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Ennio Morricone (1928-2020)

Ennio Morricone, (10 November 1928 – 6 July 2020) Best Sheet Music download from our Library.Short biographyMorricone composed over 400 scores for cinema and television, as well as over 100 classical works. He started as a talented football player for A.S. Roma but left the sport to follow his passion for music. Please, subscribe to our Library. Thank you! List of compositions by Ennio MorriconeFilmography 1950s 1960s 1970s 1980s 1990s 2000s 2010s Television films and series1960s 1970s 1980s 1990s 2000sStage productions Radio productions Advertising campaigns Selected films with music by Morricone Classic (absolute) music Live albums Studio albumswith Gruppo di Improvvisazione di Nuova Consonanza with Mauro Maur with Chico Buarque Other Selected compilations Remix albums Box sets DVDs Tribute albums

Ennio Morricone, (10 November 1928 – 6 July 2020)

Morricone was an Italian composer, orchestrator, conductor, and former trumpet player who wrote music in a wide range of styles. https://youtu.be/Jjq6e1LJHxw Short biography Morricone composed over 400 scores for cinema and television, as well as over 100 classical works. He started as a talented football player for A.S. Roma but left the sport to follow his passion for music. His score to The Good, the Bad and the Ugly (1966) is considered one of the most influential soundtracks in history and was inducted into the Grammy Hall of Fame. His filmography includes over 70 award-winning films, all Sergio Leone‘s films since A Fistful of Dollars, all Giuseppe Tornatore‘s films since Cinema Paradiso, The Battle of Algiers, Dario Argento‘s Animal Trilogy, 1900, Exorcist II, Days of Heaven, several major films in French cinema, in particular the comedy trilogy La Cage aux Folles I, II, III and Le Professionnel, as well as The Thing, The Mission, The Untouchables, Mission to Mars, Bugsy, Disclosure, In the Line of Fire, Bulworth, Ripley’s Game and The Hateful Eight. After playing the trumpet in jazz bands in the 1940s, he became a studio arranger for RCA Victor and in 1955 started ghost writing for film and theatre. Throughout his career, he composed music for artists such as Paul Anka, Mina, Milva, Zucchero and Andrea Bocelli. From 1960 to 1975, Morricone gained international fame for composing music for Westerns and—with an estimated 10 million copies sold—Once Upon a Time in the West is one of the best-selling scores worldwide. From 1966 to 1980, he was a main member of Il Gruppo, one of the first experimental composers collectives, and in 1969 he co-founded Forum Music Village, a prestigious recording studio. From the 1970s, Morricone excelled in Hollywood, composing for prolific American directors such as Don Siegel, Mike Nichols, Brian De Palma, Barry Levinson, Oliver Stone, Warren Beatty, John Carpenter and Quentin Tarantino.

In 1977, Morricone composed the official theme for the 1978 FIFA World Cup. He continued to compose music for European productions, such as Marco Polo, La piovra, Nostromo, Fateless, Karol and En mai, fais ce qu’il te plait. Morricone’s music has been reused in television series, including The Simpsons and The Sopranos, and in many films, including Inglourious Basterds and Django Unchained. He also scored seven Westerns for Sergio Corbucci, Duccio Tessari‘s Ringo duology and Sergio Sollima‘s The Big Gundown and Face to Face. Morricone worked extensively for other film genres with directors such as Bernardo Bertolucci, Mauro Bolognini, Giuliano Montaldo, Roland Joffé, Roman Polanski and Henri Verneuil. His acclaimed soundtrack for The Mission (1986) was certified gold in the United States. The album Yo-Yo Ma Plays Ennio Morricone stayed 105 weeks on the Billboard Top Classical Albums.

In 2007, he received the Academy Honorary Award “for his magnificent and multifaceted contributions to the art of film music.” He has been nominated for a further six Oscars. In 2016, Morricone received his first competitive Academy Award for his score to Quentin Tarantino’s film The Hateful Eight, at the time becoming the oldest person ever to win a competitive Oscar.

His other achievements include three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, eleven Nastro d’Argento, two European Film Awards, the Golden Lion Honorary Award and the Polar Music Prize in 2010. Morricone has influenced many artists from film scoring to other styles and genres, including Hans Zimmer,Danger Mouse, Dire Straits, Muse, Metallica, and Radiohead. Morricone’s Sheet music is fully available in our Library.

