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

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

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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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LIVE Music Concerts

Beethoven Piano Concerto No 5 in Eb, Op 73 (Helmchen) with sheet music

Beethoven Piano Concerto No 5 in Eb, Op 73 – Martin Helmchen, piano – with sheet music

beethoven sheet music pdf

Martin Helmchen

Martin Helmchen (born 1982) is a German pianist. He has played with international orchestras and has recorded discs of many classical composers.


Helmchen was born in Berlin. He began his piano studies at the age of six, and graduated from the Hanns Eisler Music Conservatory as a student of Galina Iwanzowa, and in 2001 from the Hochschule für Musik und Theater Hannover as a student of Arie Vardi.


He was a featured soloist in the BBC New Generation Artists program from 2005-2007. Helmchen has given concerts with the San Francisco Symphony,the Vienna Philharmonic, the Deutschen Symphonie-Orchester Berlin and the NHK Symphony Orchestra. His specialty is chamber music, where he has performed extensively with Heinrich Schiff and Marie-Elisabeth Hecker. Collaborations with further artists have included Gidon Kremer, Christian Tetzlaff, Sharon Kam, Tabea Zimmermann, Juliane Banse, Julia Fischer, Sabine Meyer and Lars Vogt.

Helmchen’s first orchestral CD was released in 2007 with piano concerti from Mozart, and his first solo CD with works of Schubert was released in 2008. In 2009, two further CDs were released:

He made his American debut in 2011 when he played at Tanglewood with the Boston Symphony Orchestra. The same year he performed with Dohnanyi and the Chicago Symphony Orchestra.


In 2001 he won the Clara Haskil International Piano Competition. In 2003 he won the International Kissinger Klavierolymp Competition, related to the festival Kissinger Sommer.In 2006 he was awarded the Crédit Suisse Award, for his debut with the Vienna Philharmonic, directed by Valery Gergiev, playing Schumann’s Piano Concerto at the Lucerne Festival. In the same year he received the ECHO Klassik Prize as together with cellist Danjulo Ishizaka for their CD with works from Felix Mendelssohn, César Franck, Benjamin Britten (2005, Sony Classical).

Selected discography

Beautiful Music


METAMORPHOSIS ONE – Philip Glass (with sheet music)

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Jazz & Blues Music

Dave Brubeck 100th Birthday Tribute To Legendary Jazz Pianist And Humanitarian

100th Birthday Tribute To Legendary Jazz Pianist And Humanitarian Dave Brubeck

Dec. 6 marked the 100th birth anniversary of Dave Brubeck. In 2003, he was named a “Living Legend” by the Library of Congress, and he is one of the most impactful performers and composers in both classical and jazz circles. His career spanned six decades, and he is remembered not only for his brilliant piano playing and composing but also his cultural ambassadorship and relentless work in anti-racism.

WABE music contributor Dr. Scott Stewart joined “City Lights” host Lois Reitzes to discuss Brubeck’s life and legacy.

Brubeck was not only a legendary composer and pianist. He was a staunch supporter of racial equality and integration for Black Americans during the civil rights era. In 1960, he canceled 23 out of 25 performances on a tour of southern colleges because of racial injustice. The bassist in the Dave Brubeck Quartet, Eugene Wright, was a Black man, and many of the colleges demanded a white substitute. Brubeck refused, and this cost him $40,000.

Stewart says, “It’s remarkable that Dave Brubeck had such far-reaching influence both within in the arts world and in culture. He talked the talk and walked the walk in making very clear his views on racism, bigotry, hate, and marginalization of the Black community. He was not only ahead of his time; he may have been ahead of our time.”

Brubeck is known for his signature albums such as “Time Out,” “Time Further Out,” and “Jazz Impressions of Japan.” He passed away on December 5, 2012, at the age of 91. He was known as one of the most influential American jazz artists of the 20th century.

Brubeck’s sheet music is available in our Library!

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Did you know?

Rediscover Beethoven (17 December 1770 – 26 March 1827)

Find Beethoven’s sheet music in our Library.

Beethoven’s Life

Ludwig van Beethoven was a complex man consumed by a towering
genius – all the more remarkable for the deafness with which he
struggled. He lived a life driven by an unquenchable need to make
music. His legacy is music that still delights, challenges, and moves us.
Born in Bonn, Germany on December 17, 1770 (or perhaps a day
earlier according to some records), Beethoven had a miserable
childhood. He was one of seven children, only three of whom survived
to adulthood. Although he loved his gentle mother, Maria, he feared
his hard-drinking, demanding father, Johann. His father had no great
talent, but he gave music lessons to the children of the nobility. From
the time Ludwig was a small boy, turning the iron handle of window
shutters to hear the musical noise, the child had been absorbed by
music. His father recognized the boy’s ability and nurtured it, possibly
because he saw it as a source of income.

In 1787, when he was seventeen, Beethoven made his first trip to
Vienna, the city that would become his home. There, he was quickly
immersed in the life of Europe’s cultural capital, even playing the piano
for Mozart. Mozart’s prediction was: “You will make a big noise in the

beethoven free sheet music & scores pdf

Difficult Times

Beethoven’s stay was cut short by a series of family tragedies. He
returned to Bonn to his dying mother. Shortly after, his infant sister
died. When his father lost his job, Beethoven had to take responsibility
for the family.

After his father’s death in 1792, Beethoven returned to Vienna for
good. The serious boy had grown into a man who was by turns rude
and violent, kind and generous. He helped raise money for the only
surviving child of Johann Sebastian Bach, who was living in poverty,
and he donated new compositions for a benefit concert in aid of
Ursuline nuns.

