Hello, Dolly! Louis Armstrong & Barbra Streisand (1969) with sheet music
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Berlioz : Symphonie Fantastique
L’Orchestre philharmonique de Radio France dirigé par Myung-Whun Chung interprète la “Symphonie fantastique” d’Hector Berlioz. Enregistré le 13 septembre 2013 à la Salle Pleyel (Paris). 00:35 1er mouvement: Rêveries – Passions. Largo – Allegro agitato e appassionato assai – Religiosamente 15:08 2eme mouvement: Un bal. Valse. Allegro non troppo 22:09 3eme mouvement: Scène aux champs. Adagio 39:53 4eme mouvement: Marche au supplice. Allegretto non troppo 00:00 5eme mouvement: Songe d’une nuit de sabbat. Larghetto – Allegro
La Symphonie fantastique a été créée en 1830, en plein courant du romantisme, l’année de la bataille d’Hernani. Première “musique à programme”, qui fait éclater le cadre strictement classique de la symphonie, elle est un chef-d’œuvre en avance sur son temps, influençant bien des compositeurs romantiques, Liszt, Wagner ou Mahler. Narration à la fois autobiographique et fantasmée de son amour pour l’actrice Harriet Smithson, l’œuvre tourne autour d’une “idée fixe” qui revient de façon obsessionnelle dans les différents mouvements. Après une Introduction lente et incertaine, l’idée fixe est exposée puis développée dans le premier mouvement Allegro.
Une valse légère et célèbre retentit dans le deuxième mouvement “ Un bal”, qui s’achève dans une coda effrénée. L’Adagio de la Scène aux champs commence avec un duo hautbois / cor anglais dressant un paysage champêtre, avant une série de variations rappelant Beethoven. La Marche au supplice, d’une durée courte, est une vision d’horreur où le héros s’imagine avoir tué sa bien-aimée. Le dernier mouvement , Songe d’une Nuit de Sabbat est sans doute celui qui va le plus loin dans les innovations musicales, l’annonce du Dies Irae par deux cloches sonnant dans le vide est sans doute le passage le plus effrayant.
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Keith Jarrett Trio – Standards 2 – LIVE in Tokyo, October 26, 1986, at Hitomi Memorial Hall
Personnel:
Keith Jarrett Piano Gary Peacock Double Bass Jack DeJohnette Drums
0:50 You Don’t Know What Love Is (Gene de Paul & Don Raye – 1941) 10:04 With A Song In My Heart (Richard Rodgers & Lorenz Hart – 1929) 19:30 When You Wish Upon A Star (Leigh Harline & Ned Washington – 1940) 27:34 All Of You (Cole Porter – 1954) 35:52 Blame It To My Youth (Oscar Levant & Edward Heyman – 1934)
44:37 Love Letters ( Victor Young & Edward Heyman – 1945) 52:46 Georgia On My Mind (Hoagy Carmichael & Stuart Gorrell – 1930) 1:00:52 You And The Night And The Music (Arthur Schwartz & Howard Dietz – 1934) 1:10:47 When I Fall In Love (Victor Young & Edward Heymann – 1952) 1:16:32 Green Dolphin Street (Bronisław Kaper & Ned Washington – 1947) 1:24:22 Woodyn’ You (Dizzy Gillespie – 1943)
Recorded live in Tokyo, October 26, 1986 at Hitomi Memorial Hall
This standards extravaganza is the regression to the previous concert’s progression, but loses no sense of integrity for its introversion. “You Don’t Know What Love Is” eases into things with sweeping finesse such as only Jarrett can pull off. It is followed by “With A Song In My Heart,” the meditation of which morphs into some solid invigorations. Peacock and DeJohnette share a flawless rapport, the drummer popping off that snare like a machine gun. So begins an alternating pattern of valleys and peaks, which by the end leave behind an even more cohesive program than the first.
We next dip down into a tune the trio plays like no one else: “When You Wish Upon A Star.” Jarrett’s rendering makes even the most familiar blossom anew with emotional honesty. The mastery on display in this quintessential example is as pliant as Peacock’s strings, and carries over into the interlocking tempi of “All Of You.” For this, the bassist leaps forward with the first of two solos, moving from robust to filigreed without loss of syncopation. The bassist turns out to be the sun of this solar system, lathering a mysterious yet lucid “Georgia On My Mind” and a duly nostalgic “When I Fall In Love” with enough light to spare in conversation with his bandmates.
DeJohnette, for his part, airbrushes the night sky in “Blame It On My Youth” and lets the groove be known behind “Love Letters.” And in tandem with Jarrett, he feeds magic into the masterstroke of “You And The Night And The Music.” Unforgettable. Each of the encores—“On Green Dolphin Street,” and “Woody ’n You,” —is a virtuosic gem set to twinkling and reminds us that Jarrett and his associates came this far only by selecting their divergences lovingly.
