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Claude Debussy interpreta Debussy – Clair de Lune (1913)

Claude Debussy interpreta Debussy – Clair de Lune (1913)

Claude-Achille Debussy – Clair de Lune (Mondglanz, Mondschein, Moonlight), Suite Bergamasque, Debussy, pianoforte.

La Suite bergamasque fu composta per la prima volta nel 1890-1905. “Claude Debussy suona le sue opere migliori” Claude Debussy, Piano Roll, 1913.

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Dal 1903 al 1913, Claude Debussy registrò molti dei suoi brani su rulli di pianoforte. Debussy si rallegrò della qualità della riproduzione, dicendo in una lettera a Edwin Welte: “È impossibile raggiungere una perfezione di riproduzione maggiore di quella dell’apparato Welte. Sono felice di assicurarvi in ​​queste righe il mio stupore e la mia ammirazione per quanto ho sentito. Sono, egregio signore, vostra fedelmente, Claude Debussy.

Con più di un secolo di vita, queste registrazioni ci permettono di ascoltare il grande compositore suonare le proprie opere. Debussy fece le sue ultime registrazioni quando aveva 52 anni e soffriva di cancro, nel 1913. Morì meno di cinque anni dopo, il 25 marzo 1918.

I rulli per la riproduzione del pianoforte erano generalmente realizzati dalle esibizioni registrate di musicisti famosi. In genere, un pianista si siede a un pianoforte di registrazione appositamente progettato e l’altezza e la durata di tutte le note suonate sarebbero contrassegnate o perforate su un rullo vuoto, insieme alla durata del pedale di sostegno e di sordina.

La riproduzione di pianoforti può anche ricreare la dinamica dell’esecuzione di un pianista per mezzo di perforazioni di controllo appositamente codificate posizionate verso i bordi di un rullino musicale, ma questa codifica non è mai stata registrata automaticamente.

Diverse compagnie avevano modi diversi di annotare le dinamiche, alcune tecnicamente avanzate (sebbene non necessariamente più efficaci), altre segrete e altre ancora dipendenti interamente dalle note scritte a mano di un produttore discografico, ma in tutti i casi questi geroglifici dinamici dovevano essere abilmente convertiti in speciali perforati codici necessari ai diversi tipi di strumento.

Il modo di suonare di molti pianisti e compositori è preservato durante la riproduzione del piano roll. Gustav Mahler, Camille Saint-Saëns, Edvard Grieg, Teresa Carreño, Claude Debussy, Manuel de Falla, Scott Joplin, Sergei Rachmaninoff, Sergei Prokofiev, Alexander Scriabin, Jelly Roll Morton e George Gershwin sono tra i compositori e pianisti che hanno suonato registrato in questo modo.

Il famoso Clair de lune di Claude Debussy è il terzo brano della Suite bergamasque per pianoforte, un’opera il cui titolo è stato scelto tanto per l’amore del suo compositore per i suoni delle parole quanto per le sue implicazioni rinascimentali (sebbene l’opera possa essere giustamente descritta come qualcosa di un omaggio ai clavicembalisti francesi di un tempo).

Il re bemolle maggiore di Clair de lune è scelto perfettamente, la melodia scintillante in terze parallele (con sordina, richieste di Debussy) sapientemente bilanciata dal tempo rubato meravigliosamente dissonante che la segue. Durante la sezione centrale un poco mosso di Clair de lune, la musica si gonfia ben oltre il pianissimo dell’apertura, e nel suo culmine si potrebbe dire che il giovane compositore ha creato più della luce del sole che della luce della luna; gli incessanti arpeggi possono ben essere esagerati, ma si possono comunque apprezzarli.

Piccoli frammenti di questi arpeggi si fanno strada nella ripresa della musica di apertura, e ai toni rotolanti della sezione centrale vengono date alcune misure per perorare ancora una volta la loro causa prima che la cadenza cromatica finale, un momento di assoluta tranquillità, sia resa .

Clair de Lune è una poesia francese scritta da Paul Verlaine nell’anno 1869. È l’ispirazione per il terzo e più famoso movimento dell’omonima Suite bergamasque di Debussy del 1890. ‘Clair de lune’ (‘Moonlight’) è dalla prima raccolta di Verlaine Fêtes galantes (Gallant Parties, 1869).

