These amendments will be detailed below with the bar numbers. The bar numbers have been kept the same for ease of cross-reference.
It should be noted that generally, in some areas, it is very difficult attempting to work out the actual notes being played. Therefore, there can be other interpretations. I believe the piece now plays very close to the original especially in the climax at bars Some of the changes are quite subtle. For example: Bar , there is an initial 'F' but misses out the 'C' which gives the note more depth and is what is played.
As the piece reaches its final crescendo in bars through , the original transcription lacked depth. On closer listening this is because, I believe, Chick plays octaves in the left hand which gives it a lot more power. It now sounds very close to the original. This has been smoothed out particularly in the bass line. Here is a complete list of the main changes there are some more subtle changes : Bar 1.
I think the initial 'F ' is an octave - as a single note lacks depth. As with bar 1, I think this is an octave on the B Bar Has a Db as well as F and Gb Bar Has a C as well as Db to give the chord a discordant feel. Final F is Fb Bar Removed the top A Bar Corrected right-hand chord. Continues the appregio from bar and corrects the notes. Smooths out the bass line and revises the treble slightly to play better.
Slight revision. Now plays like the recording includes octaves in LH Bar Corrects chord Bar Slight revision to LH and RH chords. Revises RH notes. If you have another interpretation, drop me a post and I will include it. The album involves rather advanced harmony and extraordinary voicings. This piece is in D minor, although it modulates down a half step at bar 9, and develops as it moves onwards. The tune has pretty original textures and rhythms. I haven't been able to find any sheet music for this tune.
Does anyone out there have a head chart for this baffling piece. Also, please point out any slip-ups. I have no discographical information. If you know more about it please tell me. This interpretation contains the complete theme, while the version from the compilation "Night Bounce" is shortened.
The composition originates from the soundtrack project "The Bread of Those Early Years", however it has not been used in the movie.
Steve Howe - Excerpt from The Ancient Acoustic guitar solo from "Tales from Topographic Oceans" , completed with segments from different live versions.
Jacques Loussier - Prelude No. Such a fantastic album! Chinese butterfly Corea Chinese butterfly C. The album includes another awesome tune entitled "Delfeayo's Dilemma" whose lead sheet can be found on this site. There are a few recorded versions of this beautiful piece, which are played in a free-floating spirit. The rhythmic accuracy of the chart is interpretive due to the rhythmic freedom of the tune. Astor Piazzolla - Milonga del angel update A Piano arrangement based on my transcription of Piazzolla's quintet version from The update includes the complete introduction.
Please enjoy and feel free to share and make any comments or critiscims. Also thanks to Michael McAndrew for his help with this transcrition. Thanks in advance! Does anyone have some Joe Henderson 3 horn charts? Or 2 horn stuff with woody is cool too. I see a couple in here. Toss a hand? Alternatively, does anyone know of book that includes it?
I'd be willing to trade sheet music for it. Heavy Sounds by Elvin Jones. Repeats are played similarly with some variation.
I was reminded of Autumn Leaves chord wise and listened to the Lyle Mays' piano to get some of the prevalent chord extensions. The odd harmonic rhythm makes a well worn chord sequence strangely unpredictable! Help needed with "Phantom of the City" Hey guys! I've been struggling with this fast Latin piece composed by George Cables. Guess I got the melody transcribed decently, but the harmony at bars 1 - 15 of letter A is somewhat ambiguous. The melody is somewhat rhythmically interpreted.
If someone has a sheet music to this piece, please post it here for reference. I am not a jazz pianist and have no clue what I'm doing. I've played classically trained pianist so I have no trouble reading but if someone could give me a hand coming up with some chord voicing s and comping patterns I would appreciate it. I've had some additionnal melodies from other Ayler's tunes on the second part! All help is much appreciated. Comments are welcome.
Solos are played after the D section; changes for the solos are on the last page. A nicely subversive arrangement of this AABA standard in F major, with odd time signature changes as well as a reharmonized bridge leading into a modulation to Db major for the third A section.
