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 The Eye Of The Hurricane - Herbie Hancock - Maiden Voyage (Vinyl, 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 b9which 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.
Weather Report's version doesn't include any solos, except for the fade-in improvisation before the repeated melody choruses.
Also, the Weather Report's recording has two extra measures of B13 11 at the end of the head. Miles' take is 18 measures in length, and Weather Report's two measures longer. Jaco doubles much of the melody on his bass. The melody is played to a degree in unison, so the given chord changes actually refer to the original version. 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?
Request for: "Parks" by John Abercrombie I really would like this tune in lead sheet or other wise. Been working on it but just can't seem to get the right changes and melody line down. Beautiful tune that's driving me crazy. Any info will be greatly appreciated. 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. This is my own transcription - the print edition has many mistakes. 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, LP, and in barsmore 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 LP 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 inage 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. I transcribed this while listening to the version of the tune which appears on Shorter's album of the same name, mainly because it is a clear studio recording and it is played relatively slowly.
Despite this, I do prefer the more recent, fast, and loose live versions which Shorter has played with his "Footprints Quartet.
Instead of using chords, the interest in this head mainly lies in the dissonant I am almost tempted to say atonalrhythmically-complex melodic counterpoint between Shorter's saxophone part and the bass part. The melody played on a guitar at bars 9 - 16 of letter A, and bars 9 - 12 of letter B is played in a very interpretive way. 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 LP 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! This post contains the following attachment types: -youtube. 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 albumwhich 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. These recordings were not released until over 20 years after it was recorded.
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 Brechtand 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. This is the title track from John Scofield's "Still Warm" albumGramavision that includes great writing and awesome grooves.
The tune is harmonically very interesting, incorporating a good number of slash chords and inversions. The bass line at letter A is not an accurate transcription and is included for reference only. And once again, please feel free to share your thoughts on the transcription.
REQ: Carnavalito - J. Zawinul I'm searching 4 someone who can help me with full scores, big band or simply piano sheeets. There was a transcription on the Jazz Trumpet Solo website by Mark Russo already done of his solo which I am attempting to learn, but I also wanted to play the head.
Nostalgia Hi everyone I actually sat last night and today and tried to figure this out. I think I've got the head, but the intro I'm not sure of. If anyone has a definitive version of this, or can just hear if I've got it or not I'd really appreciate it.
The tune is also recorded on Miles Davis' "Nefertiti" with slightly altered structure. The bass creates a strong and active counter-melody - or more like the leading melody - to the chord at introduction and bars 10 - 13 of the melody chorus. The chords at bars 6 - 9 of head are a rather enlightened guess - the chromatic movement through the short progression sounds agreeable to me though.
The solo section on the recording is harmonically more eventful. Very cool! Would anybody be so kind and upload these leadsheets? Any help to improve the leadsheet are welcome.
The letter A is mostly in stop-time for head, but walks throughout solos. The 16th-note melody is built on a two-bar bass figure that freely outlines a G7 tonal center. The bass line continues unchanging throughout the tune, and opens up a challenging template for burning solos.
Needless to say, the rhythm is an integral part of this funky piece. It's based on a 6-bar progression in A minor, which modulates to C minor in the middle to go back to A minor in the end.
The basic idea expands into a few motifs that overlap with varying degree. Note that the piece includes two guitars: 1 Album) guitar and 2 lead guitar. It was merely a bold attempt to analyze the tune and therefore it's essential no to stick to the chart too literally but "go with the flow". The song has been covered by several jazz musicians e. Guess it's high time to fill in the gap. The rhythmic phrasing of alto sax in Coda is transcribed hastily and should be revised.
Please share your thoughts on the chart - all suggestions are welcome! It has a fairly slow and funky swing 16ths groove, which I've written in cut time with swung 8ths. Miles and Marcus drop in tasty G minor blues fills all over the place.
Note that the bass is tuned a whole step lower than in standard bass tuning. This is a shortened version of the original recording, which has additional sections not included in the chart. After repeating the : Bb-7 Eb7 : vamp the solos evolve into : Bb-7 Db7sus : figure. The album has this particular song both as vocal and instrumental versions.