Clair de Lune di Paul Verlaine

Clair de lune ” (inglese “Moonlight”) è una poesia scritta dal poeta francese Paul Verlaine nel 1869. È l’ispirazione per il terzo e più famoso movimento della Claude Debussy del 1890 Suite bergamasque . Debussy ha anche eseguito due impostazioni della poesia per accompagnamento vocale e pianoforte. La poesia è stata musicata anche da Gabriel Fauré , Louis Vierne e Josef Szulc .

La tua anima è un paesaggio scelto
Vanno affascinanti maschere e bergamasche
Suonare il liuto e ballare e quasi
Tristi sotto i loro travestimenti stravaganti.

Mentre si canta in modalità minore
Vincere l’amore e la vita opportuna
Non sembrano credere nella loro felicità
E il loro canto si mescola al chiaro di luna,

Nel calmo chiaro di luna triste e bella,
Chi fa sognare gli uccelli sugli alberi
E singhiozzare di estasi i getti d’acqua,
I grandi getti d’acqua si snelliscono tra i marmi.

La tua anima è un paesaggio scelto
Dove passeggiano incantevoli mascherate e ballerine,
Suonare il liuto e ballare, e quasi
Triste sotto i loro fantastici travestimenti.

Mentre canta in tonalità minore
Dell’amore vittorioso e della vita piacevole
Sembrano non credere nella propria felicità
E il loro canto si fonde con la luce della luna,

Con la luce triste e bella della luna,
Che fa sognare gli uccelli sugli alberi,
E fa singhiozzare di estasi le fontane,
L’acqua sottile scorre tra le statue marmoree.

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Jazz Music LIVE Music Concerts

JACO: the Film | Jaco Pastorius- ( 2015 ) Subtitulada en Español

“Before Jaco, bass didn’t know what it was yet.”

– Bootsy Collins

“The sound of music being played, is really the greatness of the human being.”

– Wayne Shorter

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JACO: the Film | Jaco Pastorius – (2015) Subtitulada en Español

https://www.facebook.com/watch/?v=1055586558247173

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Produced by Metallica’s Robert Trujillo in association with Passion Pictures, JACO includes some incredible insights from an array of artists including Flea, Joni Mitchell, Sting, Wayne Shorter, Herbie Hancock, Geddy Lee, Bootsy Collins, Carlos Santana and others as well as Jaco’s family, and friends. It unveils the story of his music, his life, his demise, and ultimately the fragility of great artistic genius.

There are few musicians who fundamentally change their instrument, and even fewer still who transcend their instrument altogether. Jaco Pastorius did both.

In 1976, Jaco’s melodic “singing” bass style redefined the role of the bass in modern music. Almost overnight, critics hailed Jaco Pastorius as “the future of modern music,” alongside popular visionaries like David Bowie, Tom Waits, Patti Smith, Bryan Ferry, Lou Reed, and Herbie Hancock.

Driven only by his own desire to create the music he wanted to hear, Jaco transformed himself from a poor and unknown, scrappy Florida boy, into an international sensation — all without any formal musical training. Instead of chasing popular music, Jaco led his fans towards the music inside him. Defiantly jumping off amplifiers, heaving his bass through the air, and refusing to be just a “sideman,” Jaco broke down the barriers between audiences and genres.

Unfortunately, for many of our most sensitive artists, great genius comes at great cost… and Jaco Pastorius was no exception.

Now over 25 years since his violent and untimely death, his story will teach the world about true musicianship, family, and the indestructible power of the human spirit.

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Film Music Easy Piano Solo arrangements

“A MOZART REINCARNATED” by ENNIO MORRICONE (Piano solo)

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A MOZART REINCARNATED” – composed by ENNIO MORRICONE with sheet music download.

MOZART REINCARNATED ENNIO MORRICONE sheet music pdf A

Arrangement for piano of A Mozart Reincarnated from the motion picture The Legend of 1900, composed by Ennio Morricone.

Ennio Morricone, the man

He is not just a great film composer, he is a great composer. Giuseppe Tornatore

Ennio Morricone was born in Rome on 10 November 1928. His long artistic career includes a wide range of composition genres, from absolute concert music to applied music, working as orchestrator, conductor and composer for theatre, radio and cinema. In 1946, Ennio received his trumpet diploma and in 1954 he received his diploma in Composition at the Conservatorio di Santa Cecilia under the guidance of Goffredo Petrassi.

