Erroll Garner – Concert by the Sea Artist Transcriptions for Piano Series: Artist. Series: Artist Transcriptions Softcover Artist: Bill Evans Editor: Pascal Wetzel.

• Misty Erroll Garner Midi

1947Background informationBorn( 1923-06-15)June 15, 1923Pittsburgh, Pennsylvania, U.S.DiedJanuary 2, 1977 (1977-01-02) (aged 53)Los Angeles, CaliforniaGenresOccupation(s)Musician, composerInstrumentsPianoYears active1944–74Labels,Erroll Louis Garner (June 15, 1923 – January 2, 1977; some sources say b. 1921) was an American pianist and composer known for his playing and ballads. His best-known composition, the ballad ', has become a. Of calls him 'one of the most distinctive of all pianists' and a 'brilliant virtuoso.' He received a star on the at 6363 Hollywood Blvd. Contents.Life and career Garner was born with his twin brother Ernest in on June 15, 1923, the youngest of six children in an African-American family. He attended (as did fellow pianists and ).

Interviews with his family and music teachers (and with other musicians) are given in Erroll Garner: The Most Happy Piano by James M Doran.Piano career Garner began playing piano at the age of three. His elder siblings were taught piano by Miss Bowman. From an early age, Erroll would sit down and play anything she had demonstrated, just like Miss Bowman, his eldest sister Martha said. Garner was and remained an all his life, never learning to read music.

At age seven, he began appearing on the radio station in Pittsburgh with a group called the Candy Kids. By age 11, he was playing on the riverboats. At 14 in 1937, he joined local saxophonist.He played locally in the shadow of his older pianist brother.Garner moved to New York City in 1944.

He briefly worked with the bassist, and though not a musician per se, in 1947 played with on the 'Cool Blues' session. Although his admission to the Pittsburgh music union was initially refused because of his inability to read music, it relented in 1956 and made him an honorary member. Garner is credited with a superb memory of music. After attending a concert by the Russian classical pianist, Garner returned to his apartment and was able to play a large portion of the performed music by recall.Garner made many tours both at home and abroad, and regularly recorded. He was, reportedly, host 's favorite jazz musician, appearing on Carson's show many times over the years.Martha Glaser Garner was managed by from 1950 until his death in 1977, for some of this time as her only client. Death Garner died of related to on January 2, 1977. He is buried in Pittsburgh's.Playing style Short in stature (5 ft 2 in), Garner performed sitting on multiple telephone directories.

He was also known for his vocalizations while playing, which can be heard on many of his recordings. He helped to bridge the gap for jazz musicians between nightclubs and the concert hall. Erroll Garner headlining with and at Three Deuces nightclub on, May 1948Called 'one of the most distinctive of all pianists' by jazz writer, Garner showed that a 'creative jazz musician can be very popular without watering down his music' or changing his personal style. He has been described as a 'brilliant virtuoso who sounded unlike anyone else', using an 'orchestral approach straight from the swing era but. Open to the innovations of bop.' His distinctive style could like no other, but some of his best recordings are ballads, such as his best-known composition, ', which rapidly became a – and was featured in 's film (1971).Garner may have been inspired by the example of, a fellow Pittsburgh resident but 18 years his senior, and there were resemblances in their elastic approach to timing and use of right-hand octaves. Garner's early recordings also display the influence of the stride piano style of.

He developed a signature style that involved his right hand playing behind the beat while his left strummed a steady rhythm and punctuation, creating insouciance and tension. The independence of his hands also was evidenced by his masterful use of three-against-four and more complicated cross-rhythms between the hands. Garner would also improvise whimsical introductions - often in stark contrast to the rest of the tune - that left listeners in suspense as to what the piece would be.

His melodic improvisations generally stayed close to the theme while employing novel chord voicings.Pianist described Garner's distinctiveness as due to '. Works Garner's first recordings were made in late 1944 at the apartment of; these were subsequently issued as the five-volume Overture to Dawn series on. His recording career advanced in the late 1940s when several sides such as ', ' and ' were cut. His 1955 live album was a best-selling jazz album in its day and features on bass and on drums. This recording of a performance at the Sunset Center, a former school in, was made using relatively primitive sound equipment, but for the decision to release the recording was easy.In 1954 Garner composed 'Misty', first recording it in 1955 for the album.

