1954 he gave a series of concerts in Paris and cut his first solo album, Pure Monk (now out of print). A year later he began recording for the Riverside label. His following grew, and as Keyboard reported, his mystique grew as well. “Program notes for the Berkshire Music Barn Jazz Concert in 1955 read, ‘Monk is the Greta Garbo of jazz, and his appearance at any piano is regarded as a major event by serious followers of jazz.”‘ In 1957 he opened an engagement at New York’s Five Spot, leading a powerful quartet with a jazz newcomer named John Coltrane on saxophone. The gig, which lasted eight months, was pivotal for Monk. “Monk found himself at the center of a cult,” wrote Keyboard. “Audiences lined up to see his unpredictable performances, his quirky, quietly ecstatic dances during horn solos, his wanderings through the room.” Several masterful albums he recorded for Riverside in the late 1950s—Brilliant Corners, Thelonious Himself, and Thelonious Monk with John Coltrane—increased his notoriety, rendering him “the most acclaimed and controversial jazz improviser of the late 1950s almost overnight.” It didn’t hurt that both Coltrane and Sonny Rollins were acknowledging him as their guru. “With men as highly regarded as those acknowledging his mastery,” Keepnews commented in Keyboard, “the rest of the jazz world was quick to follow…. I could not [without] both satisfaction and amusement [describe] the quick change in his down beat record reviews from lukewarm or less to their top 5-star rating.”

The strange behavior that Monk displayed in public sometimes got him into trouble. In 1958 he was arrested, undeservedly, for disturbing the peace, and his cabaret license was revoked a second time. Forced to take out-of-town gigs, he was separated from his two main sources of stability—New York City and his wife Nellie—and his eccentricities thus intensified. During one episode in 1959 in Boston, state police picked him up and brought him to the Grafton State Hospital, where he was held for a week. “From that point on,” Keyboard wrote, “when asked about his eccentricities, Monk would answer, ‘I can’t be crazy, because they had me in one of these places and let me go.” Around 1960 his cabaret club card was restored and he returned to playing the New York clubs. Now when he played a gig his wife accompanied him; when she couldn’t make it, he telephoned her during breaks.

Toward the end of the 1950s Monk began to receive the prestige he had for so long deserved. His late 1950s recordings on Riverside had done so well that in 1962 he was offered a contract from Columbia. As a performer he was equally successful, commanding, in 1960, $2,000 for week-long engagements with his band and $1,000 for single performances. His December 1963 concert at New York’s Philharmonic Hall, a big-band presentation of originals, was for him a personal landmark. As Keyboard observed, “the Philharmonic Hall was special: it was within walking distance of his apartment, a part of the neighborhood he had criss-crossed on his long meditative strolls. After years of hassles with local clubs and unsympathetic critics, Monk had finally made it close to home.” In 1964 he appeared on the cover of Time magazine—an extremely rare honor for jazz artist.

Looking back on his career, Monk told Crescendo International, “As for the hard times I’ve had—I’ve never been jealous of any musician, or anything. Musicians and other people have told lies on me, sure, and it has kept me from jobs for awhile…. But it didn’t bother me. I kept on making it—recording and doing what I’m doing, and thinking. While they were talking I was thinking music and still trying to play. And I never starved. I always could make it…. What turned the tide in my favour? The sons took over. A lot of the fathers kicked off, went out of business, or retired. And their sons are in power now, that like different music and take better chances. In other words, it’s younger people running things…. I take it as it comes—as long as I can make a living, take care of my family and everybody can be comfortable. And if I can do what I want when I feel like doing it—which generally means financially—then everything is all right. If you want to eat, you can buy some food. If you want a suit, you can buy one. If you don’t want to walk, you can ride in a cab, or buy a car. That’s all you need to do. Sleep when you want, get up when you want— be your own boss…. I’ve never wished for anybody else’s job. I enjoy what I do and I’m myself all the time. And I’ll continue to be me.”

Film & TV Music Beautiful Music

Howl’s Moving Castle – Merry go round of Life cover

Howl’s Moving Castle – Merry go round of Life cover by Grissini Project with sheet music

Piano arrangement sheet music available in our Library.

Howl's Moving Castle Piano arrangement sheet music sheet music

Howl’s Moving Castle Joe Hisaishi soundtrack Merry Gor Round of Life, live performance by Grissini Project with Curieux orchestra.