He wrote his first concert works at the end of the 1950s, then worked as arranger for RAI (the Italian broadcasting company) and RCA-Italy. He started his career as a film music composer in 1961 with the film Il Federale directed by Luciano Salce. World fame followed through the Sergio Leone westerns: A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, The Bad and The Ugly (1966), Once Upon a Time in The West (1968) and A Fistful of Dynamite (1971).

In 1965, Morricone joined the improvisation group Nuova Consonanza. Since 1960, Morricone has scored over 450 films working with many Italian and international directors including Sergio Leone, Gillo Pontecorvo, Pier Paolo Pasolini, Bernardo Bertolucci, Giuliano Montaldo, Lina Wertmuller, Giuseppe Tornatore, Brian De Palma, Roman Polanski, Warren Beatty, Adrian Lyne, Oliver Stone, Margarethe Von Trotta, Henry Verneuil, Pedro Almodovar and Roland Joffè. His most famous films (other than the Italian westerns) include: The Battle of Algiers; Sacco and Vanzetti; Cinema Paradiso; The Legend of 1900, Malena; The Untouchables; Once Upon a Time in America; The Mission and U-Turn.

His absolute music production includes over 100 pieces composed from 1946 to the present day. Titles include Concerto per Orchestra n.1 (1957); Frammenti di Eros (1985); Cantata per L’Europa (1988); UT, per tromba, archi e percussioni (1991); Ombra di lontana presenza (1997); Voci dal silenzio (2002); Sicilo ed altri frammenti (2007); Vuoto d’anima piena (2008). In 2001, Ennio Morricone began a period of intense concert activity, conducting his film music and concert works for symphony orchestra and polyphonic choir in more than 100 concerts across Europe, Asia, USA, Central and South America.

During his long career, Ennio Morricone has also received many awards. As well as the Golden Lion and the honorary Oscar he was awarded in 2003, he has been presented with eight Nastri D’argento, five BAFTAs, five Oscar nominations, seven David Di Donatellos, three Golden Globes, one Grammy Award and one European Film Award. In 2009, the then President of the French Republic, Nicolas Sarkozy, also signed a decree appointing Morricone to the rank of Knight in the Order of the Legion of Honor.

In the recording field, Morricone has received 27 gold discs, seven platinum discs, three Golden Plates and the Critica discografica award for the music of the film Il Prato. The soundtrack from the film The Good, The Bad and The Ugly was inducted into the Grammy Hall of Fame in 2009 while Morricone himself was awarded the prestigious Polar Music prize the following year.

His more recent works include scores for the television series Karol and The End of a Mystery, 72 Meters and Fateless. In the 21st century, Morricone’s music has been reused countless times for television and in movies including Quentin Tarantino’s Kill Bill (2003), Death Proof (2007), Inglourious Basterds (2009) and Django Unchained (2012). In 2007, Morricone received the Academy Honorary Award “for his magnificent and multifaceted contributions to the art of film music”.

In November 2013, he began a world tour to coincide with the 50th anniversary of his film music career and performed in locations such as the Crocus City Hall in Moscow, Santiago, Chile, Berlin, Germany (O2 World), Budapest, Hungary, and Vienna’s Stadhalle.

On 6 February 2014, Riccardo Mutti conducted the Chicago Symphony Orchestra performing Morricone’s Voices from the Silence, a cantata Morricone composed in response to 9/11 to give voice to innocent victims. In Autumn 2014, Morricone participated in the recording of a documentary about himself by Giuseppe Tornatore, which is yet to be released.

His European tour resumed from February 2015 to March 2015, with 20 concerts in 12 countries, in Europe’s largest arenas, such as the O2 in London and the Ziggo Dome in Amsterdam. Playing to a total of 150,000 spectators and with most of the shows sold out, Maestro Morricone’s My Life in Music European Arena Tour was a resounding success.

On 12 June 2015, Morricone conducted a mass composed in dedication to Pope Francis. It was commissioned by the Jesuit Order to commemorate the 200 year anniversary of the recongregation of the Jesuit Order at the Jesuit Church in Rome.

2015 also saw Morricone collaborate with Quentin Tarantino on an original soundtrack for the very first time. On December 7th 2015, The Hateful Eight had its world premiere followed by a Golden Globe nomination in the Best Original Score category the very next day.