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“Although only music excites me, and awards and ceremonies do not, I feel honored to receive this NEA Jazz Masters Award, due to the many players on the list since 1982 that have been influential in my life. I’m honored to be in their company, and am reminded that the true nature of jazz has always relied on the individual players making their mark on the music of the future. Jazz is not dead as long as someone is playing with true inspiration.“
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Antonio Carlos Jobim: the 100 most inspiring musicians of all time
Brazilian songwriter, composer, and arranger Antonio Carlos Jobim (b. Jan. 25, 1927, Rio de Janeiro, Braz.—d. Dec. 8, 1994, New York, N.Y., U.S.) transformed the extroverted rhythms of the Brazilian samba into an intimate music, the bossa nova (“new wrinkle” or “new wave”), which became internationally popular in the 1960s.
“Tom” Jobim—as he was popularly known—first began playing piano when he was 14 years old, on an instrument given to his sister by their stepfather. He quickly showed an aptitude for music, and his stepfather sent him to a series of highly accomplished classically trained musicians
for lessons. During the course of his studies, Jobim was particularly inspired by the music of Brazilian composer Heitor Villa-Lobos (1887–1959), whose Western classical works regularly employed Brazilian melodic and rhythmic materials.
When it came time to choose a career, Jobim initially showed no interest in pursuing music professionally, opting instead to become an architect. He soon became disenchanted with the choice, however, and left the field to devote himself fully to music.
Jobim subsequently performed in the clubs of Rio de Janeiro, transcribed songs for composers who could not write music, and arranged music for various recording artists before becoming music director of Odeon Records, one of the largest record companies in Brazil. In 1958, he began collaborating with singer-guitarist João Gilberto, whose recording of Jobim’s song “Chega de Saudade” (1958; “No More Blues”) is widely recognized as the first bossa nova single. Although the song itself met a cold reception, the bossa nova album that bears its name—Chega de
Saudade (1959)—took Brazil by storm the following year.
Also in 1959, Jobim and composer Luís Bonfá became noted for their collaboration with lyricist Vinícius de Moraes on the score for Orfeo negro ( Black Orpheus ), which won an Academy Award for best foreign film. By the early 1960s, Jobim’s music was being played around the world.
Antonio Carlos Jobim maintained a second home in the United States,
where bossa nova’s fusion of understated samba pulse (quiet percussion and unamplifi ed guitars playing subtly complex rhythms) and gentle, breathy singing with the melodious and sophisticated harmonic progressions of cool jazz found a long-lasting niche in popular music.
In 1962, he appeared at Carnegie Hall with his leading jazz interpreters,
tenor saxophonist Stan Getz and guitarist Charlie Byrd. Jobim collaborated on many albums, such as Getz/Gilberto (1963) and Frank Sinatra & Antonio Carlos Jobim (1967). He also recorded solo albums, most notably Jobim (1972) and A Certain Mr. Jobim (1965), and composed classical works and film scores. Of the more than 400 songs Jobim produced in the course of his musical career, “Samba de uma nota só” (“One-Note Samba”), “Desafinado” (“Slightly Out of Tune”), “Meditação” (“Meditation”), “Corcovado” (“Quiet Nights of Quiet Stars”), “Garota de Ipanema” (“The Girl from Ipanema”), “Wave,” and “Dindi” have been particularly popular.
Descargar partituras de Antonio Carlos Jobim y Bossa Nova.
Antonio Carlos Jobim – Wonderful Bossa Nova (FULL ALBUM – BEST OF LATIN JAZZ)
TRACKLIST:
01- Samba do Avião 00:11 02-Dreamer 02:19 03- One Note Samba 04:53 04- She’s A Carioca 07:08 05- Agua De Beber 09:49 06- Desafinado 12:50 07- Favela 15:31 08- Jazz Samba 16:06 09- Meditation 18:21 10- O morro nao tem vez 21:39 11- Só Tinha De Ser Com Você 24:15 12- The Girl From Ipanema 26:44 13- Chega De Saudade 29:26 14- Dindi 33:46 15- Bonita 38:05 16- Surfboard 40:16 17- Useless Landscape 42:42 18- Valsa De Porto Das Caixas 45:02 19- Insensatez 48:25 20 – Corcovado 51:21
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Chuck Berry: the 100 most inspirational musicians of all time
Singer, songwriter, and guitarist Chuck Berry (born Charles Edward Anderson Berry, b. Oct. 18, 1926, St. Louis, Mo., U.S.) was one of the most popular and influential performers in rhythm-and-blues and rock-and-roll music in the 1950s, ’60s, and ’70s.
Raised in a working-class African American neighborhood on the north side of the highly segregated city of St. Louis, Berry grew up in a family proud of its African- American and Native American ancestry. He gained early exposure to music through his family’s participation in the choir of the Antioch Baptist Church, through the blues and country western music he heard on the radio, and through music classes, especially at Sumner High School. Berry was still attending high school when he was sent to serve three years for armed robbery at a Missouri prison for young offenders. After his release and return to St. Louis, he worked at an auto plant, studied hairdressing, and played music in small nightclubs.