Despite his temper, Beethoven attracted friends easily. He studied
piano with composer Franz Joseph Haydn. And even though the
student-teacher relationship failed the two remained friends. In
Vienna, Beethoven also met Mozart’s rival, Antonio Salieri – the man
rumored to have poisoned Mozart. Salieri was kind to Beethoven and,
in return, Beethoven dedicated three violin sonatas to him.

Beethoven’s struggle to hear…

At the age of twenty-eight, just before writing his first symphony,
Beethoven began to lose his hearing. He tried every available
treatment and, at first, there were periods when he could hear. But in
the last decade of his life he lost his hearing completely. Nevertheless,
he continued to lead rehearsals and play the piano as late as 1814.
Possibly he “heard” music by feeling its vibrations.

As time passed, Beethoven became more and more absorbed in his
music. He began to ignore his grooming, pouring water over his head
instead of washing in a basin. On one of his beloved country walks, a
local policeman who assumed he was a tramp arrested Beethoven. His
rooms were piled high with manuscripts that nobody was allowed to
touch. He had four pianos without legs so that he could feel their
vibrations. He often worked in his underwear, or even naked, ignoring
the friends that came to visit him if they interrupted his composing.

Watch out for that temper!

The stories about Beethoven’s temper became legend: he threw hot
food at a waiter; he swept candles off a piano during a bad
performance; he may even have hit a choirboy. His intensity spilled
over into his family life. He became embroiled in a bitter custody battle
for a nephew who attempted suicide to escape the family animosity.
Perhaps he was terrified and furious about losing the world of sound.
Perhaps he was completely preoccupied by the need to create. Despite
his behaviour, he was admired and respected for the music that
poured from him. He knew that it moved his listeners to tears, but he
responded, “Composers do not cry. Composers are made of fire.”

What about the women in Beethoven’s life?

With his talent and his larger-than-life personality, Beethoven was
popular among women. Although he never married, he dedicated such
pieces as the Moonlight Sonata and Für Elise to the women in his life.

Beethoven, Thunder and Death

In November 1826 Beethoven returned from his brother’s estate to
Vienna in an open wagon. By the time he got home he was ill with
pneumonia, from which he never fully recovered.

Late in the afternoon of March 26, 1827, the sky became dark.
Suddenly a flash of lightning lighted Beethoven’s room. A great clap of
thunder followed. Beethoven opened his eyes, raised his fist, and fell
back dead. He was fifty-seven years old.

Ludwig van Beethoven’s funeral was the final demonstration of the
esteem in which he was held. On March 29, 1827, twenty thousand
people lined the streets, while soldiers controlled the grieving crowd.
Nine priests blessed the composer’s body.

He was buried in a grave marked by a simple pyramid on which was
written one word: “Beethoven.” Today his remains lie beside those of
the Austrian composer Franz Schubert, in Vienna’s Central Cemetery.
“I shall hear in Heaven” – Beethoven’s last words

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Artists Who Have Also Faced Challenges

We are haunted by the idea of Beethoven, the composer of some of
the most beautiful music the world has known, losing the sense that
must have mattered the most to him – his hearing. He was not the
only artist to have confronted, and risen to, such a challenge.

Francisco José de Goya (1746–1828), one of the great Spanish
masters, became deaf in 1792 as the result of an illness. He continued
to paint, but his work reflected his sadness.

The great French Impressionist painter Claude Monet (1840–1926)
found his eyesight failing him late in his life. He continued to paint,
studying his subjects so closely that the paintings appeared
fragmented like abstract art.

Edgar Degas (1834–1917), another French artist began to lose his
eyesight when he was in his fifties. He began working in sculpture and
in pastels, choosing subjects that did not require careful attention to

One of the finest artists to come out of Mexico was Frida Kahlo
(1907–1954). She began painting in 1925 while recovering from a
streetcar accident. Many of her paintings reflect the physical pain she

The Dutch painter Vincent van Gogh (1853–1890) suffered from
seizures and depression. After quarrelling with fellow artist Paul
Gauguin (1848–1903), he sliced off a piece of his ear lobe. Van Gogh
committed suicide in 1890.

Itzhak Perlman (1945–), the wonderful Israeli violinist, became ill with
polio at the age of four. As a result of the disease, Perlman performs
and conducts from a seated position.

Beethoven’s Turbulent Times

Beethoven lived in a period of great turmoil. The French Revolution,
which began on July 14, 1789, rocked Europe. The ideals of the French
Revolution included equality and free speech for all. Within four years
those fine ideals devolved into the Reign of Terror that overtook
France and affected the rest of Europe. In 1798, Napoleon conquered
Egypt, beginning his rise to power. Against the political upheaval,
every aspect of human life seemed to shift. It was an age of change in
ideas, the arts, science, and the structure of society itself.

An age of the musician: Earlier in the 18th century, the Church
dominated the world of music. As time went on, the nobility began to
enjoy music and even learned to play musical instruments. Composers
and musicians were their servants. With his fiercely independent spirit,
Beethoven challenged this notion. “It is good to move among the
aristocracy,” he said, “but it is first necessary to make them respect.”
When a nobleman talked while he was performing, Beethoven stopped
playing to declare, “For such pigs I do not play!”
Literature and art also flourished during Beethoven’s lifetime. The
first edition of the Encyclopedia Britannica appeared in three volumes.

An age of exploration: In 1770 Captain James Cook circumnavigated
the globe, charting the coast of New Zealand and eastern Australia as
well as the Bering Strait. James Bruce traced the Blue Nile to its
confluence with the White Nile in 1771.