Giuseppe Tornatore’s The Correspondence, with an original soundtrack composition by Morricone, is being released on January 15th 2016

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Jazz Music

Billie Holiday – When You’re Smiling

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Billie Holiday When You’re Smiling with sheet music

When You’re Smiling” is a popular song written by Larry Shay, Mark Fisher and Joe Goodwin in 1928. It bears resemblance to the Spanish CanciónAmapola” by José María Lacalle García. Early popular recordings were by Seger Ellis (1928), Louis Armstrong (1929), and Ted Wallace & His Campus Boys (1930).

Lyrics

When you’re smilin’
When you’re smilin’
The whole world, it smiles with you
When you’re laughin’
Babe, when you’re laughin’
Well, the sun comes shinin’ throughBut when you’re cryin’
You know you bring on the rain
Stop that sighin’
Be happy againKeep on smilin’

‘Cause when you’re smilin’
The whole world smiles with you
(Ah, let’s go)’Cause when you’re cryin’
You bring on the rain
Stop that sighin’
Be happy againKeep on smilin’

‘Cause when you’re smilin’
The whole world smiles with youWhen you’re smilin’ (when you’re smilin’)
When you’re smilin’ (keep on smilin’)
The whole world, it smiles with you
When you’re laughin’ (keep on smilin’ now)
When you’re laughin’ (you’ll get through somehow)
The sun comes shinin’ through (when I’m with you)But when you’re cryin’
You know you bring on the rain
Stop that sighin’

Come on, be happy againKeep on smilin’
When you’re smilin’, baby
The whole world, it smiles with you
The whole world, it smiles with you

A standard song

“When You’re Smiling” was written by Mark Fisher, Larry Shay and Joe Goodwin. According to Thomas S. Hischak in The Tin Pan Alley Song Encyclopedia, “Seger Ellis popularized the tune, but it was Louis Armstrong who made it a standard.” (Ellis was a songwriter/pianist/vocalist popular in the ‘20s and early ‘30s.) Armstrong first recorded it in 1929 and then again in 1932 and 1956.

His is the version heard in the 1984 film The Cotton Club. The song has appeared in several other films, including Meet Danny Wilson (1952) in which it was sung by Frank Sinatra, and it was the title cut of a 1950 movie in which it was sung by Frankie Laine.

The lyric advocates a cheerful attitude because “when you’re smilin’, the whole world smiles with you.” Conversely, “when you’re cryin’, you bring on the rain.”

“When You’re Smiling” has been recorded by vocalist Eddie Jefferson; the big bands of Count Basie, Stan Kenton, and Duke Ellington; the Dave Brubeck Quartet; saxophonist Art Pepper; guitarist Joe Pass; and many Dixieland groups.

In The Swing Era: The Development of Jazz, 1930-1945, Gunther Schuller highlights Billie Holiday’s recording of the song: “‘Lady Day,’ so named by Lester [Young], and ‘Prez,’ so named by Billie, were obviously musical soulmates and inspired each other…. ‘When You’re Smiling’ (January 1938) is a superior example of their collaboration….”

Recent recordings, however, are sparse. Drummer Bill Stewart and his group of contemporary musicians (Joe Lovano, Dave Holland, and Marc Copland) improvised on it in 1990; trumpeter Warren Vache featured it with the New York City All-Star Big Band in 2000, and Mike Barone’s Big Band recorded it in 2005.

billie holiday free sheet music pdf

Billie Holiday

Billie Holiday, birth name Elinore Harris, byname Lady Day, (born April 7, 1915, Philadelphia, Pennsylvania, U.S.—died July 17, 1959, New York City, New York), American jazz singer, one of the greatest from the 1930s to the ’50s.

Eleanora (her preferred spelling) Harris was the daughter of Clarence Holiday, a professional musician who for a time played guitar with the Fletcher Henderson band. She and her mother used her maternal grandfather’s surname, Fagan, for a time; then in 1920 her mother married a man surnamed Gough, and both she and Eleanora adopted his name. It is probable that in neither case did her mother have Eleanora’s name legally changed.

The singer later adopted her natural father’s last name and took the name Billie from a favourite movie actress, Billie Dove. In 1928 she moved with her mother from Baltimore, Maryland (where she had spent her childhood), to New York City, and after three years of subsisting by various means, she found a job singing in a Harlem nightclub. She had had no formal musical training, but, with an instinctive sense of musical structure and with a wealth of experience gathered at the root level of jazz and blues, she developed a singing style that was deeply moving and individual.