List of compositions by Ennio Morricone

This is a list of compositions by composer, orchestrator and conductor Ennio Morricone. He composed and arranged scores for more than 400 film and television productions. Morricone was considered one of the most influential and best-selling film composers since the late 1940s He has sold well over 70 million records worldwide, including 6.5 million albums and singles in France over three million in the United States and more than two million albums in Korea. In 1971, the composer received his first golden record (disco d'oro) for the sale of 1,000,000 records in Italy and a "Targa d'Oro" for the worldwide sales of 22 million. His score for Sergio Leone's Once Upon a Time in the West is one of the top 5 best-selling original instrumental scores in the world today, with about 10 million copies sold. His score for The Mission (1986) was also at one point the world's best selling score. Morricone's music for The Good, the Bad and the Ugly (1966) and Le Professionnel (1981) each sold over 3 million copies worldwide. Filmography 1950s YearTitleDirectorNotes1955AbandonedFrancesco MaselliOrchestrations only Score composed by Giovanni Fusco1959La duchessa di Santa LuciaRoberto Bianchi MonteroOrchestrations only Score composed by Giorgio FaborDeath of a FriendFranco RossiConducting only Score composed by Mario Nascimbene 1960s YearTitleDirectorNotesLatest CD / Digital Release1960Run with the DevilMario CameriniOrchestrations only Score composed by Piero Piccioni,LipstickDamiano DamianiOrchestrations only Score composed by Giovanni FuscoL'avventuraMichelangelo AntonioniLe pillole di ErcoleLuciano SalceRejected score Replaced by Armando Trovajoli1961The FascistLuciano SalceFirst full scoreThe Last JudgmentVittorio De SicaArrangements and Conducting only Score composed by Alessandro Cicognini,1962L'italiano ha 50 anniFrancomaria TrapaniOrchestrations only Composed by Gino Peguri,Gli italiani e le vacanzeFilippo Walter RattiDocumentary filmI motorizzatiCamillo MastrocinqueCrazy DesireLuciano SalceIl sorpassoDino RisiOrchestrations only Score composed by Riz OrtolaniI due della legione stranieraLucio FulciArrangements and Conducting only Score composed by Luis BacalovEighteen in the SunCamillo MastrocinqueA Girl...and a MillionLuciano Salce1963Violenza segretaGiorgio MoserOrchestrations only Score composed by Giovanni FuscoIl SuccessoDino RisiLe monachineLuciano Salce—El GrecoGunfight at Red SandsRicardo Blasco Mario CaianoFirst Western film scoreI basilischiLina Wertmüller—1964Una Nuova fonte di energiaDaniele G. LuisiDocumentary filmMalamondoPaolo Cavara—CAM Sugar / 2021I maniaciLucio FulciComposed with Carlo RustichelliI marziani hanno 12 maniFranco Castellano Giuseppe Moccia—In ginocchio da teEttore Fizzarotti—Bullets Don't ArgueMario Caiano—A Fistful of DollarsSergio LeoneSilver Ribbon Award for Best ScoreI due evasi da Sing SingLucio Fulci—Quartet Records / QR445 / 2021Before the RevolutionBernardo Bertolucci—...e la donna creò l'uomo Camillo Mastrocinque—1965A Pistol for RingoDuccio Tessari—Nightmare CastleMario CaianoFirst horror film scoreAgent 077: Mission Bloody MarySergio GriecoTitle song only Score composed by Angelo Francesco LavagninoHighest PressureEnzo TrapaniComposed with Luis Enriquez BacalovSlalomLuciano Salce—Menage all'italianaFranco Indovina—Fists in the PocketMarco Bellocchio—ThrillingCarlo Lizzani Gianni Luigi Polidori Ettore ScolaComposed with Bruno NicolaiNon son degno di teEttore Fizzarotti—Se non avessi più teIdoli controluceEnzo Battaglia—For a Few Dollars MoreSergio Leone—The Return of RingoDuccio Tessari—1966The Bible: In the BeginningJohn HustonFirst American film Uncredited; Composed with Toshiro MayuzumiSeven Guns for the MacGregorsFranco Giraldi—Wake Up and DieCarlo Lizzani—Agent 505: Death Trap in BeirutManfred R. KöhlerComposed with Bruno NicolaiThe Hawks and the SparrowsPier Paolo PasoliniNominated - Silver Ribbon Award for Best ScoreThe Battle of AlgiersGillo PontecorvoComposed with PontecorvoThe Hills Run RedCarlo Lizzani—Un uomo a metàVittorio De Seta—How I Learned to Love WomenLuciano Salce—For a Few Extra DollarsGiorgio FerroniComposed with Gianni FerrioFlorence: Days of DestructionFranco ZeffirelliDocumentary filmNavajo JoeSergio Corbucci—The Big GundownSergio Sollima—Beat Records / BCM9603 / 2022The Read the full article

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Libertango (partitura Piano Solo) - Astor Piazzolla

https://vimeo.com/469843019

Libertango (Piano Solo) - Astor Piazzolla sheet music (partitura)

Libertango es una composición del compositor de tango Astor Piazzolla, grabada y publicada en 1974 en Milán. El título es un acrónimo que fusiona 'Libertad' (español para 'libertad') y 'tango', que simboliza la ruptura de Piazzolla del tango clásico al tango nuevo. Astor Piazzolla grabó y publicó Libertango en 1974 en Milán, simbolizando su ruptura del tango clásico al tango nuevo (ver más abajo los detalles de la grabación). El violonchelista YoYo Ma tocó Libertango en su álbum de 1997 Soul of the Tango: The Music of Astor Piazzolla. Fue presentado por el guitarrista Al Di Meola en su álbum de 2000 The Grande Passion. En 2002, Libertango apareció en el segundo álbum de Bond del cuarteto de cuerdas clásico australiano / británico, 'Shine'. En 2017, apareció en el álbum colaborativo en vivo de la pianista de jazz japonesa Hiromi y el arpista colombiano Edmar Castaneda, grabado en Montreal. Si bien Libertango nació como una pieza instrumental, en 1990 el poeta uruguayo Horacio Ferrer incorporó una letra en idioma español basada en el tema de la libertad. Según la base de datos de interpretación de All Music Guide, la composición ha aparecido en más de 500 lanzamientos separados. La canción de Grace Jones I've Seen That Face Before (Libertango) usa la misma música, al igual que la canción 'Jungle Tango' de Jazz Mandolin Project, la canción 'Moi je suis tango' de Guy Marchand y la canción Hívlak de Kati Kovács. En 1997, la música folklórica irlandesa Sharon Shannon grabó una versión de I've Seen That Face Before (Libertango) de Grace Jones para su tercer álbum, Each Little Thing. Con la voz de sesión de Kirsty MacColl, también apareció en 2001 en The One and Only, un álbum recopilatorio lanzado después de su muerte. Shannon relanzó la grabación como la canción principal de su compilación de 2005. La cantante y compositora cubanoamericana Luisa Maria Güell agregó letras al tema del título 'Libertango' y las grabó para su álbum Una de 2007. Una versión más reciente en español de la letra de Libertango pertenece a la cantante, letrista y compositora argentina Lilí Gardés, quien describe la soledad de la vida en la ciudad. Esta versión fue aprobada por Edizione Cursi/Pagani SRL, y formó parte del espectáculo Zombitango. En la serie de anime Prince of Tennis, Atobe Keigo y Sanada Genichirou asistieron a una interpretación de esta canción. Lo usaron más tarde para marcar el ritmo de su partido de dobles. En el fandom estos personajes son conocidos como la 'Pareja de Tango'. Libertango fue la música de fondo en el anuncio de Tarot para el sedán ejecutivo compacto S60 de Volvo. La música se utilizó en la película Frantic (1988) de Roman Polanski, así como en la película Le Pont du Nord (1981) de Jacques Rivette.

Astor Piazzolla

Astor Piazzolla (11 de marzo de 1921-4 de julio de 1992) fue un compositor, bandoneonista y arreglista argentino de tango. Sus obras revolucionaron el tango tradicional en un nuevo estilo denominado Nuevo tango, incorporando elementos del jazz y la música clásica. Bandoneonista virtuoso, interpretó regularmente sus propias composiciones con una variedad de conjuntos. En 1992, el crítico musical estadounidense Stephen Holden describió a Piazzolla como 'el compositor de música de tango más importante del mundo'. Después de dejar la orquesta de Troilo en la década de 1940, Piazzolla dirigió numerosos conjuntos, comenzando con la Orquesta de 1946, el Octeto Buenos Aires de 1955, el 'Primer Quinteto' de 1960, el Conjunto 9 de 1971 ('Noneto'), el 'Segundo Quinteto' de 1978 y el 1989. Nuevo Sexteto de Tango. Además de aportar composiciones y arreglos originales, en todos ellos fue director y bandoneonista. También grabó el álbum Summit (Reunión Cumbre) con el saxofonista barítono de jazz Gerry Mulligan. Sus numerosas composiciones incluyen obras orquestales como el Concierto para bandoneón, orquesta, cuerdas y percusión, Doble concierto para bandoneón y guitarra, Tres tangos sinfónicos y Concierto de Nácar para 9 tanguistas y orquesta, piezas para guitarra clásica solista – las Cinco Piezas ( 1980), así como composiciones en forma de canción que aún hoy son muy conocidas por el gran público de su país, como 'Balada para un loco' y Adiós Nonino (dedicada a su padre), que grabó muchas veces con diferentes músicos y conjuntos. Los biógrafos estiman que Piazzolla escribió unas 3.000 piezas y grabó unas 500. En 1984 se presentó con su Quinteto Tango Nuevo en West-Berlin, Alemania y para televisión en Utrecht, Holanda. En el verano de 1985 actuó en el Almeida Theatre de Londres durante una semana. El 6 de septiembre de 1987, su quinteto dio un concierto en el Central Park de Nueva York, que fue grabado y, en 1994, lanzado en formato de disco compacto como The Central Park Concert.