– Grissini Project

Piano solo : Romain Vaudé Violin solo : Bastien Vidal Cello solo : Valentin Catil –

Orchestre Curieux

– Conductor : Daniel Sicard 1st violins : Celio Torina Mariane Minjou Margot Flour Hugo Tiberghien Lydie Souppaya Meiou Wang 2nd violons : Fabian Ishibashi Pauline Gillet Marie Lestrelin Nicolas Simon Margaux Dauby Violas : Oriane Lavignolle David Heusler Lauréline Didier René Tambour Cellos : Paul-Marie Kuzma Moïse Langlet Camille Sicard Rachel Fromy Markovich Contrebass : Lilas Berault Antoine Leiser Flute : Clarisse Deroin Christelle Raquillet Oboe : Coralie Menuge Chloé Riès Clarinet : Clara Lighezzolo Matthieu Gaillard Basson : Eugénie Loiseau Manon Leth French Horn : Elodie Baert Quentin Benoit Guillaume Renévot Trompets Mu Hu Rémi Pierrat Trombones : Dimitri Megherbi Drums : Milàn Tabak Percussions : Paul Riva Bastien Lafosse

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Beautiful Music

Joep Beving – Ab Ovo

Contemporary Dutch composer and pianist Joep Beving creates genuinely relaxing and contemplative neo-classical music with a broad and immediate appeal. Joep Bevin describes it as “simple music for complex emotions”.

Joep Beving – Ab Ovo Sheet Music just added to our Library.

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Joep Beving (born Doetinchem, 1976) is a Dutch composer and a pianist.

Joep Beving - Ab Ovo sheet music partitura
Download this sheet music from our Library

Joep Beving has been one with the piano from an early age. He was forced to end his musical studies at the conservatory and instead continued at university to get a degree in public policy and public administration. However, his love for his instrument never perished. Where once his goal was to hit as many notes per minute as physically possible, his style of playing has changed over the years, searching for a particular aesthetic essence.

His path was illuminated by a piano that Beving inherited from his grandmother when she passed away in 2009. This German instrument insisted on a more gentle touch and a gracious pace, which eventually led Beving to adapt to a more classical vocabulary to tell his story.

Beving studied Public Administration. He then went to work in the advertising business, where he was mainly responsible for the music of numerous commercials. He also composed soundtracks for the short films Hortum (2010) and Het cadeau (2015).

In 2015 Beving released his first album – Solipsism, with modern classical atmospheric piano pieces. He himself describes his compositions as “accessible music for complex emotions”. In 2017 his second album, Prehension, appeared in a similar style to his debut album. In 2018 he made Conatus.

Ab Ovo: Piano sheet music

This story started to manifest itself relatively late in life, when in 2014 at age 38, he was forced to stay home from work and decided to answer the draw of his piano. In search of tranquility of mind and some form of essence, music started to present itself that he had never played before in his life. Minimal pieces that he later once described as ‘simple music for complex emotions’.  Turned down by the only label he approached, Joep decided to self release his debut album Solipsism in 2015.

The sound of his piano found its way to the ears of Deutsche Grammophon’s A&R manager Christian Badzura when visiting his favorite Bar in Berlin. This led to the signing of Beving to the worlds foremost classical label and consequently the release of equally succesful sophomore album ‘Prehension’ in 2017, making Joep one of the most listened to living pianist in the world at that time.

He has attributed much of his music’s broad appeal to the stream of consciousness in which some of the pieces were conceived. Claiming that the music is already out there and that one has to ‘just’ create the circumstances for it to land. In 2018 he took this idea one step further with the release of ‘Conatus’ of which he said:  “If you see music as a living organism then it is not unthinkable that it has it’s own innate inclination to continue to exist and enhance itself.”

On Conatus, Beving sees compositions from his first two albums, travel through the minds of artists he admires (a.o. Suzanne Ciani, Collin Benders, Andrea Belfi) and result in new pieces of music adding new layers and dimensions which would serve as the upbeat to his next major solo project as would become apparant in April 2019.

As part of the art piece ‘Franchise Freedom’ by acclaimed artist duo Studio Drift, Joep travels to Burning Man at the end of 2018 to perform in the desert of Black Rock City in front of his largest audience to date. Inspired by the display of human creativity and inclusivity he returns home to finish his third solo album.