Interestingly, the alto saxophonist Jon Gordon states the head for the first two A sections a semitone sharp, in Gb major, while the rest of the band is in F major. Inutil Paysagem Tom Jobim Lovely Tom Jobim tune, featuring the transcription of Jobim's singing the second couterpoint voice and lyrics. Have fun with it. Have fun with it Sebastien. I transcribed it beacause the polytonality used in that piece is quite challenging to hear and transcribe.
Have fun with it! I'm a bit doubtful about the chord changes at letter B. How do you guys break this down? Thanks so much! I need some helping hand with this chart. The tune is recorded by the John Abercrombie trio on its Tactics album. I'm unsure of the changes at letter B, and would appreciate your help. Looking forward to hear your thoughts. I'll in the process of transcribing it myself, but would like to check the changes against someone else's for accuracy if possible.
The chart is based on the composer's arrangement from his "Quiet Kenny" recording rec. Sonny Rollins recorded the same piece earlier on his "Newk's Time" rec. Comments are appreciated. Why i feel this way S:Wonder-M. The head chart is based on Vincent Herring's arrangement, which is recorded on his album "Mr. This chart is based on the James Spaulding's arrangement of the piece as recorded on his album "The Smile of the Snake".
Spaulding plays the melody on a bass flute. Roy Hargrove plays the tune in the key of G minor on his album "Diamond in the Rough". Part of my project to transcribe all of the bass lines and a few guitar parts off their first album. I'm very new to music notation, so any comments, corrections, or critiques appreciated. Part of my project to transcribe all of the bass lines of their first album.
A midi file of the complete quintet version is available on demand. I'm pretty new to notation, so any comments, critiques, or recommendations welcome. Any comments, corrections, or critiques appreciated. This tune consists of recurring three-measure phrases similar to "Door 3".
The tenor sax part is written in C. One For Mark - Avishai Cohen no preview text. Black Comedy - Tony Williams transcription Here's my transcriptions of Black Comedy by Tony Williams, on Miles in the sky Chords are a bit random, so let me know if you hear other chords! Comments are welcome!
In my opinion the 2nd chord DbMaj7 9 11 at letter C has a F harmonic minor flavor. How do you guys perceive this chord? Does anyone out there have a sheet music to this tune? It was recorded live in at Newport and at Birdland and also on a Blue Note studio recording from March that was never released. The tune is recorded on Barron's Enja release "Scratch". The melodic rhythm is interpreted.
He recorded it with the Messengers on Roots and Herbs and Ugetsu in the early 60's. Thank you in advance. I've written Fm7 chords in parentheses because I see them pertaining to the Eb Dorian mode. This is not the songbook version but what Chick Corea really played. All daredevils out there, have a go at this one! Weather Report's "American Tango" Here's a transcription of the musical events in Weather Report's "American Tango" I haven't run into any sheet music to this piece, so I transcribed it myself.
Always liked this tune, but Sting apparently brought it to the band pretty fully formed with a bunch of piano tracks. Copeland reportedly recorded the Police version drum track in one take, and Summers added a few distinctive guitar parts including one that I bet you never caught in the mix, see multitrack files below completing its conversion to a more Police-sounding tune.
I guess that was all hinted at by the mixer "fight scene" in the original music video. Just notated Yorke's part, not Greenwood's extemporaneous upper extensions.
As heartbreakingly beautiful as the lyrics. Score with bass part on demand. A la mode Hi guys, anyone have transcription of this song from Art Blakey and Jazz messengers? Album I hear a rhapsody. He recorded it with Art Blakey on "Indestructible" in Pat Metheny - Interval Waltz Working on a system of accurate lead sheet writing for more complex music like Metheny's.
This may be overly detailed, but the idea is to be able to play the tune more or less straight from the sheet. Bill Evans - Waltz for Debby update 3 An arrangement based on transcriptions of the versions from "New Jazz Conceptions" and the two takes from "Waltz for Debby" , with elements from "On Jazz " Here's a simplified score of Josef Zawinul's "Gypsy", which is a part of his symphony in seven movements. This 5th movement is practically a medley of two pieces written in the late sixties: "Doctor Honoris Causa" and "Pharaoh's Dance".
The piece is not included in the PM Songbook since Pat felt that Lyle's contribution to the composition was more significant than his.