Lyrics were later added. 'Misty' rapidly became popular, both as a jazz standard and as the signature song of. It was also recorded by,.

Used it as the basis for his thriller.was recorded at the 1962 Seattle World Fair (and in 1959 stretching out in the studios) and features on bass and on drums. Other works include 1951's, 1953's with Wyatt Ruther and Fats Heard, 1957's, 1970's and 1974's, which see Garner perform a number of classic standards. Often the trio was expanded to add Latin percussion, usually a conga.In 1964, Garner appeared in the UK on the music series broadcast on the.

The programme was hosted by, who introduced Garner's trio with Eddie Calhoun on bass and Kelly Martin on drums.Because Garner could not write down his musical ideas, he used to record them on tape, to be later transcribed by others.The Erroll Garner Club was founded in 1982 in Aberlady, Scotland. On September 26, 1992 Garnerphiles from England, Scotland, Germany and the US met in London for a unique and historic get-together. The guests of honour were Eddie Calhoun (bassist) and Kelly Martin (drummer), Erroll's rhythm section from the mid 1950s to the mid 1960s. On June 15, 1996 many of the UK's keenest Garnerphiles converged in Cheltenham for an afternoon of music, food and fun on what would have been Erroll's 75th birthday. That evening they were saddened to hear of the death of another jazz legend:. Archive and newly discovered material In 2012 a film on Garner was released by Atticus Brady called No One Can Hear You Read, which Garner used to say when asked why he had never learned to read music. Footage of the piano prodigy playing and speaking was intercut with interviews: with admirers (including, and his fellow musicians, also from Pittsburgh and Ernest McCarty, his bassist for many years); with family members, including his big sister Ruth Garner Moore and daughter Kim Garner; with, the producer of; and with Jim Doran his biographer.

The film attempts to address Garner's fall from prominence after his death, reminding viewers how popular and original he was in his day as well as why he is considered in many quarters a legend, one of the true greats of jazz.On June 15, 2015, the estate of, Garner's longtime manager, announced the formation of the Erroll Garner Jazz Project, a major new archival and musical celebration of Garner. The project includes the donation of the —a huge trove of newly discovered historical material from Garner's life—to the.On September 18, 2015, Concert by the Sea was re-released by Sony Legacy in an expanded, three-CD edition that adds 11 previously unreleased tracks.On September 30, 2016, ' was released on Sony Legacy/Octave featuring 14 previously unreleased tracks.On July 13, 2018, a live concert recording of Garner playing in 1964 at the in the Netherlands was released by Mack Avenue Records with the title Nightconcert. Publishing rights In 2016, entered an exclusive worldwide administration agreement with Octave Music Publishing Corp.

The deal covers all of Garner’s works including “”, as well as Garner’s extensive archive of master recordings, many of which remain unreleased. Material loss On June 25, 2019, listed Erroll Garner among hundreds of artists whose material was reportedly destroyed in the.

Discography. Serenade To Laura (1945) MG-12003.

Giants of the Piano (back to back with ) (1947 Hollywood recordings with and ), Vogue LP LAE 12209. Early in Paris (1948), Blue Music Group. Penthouse Serenade (1949). Erroll Garner (August 1949), Los Angeles recordings with, (2 vols Joker LP BM 3718-3719). Erroll Garner (no date, c. 1951), with and B 07015 L. Erroll Garner plays for dancing (no date, c.

1951), Philips B 07622 R. Solo flight (no date, c. Retrieved April 30, 2019. ^ John S. Wilson (January 3, 1977).

Retrieved August 2, 2015. November 8, 2015. University of Pittsburgh News. January 26, 2016. Retrieved July 24, 2016.

Retrieved November 21, 2015. Doc Rock. The Dead Rock Stars Club.

Retrieved August 2, 2015. ^ Yanow, Scott. Retrieved October 28, 2017. ^ Pianist, George Shearing. Retrieved April 30, 2019. James M. Doran (1985).

Erroll Garner: The Most Happy Piano,. ULS, Archives & Special Collections. Retrieved April 30, 2019.

^. Retrieved April 30, 2019. John Wilson, The New York Times, May 29, 1965, p.

16. Scott Yanow. Retrieved September 2, 2015. Retrieved August 2, 2015., September 17, 2009. 'Erroll Garner – Piano Solos Book 2, M.H. Goldsen, Criterion Music Corp, 1957.