April 2019 sees the release of HENOSIS, Joep Beving’s closing chapter in a trilogy of albums – marking the end of an intensely personal four-year spiritual and philosophical exploration.

On HENOSIS the Dutch composer continues his minimalist and at times romantic style of writing, but this time explores new territories. It sets off where his sophomore album Prehension left us, the warm intimate sound of the Schimmel piano. With the help of producer Gijs van Klooster and through collaborations with Cappella Amsterdam, Echo Collective and Maarten Vos, Joep Beving opens up new musical worlds using orchestral and electronic sounds alongside the familiar piano.

His debut album ‘Solipsism’ investigates the self and how it is related to the other by trying to show we have a shared understanding of what it is to be human. For ‘Prehension’ Beving describes realizing he had zoomed out from the individual level to the level of the collective. HENOSIS is the last step, in which Beving’s destination is the vastness of the cosmos – that great, black void – in search of “ultimate reality and emptiness of the mind”. Asked about the album Joep says:

“I envisioned it as a journey into the cosmos, far away from the self where it had started. In search of what is fundamental in reality, beyond the immediate perceivable. Henosis means oneness or unity with the source of all that is. The outward journey reflects the inward journey, much as the build up of our inner workings reflects that of the macro-cosmos. Once that idea starts to dawn on you, the level of connection deepens beyond imagination.

Everything is connected. Think about it. If you see the other as merely a physically alternate representation of yourself it will be very difficult not to feel some form of empathy. The same goes for any other life form. I realize it is not all that straightforward and I don’t want to postulate this as being the truth. However to me this realization has come closest to a somewhat hopeful and admirable version of it. It completes the circle that started with a growing sense of alienation from reality I dealt with at the time of Solipsism, to a growing sense of becoming one with it.”

In November 2019 Henosis was awarded with an Edison.


All of his recordings have been published under the Deutsche Grammophon label:

  • Solipsism (2015)
  • Prehension (2017)
  • Conatus (2018)
  • Henosis (2019)

List of released singles:

  • Venus
  • Unus Mundus
  • Into the dark blue
  • Prelude
  • Hanging d
  • Sonderling
  • Ab ovo
Joep Beving - Ab Ovo sheet music

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Film & TV Music

Michel Legrand – Theme from “Summer of ’42”

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Michel Legrand composed the soundtrack for the 1971 coming-of-age movie “The Summer of ’42,” including its poignant main theme, “The Summer Knows.” From what I understand, the LP marketed as the time as the film’s soundtrack actually had only two tracks from the film: the main theme and the end titles track. The remainder of the material on the LP – now as a pricey out-of-print CD – came from the score Legrand composed for the 1969 film, “Picasso Summer.” Anyway, here’s the main theme from “The Summer of ’42.”

Michel Legrand – Theme from “Summer of ’42”

michel legrand sheet music pdf

Michel Legrand

“Ever since I was a boy, my ambition has been to live completely surrounded by music. My dream is not to miss out anything. That’s why I’ve never settled on one musical discipline. I love playing, conducting, singing and writing, and in all styles. So I turn my hand to everything – not just a bit of everything. Quite the opposite. I do all these activities at once, seriously, sincerely and with deep commitment.”

This is how Michel Legrand describes his status as an atypical, compulsive musician who cannot be pigeonholed; or rather, his many statuses as a composer, conductor, pianist, singer, writer and producer. Tearing down the barriers between jazz, classical music and easy listening, he is at home in any musical situation. Born in 1932, Michel Legrand came from a family with a musical tradition represented by his father, Raymond Legrand and his uncle Jacques Hélian.

When he was ten, he entered the Paris Conservatory, which proved to be an unexpected revelation. “Until then, my childhood had been flat and unhappy,“ he relates. “ My life revolved around an old piano and I was very bored. I was very lonely. Suddenly, when I joined Lucette Descaves’ music theory class, I discovered a world that belonged to me, people who spoke my language. From then on, I felt that life had something exciting and motivating to offer”

After studying under the iron rule of Nadia Boulanger, Henri Challan and Noël Gallon for several years, Legrand left the Conservatory with top honors in harmony, piano, fugue and counterpoint. He immediately gravitated to the world of song, working as an accompanist musical director to Maurice Chevalier. He traveled with the famous French singer on his international tours.