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Mompou: Impressions Íntimes - Impresiones Intimas (piano)

Mompou: Impressions Íntimes - Impresiones Intimas (piano)Best Sheet Music download from our Library.Federico Mompou: Impresiones intimas (piano, FULL)Please, subscribe to our Library.About Frederic MompouBrowse in the Library:

Mompou: Impressions Íntimes - Impresiones Intimas (piano)

Impresiones intimas, composed by Frederic Mompou, is a remarkable collection of solo piano works that encapsulates the essence of Mompou's intimate and introspective musical style. The title itself, translating to "intimate impressions," provides a fitting description of the music contained within. Mompou's compositions in Impresiones intimas transport the listener to a world of delicate emotions and understated beauty.

The pieces are characterized by their thoughtful and introspective nature, often employing simple melodies and gentle harmonic progressions. These minimalist elements serve to create a sense of intimacy and vulnerability throughout the collection, as though the composer is whispering personal thoughts and emotions. Within Impresiones intimas, Mompou explores a wide range of emotions, from nostalgic yearning in pieces like "Notturno" to tender reflection in "Cuna." The music evokes a sense of introspection and contemplation, inviting listeners to explore their own memories and sentiments. Mompou's use of subtle nuances and exquisite attention to detail allows for a deep connection and emotional resonance with the music.

Overall, Impresiones intimas stands as a testament to Mompou's mastery of crafting highly personal and introspective musical pieces. It offers a unique experience, inviting listeners into an intimate world where emotions are expressed through the gentle touch of the piano keys.

Federico Mompou: Impresiones intimas (piano, FULL)

https://www.youtube.com/watch?v=vspgB2viH9Y 1. Impresiones intimas: I. Impresione Intima No. 1 2. Impresiones intimas: II. Impresione Intima No. 2 3. Impresiones intimas: III. Impresione Intima No. 3 4. Impresiones intimas: IV. Impresione Intima No. 4 5. Impresiones intimas: V. Pajarro Triste 6. Impresiones intimas: VI. La Barca 7. Impresiones intimas: VII. Cuna 8. Impresiones intimas: VIII. Secreto 9. Impresiones intimas: IX. Gitano Artur Pizarro, piano.

About Frederic Mompou

Frederic Mompou (1893-1987) was born in Barcelona in the heart of the theater district, which at that time was concentrated in the Paral.lel , on April 16, 1893 to a Catalan father and a mother of French descent. Encouraged by his family, he studied piano at the Liceo Conservatory of Barcelona, ​​giving his first public recital at the age of 15. According to his biography, in 1909 he heard Gabriel Fauré perform his Quintet No. 1 Op.89, and was so impressed that he decided to dedicate himself to composition. Recommended by Enric Granados, in 1911 he moved to Paris to perfect his piano studies. But his shyness did not allow him to deliver the letter written by Granados to Gabriel Fauré, director of the Paris Conservatory, renouncing to compete in said institution. He took private piano lessons with Isidor Philipp and Ferdinand Motte-Lacroix and harmony lessons with Marcel Samuel Rousseau. When the First World War broke out in 1914, he returned to Barcelona, ​​where he composed his first works for piano, the "Impressions íntimes" that he had begun in 1911 in Paris, completed in 1914, followed by "Pessebres" composed between 1914 and 1917. From his Initial works define his style, small works of an intimate and delicate nature, with influences of French impressionism. He also uses themes from Catalan folklore that he adapts to his own style.