Preface. J.D. Ellis (then Erroll Garner Club Treasurer) and Erroll Garner Gems Volume 2, Number 4, produced by Jim Doran, Erroll's biographer. Niederberger, Mary (June 15, 2015). Retrieved September 2, 2015. Chinen, Nate (September 16, 2015).

Retrieved January 2, 2018. Gelly, Dave (July 29, 2018). Retrieved February 13, 2019.

Retrieved July 22, 2016. Rosen, Jody (June 25, 2019). The New York Times. Retrieved June 28, 2019.

Retrieved August 19, 2015. Review by, June 2019, Issue 206, page 15 - retrieved 1 June 2019.External links.

”Promise of the Sun” by Herbie HancockHere's a head chart for Herbie Hancock's 'Promise of the Sun' from his 1975 release 'The Prisoner'. 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.Best from VilleThis post contains the following attachment types:-application/pdf. Attila Zoller - Ullas Erinnerung (Ulla's Memory)This version is taken from a broadcast and it has obviously never been released on vinyl or CD.

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.This post contains the following attachment types:-application/pdf-audio/mp3. 'How the West Was Won' by John ScofieldHey buddies, I need your help with this one!I didn't include chord symbols in the sketch chart, but added a few piano and guitar voicings for reference. The piece follows 32-bar (AABA) form, where A section is in 5/4 time and B section in 4/4 time.The harmony at bars 1 - 2 and 5 - 6 of letter A implies an A Phrygian mode (A7susb9), whereas bars 3 - 4 and 7 - 8 suggest an A Dorian harmony (Am7). The letter B denotes E Aeolian (Em7) and Bb Lydian (Bb/E) or C Mixolydian (C7/E) modes. Still, I'm not certain about any of this, and therefore need your advise here.Are the 8th notes in the A section played in swing time? How about the B section? Please share your thoughts.Kind regards, VilleThis post contains the following attachment types:-application/pdf.

Is anyone able to help me fighure out some compiHi,I've recently accidentally ended up in a jazz band as a pianist.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.The piece is Clifford Brown's Sandu and the chords are as follows:Eflat7Aflat7Eflat7Bflatm7 - Eflat7Aflat7AdiminishedEflat7Gm7(flat5) - C7(flat9)Fm7Bflat7Eflat7 - C7F7 -Bflat7. George Colligan’s solo on “I’m Getting SentimentColligan’s 2-chorus piano solo from his 1999 album “Constant Source.” This track is incorrectly labeled “Flint Michigan,” another tune on the same album, on Spotify and YouTube. 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.This post contains the following attachment types:-application/pdf. 'Sleeping Giant' by Herbie HancockHere's a lead sheet for Herbie Hancock's 'Sleeping Giant'.The sample percussion pattern at the beginning is not transcribed from the actual recording, but proposed as a sample Afro 12/8 pattern. The metric feel of the piece is somewhat ambiguous; in some places I've written the 12/8 meter as 6/4, which are mathematically equal, although phrased differently. How do you guys break this down?Best, Ville(Revised April 1, 2018)This post contains the following attachment types:-application/pdf. 'Believe You Me' by John AbercrombieHere's a lead sheet for John Abercrombie's 'Believe You Me', which is recorded on his ECM album 'Night'.

The accompanying organ figure at letter B (AbMaj7#11 - Bb6) is just my own interpretation derived from the comp figure at letter A (and intro).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? Please share your thoughts.Best, Villepost contains the following attachment types:-application/pdf. 'Fun' by Miles DavisMiles Davis originally recorded this piece on January 11, 1968, and it wasn't released until 1981 as a part of compilation album 'Directions'. The tune is also recorded by Joe Chambers on his 1992 release 'Phantom of the City'.I didn't include any chord symbols here, but added sample chord voicings for a reference. (Herbie Hancock plays an electric harpsichord on the recording!) The given bass line is doubled by a guitar, and it continues for solos (with slight variation). Solos are based on the key of D major.Best, VilleThis post contains the following attachment types:-application/pdf.