The sung version features a female contralto and a male baritone voices. The female voice covers the A section and the male voice takes charge at the B section. I'm unsure of the chords Em7 A7 at bar 3 of letter B. I found a rather roughly sketched transcription in the net, but I hope getting a more reliable chart. So, please check your archives Question : Hello there!
It should be nice having them. The melody - that moves in small intervals - is freely interpreted rhythmically and its interpretation varies between the recordings a good deal. The pickup note C is omitted on the "Trio" recording. The piece modulates through various minor keys, and never really resolves, creating a perception of perpetual motion.
The piano utilizes a three-part counterpoint alongside the bass line, weaving a rhythmically and harmonically interesting texture. The A section as well as intro and much of the solo section is built on a bass figure that suggests a loose E7 harmony.
Any comments? I'm not sure of the chord changes. Is there anyone familiar with this tune? The Touch of your lips? This funky number is from Scofield's album titled "Loud Jazz", which has awesome grooves! A lead sheet for the title piece can be found elsewhere on the site. The tune has additional sections not included in this chart, but the essential sections are here.
Need Driftin' leadsheet by Herbie Hancock no preview text. The Wurlitzer riff at the beginning continues in similar manner throughout the head yet observing the chord changes. However, I'm not sure if the keyboard figure is correctly transcribed, so I need to consult all you keyboard players out there about the riff. The bass plays a conventional bossa nova line focusing on the root and fifth of the chords.
The slap bass line is given but an example and shoud be played with artistic license. I welcome all comments on the chart. The pianist's right hand voicings are limited to three notes, but you may extend them at will. The bass figure, which is doubled by pianist's left hand, lays a strong and active counter line to the melody played by a tenor saxophone. If there is anyone capable of writing down the solo section, I'd kindly ask for a copy of the transcription.
I had to resort to a printed source called "John Scofield: Funk-Jazz Guitar I" due to the complexity of the composition. The chart stretched for five pages because of the varied sections. This is for all you daredevils out there, who venture the breakneck tempo and complex harmonic rhythms. Some intresting changes. I guess the C7 chord at 5th bar of letter A ought to have sus4, due to the F note in the melody.
Also, the A7sus is merely based on a conjecture, which may have a b9 added. Does anyone have enquired for this song? If so, please share your thoughts on this chart. The album can be considered a classic in modern jazz. The quartet consists of baritone sax, trumpet, bass and drums there isn't any chordal instrument on the recording. The album features fantastic interplay between the musicians highly recommended!
The chart lacks a bar section that is played before the out chorus. The title of the piece refers to Gil Evans' harmonic characteristics, which are apparent at the A section. The introduction and B section are in the key of F minor, but the A section gets harmonically free-floating.
The F pedal bass figure introduced at the introduction keeps unchanging through the A section. Really, really, really old tunes Hi guys, I'm looking for a couple of really ancient tunes. So, if you guys happen to have these tunes, or know where else I can find them, please help. It would be greatly appreciated! In spite of the unusual complex meter the groove is solid and well-balanced.
I listened to the tune over and over again, and made some changes to the earlier chart. I guess this updated transcription gives a slightly better picture of the song. The piece is so abstract and harmonically free-floating, that I need further study to fully understand the nature of it.
Please share your thoughts on this topic. The tune has an unusual form of 18 bars. On the recording, the bass doesn't walk, but is played in an open feel with irregular durations.
Here's a revised transcription of "Au Lait". The F7sus chord at 2nd bar is varied on repeats - try any alteration of a dominant 7th chord. I'm not sure if the chromatically ascending notes Eb, E, F leading to the F7sus chord are accurate, but I look forward to hear your commentary on that. Rosa Na Favela A Rose Born in the Ghetto I'm just wondering if anyone happens to have the accurate changes and melody line to this song.