An age of invention: John Kay patented the fly shuttle in 1733,
making it possible to weave wide cloth. James Hargreaves invented
the spinning jenny in 1765, which spun many threads at the same
time. James Watt invented the steam engine, patented in 1769, and
Robert Fulton initiated steamship travel. The first railroad in England
began operation early in the eighteenth century.

Beethoven became a friend of Johann Nepomuk Malzel, the “Court
Mechanician.” He invented the musical chronometer, which in time was
refined to the metronome, a device that can be set to a specific pace
to guide the musician. Beethoven loved the chronometer and even
composed a little canon to the words “Ta ta ta (suggesting the beat of
the chronometer) lieber lieber Malzel.”

An age of science and mathematics: Joseph-Louis Lagrange
formulated the metric system and explained the satellites of Jupiter
and the phases of the moon. Benjamin Franklin conducted his
experiments with electricity. Joseph Priestley discovered oxygen.
Edward Jenner developed the smallpox vaccine. Musician and
astronomer William Herschel discovered Uranus.

An age of new pastimes: Coffee drinking – which Beethoven loved –
became a part of social life. Gambling, lotteries, card-playing, chess,
checkers, dominoes, and billiards all entertained people.

Human Rights and the Arts

Throughout history, artists have used their talents to comment on
social issues. Beethoven – who lived through the French Revolution
and the Napoleonic Wars, a time of immense social and political
change in Europe and the world – responded through his music. His
only opera, Fidelio, is set in Spain and is based on the story of a
nobleman who is unjustly imprisoned for threatening to reveal the
crimes of a politician.

Beethoven’s third symphony, the Eroica, was originally dedicated to
Napoleon Bonaparte. The finale of his magnificent Ninth Symphony is
based on a poem written by the German poet Friedrich von Schiller,
with words and music that yearn for peace, joy, and the brotherhood
of man.

Like Beethoven, we have lived through enormous social and political
upheaval: world conflicts, the rise and collapse of nations, and
devastating political oppression around the world. We have also seen
hopeful changes, such as the creation of the United Nations as the
principal international organization committed to building peace and
global security.

In Beethoven’s time, as in ours, the arts have been a voice to rail
against political oppression and to make us aware of the plight of
those in the greatest need.

All the world over, ordinary men, women, and children have been
moved to action through music. “We Shall Overcome” and “Nkosi
sikelel’ iAfrika” (God Bless Africa) are two songs that carried a
tremendous amount of influence for Blacks in the US and in South
Africa in their struggle against racism, inequality and injustice in the
last half of the 20th century. And Beethoven’s Ninth Symphony rang
out at the Tiananmen Square protest in 1989 and at the collapse of
the Berlin Wall in 1990.

Beethoven’s Famous Peers

Beethoven was not the only composer writing music in this period.
Beethoven influenced Richard Wagner’s (-1813–1883) early
instrumental works. Franz Liszt (1811–1886) “invented” the solo piano
recital. Giuseppe Verdi (1813–1901) composed great operas. Frédéric
Chopin (1810–1849) and Robert Schumann (1810–1856) also
belonged to this era.


British poet William Wordsworth (1770-1850), along with Samuel
Taylor Coleridge (1772-1834), began the English Romantic Movement
in literature. Like Beethoven in music and Turner in painting,
Wordsworth used nature as a theme in much of his writing. Here is an
example of one of his best known poems:
I Wandered Lonely as A Cloud
by William Wordsworth
I wandered lonely as a cloud
That floats on high o’er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay;
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced; but they
Outdid the sparkling waves in glee;
A poet could not but be gay,
In such a jocund company;
I gazed – and gazed – but little thought
What wealth the show to me had brought:
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.


The shift from the Classic to the Romantic tradition was also reflected
in the work of painters and sculptors such as the Spanish master
Francisco José de Goya and Swiss-born Angelica Kauffmann, who
produced more than five hundred paintings in her lifetime.
The painter who most closely paralleled Beethoven’s move to
Romanticism was Jean-Baptiste Camille Corot (1796–1875). Early in
his career he painted structured landscapes, but as he matured in
works like Ville d’Avray and Memory of Mortefontaine, he showed a
more imaginative style, creating a filmy aura.

Beethoven the Musician

Beethoven’s initial purpose in coming to Vienna was to study with
Haydn and to learn from the great master the style of Viennese
classicism – a structured worldview where the form of things was more
important than their content. Poetry, literature, painting and music of
this Classic period were restrained and rational.

This formal, disciplined study, however, had little appeal to
Beethoven’s unruly, irrepressible, revolutionary spirit. He absorbed
just what suited him, and proceeded on his own course. Thus, we
find, even in his first published compositions, a bold new voice in
music. Formally, these early works still hark back to traditional
classical forms. But the emotional intensity, rough humor, burning
energy and bold modulations reveal a creator who has struck out on a
new path.

By the 1800s, Classicism was giving way to Romanticism and this shift
was evident in Beethoven’s music.

Beethoven and Romanticism

Romanticism valued imagination and emotion over intellect and
reason. It was based on a belief that people are naturally good, that
physical passion is splendid, and that political authority and rigid
conventions should be overthrown.

Beethoven’s Romanticism transformed every kind of music he
composed. One of his most popular compositions is the Moonlight
Sonata, the second of two sonatas making up Opus 27. It became
known as the Moonlight Sonata well after Beethoven’s death, when
poet Ludwig Rellstab said that it reminded him of moonlight rippling on
the waves of Lake Lucerne in Switzerland. Like all Romantic art, it
appeals to the senses more than the mind.

