The pianist was Max Middleton, who was classically-trained. To give context to the evening, I'm including a short except from my new book, The Sublime and the Ridiculous: Tales from a Jazz Life, which I haven't released for fear of getting sued by so many. The tune has an unusual form of 18 bars. And between Berry's lyrics and Johnnie's fabulous piano-playing, some of rock's seminal songs were written and recordings were made. This is not a transcription but is a perfectly accurate chord chart, and shows every chord and inversion. The composition includes an unconventional EmMaj9 add b6 chord, which implies E harmonic minor scale 1, ½, 1, 1, ½, 1½, ½.
So I'd welcome all comments and suggestions regarding the actual metronome setting. If you'd like to play it exactly as it was recorded on Van Morrison's first hit, this is your chance. In doing so, he seems to have satisfied his improvisational urge, for he opted not to play his customary improvised solo in the development section, while the other band members did. However the voicings should be strictly adheared to. But overall its main focus is on creating atmosphere and harmonic color.
It included an excellent 10-bar early-Jerry Lee piano solo. It is a beautiful blues ballad, written in homage to the then recently-departed Lester Young. 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. After reaching a musical climax, Beiderbecke would abandon the jazz style and return to a style more like that of Debussy 156-59. This is a note-for-note transcription of the entire piano part. The bass plays a conventional bossa nova line focusing on the root and fifth of the chords. Also, the Weather Report's recording has two extra measures of B13 11 at the end of the head.
I think I've got it mostly done, but am skeptical of my results for one particular measure. More tremolos follow, punctuated by runs and cool rhythmic figures, and ends with a recap of the tremolos that began the song's Intro. It is a long song, almost 5 and a half minutes, comprising 122 measures: an Introduction, ten Verses, three Choruses, and an Out section. Although it's meant only as a guide as to what the bass is playing during the solo, some adventurous pianists may want to actually play the bass line in the Left Hand while the notes are flying in the Right Hand solo. Actually composed and performed by session pianist Terry Fryer, the boogie is quite a virtuoso showpiece. Approach Patterns Are An Essential Component Sonny uses some classic and bebop licks throughout this chorus as well. For example, there is an A on an Eb9+11 on beat three of measures 1 and 11; and there is a C on an F 7+11 on beat one of measure 15.
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. Then I noticed that the curtains were ruffling, and that there was a commotion of some kind taking place backstage. Difficulty: Moderate To listen to the 8-bar piano solo, click here: To listen to the End Tag, click here: Eric Clapton - Cocaine - Piano Solo transcribed by Elmo Peeler. Difficulty: Challenging To see a customer's comment about this transcription, click. In addition to the original left hand part, an alternate left hand part is provided that has a better, fuller sound than the original part. This is a wonderful chance to study Browne's piano style and play his exact notes. This is your opportunity to not only play his music precisely as he recorded it, but to also study it and understand better the wonderfully creative mind that conceived it.
In the end Miles re-enters for a brief solo to conclude the piece. Quite virtuosic, it is primarily in double-notes: double-3rds, 4ths, and 5ths. Chuck Berry - You Never Can Tell - Piano Part by Johnnie Johnson transcr. The 11 is the 4 but up an octave. Apparently written by Rita Coolidge when she was dating drummer Jim Gordon, it was overheard by Eric Clapton when he came upon Gordon playing it in the studio during the Derek and the Dominos sessions. Stainton has his own bag of tricks, with liberal use of octaves, including an octave run that begins on the highest C-octave on the piano and descends over four bars, using the C minor pentatonic scale, until it's in the mid-register. The piano Intro is 32 seconds long, and the piano Outro is 38 seconds, for a total of 1:10 of hauntingly lovely solo piano.
He scrapped our entire set and started calling—onstage—different and unfamiliar material. . The chords are knocked together pretty much roughly. Please note that this is just the 2-bar Intro - the first 22 atmospheric notes - a tantalizing snippet to get you started on the right track. Please note that after the Intro, the Right Hand chords are represented by slashes with chord names above them, so you do need to have a working knowledge of chords and the ability to improvise. The changes at letter B are based on an enlightened guess, so all corrections are welcome.
This is a note-for-note transcription of the entire piano part - all 6:02 in length, 115 measures long. The snare drum accents follow the piano comp rhythm at the first bar, but are played differently at the second bar. I feel that Sonny achieved that with this solo as well. Bitonal passages, for example, occur over an extended pedal point; and the symmetric wholetone scale can also be found. How do you guys perceive this chord? Rick Wakeman - Ave Maria - Solo Piano transcribed by Elmo Peeler.