'Furs on Ice' by Marc JohnsonThis was rather demanding one to write down. I don't know if the given chords are dead-on, so all suggestions are appreciated. I listened to a few recordings of the piece (John Abercrombie's 'Getting There' and 'John Abercrombie / Marc Johnson / Peter Erskine', plus an instructional drum video by Peter Erskine available at which differed somewhat. The trio recordings don't have the tenor sax part, but abide by the rhythm section motives.Best, VilleThis post contains the following attachment types:-application/pdf. Every Little Thing She Does Is MagicBrief piano transcription (or maybe gist version) of Every Little Thing She Does Is Magic for my niece - from the Ghost in the Machine by The Police. 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.(on the recording, tuning is A = 450 Hz)This post contains the following attachment types:-application/pdf. 'Au Lait' by Metheny & MaysHi there!I have transcribed Pat Metheny's and Lyle Mays' tune 'Au Lait' from the Group's 'Offramp' recording.

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.:) VilleThis post contains the following attachment types:-application/pdf-application/pdf. Kurt Rosenwinkel - Brooklyn SometimesHey folks.I've done a lead sheet for Kurt Rosenwinkel's great tune Brooklyn Sometimes, from his latest Deep Song album. 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 17. 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 24.The cadence here falls to the Asus in bar 25. Really this is an E chord, but the Asus makes for more clarity of voicing than E7(omit3)/A, and really the Asus is a true Asus performing the function of the E chord. 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.

Firstly we have the A / Gm / D/F# figure which is then lowered and continued in the E / F/Eb / D figure. 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.S.

There is a release of tension and rhythmic uncertainty - suddenly, there it is, that incessant bassline, the upbeat quavers, bouncing along.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 57-8 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.Cheers.L.This post contains the following attachment types:-application/x-sibelius-score. 'Pinocchio' by Wayne ShorterWeather Report's (Mr. Gone, 1978) take on Wayne Shorter's 'Pinocchio' differs from the earlier version on Miles Davis' Nefertiti (1968).

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.Best, VilleThis post contains the following attachment types:-application/pdf. 'Paraphernalia' by Wayne ShorterHey there!

I need your help with this one.I haven't came upon any sheet music to this piece. This sketch is based on the 'Miles In The Sky' version. The other recordings appear metrically much loose. The short phrases, which work as cues for the performers, are played in desired length on the walking bass line. The tag in 3/4 time is played at the end of each chorus.

All suggestions are much appreciated.Best, VilleTranscription revised on June 18, 2015This post contains the following attachment types:-application/pdf. 'Dance Me Home' by John ScofieldHey there!Here's an incomplete lead sheet to John Scofield's 'Dance Me Home' from his 1988 release 'Loud Jazz' on Gramavision Records. The chart has the basic sections, but lacks some further developed passages. I need your help to review the chart and make the necessary corrections.

All comments are welcome.Best, VilleP.S. Seamus Blake recorded the tune in a straight-ahead jazz vein on his 'Bellwether' and 'Live in Italy'.This post contains the following attachment types:-application/pdf. Gretchen Parlato's How We LoveHi all,I've been transcribing How We Love from Gretchen Parlato's The Lost & Found. 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 1:03.

(post contains the following attachment types:-application/pdf. Two Pieces by Bennie MaupinHello there!Here are two compositions by Bennie Maupin. The first is from his album 'Slow Traffic to the Right' (1977). Herbie Hancock recorded the tune earlier on his album 'Crossings' (1972).

Herbie's take on harmony differs from Bennie's arrangement a great deal.The second one is transcribed from Bennie's recording 'Early Reflections' (2008). The melody is played by bass clarinet and acoustic bass in unison.Best, VilleThis post contains the following attachment types:-application/pdf. (Request) Not Forgetting - Bill Connorsvia Gary Peacock, I used to have a lead sheet of the ballad 'Not Forgetting' (recorded on Bill Connors 1977 'Of Mist And Melting' session with Jan Garbarek, Gary Peacock, and Jack DeJohnette, that also had a lovely take of Bill Connors 'Melting' aka 'Spanish Flames' on it.), but the old photocopy Gary gave me back in 1977 is now so totally faded as to be completely unreadable. Anyone here happen to have a lead sheet or transcription of 'Not Forgetting'? Transcription Request: 'Nomad'This is off Grant Green's 1963 album, 'Idle Moments,' and is one of my favorites off the album.