“Scènes d'enfants" is a piano suite composed between 1915 and 1918. It is dedicated to his friend Manuel Blancafort, being one of the first works he performed publicly in Paris in 1921. It was orchestrated in 1936 by Alexander Tansman. The first part, Cris dans la rue , shouts in the street, evokes the joyful play of children in the street. When it returns to calm, an old Catalan popular song is evoked, La filla del marchant. Childish joy closes the short piece. The second part, Jeux sur la plage , games on the beach, is based on a personal memory of the composer. Children bathing on the beach of Barceloneta. Their joyful shouting mixes with the voices of the workers leaving the factories. In the orchestral transcription this movement is placed at the end to close the work. The third and fourth parts share the title, Jeu , game, in which a child's whistle evokes images of the past, of a lost paradise. They alternate joy with melancholic sadness. The fifth part, Jeunes filles au jardin , young girls in the garden, is one of Mompou's best-known pages. Influenced by Debussy, he presents a charming miniature showing languid creatures that dance and sing. Its melodic main theme seems like a musical representation of Mucha's engravings. A nostalgic work in which the evocation of children's games is mixed with the composer's childhood memories, expressed in an evocative way influenced by French Impressionism. “Suburbis" composed between 1916 and 1917 was orchestrated by Ricardo Lamote de Grignon and Manuel Rosenthal. It was part of the program of the concert dedicated to Mompou in 1921 at the prestigious Erard hall in Paris, with the interpretation of his works by Ferdinand Motte. Lacroix and that launched the composer to be known internationally. The first part, The carrer, the guitarist and the old cavall , the street, the guitarist and the nag, musically presents us with a scene that the composer himself describes to us with the following phrases. With the night has come silence. The hours sound heavily and in the street only the memory of a little guitar music remains... A cart full of stones passes by and the horse with big, compassionate eyes pulls with effort... And further down, that little old man sitting on its small worm-eaten wooden bench collecting the charity of those passing by and making its old out-of-tune organ moan lazily... The second part, Gitanes , consists of a romantic evocation of some gypsy friends of the composer, La Fana and La Chatuncha, with whom he had long conversations, impressing him with their haughty bearing and natural elegance. The third part, Sota un ritme inquiet , under a restless rhythm, in the orchestral version is titled Gitanes II , being the continuation of the previous movement. It vaguely evokes a flamenco rhythm. The fourth part, La cegueta , the blind girl, describes a traditional figure from the poor neighborhoods. Through a subtle harmonization he translates his unsteady gait, bringing out the pain in each chord. The fifth part, L'home de l'Aristó , the man of the ariston, returns to the figure of the beggar described in the first part. Through this re-exposition he closes the work with a certain bitterness. Aristón is a synonym for organillo, referring to a certain commercial brand. A descriptive work of post-impressionist type. It evokes the long walks that the composer took around Barcelona, ​​the suburbs. From the Montjuïc mountain you could see the poor neighborhoods, these suburbs that you are trying to describe. From the same period are the "Cants màgics" composed for piano between 1917 and 1919 and "Fêtes lointaines" from 1920. After the war, Mompou made several trips to Paris until he settled permanently in 1922, where he would remain until the German occupation of 1941. There he composed some of his most notable works. "Charmes" composed for piano between 1920 and 1921 was one of the composer's favorite pieces, one of the best examples of his musical aesthetics. At the end of the decade he composed two short works for piano, the "Tres variacions" in 1921 and "Dialogues" in 1923. In 1921 he began one of his best-known piano cycles "Cançons i danses", a series that would end in 1963. Consisting of 14 pieces written for piano, except No. 13 which is for guitar, composed during various periods of his life. The form is that of a lyrical piece followed by a counterpoint in a rhythmic relationship, most taking traditional Catalan themes, some very well known. The last one is dedicated to the great pianist Alicia de Larrocha. Another piano cycle is the one formed by the "Preludes", a series of 12 preludes that began in 1927 and ended in 1960. Number 11 is also dedicated to Alicia de Larrocha as a wedding gift. Written in an impressionist style with neoclassical influences. During the 1930s Mompou suffered a crisis as a composer. In this decade he only wrote a few minutes of music, two of his preludes, "Souvenirs de l'Exposition" in 1937 and he began the first "Variations on a Theme by Chopin." There may have been several reasons for this stop along the way. The growth of fascism in Europe, the Spanish Civil War, the death of his father and the change of direction of European music inclined towards atonalism and abstract methods. Mompou returns to Barcelona in 1941 and there he will meet the person who would change his life. Her name was Carmen Bravo, a girl of just 22 years old who was participating in a piano competition. Mompou was one of the members of the jury. He noticed her first in the musical field but soon in the personal field. Despite being almost 30 years younger, love soon united them. Long walks with the girl through the Gothic quarter of Barcelona would lead him to regain the strength to continue composing. Mompou was a withdrawn, shy and introverted person, unlike Carmen who had an extroverted character. When they asked her why she had fallen in love, the girl naively answered because it makes me laugh . The courtship was long until they decided to get married in 1957. During this time the composer's creation increased. In addition to continuing the cycles he started, he composed the song cycle for soprano and piano "El Combat del somni" . The “Combat del somni" composed between 1942 and 1948 was orchestrated by the composer himself in 1965. His future wife Carme Bravo had introduced him to one of her friends, Josep Janés, an editor and also an unknown poet. The composer discovered a book titled Combat del somni , in which love is expressed in a tone that is both modest and rapturous. Mompou recovered his inspiration as a composer by choosing three poems from the book, moved by the beauty of texts so identified with his own sensitivity and decided to set them to music. The first movement, Damunt de tu, només les flors , above you only the flowers, composed in 1942, is a romantic love song expressed in a heartbroken tone. They say that upon hearing it, Poulenc had his interpretation repeated three times. The second movement, Aquesta nit un mateix vent , tonight the same wind, has a lyrical content, expressing a loving feeling. The third movement, Jo et pressentia com la mar , I felt you like the sea, closes the brief cycle with a melodic form that formulates an intense love passion. "Ballet" composed for piano in 1949 is one of his most unknown works. We don't know if it hides choreographic ideas. It is a collection of short, poorly developed pieces, most of which evoke the air of dance. In its last number a mezzo-soprano intervenes. The "Variations on a Chopin Theme" composed in 1938 were orchestrated by the composer himself in 1957. They are based on the Polish composer's Prelude No. 7 in A major . A well-known theme that has sometimes been used as ballet music Intended to serve as a basis for a choreographic development, the work is made up of the theme followed by twelve variations. They were performed on December 30, 1962 by the Barcelona Municipal Orchestra under the direction of Rafael Ferrer. "Paisatges" is a small piano suite composed between 1941 and 1960. Mompou's most characteristic work is undoubtedly the series of piano pieces grouped under the name "Música callada" . Divided into four notebooks, the first composed in 1951, the second in 1962, the third in 1965 and the last in 1967. He identifies his music with the meaning of a poem by Saint John of the Cross, a 16th century mystical poet, titled Spiritual Canticle . The quiet night in pair of the dawn rises, the quiet music, the sonorous loneliness, the dinner that recreates and falls in love A music that represents his aesthetic ideal, a music that is the voice of silence, as he expresses in his own words. This music has no air or light. It is a weak heartbeat. You cannot go beyond a few millimeters in space, but the mission of penetrating the great depths of our soul and the most secret regions of our spirit can. This music is quiet because its hearing is internal. The third number of the first notebook, Placide , would become in the 1950s the tune that identified the SER radio network, with the name Sinfonía Azul. A tune that continues to be used. The “Suite Compostelana" written in 1962 for guitar is dedicated to Andrés Segovia. It was orchestrated in 2003 under the name of Compostel.la, suite per a orchestra by Antoni Ros Marbà, premiering on October 30, 2003 at the Auditorium of Galicia from Santiago de Compostela, performed by the Royal Philharmony of Galicia directed by Ros Marbá. After being heard in Madrid and Las Palmas, it was presented in Barcelona on May 5, 2006, performed by the Orquestra Simfònica de Barcelona i Nacional de Catalunya conducted by Antoni Ros Marbà. Composed of five movements. It begins with Preludi, allegretto , Coral, Lento and Cançó, moderato , which become abstract in the style of Mompou, giving way to the expressive cello of the Recitatiu, slow molto espressivo e cantabile , ending with the allegro of the Muñeira, where the trombones and a Rich percussion contributes to greater sound expansion. “Los Improperios" composed in 1963 are the result of a commission from the Organizing Committee of the Cuenca Religious Music Week. They premiered on March 26, 1964, performed by the Spanish Radio Television Symphony Orchestra with the Polyphonic Chapel and the baritone R. Torres. Its title refers, within the Catholic rite, to the verses of the Good Friday liturgy, in which the crucified Christ addresses his people to reproach them for their ingratitude. Mompou presents it in the form of an oratorio composed of a prelude and seven parts sung over a Latin text. The "Songs on texts by Paul Valéry" were composed in 1973 at the request of the board of directors of the Barcelona International Music Festival, for the 1973 call. They consist of a suite of five songs on texts by Paul Valery, written for soprano and piano. Antoni Ros Marbá performed his orchestral version. The first song is titled, La fausse morte , the second, L'ínsinuant , the third, Le vin perdu , the fourth, Le sylphe and the fifth, Les pas . Mompou suffered a brain hemorrhage in 1978, which he overcame, but it left him in a wheelchair and unable to play the piano. He gave up composition. During the last years of his life he received numerous tributes. He died in Barcelona on June 30, 1987. As a curiosity, we will comment on the discovery in a farmhouse in Priorat, in 2016, of some player piano rolls recorded by Mompou together with his friend Manuel Blancafort under the pseudonym Hobby . These are 16 dance pieces in the style of the United States, such as ragtimes or foxtrots that were commercialized. Among them are Katharine, Time and money and Victoria March . The pianola is a mechanical piano with pneumatic elements, which allow automatic reproduction of music punched on a roll of paper. In fact, it allows both manual execution by a pianist and automatic execution using paper rolls. Read the full article