Chuck Berry traveled to Chicago in search of a recording contract; he signed with the Chess label, and in 1955 his first recording session produced “Maybellene”, which stayed on the pop charts for 11 weeks, cresting at number five. Berry followed this success with extensive tours and hit after hit, including “Roll Over Beethoven” (1956), “Rock and Roll Music” (1957), and “Johnny B. Goode” (1958). His vivid descriptions of consumer culture and teenage life, the distinctive sounds he coaxed from his guitar, and the rhythmic and melodic virtuosity of his piano player (Johnny Johnson) made Berry’s songs staples in the repertoire of almost every rock-and-roll band.
At the peak of his popularity, federal authorities prosecuted Berry for violating the Mann Act, alleging that he transported an underage female across state lines “for immoral purposes.” After two trials tainted by racist
overtones, Berry was convicted and remanded to prison. Upon his release he placed new hits on the pop charts, including “No Particular Place to Go” in 1964, at the height of the British Invasion, whose prime movers,
the Beatles and the Rolling Stones, were hugely influenced by Berry (as were the Beach Boys).
In 1972 Berry achieved his first number one hit, “My Ding-A-Ling.” Although he recorded more sporadically in the 1970s and ’80s, he continued to appear in concert, most often performing with backing bands comprising local musicians. Berry’s public visibility increased in 1987 with the publication of his book Chuck Berry: The Autobiography and the release of the documentary film Hail! Hail! Rock ‘n’ Roll, featuring footage from his 60th birthday concert and guest appearances by Keith Richards and Bruce Springsteen.
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Chuck Berry is undeniably one of the most influential figures in the history of rock music. In helping to create rock and roll from the crucible of rhythm and blues, he combined clever lyrics, distinctive guitar sounds, boogie-woogie rhythms, precise diction, an astounding stage show, and
musical devices characteristic of country western music and the blues in his many best-selling single records and albums.
A distinctive if not technically dazzling guitarist, Berry used electronic effects to replicate the ringing sounds of bottleneck blues guitarists in his recordings. He drew upon a broad range of musical genres in his compositions, displaying an especially strong interest in Caribbean music on “Havana Moon” (1957) and “Man and the Donkey” (1963), among others. Influenced by a wide variety of artists—including guitar players Carl Hogan, Charlie Christian, and T-Bone Walker and vocalists Nat King Cole, Louis Jordan, and Charles Brown—Berry played a major role in broadening the appeal of rhythm-and-blues music during the 1950s. He fashioned his lyrics to appeal to the growing teenage market by presenting vivid and humorous descriptions of high-school life, teen dances, and consumer culture. Many popular-music performers have recorded Berry’s songs.
An appropriate tribute to Berry’s centrality to rock and roll came when his song “Johnny B. Goode” was among the pieces of music placed on a copper phonograph record attached to the side of the Voyager 1 satellite, hurtling through outer space, in order to give distant or future civilizations a chance to acquaint themselves with the culture of the planet Earth in the 20th century. In 1984, he was presented with a Grammy Award for lifetime
achievement. He was inducted into the Rock and Roll Hall of Fame in 1986.
Sheet Music Download.
Chuck Berry Greatest Hits – Chuck Berry Best Blue Songs – Chuck Berry All Songs Full Album 2021
Miles Davis: the 100 most inspiring musicians of all time
Miles Davis (b. May 26, 1926, Alton, Ill., U.S.—d. Sept. 28, 1991, Santa Monica, Calif.), or Miles Dewey Davis III was an American jazz musician, a great trumpeter who as a bandleader and composer was one of the major influences on the art from the late 1940s.
Davis grew up in East St. Louis, Ill., where his father was a prosperous dental surgeon. He began studying trumpet in his early teens; fortuitously, in light of his later stylistic development, his first teacher advised him to play without vibrato. Davis played with jazz bands in the St. Louis area before moving to New York City in 1944 to study at the Institute of Musical Art (now the Juilliard School)—although he skipped many classes
and instead was schooled through jam sessions with masters such as Dizzy Gillespie and Charlie Parker.
Miles Davis and Parker recorded together often during the years 1945–48.
Davis’s early playing was sometimes tentative and not always fully in tune, but his unique, intimate tone and his fertile musical imagination outweighed his technical shortcomings. By the early 1950s, Davis had turned his limitations into considerable assets. Davis explored the trumpet’s middle register, experimenting with harmonies and rhythms and varying the phrasing of his improvisations. With the occasional exception of multinote flurries, his melodic style was direct and unornamented.