Has two sections, one contains a complex melody that leads into the second, a very swinging Dorian pedal point that shifts a whole step down. Joe Henderson blows over this tune, which makes sense, he was a fan of Dorian interpreted whole steps apart, i.e. Black Narcissus.

A transcription for this would be really useful for me as well as the jazz community, this is a tough one to do by ear. Thank youThis post contains the following attachment types:-youtube.

'Ahmad the Terrible' by Jack DeJohnetteThis is a transcription of the head of the piece 'Ahmad the Terrible' by Jack DeJohnette, which appears on the 1984 album 'Album Album' by DeJohnette's Special Edition group. The piece has a 56-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 11-16, 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 53-56 (at the end of the form) follow the arpeggio pattern of the first 6 bars.This post contains the following attachment types:-image/jpeg.

'The Prophet' by Eric DolphyThis is a transcription of the head of the 32-bar piece 'The Prophet' by Eric Dolphy, which appears on the 1961 live album 'At the Five Spot' by Dolphy and Booker Little. 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.This post contains the following attachment types:-image/jpeg. Piano Solo TranscriptionA transcription of the piano solo in Naima from John Coltrane's album Giant Steps.

Wynton Kelly was pianist on this cut; Tommy Flanagan was pianist on all the other cuts. Kelly died in 1971, age 39. In 2011 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.This post contains the following attachment types:-application/pdf-youtube.

'Joy Ryder' by Wayne ShorterThis is a transcription of the head of the piece 'Joy Ryder' by Wayne Shorter. I transcribed this while listening to the version of the tune which appears on Shorter's 1988 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.' Besides the simple tonic-to-dominant harmonic vamp in A minor over which solos are played on the 1988 version, the majority of the head lacks many clearly discernible chords, and I have only notated the chords of which I am fairly certain.

Instead of using chords, the interest in this head mainly lies in the dissonant (I am almost tempted to say atonal), rhythmically-complex melodic counterpoint between Shorter's saxophone part and the bass part.This post contains the following attachment types:-image/jpeg. Bill Evans - Minority (piano head and solo)Posted is a transcription of the introduction, head and bill evan's solo on Minority Album: Everybody Digs Bill Evan's Year: 1958here is the recording:solo transcription was done mostly as an exercise in melodic diction so I have not concerned to a great extent rhythmic accuracy. 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. Making the minor tonality sort of like a suspension or and accented set of neighbor tones if you will.anyways, i hope you enjoy and any feedback/criticism will be gladly accepted.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.This post contains the following attachment types:-application/pdf. Bill evan's gloria's stepPosted is both a transcription of the head and bill evan's solo on gloria step (take 2) Album: Sunday At The Village Vanguard Year: 1961 Label: RiversideThe solo transcription was done mostly as an exercise in melodic diction so I have not concerned to a great extent rhythmic accuracy.The transcription of the head was done as an exercise in hearing harmony and voicings.

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.anyways, i hope you enjoy and any feedback/criticism will be gladly accepted.This post contains the following attachment types:-youtube-application/pdf-application/pdf-application/pdf. Further study on 'Chameleon'I sat down and tried to figure out what's happening on Herbie's Chameleon (Head Hunters, 1974).

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.Best wishes from VilleThis post contains the following attachment types:-application/pdf. Help with 'Beija-Flor'I came across this beautiful bossa nova piece on Jim Hall's 'All Across the City'. 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.g. At bar 4 of A: F/A - Am), which I've left aside from the chord progression.

Misty Erroll Garner Midi

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?Here's Jim Hall's treatment of the composition (in A minor) along with Brazilian MPB-4 group's sung version (in C minor):1) help is much appreciated!Best, Ville. 'Greenstreet' by John AbercrombieThis piece is transcribed from John Abercrombie's most recent ECM release titled '39 Steps'. On the recording the piece is performed in broken time feel, giving the music a lighter, more open flow.I also listened to Abercrombie's solo guitar treatment of the tune at, which gave me a new perspective to the composition.

All comments and suggestions are welcome!Best, VilleThis post contains the following attachment types:-application/pdf. Blues on My Mind - Benny GolsonAlso found on Nouvelle Vague as 'Des Femmes Disparaissent.' Thanks to my friends on the Finale list for their engraving suggestions (and French title correction), particularly James Darcy Argue for his extensive and specific comments. This is the revised lead sheet.