The tune has an ethereal swaying feel and it changes time signatures frequently. Also, the tonalities wander throughout the piece. Now, I'd like to hear if anyone of you guys out there has ever performed this composition, or have figured out the solo changes for the song. All comments are welcome. Thanks by advance. Brecker's Spherical Does anybody have Michael Brecker's Spherical as a lead sheet or in any other form? Many thanks. All comments are welcome!
Kurt Rosenwinkel - Brooklyn Sometimes Hey folks. I know he's released a book of tune transcriptions, I personally haven't seen it, this chart was done as more of an exercise for me. It is a great tune, nonetheless. Bouncing along with a kind of wistful ease and swagger, it's upbeat but gentile, and as Rosenwinkel has mentioned of many of his tunes, it is very songlike. I've done a pretty long analysis, and any corrections would be useful! Analysis: The first 16 bars are piano introduction, the same chords as the repeated section at the sign.
I think on the recording Kurt plays the piano here, so his singing is a part of the tone colour of the introduction. The vocal line is very quiet, and difficult to discern, but is there, and elegantly sows some of the seeds of the melody within the harmony by embelleshing the melodic tones. The vocal line also adds a certain specialness to some parts here: note in bar 10 how the vocal line doubles the bottom rising figure, which is quieter from the piano, and does not double the higher figure.
Rosenwinkel said that sometimes some harmonies need a richness added to certain tones, and he will try and add this richness through his singing. I'm sure Kurt could have sung that top line, but he chose to sing the rising one, adding a shimmering rising texture to the major sixth, which falls to a perfect fifth, which lifts the figure.
The rising figure makes the lift more subtle, which the top, higher line being the lit one, the one that is noticed. The embellesment of the rising figure makes a point of highlighting the slip from the slightly more dissonant sixth to the more consonant fifth, rather than a mere fall from the D to D natural. The chords themselves appear beautifully chosen and structured when the melody appears in bar I've written chord symbols, most probably to aid in improvisation over the section, or to make the harmony understandable.
However the voicings should be strictly adheared to. They are necessary for the tune to make sense, in my mind, and are great, simple chords.
The repeated section itself is split into two further subsections, made clear by the bassline. In the first 4 bars the harmony moves up, and then twice down, and in the second four bars performs a similar outing except for the B major add4 in bar The cadence here falls to the Asus in bar This second subsection would appear to be a dominant section, but is not quite what it seems. Instead of having a section of movement around the dominant, the bassline conceals the key centre by hovering on the B and F.
This makes for an intruiging mix of ambiguous tonality - the first subsection is very clearly a D minor sound, but here, it is difficult to work out exactly what is going on. Moments like bar 28, with a Eb major sounding chord, superimposed over this B natural make for a jolt in tonality. The lower Bb of the voicing clashes with the B natural in the bass.
But it isn't really dissonant, it is merely the harmonic extension of the perpendicular nature of the melody and the bassline at this point. The section shuffles along, with the bassline being altered in bar 30 to make the sound more consonant, to finally find the dominant in bar 32 albeit with a b9, which adds to the slightly more dissonant nature of this section.
Then follows a bridge section. This section is intruiging, not only harmonically, but rhythmically also. But there, apparently, the logic seems to end.
Even the melody is disjointed, although still songlike. It is not nearly as memorable as the melody in the sign section. Mehldau approaches the piano melody with great touch but also robustness, which allows for the melody and Kurt's interjections to coexist carefully and not compete. After the piano plays its melody, the guitar returns with a strange, haunting melody over some even more illogical changes, and a strange rhythmical structuring. I've written it in 4, but it could easily be split up into other time signatures.
Ali Jackson supports the bassline by adding cymbal sounds and crashes, but also continues with the double-time feel with the hihat on upbeat quavers.
Really, to me, the purpose of this bridge section is to contrast the logical nature of the sign melody, so when it returns on the D. The bridge changes return for a piano solo, only before a guitar solo on rising chromatic harmony. At bar 51 I've written the changes extremely simply - some of the voicings should be more minor, some should be more major in sound.