Beethoven’s Romance no.1 for Violin in G, Opus 40 and his Romance
no. 2 for Violin in F, Opus 50, written between 1798 and 1802, were
called romances for their light, sweet tone, almost like a song. This is
typical of the Romantic period in music: many pieces lend themselves
to being sung as well as played.

Beethoven’s movement away from Classicism and toward Romanticism
is clearest in his symphonies. Before Beethoven, symphonies,
originating in courtly dances like the minuet, had conformed to the
ideals of Classicism with rigid structure and rational form. Beethoven’s
Romantic symphonies broke out of those confines and became large,
sometimes epic structures that told a story and plumbed emotional

Beethoven the Artist

Beethoven’s first public appearance as a piano virtuoso took place
when he was twenty-five years old. He was to play his Second Piano
Concerto, but two days before the performance it was still not finished
and Beethoven was suffering from an upset stomach. He continued to
write while a friend fed him remedies and, just outside his chamber,
copyists sat waiting for the music as the composer finished writing
each sheet.

His career would be full of such last-minute scrambles. On the morning
of the concert to present an oratorio, Christ on the Mount of Olives, a
friend found Beethoven sitting in bed, composing the part for the
trombones. The piece had its first rehearsal at 8:00 a.m., with the
trombone players reading from the original sheets of music.

Beethoven’s Ninth Symphony

By the time the Ninth Symphony premiered in Vienna in 1824,
Beethoven was almost completely deaf. Nevertheless, he insisted on
conducting the orchestra himself. He continued conducting even when
the piece had ended because he could not hear that the orchestra had
stopped playing. One of the sopranos tugged at his sleeve so that he
would turn around to face the audience – an audience wild with

Beethoven’s Ninth Symphony continues to move the hearts of people
everywhere. It was played during the Beijing student protests in China
in 1989 and at the dismantling of Germany’s Berlin Wall in 1990. It
has become a symbol of unity, of love, and of the overwhelming power
of music to change those who hear it forever.

Ode to Joy from Symphony No.9 in D minor, Opus 125

Praise and joy, immortal gladness
Gift to all eternally.
We give thanks for joy unbounding,
Celebrate life’s harmony.
Refrain (2x)
Music’s magic boldly sounding,
Bring together friend and foe.
All unite as sisters, brothers.
Sing with joy in lustrous glow.

What to Listen for

The “three periods”

The historian William Drabkin notes that as early as 1818 a writer had proposed a three-period division of Beethoven’s works and that such a division (albeit often adopting different dates or works to denote changes in period) eventually became a convention adopted by all of Beethoven’s biographers, starting with Schindler, F.-J. Fétis and Wilhelm von Lenz. Later writers sought to identify sub-periods within this generally accepted structure. Its drawbacks include that it generally omits a fourth period, that is, the early years in Bonn, whose works are less often considered; and that it ignores the differential development of Beethoven’s composing styles over the years for different categories of work. The piano sonatas, for example, were written throughout Beethoven’s life in a progression that can be interpreted as continuous development; the symphonies do not all demonstrate linear progress; of all of the types of composition, perhaps the quartets, which seem to group themselves in three periods (Op. 18 in 1801–1802, Opp. 59, 74 and 95 in 1806–1814, and the quartets, today known as ‘late’, from 1824 onwards) fit this categorization most neatly. Drabkin concludes that “now that we have lived with them so long … as long as there are programme notes, essays written to accompany recordings, and all-Beethoven recitals, it is hard to imagine us ever giving up the notion of discrete stylistic periods.”

Bonn 1782–1792

Some forty compositions, including ten very early works written by Beethoven up to 1785, survive from the years that Beethoven lived in Bonn. It has been suggested that Beethoven largely abandoned composition between 1785 and 1790, possibly as a result of negative critical reaction to his first published works. A 1784 review in Johann Nikolaus Forkel‘s influential Musikalischer Almanack compared Beethoven’s efforts to those of rank beginners. The three early piano quartets of 1785 (WoO 36), closely modelled on violin sonatas of Mozart, show his dependency on the music of the period. Beethoven himself was not to give any of the Bonn works an opus number, save for those which he reworked for use later in his career, for example, some of the songs in his Op. 52 collection (1805) and the Wind Octet reworked in Vienna in 1793 to become his String Quintet, Op. 4. Charles Rosen points out that Bonn was something of a backwater compared to Vienna; Beethoven was unlikely to be acquainted with the mature works of Haydn or Mozart, and Rosen opines that his early style was closer to that of Hummel or Muzio Clementi. Kernan suggests that at this stage Beethoven was not especially notable for his works in sonata style, but more for his vocal music; his move to Vienna in 1792 set him on the path to develop the music in the genres he became known for.

The first period

The conventional “first period” begins after Beethoven’s arrival in Vienna in 1792. In the first few years he seems to have composed less than he did at Bonn, and his Piano Trios, op.1 were not published until 1795. From this point onward, he had mastered the ‘Viennese style’ (best known today from Haydn and Mozart) and was making the style his own. His works from 1795 to 1800 are larger in scale than was the norm (writing sonatas in four movements, not three, for instance); typically he uses a scherzo rather than a minuet and trio; and his music often includes dramatic, even sometimes over-the-top, uses of extreme dynamics and tempi and chromatic harmony. It was this that led Haydn to believe the third trio of Op.1 was too difficult for an audience to appreciate.

He also explored new directions and gradually expanded the scope and ambition of his work. Some important pieces from the early period are the first and second symphonies, the set of six string quartets Opus 18, the first two piano concertos, and the first dozen or so piano sonatas, including the famous Pathétique sonata, Op. 13.