Cool Jazz and Modal Jazz
In the summer of 1948, Davis formed a nonet that included the renowned jazz artists Gerry Mulligan, J.J. Johnson, Kenny Clarke, and Lee Konitz, as well as players on French horn and tuba, instruments rarely heard in a jazz context. Mulligan, Gil Evans, and pianist John Lewis did most of the band’s arrangements, which juxtaposed the flexible, improvisatory nature of bebop with a thickly textured orchestral sound. The group was tracks that were originally released as singles (1949–50).
These recordings changed the course of modern jazz and paved the way for the West Coast styles of the 1950s. The tracks were later collected on the album Birth of the Cool (1957).
During the early 1950s, Davis recorded albums that rank among his best. In 1954, having overcome drug addiction, Davis embarked on a two-decade period during which he was considered the most innovative musician in jazz. He formed classic small groups in the 1950s that
featured saxophone legends John Coltrane and Cannonball Adderley, pianists Red Garland and Bill Evans, bassist Paul Chambers, and drummers “Philly” Joe Jones and Jimmy Cobb. Davis’s albums recorded during this era, including ’Round About Midnight (1956), Steamin’ (1956), and Milestones (1958), among others, affected the work of numerous other
artists.
He capped this period of his career with Kind of Blue (1959), perhaps the most celebrated album in the history of jazz. A mellow, relaxed collection, the album includes the finest recorded examples of modal jazz, a style in which improvisations are based upon sparse chords and nonstandard scales rather than on complex, frequently changing chords.
Released concurrently with the small-group recordings, Davis’s albums with pieces arranged and conducted by Gil Evans—Miles Ahead (1957), Porgy and Bess (1958), and Sketches of Spain (1960)—were also monuments of the genre. The Davis-Evans collaborations were marked by
complex arrangements, a near-equal emphasis on orchestra and soloist, and some of Davis’s most soulful and emotionally powerful playing. Davis and Evans occasionally collaborated in later years, but never again so memorably as on these three masterful albums.
Free Jazz and Fusion
The early 1960s were transitional, less-innovative years for Davis. He began forming another soon-to-be-classic small group in late 1962 with bassist Ron Carter, pianist Herbie Hancock, and teenage drummer Tony Williams; tenor saxophonist Wayne Shorter joined the lineup in 1964.
Davis’s new quintet was characterized by a light, free sound and a repertoire that extended from the blues to avant-garde and free jazz. Compared with the innovations of other modern jazz groups of the 1960s, the Davis quintet’s experimentation in polyrhythm and poly tonality were more subtle but equally daring. Live at the Plugged Nickel (1965), E.S.P. (1965), Miles Smiles (1966), and Nefertiti (1967) were among the quintet’s timeless, influential recordings.
About the time of Miles in the Sky and Filles de Kilimanjaro (both 1968), Davis began experimenting with electronic instruments. With other musicians, including keyboardists Chick Corea and Joe Zawinul and guitarist John McLaughlin, Davis cut In a Silent Way (1969), regarded as the seminal album of the jazz fusion movement. It was considered by purists to be Davis’s last true jazz album.
Davis won new fans and alienated old ones with the release of Bitches Brew (1969), an album on which he fully embraced the rhythms, electronic instrumentation, and studio effects of rock music. A cacophonous
kaleidoscope of layered sounds, rhythms, and textures, the album’s influence was heard in such 1970s fusion groups as Weather Report and Chick Corea’s Return to Forever. Davis continued in this style for a few years, with the album Live-Evil (1970) and the film soundtrack A Tribute to Jack Johnson (1970) being particular highlights.
Legacy
Davis was injured in an auto accident in 1972, curtailing his activities, then retired from 1975 through 1980. He returned to public notice with The Man with the Horn (1981) and subsequently dabbled in a variety of musical styles, concentrating mostly on jazz-rock dance music, but
there were also notable experiments in other styles. Davis won several Grammy Awards during this period for such albums as We Want Miles (1982), Tutu (1986), and Aura (1989).
One of the most-memorable events of Davis’s later years occurred at the Montreux Jazz Festival in 1991, when he joined with an orchestra conducted by Quincy Jones to perform some classic Gil Evans arrangements of the late 1950s. Davis died less than three months later. His final album, Doo-Bop (1992), was released posthumously.
Jazz sheet music and transcriptions download here.
Miles Davis Quintet, Teatro dell’Arte, Milan, Italy, October 11th, 1964 (Colorized)
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Tracklist:
Autumn Leaves 00:00 My Funny Valentine 15:07 All Blues 26:33 All of You 40:13 Joshua 50:47
Personnel:
Miles Davis (trumpet), Wayne Shorter (sax), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums)
B.B. King: the 100 most inspiring musicians of all time
B.B. King, American guitarist and singer, (born Riley B. King, (b. Sept. 16, 1925, Itta Bena, near Indianola, Miss., U.S.) was a principal figure in the development of blues and from whose style leading popular musicians
drew inspiration.