Any shortcomings are strictly my own!Thanks also to Jeff Helgesen, for hosting my transcription of Blue Mitchell's solo on this tune:post contains the following attachment types:-youtube-application/pdf. 'In A Silent Way' by Miles DavisHere's a medley from Miles Davis' 'In A Silent Way' (1969, Columbia) in lead sheet notation. The potpourri consists of three pieces: 1) 'Shhh/Peaceful', 2) 'In A Silent Way', and 3) 'It's About That Time'.

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 other pieces - 'Shhh/Peaceful' and 'It's About That Time' - are played in a strict rock groove. 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.:) VilleThis post contains the following attachment types:-application/pdf. 'Hello to the Wind' by Chambers & McDanielsHello!I ran into this piece while listening to Bobby Hutcherson's album 'Now!'

That's been out of print for a good while 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!'

(1969), Universal Jones' 'Universal Jones, Vol. 1' (1972), Woody Shaw´s 'Concert Ensemble at the Berliner Jazztage' (1976), and Joe Chamber's 'Double Exposure' (1977). On Hutcherson's 'Now!'

The song is performed without the bass obbligato as shown at letter A. 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. Decoy by Miles DavisThis is the title number from Miles Davis' Decoy album (1985), 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.

I would suggest playing a Eb/A chord at letter A, and a Dm7(13) at B. The piece has a rough and dynamic urban pulse. The slap bass is putting diminished 5ths in hard use.:) VilleThis post contains the following attachment types:-application/pdf. Thanks to Ville; Thanks to Brian Price8/11/11 Ville writes:'Still, it's a pity people don't feel like to contribute to the discussion here, since I assume that there are a lot of expertise out there to be shared. 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. We have FJI (I take it's to Ed Byrne's credit) to thank for this opportunity.'

Ville,FJI creator Brian Price's original purpose for FJI was to provide a platform for posting music examples to assist in the discussions taking place at the AAJ forum, so it is Brian we have to thank for this great forum (FJI). For my part, I am no longer interested in the culture and style of AAJ, and I would welcome developing, along with you and Brian, more discussion at FJI. 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.

Portia by Marcus Miller'Portia' is recorded on Miles Davis' 'Tutu' (1986). 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. Actually, the trumpet plays melody only the first time at letters A & B and plays fills through rest of the tune. On recording, the last 4 bars of letter C are played twice on D.S., before moving on to letter D.Futhermore, does anyone have a lead sheet for 'Tomaas' (by Davis & Miller) from the same album?Best, VilleThis post contains the following attachment types:-application/pdf.

'To the Little Radio' by Hanns Eisler & BertoltThis is one of my favorite songs of all time. 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. The song is a part of larger work called the 'Hollywood Songbook' that was composed during Eisler's exile in the USA. 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.g. Marcin Wasilewski Trio) have made beautiful interpretations of it.Season's Greetings to All!post contains the following attachment types:-application/pdf.

'Yesternow' by Miles DavisThis is the 2nd cut from 'A Tribute to Jack Johnson'. 'Yesternow' is a collage of different takes and lots of overdubbing. 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?:) VilleThis post contains the following attachment types:-application/pdf.

Sanctuary by Wayne ShorterI found two Wayne Shorter's handwritten lead sheets of 'Sanctuary' in Victor Svorinich's (2009) dissertation entitled Listen to This: A Musical Analysis of Miles Davis's 'Bitches Brew'. 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. On 'Bitches Brew' the head is preceded by Miles' interpretation of 'I Fall In Love Too Easily' (by Jule Styne & Sammy Cahn) in the key of E flat major.

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! The chord symbols in parentheses do not exist in the original scores.This post contains the following attachment types:-application/pdf.

Pharaoh's Dance by Joe ZawinulHere's a rather simplified presentation of Joe Zawinul's 'Pharaoh's Dance' as performed on Miles Davis' 'Bitches Brew'. 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.) and omits certain parts.