This gave him the opportunity to visit the United States for the first time. His instrumental LP, I Love Paris, did extremely well in that country, topping the US album charts in 1954. His first hit record also had great symbolic significance, revealing his international potential: the talented 22 year old did not look back and continued to go from strength to strength in France and abroad.

In the 1950s, Michel Legrand also started composing for some of the artists he was accompanying. His first great song La Valse des Lilas, displayed an individual style of melodic writing which soon became his hallmark. “ I put a great deal of faith in melody”, he admits. “Nadia Boulanger always said: “ Put whatever you want above and below the melody but, whatever happens, it’s the melody that counts.’ For example, modern music tends to bore me now. It does of course contain innovative rhythmic and contrapuntal devices but, without melody, its lifeblood, it is lifeless and this helps to dehumanize it. For my part, melody is a mistress to whom I’ ll always be faithful.”

In 1955, Michel Legrand turned his hand to another mode of expression when he wrote the film score Les Amants du Tage by Henri Verneuil. Four years later, with the advent of the French New Wave, he became one of the architects of the revival of French cinema. He began collaborating with Jean-Luc Godard, Agnès Varda, François Reichenbach and, of course, Jacques Demy, his creative alter ego, with whom he invented a new genre of film musical.

As well as being awarded the Palme d’Or at the Cannes festival and the Prix Louis Delluc, The Umbrellas of Cherbourg achieved massive world-wide success – despite the pessimistic predictions of many industry professionals. “Jacques and I had to work really hard to get this project off the ground,” remembers Legrand, “The producers showed us the door saying: “You’re a couple of nice young guys, but do you really think that people will spend an hour-and-a-half listening to characters singing life’s little platitudes!”

They were afraid to finance a film that substituted singing for dialogue and that had a realist slant, much the same as everyday life. After a year of uncertainty, things began moving again, thanks to Pierre Lazareff (who introduced us to Mag Bodard, a young producer) and my friend Francis Lemarque, with whom I recorded the music. In other words, The Umbrellas of Cherbourg is a work that was made against everybody’s better judgement!”

The parting lovers’ theme song, Je ne pourrai jamais vivre sans toi, initially covered by Nana Mouskouri, became a popular standard, largely owing to the English adaptation by Norman Gimbel ( I Will Wait for You ) as well as versions by Frank Sinatra, Tony Bennett, Louis Armstrong and Liza Minelli. Legrand continued to set Jacques Demy’s imaginative lyrics to music ( Les Demoiselles de Rochefort, Peau d’âne, Trois places pour le 26 ), although he moved to Los Angeles in 1968 for what he called “a change of scene”.

After the success of the Thomas Crown Affair and his song The Windmills of Your Mind, Legrand decided to divide his time between Paris and Hollywood, working on anything that appealed to him: Un été 42, Lady Sings the Blues, Jamais plus Jamais, Yentl, Prêt-à-porter . Regarding film music as another form of dialogue, Michel Legrand is the only European composer with a filmography that includes names like Orson Welles, Marcel Carné, Clint Eastwood, Norman Jewison, Louis Malle, Andrzej Wajda, Richard Lester, Claude Lelouch, to name just a few. Nonetheless, his prestigious awards in the field of screen music (three Oscars) have had no impact on his creativity.

“An Oscar”, he stresses with conviction, “is a gold star, a piece of flattery, the sweet taste of success but, deep down, it doesn’t make you any better or worse as a composer, your strengths or weaknesses remain unchanged. When I was a boy, I imagined that I had a pot of grease with special powers: If I dipped my fingers in it, I would have the technique of a Horowitz. Unfortunately, Oscar statuettes aren’t covered in grease! (Laughter). In any case, that’s not what counts: I wrote all that music for and because of the cinema. Without films none of it would exist.”

In 1964, Michel Legrand decided to perform his songs himself, adding yet another string to his bow. His voice became an additional instrument that he could put to unaccustomed use. “My idea”, he admits, “was simply to give it a try, to see what it was all about. I also did it to overcome my shyness. After years of being on stage with my back to the audience, I made up my mind to do the opposite, to turn round and face the spectators. Actually, I started to be tempted by the idea after Jacques Brel asked me to do the first half of his show at the Olympia. I was very surprised. Just as surprised as Claude Nougaro was when I encouraged him to perform the songs we’d written together ( Les Don Juan, Le cinema ).