The middle period

His middle (heroic) period began shortly after the personal crisis brought on by his recognition of encroaching deafness. It includes large-scale works that express heroism and struggle. Middle-period works include six symphonies (Nos. 3–8), the last two piano concertos, the Triple Concerto and violin concerto, five string quartets (Nos. 7–11), several piano sonatas (including the Waldstein and Appassionata sonatas), the Kreutzer violin sonata and his only opera, Fidelio.

The “middle period” is sometimes associated with a “heroic” manner of composing, but the use of the term “heroic” has become increasingly controversial in Beethoven scholarship. The term is more frequently used as an alternative name for the middle period. The appropriateness of the term “heroic” to describe the whole middle period has been questioned as well: while some works, like the Third and Fifth Symphonies, are easy to describe as “heroic”, many others, like his Symphony No. 6, Pastoral or his Piano Sonata No. 24, are not.

The late period

Beethoven’s grave at Vienna Zentralfriedhof

Beethoven’s late period began in the decade 1810-1819. He began a renewed study of older music, including works by Johann Sebastian Bach and George Frideric Handel, that were then being published in the first attempts at complete editions. Many of Beethoven’s late works include fugal material. The overture The Consecration of the House (1822) was an early work to attempt to incorporate these influences. A new style emerged, now called his “late period”. He returned to the keyboard to compose his first piano sonatas in almost a decade: the works of the late period include the last five piano sonatas and the Diabelli Variations, the last two sonatas for cello and piano, the late string quartets (see below), and two works for very large forces: the Missa Solemnis and the Ninth Symphony. Works from this period are characterised by their intellectual depth, their formal innovations, and their intense, highly personal expression. The String Quartet, Op. 131 has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement. Other compositions from this period include the Missa solemnis, the last five string quartets (including the massive Große Fuge) and the last five piano sonatas.


The Beethoven Monument in Bonn was unveiled in August 1845, in honour of the 75th anniversary of his birth. It was the first statue of a composer created in Germany, and the music festival that accompanied the unveiling was the impetus for the very hasty construction of the original Beethovenhalle in Bonn (it was designed and built within less than a month, on the urging of Franz Liszt). A statue to Mozart had been unveiled in Salzburg, Austria, in 1842. Vienna did not honour Beethoven with a statue until 1880.

There is a museum, the Beethoven House, the place of his birth, in central Bonn. The same city has hosted a musical festival, the Beethovenfest, since 1845. The festival was initially irregular but has been organised annually since 2007.

The Ira F. Brilliant Center for Beethoven Studies serves as a museum, research center, and host of lectures and performances devoted solely to this life and works.

His music features twice on the Voyager Golden Record, a phonograph record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.

The third largest crater on Mercury is named in his honour, as is the main-belt asteroid 1815 Beethoven.

A 7-foot cast bronze statue of Beethoven by sculptor Arnold Foerster was installed in 1932 in Pershing Square, Los Angeles; it was dedicated to William Andrews Clark Jr., founder of the Los Angeles Philharmonic.

LIVE Music Concerts

A great musical experince: Keith Jarrett Trio Jazz in Copenhagen ’99

Keith Jarrett Trio Jazz in Copenhagen ’99 (sheet music)

Keith Jarrett – piano
Gary Peacock – bass
Jack DeJohnette – drum

00:00 Hallucinations

05:57 Doxy

13:51 Only the Lonely

20:02 Between the Devil and Deep Blue Sky

28:48 Sandu

36:42 All My Tomorrows

keith jarrett sheet music pdf

Copenhagen Jazz Festival

Copenhagen Jazz Festival is a jazz event every July in Copenhagen, the capital of Denmark. Copenhagen Jazz Festival was established in 1979, but beginning in 1964 Tivoli Gardens presented a series of concerts under the name Copenhagen Jazz Festival with Thelonious Monk, Miles Davis and many others.

According to reports,[1] the total attendance was 240,000 people during Copenhagen Jazz Festival in 2004. In 2006 the number of concerts increased to 850,[2] and today Copenhagen Jazz Festival numbers more than 100 venues, 1100 concerts, and approximately 260,000 guests,[3] making it one of the largest music events in Europe.

Musicians who have performed at the Copenhagen Jazz Festival include Sonny Rollins, Oscar Peterson, Ray Charles, Michel Petrucciani, Niels-Henning Ørsted Pedersen, Keith Jarrett, Wayne Shorter, Dizzy Gillespie, John Scofield, Herbie Hancock, Pat Metheny, Michel Camilo, Ornette Coleman, Annette Peacock, Svend Asmussen Quartet, Richard Bona, Tony Allen, Chick Corea and Daniel Puente Encina.


The founding of Copenhagen Jazz Festival in 1979 is closely linked to the jazz scene that evolved in Copenhagen in the 1960s, when the city served as a European home for American jazz musicians like Dexter Gordon, Ben Webster and Kenny Drew. An inspired music scene attracted even more American musicians and educated and inspired the whole Danish scene as well.

Through the 70s jazz music expanded in terms of genres and audiences, and reaching 1978 lawyer and project manager Poul Bjørnholt (from Københavns City Center) took the initiative to Copenhagen Jazz Festival, when realizing how local jazz clubs, public spaces, theaters and large venues could contribute to this collaborative event.

From 1979 and until the 90s the festival grew at a steady pace – making room for both international artists and local bands – and today Copenhagen Jazz Festival is its biggest ever with more than 100 venues in Copenhagen and over 1000 concerts. That makes Copenhagen Jazz Festival one of Copenhagen’s most important public festivals, attracting a broad international audience.