Much of the part one on the recording is loosely interpreted and constructed through a series of editing loops.:) VilleThis post contains the following attachment types:-application/pdf. Request for 'What is there to say'I'm looking for a transcription of the Bill Evans version of this song on his Everybody Loves Bill Evans album. 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., but nothing with the complete Bill Evans score.I even tried converting a mp3 to MIDI with AudioScore and then inputing it into Sibelius but the transfer to MIDI failed miserably.Thx much for any help.Jon SniderColorado Springs. Need help with 'Tomaas'Hey all!I tried to write down the melody and harmony of 'Tomaas' by Marcus Miller and Miles Davis. 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!Best, VilleThis post contains the following attachment types:-application/pdf. 'Still Warm' by John ScofieldHey there!This is the title track from John Scofield's 'Still Warm' album (1986, Gramavision) that includes great writing and awesome grooves. The tune is harmonically very interesting, incorporating a good number of slash chords and inversions. The solo section is built on four chords (G13sus, AbMaj7#11/G, Absus/G and E/G) that are played over G pedal point.

Scofield uses G mixolydian, Ab lydian, Ab major and G half-step/whole-step diminished scales on those chords.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.VilleThis post contains the following attachment types:-application/pdf. Comments & corrections wantedHi AllHere is my latest attempt at learning to transcribe jazz tune heads.This is the first 16 bars or so of Fletcher Henderson's 'Soft Winds' played by one of my favorites, Terell Stafford from his 'New Beginnings' cd.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. It seems very simple, but I am a complete novice at transcribing so please, comment, correct & suggest.ThanksThis post contains the following attachment types:-application/pdf. 'Riot' by Herbie HancockThis transcription of 'Riot' is based on the version played on Herbie Hancock's 'Speak Like A Child'. The tune is also recorded on Miles Davis' 'Nefertiti' with slightly altered structure.The composition includes an unconventional EmMaj9 (add b6) chord, which implies E harmonic minor scale (1, ½, 1, 1, ½, 1½, ½). 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 throughthe short progression sounds agreeable to me though. The solo section on the recording is harmonically more eventful.:) VilleThis post contains the following attachment types:-application/pdf.

Lonely Woman by Ornette ColemanThis is another oddity - along with Miles' Bitches Brew - that was truly difficult to transcribe. 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.g. Joshua Redman, Branford Marsalis and Joe Lovano) but I haven't seen the tune in any fake book around. 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!Best wishes from VilleThis post contains the following attachment types:-application/pdf. 'Plus Fort Que Nous' by Francis LaiHere's a dusky ballad from an old French film called 'Un Homme et Une Femme' (A Man and a Woman), whose soundtrack includes many memorable pieces.

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. Here's the original version of the song: VilleThis post contains the following attachment types:-application/pdf. 'Unrequited' by Brad MehldauThere are at least three recorded versions of this composition: 1) Mehldau's 'The Art of the Trio, Vol.

3: Songs', 2) Pat Metheny's and Mehldau's collaboration entitled 'Metheny/Mehldau', and 3) Mehldau's most recent 'Live in Marciac'.The melody - that moves in small intervals - is freely interpreted rhythmically and its interpretation varies between the recordings a good deal. My transcription is based on the 'Art of the Trio, Vol 3' trio cut and 'Metheny/Mehldau' duet recording. 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.:) VilleThis post contains the following attachment types:-application/pdf. 'Green Tea' by John ScofieldThis mellow bossa nova is from John Scofield's 'A Go Go'. 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.Listen to the tune here: post contains the following attachment types:-application/pdf. 'In The Crease' by Branford MarsalisThis is an incomplete transcription, for it lacks the solo section. 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. The song form is as follows: Head (A1 - A2 - B - A3); Tenor solo (C); Piano solo (C); Head (A1 - A2); Drum solo (B); Out-head (A3).If there is anyone capable of writing down the solo section, I'd kindly ask for a copy of the transcription.

All comments are welcome.Best from VilleThis post contains the following attachment types:-application/pdf. Festive Minor by Gerry MulliganThis number is from Gerry Mulligan's 'What Is There to Say?' That was recorded in 1958 and 1959. 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 32-bar section that is played before the out chorus.This post contains the following attachment types:-application/pdf.

Really, really, really old tunes.Hi guys, I'm looking for a couple of really ancient tunes. In fact I know they're in the Anderson Fake Book (I just don't have that kind of money). So, if you guys happen to have these tunes, or know where else I can find them, please help. It would be greatly appreciated! Here's the list:.Big Lip Blues.Sweet Mumtaz.Waitin' For Katy.Yearning.New Orleans Bump.Call of the Freaks.Chant in the Night.Egyptian Fantasy.Blackstick.Les OignonsThanks,-ndhjazz.