These things show how connected we all are, like interlocking wheels. With Jacques Brel’s encouragement, I took the plunge…” Michel Legrand worked on his voice and focused in particular on building up a repertoire with two writers of his choice: Eddy Marnay ( Les Moulins de mon coeur, Quand on s’aime, Les enfants qui pleurent ) and Jean Dréjac ( Comme elle est longue à mourir majeunesse, Oum le Dauphin, L’été ’42 ). He subsequently had the chance to put music to lyrics by Jean-Loup Dubadie, Boris Bergman, Françoise Sagan and Jean Guidoni and, in 1981, he himself wrote the words for his album Attendre… which he also performed and composed. In America, Michel Legrand’s loyalty to Alan and Marilyn Bergman has given rise to scores of great numbers, usually theme songs ( The Summer Knows, How Do You Keep The Music Playing ? and The Way He Makes Me Feel ).

After more than 45 years of composing, Michel Legrand is more versatile than ever. Constantly on the lookout for new encounters and collaborations, he is an indefatigable inventor, refusing to establish a hierarchy between musical genres (“To my mind, a beautiful tango is worth more than some works by Wagner…”) He believes that composition is also an original means of introspection. “The way to make progress”, he declares, “is to be the only one who can create things that no one has ever thought of before. It’s also a way of finding out more about oneself. I want to be more aware of what I can do, even if it means going too far. If I want my ship to continue sailing the waves, I must try out new sails and see where they take me. Having said that, I am highly organized mentally, because of my classical education. I often work on several projects simultaneously. I spend three hours composing for a film, I play the piano for two hours, I finish a song. In fact, every job is a version of the previous one. Even so, music is still a never-ending set of equations that have to be solved. Sometimes, you think of an idea, you can picture it, you can already hear it. You rush over to the score to write it down, thinking a priori that it’ll be simple and easy. Wrong! Umpteen obstacles suddenly appear: form, content, small details. This is because, if you want to be original, every bar poses a problem.”

Also typical of Michel Legrand’s character is that he rejects the concept of a career: “I hate the idea of goals, results, limits. I’m an artist, not a politician. I’m motivated by life and by the richness and diversity of all kinds of music. Without forgetting that what’s really important is to remain a beginner. One of the most stimulating periods of your life is the time when you’re discovering things, when you’re learning. When you become too skilful, your spontaneity disappears, you’re no longer afraid of anything. I hope I never become someone whom people coolly describe as “very professional”. Throughout my life, I’ve always wanted to vary my musical pleasures, and to remain an eternal beginner, without ever rationalizing things in terms of a “career”. Stravinsky once said: “We insomniacs are always trying to find a cool spot on the pillow.” I’ve been searching endlessly for that spot for years!”

It is impossible to say everything there is to say about Michel Legrand in just a few lines – to describe his love of jazz, his historic sessions with Miles Davis, Stan Getz, Phil Woods or Stéphane Grapelli, his meetings with the big names in classical music (Kiri Te Kanawa, Jessye Norman, Maurice André) or easy listening (Yves Montand, Barbra Streisand, CharlesAznavour), to explain how he became a film producer ( Cinq jours en juin ) or chart the remarkable history of Passe-muraille, an opera buffa written with Didier Van Cauwelaert, which was on the bill at the Bouffes-Parisiens for a year, between 1997 and 1998. In any case, although he may still have some wonderful projects in store, Michel Legrand has already succeeded in meeting one singular challenge – that of living several lives in one lifetime.

2014 saw Michel Legrand still performing 60 concerts across the globe. His new ballet, choreographed by John Neumeier from the Hamburg Ballet opened to phenomenal success in Costa Mesa, California, as a prelude to a US tour. Michel’s new concerto for harp was premiered in Philadelphia in February 2014 and his new opera, ‘Dreyfus’, opened at Opéra de Nice in May 2014.  To coincide with the 50th Anniversary of ‘The Umbrellas of Cherbourg’, Michel Legrand conducted the oratorio version of ‘Les Parapluies de Cherbourg’ at Théâtre Châtelet.  There were 5 exceptional performances preceding a worldwide tour.

The CD “Natalie Dessay Sings Michel Legrand” which was released in October 2013 has been certified gold, with sales of 50,000 in France and was followed by a spectacular world tour for three years.

Shortly after this international tour, the Hamburg Ballet Liliom by John Neumeier commissioned Michel Legrand to write a ballet based on the beautiful story of Liliom. The ballet was choreographed by John Neumeier and was performed for the first time in the Segerstrom Center for the Arts, Costa Mesa, California, USA.