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Hommage à Martial Solal (1927-2024)

Hommage à Martial Solal (1927-2024).Téléchargement des meilleures partitions dans notre bibliothèque.BiographieJeunesseBest Sheet Music download from our Library.Débuts professionnelsPlease, subscribe to our Library.StyleDiscographieBrowse in the Library:

Hommage à Martial Solal (1927-2024).

Martial Solal, né le 23 août 1927 à Alger (Algérie française) et mort le 12 décembre 2024 à Chatou (Yvelines), est un pianiste, compositeur, arrangeur et chef d'orchestre de jazz français. Sa carrière débute dans les années 1950, durant lesquelles il enregistre notamment avec Django Reinhardt et Sidney Bechet. Au Club Saint-Germain, il accompagne les plus grands musiciens américains de l'époque : Don Byas, Clifford Brown, Dizzy Gillespie, Stan Getz et Sonny Rollins. Il a enregistré plus d'une centaine de disques en solo, en trio ou avec différents big bands, ainsi qu'en duo - formule qu'il affectionne particulièrement -, avec entre autres Lee Konitz, Michel Portal, Didier Lockwood, John Lewis et David Liebman. Solal ne se limite pas à la scène jazz : il écrit de nombreuses œuvres symphoniques jouées notamment par le nouvel orchestre philharmonique, l'Orchestre national de France ou l'Orchestre Poitou-Charentes. Il compose également plusieurs musiques de films, notamment pour Jean-Luc Godard (À bout de souffle) ou pour Jean-Pierre Melville (Léon Morin, curé). Le style de Martial Solal, virtuose, original, inventif et plein d'humour, repose notamment sur un talent d'improvisation exceptionnel servi par une technique impeccable qu'il entretient par un travail systématique tout au long de sa carrière. Bien qu'il n'ait eu qu'un seul véritable élève en la personne de Manuel Rocheman, il a influencé de nombreux musiciens tels que Jean-Michel Pilc, Baptiste Trotignon, Franck Avitabile, François Raulin et Stéphan Oliva. Le prestigieux concours de piano jazz Martial Solal, organisé de 1988 à 2010, porte son nom. Biographie Jeunesse Martial Saoul Cohen-Solal est né le 23 août 1927 à Alger, alors en Algérie française, dans une famille juive algérienne non pratiquante. Son père, algérien de naissance, était un modeste comptable, sa mère était originaire de Ténès. Il apprend les bases du piano auprès de sa mère, chanteuse d'opéra amateur, puis auprès de Madame Gharbi qui lui donne des cours de piano classique dès l'âge de six ans. Son talent d'improvisateur se révèle dès l'âge de dix ans, lors d'une audition, lorsqu'il modifie l'ordre des séquences d'une Rhapsodie de Liszt, sans hésitation et sans que personne ne s'en rende compte. Adolescent, il découvre le jazz et la liberté qu'il permet, aux côtés de Lucky Starway, saxophoniste multi-instrumentiste et chef d'orchestre local à Alger. Starway lui a présenté Louis Armstrong, Fats Waller, Teddy Wilson et Benny Goodman. Solal prend des cours avec lui pendant deux ou trois ans, durant lesquels il fait la « pompe » : une basse à la main gauche, un accord à la main droite. Lucky Starway l'engage finalement dans son orchestre. À partir de 1942, les lois sur le statut des juifs du régime de Vichy, entrées en vigueur dans les colonies françaises, interdisent à Martial Solal, enfant de père juif, d'entrer à l'école. Il se consacre donc à la musique. Le débarquement allié en 1942 lui évite la déportation. Durant la Seconde Guerre mondiale, alors qu'il effectuait son service militaire au Maroc, il joua dans les mess des soldats américains. Débuts professionnels Départ pour Paris Solal devient musicien professionnel en 1945, ce qui ne l'empêche pas d'enchaîner des petits boulots en parallèle. Les opportunités étant limitées à Alger pour un pianiste de jazz, il s'installe à Paris au début des années 1950, à l'âge de 22 ans, sans connaître personne. Après quelques semaines, il joue dans plusieurs orchestres de jazz, comme ceux de Noël Chiboust ou d'Aimé Barelli, contraints, pour des raisons économiques, de jouer du tango, du java, du paso doble ou des valses. Le Club Saint-GermainMartial Solal fréquente le Club Saint-Germain, alors le plus important en matière de jazz, et commence à y jouer en 1952. Il y sera le « pianiste maison » pendant une dizaine d'années, en alternance parfois avec le Blue Note, le autre grand club de jazz. Au Club Saint-Germain, avec le batteur Kenny Clarke et le bassiste Pierre Michelot, il accompagne des musiciens américains en visite, tels que Don Byas, Lucky Thompson, Clifford Brown, Dizzy Gillespie, Stan Getz et Sonny Rollins. Il y rencontre également André Previn, ainsi qu'Erroll Garner et John Lewis. En novembre 1954, il accompagne l'orchestre Barelli dans une tournée à travers la France et l'Afrique du Nord. Il crée un quatuor avec Roger Guérin à la trompette, Paul Rovère à la contrebasse et Daniel Humair à la batterie, et joue également du piano solo, dans un style inspiré d'Art Tatum. Entre 1959 et 1963, il accompagne avec son orchestre des chanteurs français tels que Line Renaud, Jean Poiret et Dick Rivers. En 1961, Solal compose la musique du tube Twist à Saint-Tropez. En 1956, Martial Solal crée son premier big band, salué par le compositeur — et ami de Martial Solal — André Hodeir. Dans son écriture, le piano alterne souvent avec l'orchestre, la section des saxophones est bien équilibrée, le jeu des trompettes est musclé. En 1957 et 1958, Solal enregistre d'autres titres avec son big band, tandis que son écriture se complexifie, avec un son plus massif et une tessiture plus large. Les changements de rythme et de tempo, qui deviennent alors sa signature, se généralisent. En 1958, Solal commence à composer l'ambitieuse Suite en ré bémol pour quatuor de jazz, d'une durée d'environ 30 minutes. En 1959, Martial Solal compose sa première musique de film pour Deux Hommes dans Manhattan de Jean-Pierre Melville, ami et admirateur du pianiste depuis sa Suite en ré bémol. Le compositeur principal, Christian