In 1933 Holiday made her first recordings, with Benny Goodman and others. Two years later a series of recordings with Teddy Wilson and members of Count Basie’s band brought her wider recognition and launched her career as the leading jazz singer of her time. She toured with Basie and with Artie Shaw in 1937 and 1938 and in the latter year opened at the plush Café Society in New York City. About 1940 she began to perform exclusively in cabarets and in concert. Her recordings between 1936 and 1942 marked her peak years. During that period she was often associated with saxophonist Lester Young, who gave her the nickname “Lady Day.”

In 1947 Holiday was arrested for a narcotics violation and spent a year in a rehabilitation centre. No longer able to obtain a cabaret license to work in New York City, Holiday nonetheless packed New York’s Carnegie Hall 10 days after her release. She continued to perform in concert and in clubs outside of New York City, and she made several tours during her later years. Her constant struggle with heroin addiction ravaged her voice, although not her technique.

Holiday’s dramatic intensity rendered the most banal lyric profound. Among the songs identified with her were “Strange Fruit,” “Fine and Mellow,” “The Man I Love,” “Billie’s Blues,” “God Bless the Child,” and “I Wished on the Moon.” The vintage years of Holiday’s professional and private liaison with Young were marked by some of the best recordings of the interplay between a vocal line and an instrumental obbligato.

In 1956 she wrote an autobiography, Lady Sings the Blues (with William Dufty), that was made into a motion picture starring Diana Ross in 1972. Holiday’s health began to fail because of drug and alcohol abuse, and she died in 1959.

billie holiday sheet music pdf
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Film Music

Ennio Morricone “The Legend” His best Music

Ennio Morricone “The Legend” Download his complete sheet music from our Library.

Tracklist:

1 The Sicilian Clan (From “The Sicilian Clan”) 00:0003:56 2 Cinema paradiso (From “Cinema paradiso”) 03:5806:23 3 La califfa (From “The Lady Caliph”) 06:2509:01 4 Romanzo (From “1900”) 09:0313:08

5 Estasi (From “The Mercenary”) 13:1015:12 6 Love Theme for Nata (From “Cinema paradiso”) 15:1419:22 7 L’arena (From “The Mercenary”) 19:2424:06 8 Romanza quartiere (From “Quartiere”) 24:0827:46 9 Un amico (From “Revolver”) 27:4830:23

10 Ninna nanna per adulteri (From “Cuore di mamma”) 30:2533:27 11 The Trio (From “The Good, the Bad and the Ugly”) 33:2940:41 12 Il pinguino (From “Vamos a matar, compañeros”) 40:4343:40 13 Come Maddalena (From “Maddalena”) 43:4252:52 14 The Strong (From “The Good, the Bad and the Ugly”) 52:5455:16 15 My Fault? (From “My Name is Nobody”) 55:1801:00:06

16 La messicana (From “Vamos a matar, compañeros”) 01:00:0901:02:46 17 Face to Face – Interlude (From “Face to Face”) 01:02:4801:05:28 18 Minacciosamente lontano (From “The Hellbenders”) 01:05:3001:08:14 19 Il segreto (From “Il segreto”) 01:08:1501:10:56 20 The Sundown (From “The Good, the Bad and the Ugly”) 01:10:5801:12:10 21 Childhood and Manhood (From “Cinema paradiso”) 01:12:1201:14:25 22 Tema di Ada (From “Novecento – 1900”) 01:14:2701:19:16 23 Barbablu’… Romantico (From “Barbablu'”) 01:19:1801:22:48 24 La cena (From “La califfa”) 01:22:5001:25:31

25 Abolisson (From “Queimada”) 01:25:3301:30:38 26 Notte di giorno (From “Una lucertola con la pelle di donna”) 01:30:4001:35:25 27 Mosca addio (From “Mosca addio”) 01:35:2701:40:17 28 In ogni casa una storia (From “Quartiere”) 01:40: 19 – 01:43:55 29 Amore come dolore (From “Le foto proibite di una signora per bene”) 01:43:5701:50:05 30 Irene (From “The Untouchables”) 01:50:0701:53:43

31 Il colore dei suoi occhi (From “La disubbidienza”) 01:53:4501:58:14 32 Via Mala: Silvie momento d’amore (From “Via Mala”) 01:58:1602:01:44 33 Love Scene 1 (From “Increase and Multiply”) 02:01:4602:07:38 34 Una fotografia (From “L’alibi”) 02:07:4002:10:12 35 Canzone senza parole (From “Farewell Moscow) 02:10:1502:13:06