In March 2014, Michel Legrand wrote a beautiful score for the new Xavier Beauvois movie ‘Love Is A Perfect Crime’. The movie was presented at the Cannes Film Festival in May 2014 and was nomin

“Melody is a mistress
to whom I’ll always be faithful”

ation at two other film festivals. Throughout 2014 he performed concerts in France, Ireland, Japan, Argentina, Brazil, Russia, USA, Denmark, The Netherlands and Belgium for more than 50 concerts!

Prior to the 50th anniversary of the movie ’Les Parapluies de Cherbourg’ in September 2014, an Oratorio version of the movie had its Worldwide Première at Le Théatre du Chatelet with the Ile-de-France Symphonic Orchestra conducted by Michel Legrand himself.

The performance had seen such a huge success that more dates were added for 2015; An already busy year with concerts all around the world including a tour in South America with Soprano Natalie Dessay and the recording of new album ‘Michel and friends’ which came out in November later that year.

In January 2016, Michel Legrand gave a stunning performance with a Big Band and friends tenor Vincent Niclo, Soprano Natalie Dessay, and Maurane at Le Palais des Congrès, Paris during the concert ‘Michel Legrand invite Vincent Niclo’.

Later in May 2016 Michel Legrand was in Kalamazoo, Michigan, to receive an honorary Doctorate from Western Michigan University as part of his first visit to the Irving S.Gilmore International Keyboard Festival. While in Kalamazoo, Mr. Legrand performed a commissioned World Premiere, Concerto for Piano and Orchestra with the Kalamazoo Symphony Orchestra.

Summer 2016 has been filled with Festivals in Argentina, and France and the year will continue to be extremely busy with concerts around Europe. ‘Michel Legrand invite Vincent Niclo’ has been touring until October 2016.

The year of 2017 was rich with Michel Legrand’s 85th Birthday tour around the world and two precious album releases.

” I want to be more aware of what I can do, even if it means going too far.
If I want my ship to continue sailing the waves,
I must try out new sails and see where they take me.”

Sheet Music download.

Summer of ’42

Summer of ’42 is a 1971 American coming-of-age film based on the memoirs of screenwriter Herman “Hermie” Raucher. It tells the story of how Raucher, in his early teens on his 1942 summer vacation on Nantucket Island (off the coast of Cape Cod), embarks on a one-sided romance with a young woman, Dorothy, whose husband has gone off to fight in World War II.

The film was directed by Robert Mulligan, and starred Gary Grimes as Hermie, Jerry Houser as his best friend Oscy, Oliver Conant as their nerdy young friend Benjie, Jennifer O’Neill as the mysterious woman with whom Hermie becomes involved, and Katherine Allentuck and Christopher Norris as a pair of girls whom Hermie and Oscy attempt to seduce. Mulligan also has an uncredited role as the voice of the adult Hermie. Maureen Stapleton (Allentuck’s mother) also appears in a small, uncredited voice role.

Raucher’s novelization of his screenplay of the same name was released prior to the film’s release and became a runaway bestseller, to the point that audiences lost sight of the fact that the book was based on the film and not vice versa. Though a pop culture phenomenon in the first half of the 1970s, the novelization went out of print and slipped into obscurity throughout the next two decades until a Broadway adaptation in 2001 brought it back into the public light and prompted Barnes & Noble to acquire the publishing rights to the book. The film was followed by a sequel, Class of ’44, also written by Raucher, with lead actors Grimes, Houser, and Conant reprising their roles.

Best Classical Music

Béla Bartók Mikrokosmos, complete, 6 Books (with sheet music)

Béla Bartók Mikrokosmos, complete, the 6 Books, with sheet music

bela bartok sheet music pdf

Béla Bartók and his music

Béla Viktor János Bartók (25 March 1881 – 26 September 1945) was a Hungarian composer, pianist, and ethnomusicologist. He is considered one of the most important composers of the 20th century; he and Franz Liszt are regarded as Hungary’s greatest composers.Through his collection and analytical study of folk music, he was one of the founders of comparative musicology, which later became ethnomusicology.

Paul Wilson lists as the most prominent characteristics of Bartók’s music from late 1920s onwards the influence of the Carpathian basin and European art music, and his changing attitude toward (and use of) tonality, but without the use of the traditional harmonic functions associated with major and minor scales.