Chevallier, était malade et n'a pas pu écrire la dernière séquence de 7 minutes. Solal a donc écrit un petit ostinato au piano d'une dizaine de notes, et une très courte mélodie jouée par Roger Guérin. Pour Solal, « le plus difficile a été de jouer le même riff pendant sept minutes sans aucun effet, sans aucune variation de tempo ou de dynamique. Un vrai test. Melville a apprécié le suspense créé. Sa renommée commence à grandir aux Etats-Unis, berceau du jazz : Oscar Peterson, de passage en France en juin 1963, passe l'écouter au Club Saint-Germain. Le producteur américain George Wein l'invite à jouer pendant deux semaines au Hickory House, un club de la 53e rue à New York, avant de le présenter au Festival de Newport en 1963. Pour Martial Solal, ce fut un choc : aucun musicien de jazz français n'avait été invité aux Etats-Unis depuis Django Reinhardt. Comme il était invité sans son trio, Joe Morgen, l'envoyé de Wein, lui présenta le contrebassiste Teddy Kotick et le batteur Paul Motian, qui jouaient avec Bill Evans ; l'entente entre les trois musiciens est rapide. Le succès est au rendez-vous et l'engagement à Hickory House est prolongé de trois semaines ; Le Temps lui consacre également deux colonnes. Le concert de Solal à Newport est publié (At Newport '63) après quelques « reprises » enregistrées en studio le 11 juillet 1963. L'album est salué par la presse américaine, ainsi que par Duke Ellington et Dizzy Gillespie. Le célèbre producteur Joe Glaser le prend sous son aile et, en une semaine, Solal a tout ce qu'il faut pour s'installer à New York : une carte de sécurité sociale et une carte de cabaret, lui permettant de jouer dans des clubs. . Il lui propose un engagement à la London House de Chicago, lieu de référence pour tous les grands pianistes. Mais Solal, de retour en France, ne retourne pas aux Etats-Unis. Divorcé d'un jeune enfant (Éric Solal), sa situation familiale est trop compliquée pour cette carrière américaine prometteuse. En 1964, il retourne encore jouer sur la côte ouest des États-Unis, notamment à San Francisco, où il rencontre Thelonious Monk. Cette absence de la scène américaine depuis plusieurs années explique en partie le fait que Solal reste encore relativement méconnu outre-Atlantique. En 1960 au Club Saint-Germain, Martial Solal crée son trio avec Guy Pedersen à la contrebasse et Daniel Humair à la batterie. En 1965, Martial Solal crée un nouveau trio avec Bibi Rovère à la contrebasse et Charles Bellonzi à la batterie. En 1970 sort Sans tambour ni trompette, que Martial Solal considère comme son album le plus novateur. Martial Solal a publié plusieurs albums pour piano solo dans les années 1970 : Martial Solal lui-même (1974) ; Plays Ellington, prix « In Honorem » de la Jazz Academy avec distinction (1975) ; Rien que du piano (1976) et The Solosolal (1979). En 1983, Bluesine est sorti par Soul Note. En 1990, il improvise devant le film muet Feu Mathias Pascal de Marcel L'Herbier, exercice qu'il pratique régulièrement. L'album est publié par Gorgone Productions. À partir de 1974, Martial Solal donne des centaines de concerts en duo avec le saxophoniste Lee Konitz, dont plusieurs sont enregistrés et publiés : European Episode et Impressive Rome (1968 et 1969), Duplicity (1978), The Portland Sessions (1979). ), Live aux Berlin Jazz Days 1980, Star Eyes, Hambourg 1983 (1998). Au milieu des années 1970, Solal joue en duo en Allemagne avec le contrebassiste danois Niels-Henning Ørsted Pedersen. Ils enregistrent un album sorti en 1976 sur le label allemand MPS, Movability. Dans les années 1970, Martial Solal rencontre le compositeur Marius Constant et commence à s'intéresser à la musique contemporaine, qui semble lui offrir de nouvelles possibilités pour le jazz. En 1977, Solal et Constant co-écrivent Stress, pour trio de jazz et quintette de cuivres. Les deux musiciens enregistrent Stress, psyché, complexes en 1981. En 1974 sort Locomotion avec Henri Texier et Bernard Lubat, un disque étonnant et humoristique sur lequel Solal joue du piano et du piano électrique dans un style groovy proche du jazz-rock. Il s'agit d'un regroupement de petites pièces destinées à illustrer des diffusions de séquences sportives à la télévision. L'album a été réédité en 2019 par Underdog Records pour le Record Store Day. En 1980, l'album Happy Reunion, en duo avec Stéphane Grappelli, reçoit le prix Boris-Vian du meilleur enregistrement français. En 1988, 21h/23. Town Hall a été publié, avec Michel Portal, Daniel Humair, Joachim Kühn, Marc Ducret et Jean-François Jenny-Clark. Au début des années 1980, Solal forme un nouveau big band de seize musiciens, dont Éric Le Lann, pour qui il écrit un nouveau répertoire. Cet orchestre se produit dans toute l'Europe, y compris dans tous les pays de l'Est. Il enregistre deux disques, un en 1981, un autre en 1983-84, avec des morceaux ambitieux, dont un qui occupe toute la face d'un disque 33 tours. Il écrit des arrangements de chansons de Piaf et Trenet pour Éric Le Lann, qui figurent sur l'album Éric Le Lann joue Piaf et Trenet (1990). Au début des années 1990, Martial Solal crée le Dodécaband, un « medium band » de douze musiciens qui reprend la structure traditionnelle des big bands : trois saxophones, trois trompettes, trois trombones et une section rythmique. Le groupe donne peu de concerts, et n'est pas enregistré. A l'invitation du festival Banlieues Bleues en 1994, il travaille sur des pièces de Duke Ellington, comme en témoigne l'album Martial Solal Dodecaband Plays Ellington (2000). Avec un nouveau big band qu'il appelle le Newdecaband, Solal publie Exposition sans tableau (2006), composé de compositions originales. Dans ce groupe se trouve la chanteuse de jazz Claudia Solal, fille du pianiste, qui sert d'instrument à l'orchestre. Au début des années 1990, Martial Solal réalise une émission hebdomadaire sur France Musique. Il invite près d'une centaine de pianistes à