B.B. King was reared in the Mississippi Delta, and gospel music in church was the earliest influence on his singing. To his own impassioned vocal calls, King played lyrical single-string guitar responses with a distinctive vibrato;
his guitar style was influenced by T-Bone Walker, by delta blues players (including his cousin Bukka White), and by such jazz guitarists as Django Reinhardt and Charlie Christian. He worked for a time as a disk jockey in
Memphis, Tennessee (notably at station WDIA), where he acquired the name B.B. (for Blues Boy) King.
In 1951, B.B. King made a hit record of “Three O’Clock Blues,” which led to virtually continuous tours of clubs and theaters throughout the country. He often played 300 or more one-night stands a year with his 13-piece band. A long succession of hits, including “Every Day I Have the Blues,” “Sweet Sixteen,” and “The Thrill Is Gone,” enhanced his popularity.
By the late 1960s, rock guitarists acknowledged his influence and priority; they introduced King (and his guitar—which was named Lucille) to a broader white public, who until then had heard blues chiefly in derivative versions.
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King’s relentless touring strengthened his claim to the title of undisputed king of the blues, and he was a regular fixture on the Billboard charts through the mid-1980s. His strongest studio albums of this era were those that most closely tried to emulate the live experience, and he found
commercial success through a series of all-star collaborations.
On Deuces Wild (1997), King enlisted such artists as Van Morrison, Bonnie Raitt, and Eric Clapton to create a fusion of blues, pop, and country that dominated the blues charts for almost two years. Clapton and King collaborated on the more straightforward blues album Riding with the King (2000), which featured a collection of standards from King’s catalog.
He recaptured the pop magic of Deuces Wild with 80 (2005), a celebration of his 80th birthday that featured Sheryl Crow, John Mayer, and a standout
performance by Elton John. King returned to his roots with One Kind Favor (2008), a collection of songs from the 1940s and ’50s, including blues classics by the likes of John Lee Hooker and Lonnie Johnson. Joining King in the simple four-part arrangements on the T-Bone Burnett–produced
album were stalwart New Orleans pianist Dr. John, ace session drummer Jim Keltner, and stand-up bassist Nathan East. The album earned King his 15th Grammy Award.
In 2008, the B.B. King Museum and Delta Interpretive Center opened in Indianola, with exhibits dedicated to King’s music, his influences, and the history of the delta region. King’s autobiography, Blues All Around Me, written with David Ritz, was published in 1996.
Jazz transcriptions and sheet music download here.
B.B. King Greatest Hits Full Album – B.B. King Blues Best Songs Full Album
Track Listing:
0:00 Blues Boys Tune 7:11 Three O’clock Blues 9:19 How Blue Can You Get 12:50 I Believe To My Soul 18:41 Why I Sing The Blues 24:59 I Like To Live The Love 29:08 Rock Me Baby 34:16 The Thrill Is Gone 38:23 Better Not Look Down 44:42 I Woke Up This Morning 50:09 Eyesight To The Blind 53:32 To Know You Is To Love You 57:18 Everyday I Have The Blues 1:03:39 Don’t Answer The Door
“I struggle with words. Never could express myself the way I wanted. My mind fights my mouth, and thoughts get stuck in my throat. Sometimes they stay stuck for seconds or even minutes. Some thoughts stay for years; some have stayed hidden all my life. As a child, I stuttered. What was inside couldn’t get out. I’m still not real fluent. I don’t know a lot of good words. If I were wrongfully accused of a crime, I’d have a tough time explaining my innocence. I’d stammer and stumble and choke up until the judge would throw me in jail. Words aren’t my friends. Music is. Sounds, notes, rhythms. I talk through music. Maybe that’s why I became a loner, someone who loves privacy and doesn’t reveal himself too easily.
My friendliness might fool you. Come into my dressing room and I’ll shake your hand, pose for a picture, make polite small talk. I’ll be as nice as I can, hoping you’ll be nice to me. I’m genuinely happy to meet you and exchange a little warmth. I have pleasant acquaintances with thousands of people the world over. But few, if any, really know me. And that includes my own family. It’s not that they don’t want to; it’s because I keep my feelings to myself. If you hurt me, chances are I won’t tell you. I’ll just move on. Moving on is my method of healing my hurt and, man, I’ve been moving on all my life.
Now it’s time to stop. This book is a place for me to pause and look back at who I was and what I became. As I write, I’m seventy hears old, and all the joy and hurts, small and large, that I’ve stored up inside me…well, I want to pull ’em out and put ’em on the page. When I’ve been described on other people’s pages, I don’t recognize myself. In my mind, no one has painted the real me. Writers have done their best, but writers have missed the nitty-gritty. Maybe because I’ve hidden myself, maybe because I’m not an easy guy to understand. Either way, I want to open up and leave a true account of who I am.