Although Bartók claimed in his writings that his music was always tonal, he rarely uses the chords or scales of tonality, and so the descriptive resources of tonal theory are of limited use. George Perle (1955) and Elliott Antokoletz (1984) focus on alternative methods of signaling tonal centers, via axes of inversional symmetry.

Others view Bartók’s axes of symmetry in terms of atonal analytic protocols. Richard Cohn (1988) argues that inversional symmetry is often a byproduct of another atonal procedure, the formation of chords from transpositionally related dyads. Atonal pitch-class theory also furnishes the resources for exploring polymodal chromaticism, projected sets, privileged patterns, and large set types used as source sets such as the equal tempered twelve tone aggregate, octatonic scale (and alpha chord), the diatonic and heptatonia secunda seven-note scales, and less often the whole tone scale and the primary pentatonic collection.

He rarely used the simple aggregate actively to shape musical structure, though there are notable examples such as the second theme from the first movement of his Second Violin Concerto, commenting that he “wanted to show Schoenberg that one can use all twelve tones and still remain tonal”. More thoroughly, in the first eight measures of the last movement of his Second Quartet, all notes gradually gather with the twelfth (G♭) sounding for the first time on the last beat of measure 8, marking the end of the first section.

The aggregate is partitioned in the opening of the Third String Quartet with C♯–D–D♯–E in the accompaniment (strings) while the remaining pitch classes are used in the melody (violin 1) and more often as 7–35 (diatonic or “white-key” collection) and 5–35 (pentatonic or “black-key” collection) such as in no. 6 of the Eight Improvisations. There, the primary theme is on the black keys in the left hand, while the right accompanies with triads from the white keys. In measures 50–51 in the third movement of the Fourth Quartet, the first violin and cello play black-key chords, while the second violin and viola play stepwise diatonic lines.

On the other hand, from as early as the Suite for piano, Op. 14 (1914), he occasionally employed a form of serialism based on compound interval cycles, some of which are maximally distributed, multi-aggregate cycles. Ernő Lendvai analyses Bartók’s works as being based on two opposing tonal systems, that of the acoustic scale and the axis system, as well as using the golden section as a structural principle.

Milton Babbitt, in his 1949 critique of Bartók’s string quartets, criticized Bartók for using tonality and non-tonal methods unique to each piece. Babbitt noted that “Bartók’s solution was a specific one, it cannot be duplicated”. Bartók’s use of “two organizational principles”—tonality for large scale relationships and the piece-specific method for moment to moment thematic elements—was a problem for Babbitt, who worried that the “highly attenuated tonality” requires extreme non-harmonic methods to create a feeling of closure.

The cataloguing of Bartók’s works is somewhat complex. Bartók assigned opus numbers to his works three times, the last of these series ending with the Sonata for Violin and Piano No. 1, Op. 21 in 1921. He ended this practice because of the difficulty of distinguishing between original works and ethnographic arrangements, and between major and minor works. Since his death, three attempts—two full and one partial—have been made at cataloguing.

The first, and still most widely used, is András Szőllősy‘s chronological Sz. numbers, from 1 to 121. Denijs Dille subsequently reorganised the juvenilia (Sz. 1–25) thematically, as DD numbers 1 to 77. The most recent catalogue is that of László Somfai; this is a chronological index with works identified by BB numbers 1 to 129, incorporating corrections based on the Béla Bartók Thematic Catalogue. On 1 January 2016, his works entered the public domain in the European Union.


Béla Bartók‘s Mikrokosmos Sz. 107, BB 105 consists of 153 progressive piano pieces in six volumes written between 1926 and 1939. The individual pieces progress from very easy and simple beginner études to very difficult advanced technical displays, and are used in modern piano lessons and education. In total, according to Bartók, the piece “appears as a synthesis of all the musical and technical problems which were treated and in some cases only partially solved in the previous piano works.”

Volumes one and two are dedicated to his son Péter, while volumes five and six are intended as professionally performable concert pieces. Bartók also indicated that these pieces could also be played on other instruments; Huguette Dreyfus for example has recorded pieces from Books 3 through 6 on the harpsichord.

In 1940, shortly before they emigrated to the United States, he arranged seven of the pieces for two pianos, to provide additional repertoire for himself and his wife Ditta Pásztory-Bartók to play.