1999 Concert

Keith Jarrett, Herbie Hancock, Tony Bennett, Dianne Reeves, Ralph Izizarry & Timbalaye, Gary Peacock, Jack DeJohnette, Thomas Franck Quartet, Chick Corea & Origin feat. Gary Burton, Ed Thigpen Trio, Niels-Henning Ørsted Pedersen, Svend Asmussen, Palle Mikkelborg, Adam Nussbaum Trio, Ginman/Steen Jørgensen, Tys Tys.

More information on Jazz in Coopenhagen (DK).

Keith Jarrett and Denmark

Keith Jarrett was known, respected and loved by the Danish jazz public – as he also was but lovers of classical music – for with Michala Petri he recorded in 1992 six Bach flute sonatas, and in 1999 flute sonatas by Händel. The year that Michala Petri received the Sonning Music Prize, Jarrett had just been in Copenhagen to give a concert, but he had in fact been here several times since 1966, including a concert in Tivoli Concert Hall and at the Copenhagen Jazz Festival in 1999, when he gave a concert in the Circus Building, Copenhagen with great success.

The daily press

wrote, among other things:

“It was a revitalised Keith Jarrett who first received the Sonning Music Prize with the words: ‘Well, that’s nice’ and then sat down at the black Steinway, where he through his playing demonstrated what he had said in his speech: that he had not been put on this earth to receive prizes but to translate music […] Jarrett was very much alive. Almost danced at his grand piano. Got up, bent at the knees, ducked down, stood on tip-toe, sat down on the stool again. Improvised so the hairs rose on the back of one’s neck. And constantly emitted his characteristic laments during his playing. Was serious, yet went as far as to parody Victor Borge […]”

(Ivan Rod, Jyllands-Posten)

“Jarrett has a fantastic touch, a fluid and light playing style that allows him to be present even in the most diminutive ballad playing – yes, even when he scarcely touched the keys in Peacock’s and DeJohnette’s solo he could be noticed. Always curious to explore just how far the elastic could stretch, how far out he could entice himself and his musical companions. For almost two hours the elastic was stretched to breaking point, but not once did it snap.”

(Anders Jørgensen, Information)

“[…] At times he stands up when he is playing, at other times he is completely hunched over the keys. In that way he is part of his heart-rending phrasings, taking them further than the listener at first imagines, in the same way that a singer can impress one by singing incredibly long phrases at a single breath.”

(Eva Hvidt, Kristeligt Dagblad)

“[…] And yes, the trio comes in and goes out, and goes out and comes in to receive the standing ovation of the audience, and fortunately the three musicians return to their respective instruments. And yes indeed – here comes the loveliest imaginable interpretation of Victor Young’s beautiful ‘When I fall in Love’. The trio takes us on a fairytale excursion that is rounded off by Keith Jarrett – unaccompanied. A quite unique postlude that saves stars – at the finish.”

(Kjeld Frandsen, Berlingske Tidende)

Games' music

Tifa’s Theme Final Fantasy VII Piano Collections (sheet music)

Tifa’s Theme Final Fantasy VII Piano Collections with sheet music

final fantasy sheet music pdf
Keith Jarrett - The Art of Improvisation

Keith Jarrett – The Art of Improvisation Part 1/10

Keith Jarrett – The Art of Improvisation Part 1/10 remastered (with sheet music)

keith jarrett sheet music pdf

Well, our last YouTube was cancelled a few days ago, due to some copyright issues. We apologise to all our subscribers: please, subscribe again to our brand new channel.

We will NEVER give up sharing the Music and Culture, and trying to be availabe for everybody all around the world. Thanks for your kind support!

This is the first part (if YouTube consents) of the best filmed documentary about the great musician KEITH JARRETT. It will be divided in ten parts of about 10 minutes each one. If you love Music, please donate us to help this site being up and running. Thanks!…

“In this in-depth portrait of one of the world’s superstars of Jazz, pianist Keith Jarrett talks about the range of his music, the importance of improvisation, the great artists he has worked with, nd about the highs and lows of his life. Further iniaghts are provided by fellow musicians, family members and other musical assocaites.

Incorporating recordings and rare archive footage of concerts dating back to thr 1960s and including such greats as Miles Davis and Charles Lloyd, this first-ever major documetary has been made with the full cooperation of Keith Jarrett himself.” “With, in order of appearance, Keith Jarrett, Manfred Eicher, Gary Peacock, Jack DeJohnette, Steve Cloud, Scott Jarrett, George Avakian, Gary Burton, Toshinari Koinuma, Chick Corea, Charlie Haden, Dewey Redman, Rose Anne Jarrett and Palle Danielsson.”

Directed and narrated by Mike Dibb. Programme consultant; Ian Carr.

Keith Jarrett

American musician and composer

Keith Jarrett, (born May 8, 1945, Allentown, Pennsylvania, U.S.), American jazz pianist, composer, and saxophonist considered to be one of the most original and prolific jazz musicians to emerge during the late 20th century. He was also a noted classical pianist.

A child prodigy, Jarrett began studying the piano at age three and performed his first solo recital at seven. He worked as a professional musician while in elementary school, also learning to play drums, vibraphone, and soprano saxophone.

He toured as piano soloist with Fred Waring’s Pennsylvanians while in his teens and played with Art Blakey’s Jazz Messengers beginning in 1965. He joined saxophonist Charles Lloyd’s quartet in 1966 and stayed with Lloyd for three years. Jarrett made his first solo albums about this time, including such well-regarded efforts as Life Between the Exit Signs (1967) and Restoration Ruin (1968), on which he sang and played several instruments.