But really the voicings are up to the pianist. The bass shows where the harmony is going, and the resolution at bars allows a little breath of fresh air. The rising chromatic harmony builds tension incredibly, and this is greatly contrasted by the release of tension as the piano solo enters. Finally, the melody at the sign is recapitulated, to fine on the dominant A7 b9 , which lingers in midair. Despite this, the tune is extremely satisfying - it doesn't end on the bridge.
The great melody comes back, and the listener goes off humming it. Hope this has helped shed some light on a great Rosenwinkel tune.
I recommend June Christy and Ella Fitzgerald's recordings. My transcription changes some of the harmonies. I think I've got it mostly done, but am skeptical of my results for one particular measure.
Can anyone take a look and let me know what's going on there, harmonically? In return, feel free to the transcription. It's measure 23 in the attached PDF, the one with the half-note triplet. In the recording, it's at A pure composition without chorus improvisation. There is no steady beat, Ellington changes freely time and tempo. Kenny has dedicated the tune to Abdullah Ibrahim. The given coda is based on the "Scratch" version - the other interpretations are welcome!
The melody is freely interpreted; the written melody is based on the first head chorus. I managed to delete the original posting, hence the repost. Version in A Major and F Major.
Please point out any errors or shortcomings. I've transcribed a couple more off the same recording, but they are not cut and dried yet. Thanks so much. Request: Michael Brecker's Sea Glass Hi guys - i am desperately looking for a simple piano sheet or at least the chords of Michael Brecker's Sea Glass also played by Joey Calderazzo - anybody who can help? The chords are knocked together pretty much roughly.
I bet there's someone out there who has figured this tune out. Please share your chart here. From "Real Book Three. Transcribed from his ensemble recording. The changes are mine. Your comments are welcome! Dave Grusin - New Hampshire Hornpipe Not jazz but a film score composed by a jazz musican - a fun to play! I have transcribed the piano part without the synthesizer chords. The tune shifts between Latin and swing grooves.
I'm pretty sure that this lead sheet has some typos, so please inform if they're found. Please comment freely. Please comment freely! My own transcription - the songbook version has too many mistakes.
The update concerns m. Thelonious Monk - Round About Midnight piano My arrangement for piano - the pure composition without improvisation, with the original harmonies as played by Monk in different versions. Chick Corea - Song of the Wind The theme only as played by Chick Corea with Joe Farrell oboe on "Super Session" , which is in my view the most elaborated version of this fascinating composition.
Michael Wollny - Melancholia piano My arrangement for piano solo of Michael Wollny's setting for piano and tenor sax. Michael Wollny - Melancholia score An interesting new harmonisation of Ellington's composition. Since I didn't find any written music for the piece I had to transcribe it myself. The transcription should be checked for possible errors. Comments are most welcome. Two Pieces by Bennie Maupin Hello there! Here are two compositions by Bennie Maupin. The first is from his album "Slow Traffic to the Right" Herbie Hancock recorded the tune earlier on his album "Crossings" Herbie's take on harmony differs from Bennie's arrangement a great deal.
The second one is transcribed from Bennie's recording "Early Reflections" The melody is played by bass clarinet and acoustic bass in unison. Anyone here happen to have a lead sheet or transcription of "Not Forgetting"? All comments are most welcome! A tremendous album! Here's a lead sheet for John Scofield's "Big Fan".
The tune is recorded on Sco's release "Meant To Be". All comments, suggestions and corrections are most welcome. Request Im Wald [In The Woods] by Fritz Pauer I'm seeking the lead sheet to: Im Wald [In The Woods] by the late Fritz Pauer I'd talked to Fritz about getting a copy of the lead sheet of this jazz ballad from him, a couple years before his death - He said it along with quite a number of lead sheets of his compositions over the years was in his basement, and that he'd try to find it.
When I heard about his death, I inquired about his lead sheets and scores, and was informed by his publisher that most of his lead sheets and scores had already been sold en masse by his wife However, maybe someone here will come across someone who has Fritz Pauer's lead sheets and scores from performing with him, or from other sources Pools Would love to see a transcription of Don Grolnick's Pools!