All of the six volumes progress in difficulty, namely:

  • Volumes I and II: Pieces 1–36 and 37–66, beginner level
  • Volumes III and IV: Pieces 67–96 and 97–121, moderate to advanced level
  • Volumes V and VI: 122–139 and 140–153, professional level

The list of pieces is as follows:

Volume I Six Unison Melodies (I) (a) Six Unison Melodies (II) (b) Six Unison Melodies (II) Six Unison Melodies (III) Six Unison Melodies (IV) Six Unison Melodies (V) Six Unison Melodies (VI) Dotted Notes Repetition (1) Syncopation (I) With Alternate Hands Parallel Motion Reflection Change of Position Question and Answer Village Song Parallel Motion with Change of Position Contrary Motion Four Unison Melodies (I) Four Unison Melodies (II) Four Unison Melodies (III) Four Unison Melodies (IV) Imitation and Counterpoint Imitation and Inversion (I) Pastorale Imitation and Inversion (II) Repetition (II) Syncopation (II) Canon at the Octave Imitation Reflected Canon at the Lower Fifth Dance in Canon Form In Dorian Mode Slow Dance In Phrygian Mode Chorale Free CanonVolume II In Lydian Mode Staccato and Legato (I) Staccato and Legato (Canon) In Yugoslav Style Melody with Accompaniment Accompaniment in Broken Triads (a) In Hungarian Style (for two pianos) (b) In Hungarian Style Contrary Motion (2) (for two pianos) Meditation Increasing-Diminishing County Fair In Mixolydian Mode Crescendo-Diminuendo Minuetto Waves Unison Divided In Transylvanian Style Chromatics Triplets in Lydian Mode (for two pianos) Melody in Tenths Accents In Oriental Style Major and Minor Canon with Sustained Notes Pentatonic Melody Minor Sixths in Parallel Motion Buzzing (a) Line against Point (b) Line against Point Dialogue (with voice) Melody DividedVolume III Thirds against a Single Voice Hungarian Dance (for two pianos) Study in Chords Melody against Double Notes Thirds Dragons’ Dance Sixths and Triads (a) Hungarian Matchmaking Song (b) Hungarian Matchmaking Song (with voice) Triplets In Three Parts Little Study Five-Tone Scale Hommage à Johann Sebastian Bach Hommage à Robert Schumann Wandering Scherzo Melody with Interruptions Merriment Broken Chords Two Major Pentachords Variations Duet for Pipes In Four Parts (I) In Russian Style Chromatic Invention (I) Chromatic Invention (II) In Four Parts (II) Once Upon a Time… (a) Fox Song (b) Fox Song (with voice) Jolts
Volume IV Notturno Thumbs Under Hands Crossing In Folk Song Style Diminished Fifth Harmonics Minor and Major (a) Wandering through the Keys (b) Wandering through the Keys Game (with Two Five-Tone Scales) Children’s Song Melody in the Mist Wrestling From the Island of Bali And the Sounds Clash and Clang… Intermezzo Variations on a Folk Tune Bulgarian Rhythm (I) Theme and Inversion Bulgarian Rhythm (II) Song Bourrée Triplets in 9
8 Time
Dance in 3
4 Time
Triads Two-Part Study
Volume V Chords Together and in Opposition (a) Staccato and Legato (II) (b) Staccato and Legato (II) Staccato Boating Change of Time New Hungarian Folk Song (with voice) Stamping Dance Alternating Thirds Village Joke Fourths Major Seconds Broken and Together Syncopation (III) (a) Studies in Double Notes (b) Studies in Double Notes (c) Studies in Double Notes Perpetuum mobile Whole-Tone Scales Unison Bagpipe Music Merry Andrew

Volume VI

  1. Free Variations
  2. Subject and Reflection
  3. From the Diary of a Fly
  4. Divided Arpeggios
  5. Minor Seconds, Major Sevenths
  6. (a) Chromatic Invention (III)(b) Chromatic Invention (III)
  7. Ostinato
  8. March
  9. Six Dances in Bulgarian Rhythm (I)
  10. Six Dances in Bulgarian Rhythm (II)
  11. Six Dances in Bulgarian Rhythm (III)
  12. Six Dances in Bulgarian Rhythm (IV)
  13. Six Dances in Bulgarian Rhythm (V)
  14. Six Dances in Bulgarian Rhythm (VI)

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