Jarrett came to prominence in 1969, when he joined Miles Davis for several concerts and albums. Although Jarrett disliked electronic instruments, he was willing to compromise for the chance to work with Davis, whose band also featured other important keyboard players of the jazz fusion movement, such as Chick Corea and Herbie Hancock.

Jarrett led his own group during the 1970s, performing with saxophonist Dewey Redman, bassist Charlie Haden, and drummer Paul Motian; and he toured and recorded with the Norwegian saxophonist Jan Garbarek. During this period he experimented with a vast array of tonal and structural devices that previously had been associated more with world music than jazz. At the same time, he revealed his virtuoso command of the keyboard on several albums of unaccompanied piano improvisations. He also composed pieces for brass, string orchestra, and other non-jazz instrumentations.

By the 1980s Jarrett’s public performance had turned to classical recitals, featuring the works of such various composers as Johann Sebastian Bach, Domenico Scarlatti, Ludwig van Beethoven, George Frideric Handel, and Dmitry Shostakovich.

In 1983 he formed a highly acclaimed trio with bassist Gary Peacock and drummer Jack DeJohnette; with them, Jarrett released several outstanding albums, including Whisper Not (2000), Inside Out (2001), The Out-of-Towners (2004), Yesterdays (2009), Somewhere (2013), and After the Fall (2018). His other concert recordings included Rio (2011), Creation (2015), A Multitude of Angels (2016), and J.S. Bach: The Well-Tempered Clavier, Book I (2019). In 2020 Jarrett revealed that he had suffered two debilitating strokes in 2018. Partially paralyzed, he was largely unable to play the piano.

Jarrett has been the recipient of numerous honours, including the Polar Music Prize in both the classical and contemporary fields (2003).

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Beautiful Music

Nat King Cole “Smile” (1954)

Nat King Cole “Smile” – 1954 (with sheet music)

Nat King Cole "Smile" free sheet music & scores pdf


Smile though your heart is aching
Smile even though it’s breaking
When there are clouds in the sky you’ll get by
If you smile through your fear and sorrow
Smile and maybe tomorrow
You’ll see the sun come shining through
For you Light up your face with gladness
Hide every trace of sadness
Although a tear maybe ever so near
That’s the time you must keep on trying
Smile- what’s the use of crying
You’ll find that…

Smile: The song

“Smile” is a song based on an instrumental theme used in the soundtrack for Charlie Chaplin’s 1936 film Modern Times. Chaplin composed the music, inspired by Puccini’s Tosca. John Turner and Geoffrey Parsons added the lyrics and title in 1954. In the lyrics, based on lines and themes from the film, the singer is telling the listener to cheer up and that there is always a bright tomorrow, just as long as they smile.

“Smile” has become a popular standard since its original use in Chaplin’s film and has been recorded by numerous artists. The song was also recorded by Jimmy Durante as part of his album Jackie Barnett Presents Hello Young Lovers. His version is part of the soundtrack to the 2019 film Joker, starring Joaquin Phoenix and Robert De Niro.

Judy Garland sang a version of “Smile” on The Ed Sullivan Show in 1963.

The song was included in the soundtrack of Chaplin’s 1992 biographical film, as covered by its lead actor Robert Downey Jr.

smile sheet music pdf
Sheet Music download

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Beautiful Music

Por una cabeza (Tango) de Carlos Gardel – Partitura

Por una cabeza (Tango) de Carlos Gardel (piano solo con partitura sheet music)

Carlos Gardel

Carlos Gardel fue un cantante, compositor y actor de cine. Es el más conocido representante (del género) en la historia del tango. Iniciador y máximo exponente del tango canción,​ fue uno de los intérpretes más importantes de la música popular mundial en la primera mitad del siglo XX,​ por la calidad de su voz, por la cantidad de discos vendidos (como cantante y como compositor), por sus numerosas películas relacionadas con el tango y por su repercusión mundial.

carlos gardel partitura de tango

No hay unanimidad sobre el lugar y la fecha de su nacimiento. La hipótesis uruguayista sostiene que nació en Tacuarembó (Uruguay), un 11 de diciembre entre 1883 y 1887. La hipótesis francesista sostiene que nació en Toulouse (Francia) el 11 de diciembre de 1890. Hay unanimidad en el hecho de que vivió desde su infancia en Buenos Aires y se nacionalizó argentino en 1923. Falleció el 24 de junio de 1935 en Medellín, Colombia, en un accidente aéreo.

La persona y la imagen de Gardel ha sido objeto de idolatría popular, especialmente en Argentina y Uruguay, colocándolo en un lugar de mito y símbolo cultural que aún mantiene su vigencia.

gardel partitura

En 2003 la voz de Gardel fue registrada por la Unesco en el programa Memoria del Mundo, dedicado a la preservación de documentos pertenecientes al patrimonio histórico de los pueblos del mundo. Al mismo tiempo, se hace alusión a su voz y su recuerdo con la frase “cada día, canta mejor”.

Canto de Gardel

En 1915, el tenor italiano Enrico Caruso vino a la Argentina a cantar al Teatro Colón y al volverse en barco al Brasil se dio la coincidencia de que en él se encontrase Carlos Gardel, que era amigo de muchos de los profesores de la Orquesta Estable. Algunos de ellos lo convencieron para que se encontrara con el famoso italiano. Así lo hizo y una vez que Caruso lo escuchó cantar un tango, una zamba y una cueca, el italiano, le comentó: “Si usted hubiera estudiado seriamente, sería el mejor barítono del mundo”. Con el tiempo, efectivamente, Carlos Gardel eligió como maestro al prestigioso profesor Alberto Castellanos, quien le cambió el registro de tenor a barítono. Por eso, en los primeros discos de Gardel, se percibe su canto en un tono más agudo; mientras que en los últimos se lo escucha más cómodo en el registro apropiado.