participer, seuls, à des duos ou des trios, parmi lesquels Manuel Rocheman, Jean-Michel Pilc, Robert Kaddouch, Baptiste Trotignon, Franck Avitabile et Franck Amsallem. Martial Solal improvise pour France Musique, un album sorti en 1994, reprend certaines des improvisations jouées par le pianiste solo lors de ces émissions. En 1995, Martial Solal enregistre Triangle avec un groupe rythmique américain : Marc Johnson (contrebasse) et Peter Erskine (batterie), trio avec lequel le pianiste part en tournée. En 1997, suite à l'album Just Friends, il se produit en Europe et au Canada avec un trio composé de Gary Peacock et Paul Motian, le batteur que Solal connaît depuis At Newport '63. Le pianiste retrouve à nouveau le batteur Paul Motian sur Ballade du 10 mars (1999). En 2002 et 2003, Solal continue de jouer aux États-Unis, à San Francisco, Los Angeles et New York. Mais peu friand de voyages, il annule à la dernière minute le concert prévu au Kennedy Center de Washington en 2005. En octobre 2007, il enregistre Live at the Village Vanguard, son premier enregistrement pour piano solo au Village Vanguard. En 2009, le festival Jazz à Vienne lui offre carte blanche. Il interprète un programme pour six pianos qu'il a composé, Petit Exercice pour Cent Doigts, en compagnie de Benjamin Moussay, Pierre de Bethmann, Franck Avitabile, Franck Amsallem et Manuel Rocheman. Il joue ensuite du deux pianos avec Hank Jones, accompagné de François et Louis Moutin. La soirée se termine par un concert réunissant les cordes de l'Opéra de Lyon sous la direction de Jean-Charles Richard, les cuivres du Nouveau Décaband et le saxophoniste Rick Margitza. En 2015, Works for Piano and Two Pianos est sorti. On retrouve plusieurs compositions de Solal interprétées par Éric Ferrand-N'Kaoua : Voyage en Anatolie, les neuf Préludes Jazz et les Onze Études. Martial Solal rejoint Éric Ferrand-N'Kaoua pour interpréter la Ballade pour deux pianos. Bien qu'il ait déclaré vouloir ralentir son activité compte tenu de son grand âge (il a eu 90 ans en 2017) et suite à des problèmes d'anévrismes, Martial Solal continue de se produire sporadiquement sur scène, notamment en duo avec Bernard Lubat (2014), Jean -Michel Pilc (2016) ou David Liebman (Masters à Bordeaux, 2017, et Masters à Paris, 2020). En mars 2018, est sorti My One and Only Love, un album live solo enregistré en Allemagne. Des histoires improvisées (paroles et musique) (JMS/Pias) sont apparues le 16 novembre 2018, alors que Solal avait déjà annoncé sa retraite. Il est décédé à l'âge de 97 ans, lors de son transfert de Chatou (Yvelines), où il résidait avec sa famille, à l'hôpital de Versailles, le 12 décembre 2024, à 17 heures, comme l'a annoncé son fils, Éric Solal. Style La maîtrise inégalée de l'instrument de Martial Solal s'accompagne d'un talent inépuisable pour l'improvisation. Il est l'un des rares musiciens de jazz européens à avoir eu une réelle influence aux Etats-Unis. Duke Ellington lui-même disait de Solal qu’il possédait « les éléments essentiels d’un musicien en abondance : sensibilité, fraîcheur, créativité et technique extraordinaire ». » Il est « réputé, à juste titre, pour son approche brillante, singulière et intellectuelle du jazz. Le style de Martial Solal est marqué par des ruptures rythmiques et mélodiques, une grande liberté rythmique, harmonique et tonale et une grande virtuosité. Il est très imaginatif, déconstruisant les mélodies, présentant une idée sous tous ses angles, dans une approche presque cinématographique « avec des gros plans, des travellings, des contrechamps, des panoramiques, des contre-plongées… autour d'un thème central ». On pense aussi aux dessins animés - Solal improvise régulièrement un Hommage à Tex Avery - : 'le pianiste rappelle le principe de Gerald Scarfe : chercher jusqu'à quel point on peut déformer un personnage (dans le cas de Solal, un morceau) tout en le laissant reconnaissable.' Il joue régulièrement des standards, qu'il aborde sans aucun plan préétabli : « quand Martial Solal joue un morceau qu'il a déjà joué de nombreuses fois , il n'a pas de version plus ou moins préparée sur laquelle se baser. Il improvise à partir de rien, cherchant à se renouveler sans cesse. » Il peaufine ces morceaux dans tous les sens, ajoutant quelques accords ou procédant à des réharmonisations totales et vastes, masquant la mélodie, ne jouant que des fragments avant de la révéler. Sa virtuosité lui permet d'alimenter son imagination sans limites et d'oser prendre tous les risques2. Cependant, même s'il prend de grandes libertés, il reste proche de la structure et de la mélodie des morceaux qu'il joue. Même s'il a choisi dès le début de créer un style personnel et unique, le jeu de Martial Solal est influencé par des pianistes stride tels que Willie 'The Lion' Smith ou Fats Waller, ainsi que par des pianistes comme Art Tatum, Teddy Wilson ou encore par des musiciens bebop. comme Charlie Parker. Il reconnaît également l'influence de Thelonious Monk, plus dans la conception musicale que dans son jeu pianistique, ainsi que celle de Duke Ellington. Pour Stefano Bollani, il est « le seul pianiste au monde qui n’a pas été influencé par Bill Evans. �� Martial Solal a continué à perfectionner sa technique tout au long de sa vie – il se montre également assez critique envers les pianistes qui arrêtent de pratiquer avec l'âge. Martial Solal a publié JazzSolal en 1986, « une introduction complète aux styles de jazz pour piano solo » en trois volumes (Facile, Intermédiaire, Plus Difficile). En 1997 paraît sa Méthode d'Improvisation dont le but est de « familiariser les candidats improvisateurs aux règles de l'improvisation , en leur proposant un travail progressif appuyé par de nombreux exemples destinés à développer leur oreille, leurs capacités rythmiques, mélodiques et sens harmonique ainsi que leur imagination. » Discographie Martial Solal discographie dans Discogs Read the full article