It's a tune by Sivuca. Thanks, -Ndhjazz. Miles employs so called "coded phrases" in order to direct the band. Phrygian modes are applied here both on D7 9 and E7 9 chords. I guess that the word "Spanish" in the title stems from the Phrygian mode, which has a strong Spanish flavor. Miles trumpet solo on "Pharaoh's Dance" no preview text. Note that the bass line is not a detailed note-for-note transcription, but rather an overview of its rhythm. Since the drum pattern doesn't make a clear difference between the downbeats and upbeats, I used the bass figure as determination for time signature.
The 2nd melody chorus, however, begins on the 2nd beat of the bass pattern. The bass figure descends a half step to F at bars Apparently the piece is in large part improvised - especially the rhythm section is toying with rhythms and harmonies. The varying rhythms seem to challenge the musicians, but they manage to hold the cheerful piece together to the end.
It can also be regarded as polyrhythmic tune, since there occur simultaneous independent rhythms. Electric piano and acoustic bass play their repetitive parts throughout while drums fill sparsely around the harmonic rhythm. After the "melody" chorus the melody is rather nonexistent here, since the head is constructed of chords and bass line is played 3 times, the trumpet solo starts and lasts until it gives way to tenor solo.
After the tenor solo, the upper line piano right hand blends into a piano solo. In the end Miles re-enters for a brief solo to conclude the piece. Occasionally - approximately every other repeat - piano and bass play the first bar of the chorus like shown at the final bar F triad, Eb triad, E triad, F triad. The letter A is tricky to notate due to its freely interpreted approach. Those quirky keyboard voicings are given merely as a point of reference, so don't stick to the chart too literally.
The letter B is harmonically very loose, but it's played in strict funk groove. Focus on the tones rather than the actual tonalities and dive into the groove!
The file is thrown together rather hastily, but will give a picture of the above mentioned live version. My computer discovered a malware threat on the Free Jazz Intitute's site some time ago, but it didn't notice any harm this time.
Any experiences on this discovery? A modal transposition can be found moving up a semitone from D dorian to Eb dorian for the eight-measure B section of this AABA recurring form at measure 17 of the exposition, before returning back down a semitone to D dorian for the last eight measures, at measure 25 Example 3a. In addition to modal transposition, Davis, in his trumpet improvisation, creates a brief pc mixture in measures 24 and In anticipating the modal transposition back to D dorian at two beats before 25, he plays a pc comprised of G, A C and D, rather than playing the expected C of the D dorian mode Example 3b.
These examples could also be viewed as chromatic enhancements in the form of added leading-tones that help to emphasize the D and Eb priority notes. A non-functional chord succession is present in the form of two chords that oscillate throughout the D dorian A sections, modulated up a semitone for the B sections, and back down for the last eight-measure A section Example 3a.
Through modal transposition, Davis is able to give the piece periodic lifts in color and tension levels. Pc mixture and chromatic enhancement provide Davis additional pitch classes with which to add melodic interest and forward motion to his trumpet solo.
Soulive's "Turn it Out" Anybody got it? Having trouble picking it out. Chick is at the peak of his powers on this record. Most of Sco's playing here is "inside" the changes. He begins with lyrical single note line, increasing the intensity with octaves and 16th-note bursts, which all build up to the final recapitulation of the melody.
The lead sheet to this tune can be found elsewhere on the "Transcriptions" site. Does anyone have this anywhere? It is a beautiful blues ballad, written in homage to the then recently-departed Lester Young. I always loved playing this composition with Mingus, who in turn enjoyed sitting down at the piano and discussing his composition and orchestration style with me. Notice that the form of the exposition is different for the solos than on the Head chorus.
From my analyses of various Debussy and Ravel scores, I've found that often the omission of even just one note makes something profoundly different and charming. In this case, the omission of the seventh of the F chord is very special, and the two-measure pedal point is very subtle.
Instead, they remain unresolved, creating tension and color as an alternative version of the more common m7 chord. Note that the last measure of the Head chorus before the coda sign should be a C7. The repeated bass figure is played by Darryl Jones. Don Grolnick plays faded-in chords through much of the head. The chordal figure at letter B is doubled by the synth. Omar Hakim's drumming here is magnificent. Fusion help Thanks for your time, -Nathan. Date Posted. Request - Dom Um Romao. Paul Chambers intro Blue Spring Shuffle.
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