When it comes to my own life, others may know the cold facts better than me. Scholars have told me to my face that I’m mixed up. I smile but don’t argue. Truth is, cold facts don’t tell the whole story. Reading this, some may accuse me of remembering wrong. That’s okay, because I’m not writing a cold-blooded history. I’m writing a memory of my heart. That’s the truth I’m after – following my feelings, no matter where they lead. I want to try to understand myself, hoping that you – my family, my friends, my fans – will understand me as well.
This is a blues story. The blues are a simple music, and I’m a simple man. But the blues aren’t a science; the blues can’t be broken down like mathematics. The blues are a mystery, and mysteries are never as simple as they look.”
― B.B. King, Blues All Around Me: The Autobiography of B.B. King
Chopin: Préludes Op. 28 (a selection, with sheet music)
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Chopin – 24 Préludes, Op. 28 No. 1 (with sheet music/partition)
Chopin – Prélude Op. 28 No. 4 in E Minor (with sheet music)
Chopin – 24 Préludes, Op. 28 No. 6 (with sheet music)
Chopin – 24 Préludes, Op. 28 No. 9 (with sheet music)
Chopin – 24 Préludes, Op. 28 No. 7 (with sheet music)
Chopin – 24 Preludes, Op. 28 No. 20 (with sheet music)
Chopin – Prélude Op. 28 No. 18 in F minor with sheet music
THE CHOPIN PRELUDES, OPUS 28
Along with Bach’s Wohltemperierte Clavier, the Chopin Twenty-four Preludes Op. 28 are at the core of any concert pianist’s training by being an excellent introduction to the study of Chopin’s piano works and to the practice of his influences as a pianist and teacher. The Preludes also reveal the fact that Chopin’s compositions were influenced equally by the expression of emotions and by the demands of musical form. In these pieces, Chopin developed an already established genre into something quite extraordinary.
Date of composition
Although completed and published as a set in 1839, there is considerable controversy regarding their date of origin, and how many and which preludes were composed or completed in Majorca.
Cortot believed that only the slow-moving preludes could have been
composed there because Chopin’s cell-like room was too resonant,
and the vibrations of the piano too great, for the chromatic sequences
of the faster pieces. Eigeldinger considers the Preludes as a complete work, basing his study on its final realization at the midpoint of Chopin’s composing career.
The following table showing the years the preludes Op. 28 were composed is taken from the Henle edition.
Editions
The preludes were first published in Paris in June 1839 by Catelin with the French rights and dedication to Camille Pleyel. The German edition was published in the same year by Kistner in Leipzig, and was dedicated to J.C. Kessler. Chopin sent his manuscript to Fontana for copying on 22 January 1839 which therefore marks the final date for his revisions and is the only real evidence that the work was completed prior to that date.
Fontana’s copy was the basis for the first German edition, while Chopin’s manuscript was the basis for the first French edition. Amongst the most popular editions used today is the Paderewski edition (1949) from The Fryderyk Chopin Institute of Polish Music Publications. The editors aim “to establish a text which fully reveals Chopin’s thought and corresponds to his intentions as closely as possible” and is based upon Chopin’s autograph manuscripts and the copies approved by him, and first editions.
Also in frequent use is the German Urtext (1982) which uses source material from the Autograph and first French edition, and the Cortot edition, (1957) published by Salabert, in which Cortot lists his titles for each prelude and includes interpretative and technical practice suggestions.
Titles
Besides George Sand’s infamous “Raindrop” title to the fifteenth prelude, the most famous descriptive titles are those by Alfred Cortot which are included in his edition of the Preludes published by Salabert.
Critical response
The most famous critical responses to the Preludes are found in reviews from Liszt and Schumann. Liszt recognized the significance of the work, knowing that Chopin had created an influential new genre that would inspire composers into the future.
Chopin’s preludes are unique compositions.
They are not simply, as their title would
suggest, pieces intended as an introduction to
something further; they are poetic preludes
similar to those of a great contemporary poet
[Lamartine] which gently ease the soul into a
golden dream world and then whisk it away
to the highest realms of the ideal. Admirable
in their diversity, they require scrupulous
examination of the workmanship and thought
which have gone into them before they can be
properly appreciated. Even then they still
retain the appearance of spontaneous
improvisations produced without the slightest
effort. They possess that freedom and charm
which characterize works of genius.
Revue et gazette musicale de Paris. 2 May 1842. p. 246.
Schumann reacted to the Preludes with less enthusiasm, being
somewhat disturbed at their diversity:
Preludes are strange pieces. I confess I
imagined them differently, and designed in
the grandest style, like his Etudes. But almost
the opposite is true: they are sketches,
beginnings of Etudes, or, so to speak, ruins,
eagle wings, a wild motley of pieces. But each
piece, written in a fine, pearly hand, shows:
‘Frederick Chopin wrote it.’ One recognises
him in the pauses by the passionate
breathing. He is and remains the boldest and
proudest poetic mind of the time. The
collection also contains the morbid, the
feverish, the repellent. May each search what
suits him; may only the philistine stay
away!