Request Best of Jeff Lorber book Hello i'm looking for Best of Jeff Lorber transcription book they have 2 books thanks smoothfusionjazz gmail. Bill Evans question Does anybody know what recording is this intro to "When I fall in love" from? I've been looking for it and I've found every other version except this one. The piece has a bar form, and the head is played twice before the solos and roughly one and a half times after the solos the recording ends on the C chord at the beginning of the C-pedal section at bar 21, and this last time the chord is played as a C7.
Except for this C-pedal section, the head is played without a consistent tempo, instead quickly accelerating and decelerating; during solos, however, the tempo is consistent throughout the form.
The melody is mostly built on simple major chord arpeggios separated by a whole step, and in bars , more complex chords are built by playing major chords over a major chord root a whole step below.
The piece achieves a circular effect, in that bars at the end of the form follow the arpeggio pattern of the first 6 bars. The head is played as a slow shuffle, while the solos are played over the same chords but in a double-time swing fashion.
For a Dolphy tune, the chord changes are fairly logical and tonal, and the melody is quite lyrical despite some characteristically large interval leaps. The form is AABA, with the A sections ending decisively in Bb major and the B section with no written melody consisting of 8 different ii-V progressions beginning in the key of G and moving away by a tritone and then down a semitone until this pattern repeats, moving to the keys of Db, C, Gb, F, B, Bb, and E.
While Dolphy sustains the long Eb note in the melody on alto saxophone, Little usually moves down a semitone to D on his trumpet, forming a dissonant minor second interval between the two horns. Wynton Kelly was pianist on this cut; Tommy Flanagan was pianist on all the other cuts.
Kelly died in , age In I and several colleagues at the school where I teach decided to perform Naima for the student body, so I, being a really poor improviser, decided I would transcribe Kelly's solo for our performance.
Because of all the really tight harmonies in the solo, it took me two weeks to complete the transcription, but I am pretty sure it is very accurate. Grant Green The Selma march My attempt for a transcript for the head.
I had some trouble with identifying the chords. Please let me know if I've done any mistakes. Here's a lead sheet for Larry Young's "Ritha". As always, comments are welcome!
It would greatly appreciated. Thanks, -ndhjazz. The tune is recorded on Chris Potter's "Gratitude" Verve Lee Morgan's "The Procrastinator" lead sheet If anyone would like to fine-tune the chords, I'm open to suggestions!
There are some points in which the playing was "rhythmically free" most likely on purpose. The transcription of the head was done as an exercise in hearing harmony and voicings. I only transcribed the first chorus.
Notice that the F tonality the I chord is sometimes major sometimes minor. In the head the listener experiences both major and minor tonalities. This is likely my last bill evans post but i think i will be moving on to some other pianists perhaps in a solo setting as opposed to a trio Trying to put something together for my students and don't have time to make a chart at the moment.
Thanks, Michael. I only transcribed the first A and B section nothing more. The naming of Emaj7b5 is perhaps inappropriate although it was difficult to find a suitable functional chord symbol for this harmony. Perhaps Calt is more appropriate as the harmony is a C altered scale. However it is often that the bass implies E major tonality.
Made some different harmonics in the B-part. Hope you'll like it? Have fun! A simple but great tune to groove on. Further study on "Chameleon" I sat down and tried to figure out what's happening on Herbie's Chameleon Head Hunters, I wrote down the overall structure, bass lines, basic chord changes and changing meters, and here's what I've managed to put together. Don't take the chords at letter H for granted - they are rather a sum of evaluation of some charts I've checked.
Note that the tempo accelerates gradually towards the end. The structure is quite straightforward because it's a very repetitive groove but the different backings etc are great throughout.
So yeah just wondering if anyone has any leads on where I would find something like that. I scribbled down a rough transcription of the song. However, I'm unsure of the chord progression of the A section and thus need to consult you out there. The letter A has a few suspended 4ths that resolve to 3rds, and some augmented 5ths that resolve down a half step e. I'm particularly uncertain about the F m7b5 or Am6 at bar 12 of letter A.
Does anyone have a sheet music to this wonderful piece? Best, Ville. Here's a sheet music for King Crimson's "Matte Kudasai". There are a few cover versions of this song, including Kurt Elling's splendid version on his album titled "The Gate". On the recording the piece is performed in broken time feel, giving the music a lighter, more open flow.