'Bitches Brew' fine-tunedHi there!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.Chick Corea recalls that Miles showed him three triads to use on the tune: E major triad, Eb major triad and C major triad. Those triads form an intresting scale (E, G, Ab, B, C, Eb), which doesn't have an established name; my proposal would be a Harmonic Major Scale (b6) with #2 (or #9 = minor 3rd) and omitted 4th. Please share your thoughts on this topic.:) Ville. Chick Corea on the Miles Davis Story: post contains the following attachment types:-application/pdf.

'Spanish Key' by Miles DavisHi there!Here's a lead sheet for Miles' 'Spanish Key' as performed on his 'Bitches Brew'. 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.

The four sections (letters A, B, C, D) are repeated over and over again in the following order:1) Introduction;2) A (main theme = phrase 1);3) Phrase 2;4) B (solo);5) C (solo);6) Phrase 3;7) D (solo);8) Phrase 3;9) C (solo);10) Phrase 3;11) D (solo);12) A (main theme)13) Phrase 2;14) B (solo);15) C (solo);16) Phrase 3;17) D (solo);18) A (main theme);19) Phrase 2 (Miles plays the phrase and band ends on D7#9).:) VilleThis post contains the following attachment types:-application/pdf. 'Filles de Kilimanjaro' by Miles Davis'Filles de Kilimanjaro' is an intresting study on rhythm. The bass figure at first melody chorus suggests a 3/4 time, but shifts into 4/4 time for second melody chorus. 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 melodic rhythm (played by the horns) suggests a 4/4 time when starting it on the first beat. The 2nd melody chorus, however, begins on the 2nd beat of the bass pattern. I guess, that the 4/4 bass figure in my chart should start on the 2nd beat instead, like shown in Ed's transcription (bass figure descends a half step to F# at bars 31-37. However, on the 2nd chorus - which is played in 4/4 time - the bass figure holds in G throughout. 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.:) VilleThis post contains the following attachment types:-application/pdf.

'Mademoiselle Mabry (Miss Mabry)' by Miles DavisThis one is the last track off Miles Davis' 'Filles de Kilimanjaro'. The tune is parallel with Jimi Hendrix' 'The Wind Cries Mary' in the chromatic three-chord figure (e.g. At bar 5 and a variation at 1st bar).

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).This post contains the following attachment types:-application/pdf. Bitches Brew by Miles DavisThis is the title track from Miles' groundbreaking Bitches Brew album.

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!:) VilleThis post contains the following attachment types:-application/pdf. 'Sanctuary' by Wayne ShorterI transcribed the head of Wayne Shorter's 'Sanctuary' as played by the Carlos Santana & Wayne Shorter Band in 1988 Montreux jazz Festival (The song was originally written as a slow waltz (3/4), but has been played in rubato and 4/4 time in his later executions (e.g. 'Bitches Brew', 'Circle in the Round' and 'Footprints live!'

).Also, I enclose a MIDI file of the head of the tune here. The file is thrown together rather hastily, but will give a picture of the above mentioned live version. The opening phrase in the MIDI file is played over D D9#11 A-11 , but I guess it would be more close to home as D D7b9#11 A-7b5(11).All comments are welcome!:) VilleP.S. 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?This post contains the following attachment types:-application/pdf-audio/midi. Idle Moments by Grant Green'Idle Moments, recorded over two sessions in November, 1963, and featuring Hutcherson and tenor saxophonist Joe Henderson.

It offers in its dreamlike title track, written by pianist Duke Pearson, 14:52 minutes of the most serene instrumental romancing ever put on disc.The duration of the track came about by accident. Called just before midnight, 'Idle Moments' was the last tune to be recorded at the first session, and the playing times of the three tracks already in the can meant it had to be no longer than 7 minutes—anything over that would bust the maximum LP playing time of around 40 minutes. But due to a misunderstanding, Green soloed for 64 rather than the planned 32 bars, and Pearson, Henderson and Hutcherson followed suit, each soloing for twice as long as had been expected.

Fortunately, producer Alfred Lion had the ears and wit to keep the tape machine running.' Post contains the following attachment types:-application/pdf-youtube-application/pdf.