36 La Banchiera (From “The Lady Banker”) 02:13:07 – 02:16:04 37 Falsa tranquillità (From “La monaca di Monza”) 02:16:06 – 02:19:12 38 Lei una voce (From “The Law of the Desert) 02:09:14

morricone film sheet music

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Beautiful Music

13 Halloween Songs from the 1920’s & 1930’s

13 Halloween Songs from the 1920’s & 1930’s

0:07 Hush Hush Hush (Henry Hall) 2:55 Heebie Jeebies (Boswell Sisters) 5:30 The Haunted House (New Mayfair Dance Orchestra) 9:09 Dancing The Devil Away (Arden & Ohman Orch) 12:12 Mysterious Mose (Rube Bloom & His Bayoo Boys) 15:30 Minnie The Moocher (Cab Calloway) 18:41 Spell of the Blues (Frederick Vettel) 21:39 Ghost of a Chance (Ted Fio Rito) 24:57 Them’s Graveyard Words (Bessie Smith) 27:33 The Nightmare (Cab Calloway) 30:14 Ghost Walk (Borrah Minnevitch) 33:08 Got The Jitters (Don Redman & Orchestra) 36:02 Midnight, The Stars and You (Al Bowlly with Ray Noble’s Orchestra)

Sheet Music download.

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Categories
Best Classical Music

Debussy Prélude from Suite Bergamasque – Pianist Paul Crossley

Debussy Prélude from Suite Bergamasque – Pianist Paul Crossley with sheet music

debussy free sheet music pdf

Paul Christopher Richard Crossley CBE (born 17 May 1944) is a British pianist.

Born in Dewsbury, Yorkshire, his piano teacher was Fanny Waterman in Leeds. While a student at Mansfield College, Oxford, he was discovered by Olivier Messiaen and his wife Yvonne Loriod, who heard him play and immediately invited him to come to Paris to study with them. In 1968 he was second prize winner (joint prize winner with Japanese pianist Izumi Tateno) at the Messiaen Competition in Royan, France.

Crossley is particularly associated with the music of Messiaen and British composers such as Michael Tippett, Nicholas Maw and George Benjamin. Tippett wrote his third and fourth Piano sonatas specifically with Crossley in mind. His extensive discography includes the piano works of Tippett, Fauré, Debussy and Ravel and the Fauré Violin sonatas with Arthur Grumiaux.

Paul Crossley was artistic director of the London Sinfonietta from 1988 to 1994.

He presented a landmark television series on avant garde classical music entitled Sinfonietta for Channel 4.

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Jazz Music Bill Evans Harmony Gershwin's music

Bill Evans – I Love You, Porgy (Gershwin) with sheet music

Bill Evans – I Love You, Porgy (Gershwin) with sheet music

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LIVE Music Concerts Beautiful Music Gershwin's music

Nobuyuki Tsujii – Elegy for the victims of the Tsunami (free sheet music)

Watch with sheet music

Nobuyuki Tsujii – Elegy for the victims of the Tsunami of March 11, 2011 with free sheet music

Nobuyuki Tsujii (辻井 伸行, Tsujii Nobuyuki) (also known as Nobu Tsujii) is a Japanese pianist and composer. He was born blind due to microphthalmia, and his exceptional musical talent has propelled him to become a world renowned artist. Tsujii performs extensively, with a large number of conductors and orchestras, and has received critical acclaims as well as notices for his unique techniques for learning music and performing with an orchestra while being unable to see.

Tsujii learns new musical works strictly by ear. A 2009 Time article explains: “Certainly, being blind hasn’t made it easy. Tsujii can use Braille music scores to learn new pieces, but this kind of translation is usually done by volunteers. Because demand is so low, the variety of scores available does not meet the needs of a professional performer, so Tsujii has devised his own method. A team of pianists records scores along with specific codes and instructions written by composers, which Tsujii listens to and practices until he learns and perfects each piece.”.

Tsujii said in a 2011 interview, “I learn pieces by listening, but it doesn’t mean I’m copying CDs or another person’s interpretation. I ask my assistants to make a special cassette tape for me. They split the piece into small sections, such as several bars, and record it (one hand at a time). I call these tapes ‘music sheets for ears.’ It takes me a few days to complete a short piece, but it takes one month to complete a big sonata or concerto.”

Tsujii has performed successfully with numerous orchestras under the baton of many conductors, both in Japan and abroad.