Su voz fue evolucionando, ajustando su dicción a los cambios de los sistemas de grabaciones acústicas. El maestro Eduardo Bonessi, quien fue profesor de canto de Gardel dijo hacia 1963: Era de una calidad extraordinaria y de un timbre maravilloso para el tango. Tenía un registro de barítono brillante y jamás desafinaba. En cuanto a su tesitura, su extensión alcanzaba a «dos octavos», que manejaba a plena satisfacción. Es una buena extensión para un cantor popular. Gardel poseía un gran temperamento ―expresivo al máximo― y estaba dotado naturalmente de un instrumento en la garganta. Un instrumento que luego perfeccionó y supo conservar.

Era un hombre conocedor de su valor, que no derrochaba su voz como muchos suponen. Tenía una laringe completamente sana y esa era una de las razones por las cuales le resultaba fácil pasar de los graves a los agudos y viceversa… Era estudioso y responsable. Sabíase único en el género y cuidaba su voz. Consciente de que la voz se cuida también mediante el cuidado físico, hacía gimnasia diariamente durante una hora o más… De acuerdo a la voz que tenía y al modo de emplearla, si Gardel hubiese llegado a vivir cien años, hubiera seguido cantando igual. Eduardo Bonessi.

En su libro Carlos Gardel: a la luz de la Historia,​ de la Fundación BankBoston, Montevideo, 2000, el arquitecto Nelson Bayardo, que durante más de treinta años investigó la vida y los orígenes de Carlos Gardel, describe la voz de del cantante resaltando cinco aspectos:

carlos gardel partitura

«Carlos Gardel, el corazón del tango», por el fileteador Martiniano Arce (2006).

  • Un innato sentido musical que le permitió aventurarse sin esfuerzo en más de 30 géneros musicales diferentes.
  • Un excepcional timbre vocal, que ha cambiado de tenor, al principio, para acercarse al barítono al final de su vida, incluso cuando cantaba la segunda parte en dúo con Razzano, lo que le permitió, más tarde, grabar los inolvidables duetos con él mismo, en los que cantaba ambas partes.
  • Una versatilidad sin igual, gracias a la cual podía realizar una amplia gama de estilos, ya sea dramático o cómico, sentimental o irónico, evocador o grotescos. Cada vez, como solía decir Ayestarán (musicólogo uruguayo) parecido pero diferente al mismo tiempo. El vivaz Gardel en «Te fuiste, ¡jajá!» no se parece a la angustiada voz de «Mi noche triste», dos canciones con idéntico contenido, un hombre abandonado por su esposa, pero en el que el sonido de las dos primeras palabras (Te fuiste y Percanta) es suficiente para que el oyente adivine de inmediato el tono alegre o triste de cada canción.
  • Una creatividad sin límites, que fue capaz de utilizar sencillamente porque él fue quien había inventado el tango-canción, y por lo tanto fue la única persona que pudo determinar su estilo. Utilizó varios trucos, incluyendo pequeños discursos antes o durante sus canciones, risas, toses e interrupciones; el clásico «jmmm» que esparció a lo largo de sus canciones; silencios espontáneos que rozaban lo dramático, como en Anoche a las dos (una canción que, si no fuera Gardel quien la cantara, sería inmediatamente olvidable) en la que adapta su voz para cantar las líneas del marido traicionado, de un cliente atento en un café y un oficial de policía: algo que, sin su original manera de realizar un arte que le era tan propia, habría bordeado el ridículo, como otras piezas que a veces simplemente no eran suficientemente buenas para el cantante.
  • Por último, su expresividad, que, según el famoso Rubén Pesce, lo convirtió en un «actor tanguero». Casto Canel dijo al respecto que «él se escapa de las mecánicas reglas del metro, llegando más temprano, tarde o fuera de tiempo, acortando o alargando una frase, a veces puede ser oído un riguroso refinamiento, o un poderoso y sofocante silencio; con una palabra puede crear una experiencia musical más profunda que la alcanzable por puros patrones aritméticos».

Con respecto a la «N» que Gardel pronunciaba como una «R», el cantante argentino Edmundo Rivero, en un libro dedicado exclusivamente al análisis técnico de su canto, dio la siguiente explicación: Se debe a que la «n» es consonante líquida y puede perder su sonoridad al encontrarse con una consonante sorda [una «t» o una «p»], de las que obstruyen el pasaje del aire (son oclusivas), y al pronunciar anterior a ellas la «n», esta se apoya en la nariz y ―sabiendo que en el canto elevado esto es antiestético y reprochado― Gardel enviaba el aire directamente hacia adelante (siempre apoyada).

Día de Carlos Gardel

gardel partitura

Placa conmemorativa por el centenario de su nacimiento, en México, D. F, 1990 (A pesar de que nunca visitó México).

El 24 de junio de 2005, por decisión conjunta de las autoridades municipales de las ciudades de Buenos Aires, Montevideo, Tacuarembó y Medellín (donde falleció), se recordaron los 70 años de la muerte de Carlos Gardel. Por primera vez, se obvió la conmemoración del llamado Día de Carlos Gardel en la ciudad francesa de Toulouse.

Día del Tango

En Argentina se celebra cada 11 de diciembre el Día del Tango, debido a que ese día nacieron Julio de Caro y Carlos Gardel.