All comments and suggestions are welcome! In the beginning the vamp is played on a guitar, which plays a G note instead of A in between 3rd and 4th beats - at least that's how I hear it. The album also includes Abercrombie's composition "Three East", whose lead sheet is found on this site. Hey Driver! This is the revised lead sheet. Any shortcomings are strictly my own!
Any song would be great. Also I would be interested in the transcription of Chris Botti's "Regroovable" that was off of his album "Midnight without you". I have his sheet music book but it does not contain this song. This was only the easiest way to transcribe. Transcription Request: Donald Byrd "Fancy Free" I have figured out most of the stuff on the C chord, but I am pretty fresh to music and I can't figure out where the song goes after the 1 chord.
Thanks in advance, you guys are awesome! Thanks a lot! Stefan :. The 2nd tune was repeated at the end of 3rd piece to conclude the set. This daring blend of rock and jazz shocked the mouldy jazz critics, but was later on rated among the finest in Miles' outputs of his career. The title track was originally written by Joe Zawinul, but Miles cut down the rather complex chord changes in order to make it more "rock"; still, the rubato piece sounds more like a ballad.
The sparse harmonies ring over the continuous E pedal that is played on a bowed bass. The first piece has only one chord D7sus4 that is interpreted somewhat freely. The continuous bass figure has only two notes. The structure is wide open for lengthy solos. The latter is more abstract harmonically and is composed of three sections that alternate in the course of solos. Fast blues. Ken Stubbs Alto Transcription by Jaime Timms no preview text This post contains the following attachment types: -youtube.
I ran into this piece while listening to Bobby Hutcherson's album "Now! There are a handful of recorded versions of this piece, which differ a good deal from each other. The four versions I've heard appear on the following albums: Bobby Hutcherson's "Now! On Hutcherson's "Now! In fact, the bass obbligato resembles the opening bass figure of "Pharaoh's Dance" as performed on Miles' "Bitches Brew".
My transcription is a mix of the recorded versions, and not necessarily correct in any way. The lyrics go as follows: "Hello to the wind, glad you blew my way. Hello lonely friend, have you come to stay? Cool breeze flow soft and slow. Hello to the morn, good to see you born. Sun to warm my face from its home in space. Moon is fading from sight, and bird to wake and then take flight, and rays of sun begin to show, and then I know.
Just how little I know, and what I am learning of. Hello to the sky, good to see you clear. Join the wind and I, glad to have you here. Hello to the night, hope your day was fine. Mine was very bright, your should be like mine. Sun has faded from my sight, and here's the moon to greet the night. Children scamper home at fright, and then I know. I need your help with the transcription. If anyone has a chart for this piece I would love to take a look at it.
Violin solo? Decoy by Miles Davis This is the title number from Miles Davis' Decoy album , which is rated as a flop of his latter career. The tune has a characteristic steady funk-rock groove with synthetic sounds and chromatic lines. The harmony is pretty loose here, including a good deal of chromatic movement and dissonance. The piece has a rough and dynamic urban pulse.
The slap bass is putting diminished 5ths in hard use. Not so sure about it. Does anybody have another leadsheet of this tune? Thus I'd like to encourage all you to come in on the discussion. This is a great forum for discussion and sharing our work. While I have been busy the past few years with my music, I would look forward to contributing again. It may be a bit redundant, Ville, but I very much admire your formidable contribution. Moreover, I believe that your transcriptions are a tremendous service to the entire world jazz community.
Best, Ed Byrne. Marcus played the tune on an unaccompanied bass guitar on his "The Sun Don't Lie". The melody is rather freely interpreted. The changes at letter B are based on an enlightened guess, so all corrections are welcome. I'm uncertain of the changes - especially at letter C. Any suggestions? The tune also appears on a bunch of live recordings e. It is a cut-time ballad with a funky section at the end.
All comments and corrections are welcome. The tune is characterized by Spanish-flavored Phrygian mode. Trumpet and soprano sax play melody by turns; the horn at rest plays fills behind the melody.