Performance
The opinion of the Preludes being, as Schumann stated, a “wild motley of pieces”, prevailed through to this century until Cortot and Busoni popularised the practice of playing the complete set.
Certainly, performing complete works such as the Preludes or Études
was not customary before the beginning of this century, and we know
from reviews of Chopin’s concerts that he never played the complete
Op. 28 in public. Keeping with traditions of that period, the most he
played at the one time were four preludes in a concert on the 26
April 1841. Today, most concert pianists have the complete Op. 28 in their repertoire and it is not uncommon to see the entire work programmed or at least several preludes performed as a group.
However, some pianists and critics do consider that programming
complete sets of Chopin’s works, such as the twenty-four preludes, or
either book of études, is not what Chopin intended and is rather an
aesthetic of our time, in which there is more emphasis upon
performing large-scale works. Some also question the musical
grounds for grouping pieces together that have little more in
commoner than their formal structure or generic title. Also, to be
considered is the matter of creating a balanced program: when
performed in recital as a whole, the Preludes would be the major
work as they have a duration of over forty minutes. In any case, the
Chopin Twenty-four Preludes Op. 28 hold a unique position in the
literature for the piano and should be part of every pianist’s
repertoire.
(Next Article: MUSICAL AND INTERPRETATIVE ANALYSIS)
Herbie Hancock: An Analysis of His Improvisional Style (2/3)
Outside Triplet Sequences on “All of You”
The following examples are from one of Hancock’s greatest recorded solos61 on Cole Porter’s “All of You”. On this particular recording, Hancock plays two complete choruses and then solos over a long “tag” section of iii-VI-ii-V changes in Eb (Gm7, C7, Fm7, Bb7). A few bars into this tag section, Hancock starts to spin triplet sequence after triplet sequence, creating long flowing lines of increasing and decreasing tension. Most of these sequences are based on simple two to four note scalar patterns which weave craftily through (and occasionally outside) the changes.
In Figure 2.29, Hancock starts with a simple three note motif and sequences it upwards. He strays “outside” in beat 3 of bar 4 of this extract, playing an E major triad over the C7 (E major contains a Bnatural – the major seventh of C instead of the flattened or dominant seventh implied by the chord symbol). The clash is not overly offensive or dissonant to the ear due to the strength of the sequenced line in the previous bars.
Later in the same solo, Hancock plays Figure 2.30 above. This extract contains multiple examples of sequences – this time Hancock starts with a simple two-note triplet pattern which he develops and uses to get outside the changes from beat 4 of bar 2. This ascends into the same type of four-note triplet pattern seen in previous examples, which gradually sequences its way down again.
Once again, Hancock strays outside in the final bar of the extract. Shortly afterwards, Hancock plays Figure 2.31, again making use of a four-note pattern and again using it to get outside the changes in bar 3.
Hancock then plays:
Here, he starts with a three-note triplet pattern and again uses this concept to get outside the changes in bar 3. The example ends with simple melodic sequence of the type discussed in the previous section – the initial phrase is exactly transposed down a semitone. The type of block chords seen at the end of this example is strongly reminiscent of the technique popularized by pianist Red Garland – Miles Davis’ pianist from the previous decade.
Extended Outside Triplet Sequences
Most of the previous examples demonstrate Hancock playing “outside” for only short periods of time, before bringing a melody back in line with the chord changes. However, Hancock will also often spin long, often highly chromatic triplet sequences in which he seemingly disregards the underlying chord changes for an extended length of time.
At the start of his second chorus on Wayne Shorter’s “Witch Hunt”, Hancock begins to spin a lengthy triplet sequence, using the intervals of a minor second and a fourth to dance in and out of the stagnant harmony of Cm7. This is particularly obvious in the final three bars of the figure, which contains one consistently descending line based on falling and rising fourths and semitones.
Hancock uses this same technique again as a sideman in Miles Davis’ quintet – this time he picks up on a triplet figure played by Tony Williams in the last few bars of Hancock’s first chorus, and uses this as a springboard into another long and highly chromatic phrase (see Figure 2.33).
While not strictly exact melodic sequences, both of the previous examples are long rhythmic sequences and contain several distinct examples of sequenced melodic material – for example bars 3&4 and 7&8 of Figure 2.33 and bars 4 and 8&9 of Figure 2.34.
Motif Development
One of the qualities of a great improviser is the ability to develop and extend their melodic ideas. Similar to sequences, motivic development often involves repetition of an initial phrase which is subsequently built on in the following bars – a technique which adds a sense of logical structure to the solo. Hancock is a master at developing his motifs, which often stem from fairly simple starting phrases.
Figure 2.35 is an example of this. Hancock starts out with a simple one note rhythmic idea and gradually adds further notes to develop the phrase, while still maintaining the original F as a tonal center.