In 2017, a reporter from the Australian Broadcasting Corporation, Monique Schafter, asked Tsujii “How do you stay in time when you can’t see the conductor?” The pianist replied: ” By listening to the conductor’s breath and also sensing what’s happening around me.” Conductor Bramwell Tovey commented: “He must have very acute hearing, I’m sure.”

Piano concertos that Tsujii has performed include: Piano Concerto No. 1 (Beethoven), Piano Concerto No. 2 (Beethoven), Piano Concerto No. 3 (Beethoven), Piano Concerto No. 5 (Beethoven), Piano Concerto No. 1 (Tchaikovsky), Piano Concerto No. 3 (Prokofiev), Piano Concerto (Grieg), Piano Concerto No. 2 (Rachmaninoff), Piano Concerto No. 3 (Rachmaninoff), Piano Concerto No. 20 (Mozart), Piano Concerto No. 21 (Mozart), Piano Concerto No. 26 (Mozart), Piano Concerto No. 27 (Mozart), Piano Concerto No. 1 (Chopin), Piano Concerto No. 2 (Chopin), Piano Concerto (Ravel), Piano Concerto No. 1 (Liszt), and Piano Concerto No. 1 (Shostakovich). He has also performed Gershwin’s Rhapsody in Blue and Rachmaninov’s Rhapsody on a Theme of Paga

In addition to being a pianist, Tsujii is a composer.

At age 12, he performed his own composition “Street Corner of Vienna.”

In 2010-2011, he composed the theme music for a Japanese film ‘神様のカルテ (In His Chart)’,[34] for which he was named the 2011 Film Music Artist by the Japan Film Critics Award. That same year, he also composed the theme music for a Japanese TV drama ‘それでも、生きてゆく (Still We Live On)’.

In June 2011, Japanese figure skating champion Midori Ito performed in a world event (Master Elite Oberstdorf 2011) to the music of “Whisper of the River,” composed by Tsujii when he was in high school to express his love for his father after the two took a walk on the Kanda River in Tokyo.

Tsujii was the music director and composed the theme music for the Japanese film はやぶさ 遥かなる帰還 The Return of the Hayabusa released in February 2012. In 2014, he composed the ending theme for the film ‘マエストロ(Maestro!)’.

In 2016, Tsujii created and performed the background music for a series of three animation of Chōjū-jinbutsu-giga scrolls produced by Studio Ghibli for Marubeni Corporation.

Tsujii’s 2011 performance of his own composition, “Elegy for the Victims of the Tsunami of March 11, 2011 in Japan”, is widely viewed on the Internet.

Tsujii has an extensive discography. His recordings are now available worldwide.

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Bach’s Proglude in A minor for electric guitar and bass (with sheet music)

Bach’s Proglude in A minor for electric guitar and bass (with sheet music)

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Why jazzers love Bach?

“Bach’s music,” says the pianist Jacques Loussier, “is ideal for jazz improvisation. So many of the structures are similar, with patterns of 16 or 32 bars, and the left hand parts are very similar to jazz basslines.” Jacques Loussier – a career built on jazz Bach

More than any other individual musician, Loussier has managed to explore the connections between jazz and Bach in a career that stretches back to the 1950s, but his comments get to the heart of why J. S. Bach has always held such fascination for jazz players: namely form, structure and harmony.

Way back in the 1920s, the Harlem “stride” piano pioneers honed their skills on the classical repertoire and men like Fats Waller and James P. Johnson knew their Bach along with their Gershwin and Irving Berlin. Waller even recorded a classical pastiche of his song “Honeysuckle Rose” which he subtitled ”à la Bach, Beethoven, Brahms, and Waller”.

As the modern jazz era came in, the most technically accomplished pianists also played Bach, and used his music as the basis for their improvisations, such as Bud Powell in “Bud On Bach” or, a little later, Bill Evans with “Valse” which is based on a Bach Siciliana for flute.

And thinking of woodwind, several jazz reed players, like the saxophonist Lee Konitz, used Bach’s Two-part inventions as practice material, the basis for classical duets, and a jumping-off point for improvisation.

And it’s that idea of Bach as a springboard, a jumping-off point that has most fascinated the current generation of jazz improvisers, such as US pianist Uri Caine.

He says, “Bach’s theme and variations ideas have a direct corollary with what we do as jazz musicians. The harmony that underpins the recurring structure is what all the variations are built on and that is how we improvise over standards.”

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