On recording, the last 4 bars of letter C are played twice on D. In spite of the "Xmasy" feel of the song, it is actually a rather serious story about a Jewish man, who's fleeing from the Nazi persecution with his little radio. Over 40 years later Sting rewrote the original lyrics written by Bertolt Brecht , and performed the song on his " Nothing Like the Sun" album. Even though the song isn't originally a jazz tune, some jazz groups e. Marcin Wasilewski Trio have made beautiful interpretations of it.
Season's Greetings to All! Nardis, Bill Evans Solo "Nardis. Each section is from different recording, which are combined as a whole by Teo Macero. The transcription lacks the final section that's composed of prerecorded wind ensemble passage and overdubbed trumpet solo. I have no idea where the rubato wind ensemble passage comes from.
I guess, it's from Teo's personal archives. Does anyone have a chart for this final section? According to the original lead sheets the tune has no tempo marking, nor do they have bar lines that would illustrate a spesific time signature. The lack of defined rhythm and strict chord changes leaves plenty of room for the rhythm section to explore different textures more freely. This also leaves plenty of room for the soloist to explore the melody more freely. The original lead sheets differ slightly both in melodic and harmonic rhythm.
I've added some sample voicings to the chart that also exist in Wayne's manuscript. It's apparent that the piece evolved and changed on any given concert depending on the the mood of the group. Happy New Year everyone!
Ville P. The chord symbols in parentheses do not exist in the original scores. The music on the album is very freely interpreted and based on a minimum of written instructions. Miles never played someone else's tune the way they had written it - he always changed it. So is the case with Zawinul's "Pharaoh's Dance" that was originally written in two parts.
The recorded version executes Zawinul's loose plan for the piece Zawinul notated part two with directions such as "keep developing", "play whenever", "turn statement one in and out with your own free will", etc. Much of the part one on the recording is loosely interpreted and constructed through a series of editing loops.
First line is meant to be exact, in the others, I just tried to include the essential notes from both guys. Meant to be exact, but many times Summers only plays the highest 3 notes. I've been able to find a couple of fake book versions of the chord progressions, and a print version of the original song by Vernon Duke, plus a vocal one by Ella F.
Thx much for any help. Jon Snider Colorado Springs. In B flat for trumpet. Ain't That Peculiar - george benson Nice forum, I hope it's still up ;- Nice instrumental version of this Marvin Gaye tune by jazz instrumentalists. The minor 7th add 11 chords C -7 add 11 and B-7 add 11 don't include the 5th. I'm not aware of the accuracy of the drum part in Intro, which I wrote down hastily.
Once again, I'd welcome all comments concerning the chart. The chart lacks chords in places, and I turn to you guys to help me to complete the sheet. Also, the chords I've added aren't necessarily correct, so I welcome the corrections.
Need help with "Tomaas" Hey all! The chord changes are still unclear and I need to ask your help to clear them up. The funky guitar figure which suggests a E7 harmony continues in similar manner underneath the A, B and D sections. The piece consists of layers of motives, such as the rhythmic single E note figure at the beginning, which continues throughout the piece with slight variation. The piece also involves overdubbing and synthesized instruments, such as the drums and the guitar?
I'm not sure if any of the chord symbols are correct. Please help me out! Thanks John jwgurske gmail. Date Posted. George Cables charts. Menina Ilza Hermeto. Lisbon Stomp - Keith Jarrett. Honoris Causa" by Joe Zawinul. Request - Charles Fambrough comps. Request - a few jazz transcription wants.
Request: Larry Willis - Nightfall. Request: Chart for Raven's Wood. Ralph Towner compositions. Four by Five - McCoy Tyner. Blues For J - Jimmy Smith. John Taylor for Azimuth. Tunes by Jan Garbarek. Riggarmortes - Lee Morgan. Eclipse - Lee Morgan - Unrecorded. Request - Some Conrad Herwig comps. Don Grolnick. Billy Taylor - Bit of Bedlam update 2.
Duke Ellington - Prelude to a Kiss update. Duke Ellington - Reflections in D update 2. Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Articles Features Interviews Lists. Streams Videos All Posts. My Profile. Advanced Search. Track Listing. Fungii Mama. Blue Mitchell. Mona's Mood. Jimmy Heath. The Thing to Do. Step Lightly. Joe Henderson.
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