In the above example, Hancock takes a simple Gm7 arpeggio and repeats it over the course of 4 bars, creating beautiful melodic continuity through the harmony.
Figure 2.37 on the following page is another example of motivic development – Hancock picks up on a melodic idea played by Miles Davis at the end of his solo and repeats it, maintaining the rhythm and contour but initially sequencing it up minor third.
Similarly, in Figure 2.38, Hancock picks up on a three note phrase played by trumpeter Freddie Hubbard, sequences it upwards for 6 bars before using it to springboard into the start of his second solo on the alternate take of “One Finger Snap”. An interesting point of focus in the first line is that the semibreves at the end of each phrase in bar 4, 6 and 8 are an exact retrograde of the initial phrase Hancock plays in bar 3. The final two bars of this extract also demonstrate another sequence, a pattern of an ascending semitone and a fourth which climbs up chromatically.
In Figure 2.39, Hancock begins with a simple melodic motif, which he develops through the subsequent 11 bars.
In Figure 2.40, Hancock starts with a triplet motif of notes grouped in threes, which is then sequenced down a third. He then continues to develop this idea in the subsequent measures by continuing the same three note-triplet theme while ascending through the associated scales of each chord (F melodic minor and Db Lydian dominant). This sort of development is an extremely effective way of building tension in a melodic line.
Again in Figure 2.41, Hancock starts with a simple three note motif which gradually sequences upwards, before descending, again through the use of sequence. He then continues the motif into the third line of the example, and begins to imply a 3 over 4 cross rhythm in the last four bars – the final
phrase starting in bar 3 of the third line repeats every 3 beats.
Here, Hancock starts with a six note motif which he sequences down twice in the subsequent bars, before using the idea as a springboard into the next chorus of his solo. Of particular note here is Hancock’s extended use of chromaticism over the Ebmaj7 chord – he avoids landing on guide tones on the strong beats of the bar, which helps to propel the melodic line forward to its resolution at the start of the next chorus.
Rhythmic Elements/Technical Virtuosity
The title of this section refers more specifically to rhythmic devices used by Hancock – with a focus on phrases that display his remarkable technical facility.
This extract from Hancock’s solo on “All of You” demonstrates his facility with double time.
Here Hancock dances around the changes in scalar patterns, making extensive use of diminished and altered scales to modify the standard harmony while utilizing both semiquavers and semiquaver-triplets.
Figure 2.44 is an extract from Hancock’s solo on “Circle”, a tune from Miles Davis’ album Miles Smiles (1966). In this example, Hancock executes another long passage of triplets and uses a triadic motif to quickly extend the phrase through 4 octaves.
There a few areas of particular interest here: the first is Hancock begins the D major triadic motif in bar 5 of the figure and continues it through the Bbmaj7 in bar 7, reharmonizing the chord to Bbmaj7(#5). The second is the beat that is dropped at the start of the third line of the figure – the rhythm section adjusts immediately to the 2/4 bar, showing the group’s uncanny rapport and adaptation in support of the soloist. Hancock also finishes the long passage of triplets with another simple, scalar melodic sequence.
Hancock also makes use of complicated rhythmic denominations, as seen in Figure 2.45 below. This example is taken from Hancock’s solo on “The Egg”, a compositional sketch in which the only stipulations are an initial piano ostinato and a melodic line played by the trumpet, before the piece descends into open, free improvisation.
Miscellaneous Signature Characteristics
Hancock also has several idiosyncratic phrases which he uses in a variety of different settings. The first of these is Hancock’s signature blues lick:
This phrase, unique to Hancock, makes an appearance early his recorded output and continues to show up in various manifestations and situations into the late 60s – despite the juxtaposition between the phrase’s fairly blues orientated nature and the more contemporary vein of the music during that period (see Figure 2.47).
Another signature characteristic of Hancock’s is his tendency to play his melodic lines in octaves. This either occurs in the middle of a phrase:
Or at the start of a phrase and continuing for an extended period:
In summary, Hancock’s melodic lines contain a range of signature characteristics, which contain devices that reflect both the wider jazz language and also Hancock’s unique approach to melodic line construction. While all the previous examples were examined taxonomically, Chapter 3 examines them within the context of a single solo.
This analysis argues is that through the use of a range of signature characteristics, Herbie Hancock emerged in the early 1960s as a truly original artist. Drawing upon and the building on the developments made by his predecessors, Hancock was ones of small group of artists who brought jazz into the modern era, by demonstrating both strong command of the traditional jazz language and a powerfully explorative, individual voice.
Best site for Jazz sheet music download is right here.
Herbie Hancock – Maiden Voyage (Full Album)
Personnel:
Herbie Hancock — piano
Freddie Hubbard — trumpet
George Coleman.
Track List:
1: maiden voyage 2: The Eye of the Hurricane 3: Little One 4: Survival of the Fittest 5: Dolphin Dance
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