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Remembering Jane Birkin, born on this day in 1946.

Remembering Jane Birkin, born on this day (1946-2023).Best Sheet Music download from our Library.Jane BirkinPlease, subscribe to our Library.DiscographyJe t'aime... moi non plusBrowse in the Library:

Remembering Jane Birkin, born on this day (1946-2023).

Jane Birkin - Livre D'orDownload

AMOURS DES FEINTES BABY ALONE IN BABYLONE BALLADE DE JOHNNY JANE LES DESSOUS CHICS DI DOO DAH ET QUAND BIEN MEME EX-FAN DES SIXTIES FUIR LE BONHEUR DE PEUR QU'IL NE SE SAUVE JE T'AIME MOI NON PLUS LOST SONG LE MOI ET LE JEU NORMA JEAN BAKER QUOI UNE CHOSE ENTRE AUTRES

Jane Birkin

Jane Mallory Birkin OBE (14 December 1946 – 16 July 2023) was a British-French actress and singer. She had a prolific career as an actress, mostly in French cinema. A native of London, Birkin began her career as an actress, appearing in minor roles in Michelangelo Antonioni's Blowup (1966), and Kaleidoscope (1966). In 1968, she met Serge Gainsbourg while co-starring with him in Slogan, which marked the beginning of a years-long working and personal relationship. The duo released a debut album, Jane Birkin/Serge Gainsbourg, in 1969, and Birkin appeared in the film Je t'aime moi non plus in 1976 under Gainsbourg's direction. She mostly worked in France, where she had become a major star, and occasionally appeared in English-language films such as the Agatha Christie adaptations Death on the Nile (1978) and Evil Under the Sun (1982), as well as James Ivory's A Soldier's Daughter Never Cries (1998). Birkin lived mainly in France from the late 1960s onwards and acquired French citizenship. She was the mother of photographer Kate Barry with her first husband John Barry; of actress and singer Charlotte Gainsbourg with Serge Gainsbourg; and of musician Lou Doillon with Jacques Doillon. She lent her name to the Hermès Birkin handbag. After separating from Gainsbourg in 1980, Birkin continued to work both as an actress and a singer, appearing in various independent films and recording numerous solo albums. In 2016, she starred in the Academy Award-nominated short film La femme et le TGV, which she said would be her final film role. Discography Je t'aime... moi non plus "Je t'aime… moi non plus" (French for 'I love you… me neither') is a 1967 song written by Serge Gainsbourg for Brigitte Bardot. In 1969, Gainsbourg recorded the best-known version as a duet with English actress Jane Birkin. Although this version reached number one in the UK—the first foreign-language song to do so—and number two in Ireland, it was banned in several countries due to its overtly sexual content. In 1976, Gainsbourg directed Birkin in an erotic film of the same name. The title was inspired by a Salvador Dalí comment: "Picasso is Spanish, me too. Picasso is a genius, me too. Picasso is a communist, me neither". Gainsbourg described "Je t'aime" as an "anti-fuck" song about the desperation and impossibility of physical love. The lyrics are written as a dialogue between two lovers during sex. Phrases include: "Je vais et je viens, entre tes reins" ("I go and I come, between your loins") "Tu es la vague, moi l'île nue" ("You are the wave, me the naked island") "L'amour physique est sans issue" ("Physical love is hopeless" ) "Je t'aime, moi non plus" is translated as "I love you – me not anymore" in the Pet Shop Boys' version. The lyrics are sung, spoken and whispered over baroque pop-styled organ and guitar tracks in the key of C major, with a "languid, almost over-pretty, chocolate-box melody". Some deemed the song's eroticism offensive. The lyrics are commonly thought to refer to the taboo of sex without love, and were delivered in a breathy, suggestive style. The Observer Monthly Music magazine later called "Je t'aime" "the pop equivalent of an Emmanuelle movie". Read the full article

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Barcarolle Les Contes d'Hoffman Jacques Offenbach piano solo sheet music, Noten, partition

Barcarolle Les Contes d'Hoffman Jacques Offenbach piano solo sheet music, Noten, partition #smlpdf

https://www.youtube.com/watch?v=PJy9WAgz7T0

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Des nouvelles partitions sont disponibles à la Bibliothèque SMLPDF (8-9, 2024)

Des nouvelles partitions sont disponibles à la Bibliothèque SMLPDF (nouveautés, août-septembre, 2024)

Josh Groban Original Keys For Singers Songbook Contenu téléchargeable du livre de partitions : Josh Groban Original Keys For Singers SongbookDownload Pour trouver des partitions dans le catalogue de la bibliothèque, on peut chercher ici par auteur, par mots du titre ou par un morceau de ceux mots-là : Read the full article

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Nuevas partituras ya disponibles en nuestra biblioteca SMLPDF (8-9, 2024)

Nuevas partituras ya disponibles en nuestra biblioteca SMLPDF (8-9, 2024)

Michael Bublé Call Me Irresponsible (Songbook) Piano Vocal Guitar chords Lista de contenido del libro de partituras para descargar: Michael Bublé Call Me Irresponsible (Songbook) Piano Vocal Guitar chordsDownload Para encontrar partituras en el catálogo de la biblioteca, puedes buscar aquí por autor, por palabras en el título o por un fragmento de estas palabras: Read the full article

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Des nouvelles partitions sont disponibles à la Bibliothèque SMLPDF (8-9, 2024)

Des nouvelles partitions sont disponibles à la Bibliothèque SMLPDF (nouveautés, août-septembre, 2024)

Pour trouver des partitions dans le catalogue de la bibliothèque, on peut chercher ici par auteur, par mots du titre ou par un morceau de ceux mots-là : Read the full article

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Play Guitar with....ERIC CLAPTON, "Tears in Heaven" (sheet music)

Play Guitar with....ERIC CLAPTON, "Tears in Heaven" with sheet music & audio track (unplugged)

Play Guitar with....ERIC CLAPTON, "Tears in Heaven" with sheet music & audio track (unplugged)Guitar Play Along series will assist players in learning to play their favorite songs quickly and easily. Just follow the tab, listen to the audio to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along.Best Sheet Music download from our Library.Who Is Eric Clapton?Early LifeBest Sheet Music download from our Library.Musical StartTears in HeavenMaking HistoryHard TimesNew BeginningsBrowse in the Library:Please, subscribe to our Library. Thank you! https://vimeo.com/479236983 Guitar Play Along series will assist players in learning to play their favorite songs quickly and easily. Just follow the tab, listen to the audio to hear how the guitar should sound, and then play along using the separate backing tracks. The melody and lyrics are also included in the book in case you want to sing, or to simply help you follow along. Acclaimed guitarist and singer-songwriter Eric Clapton is known for his contributions to The Yardbirds and Cream, as well as such singles as "Tears in Heaven" as a solo artist.

Who Is Eric Clapton?

Eric Clapton was a prominent member of The Yardbirds and Cream before achieving success as a solo artist. Considered one of the greatest rock 'n' roll guitarists of all time, he is known for such classic songs as "Layla," "Crossroads" and "Wonderful Tonight." Early Life Eric Patrick Clapton was born March 30, 1945, in Ripley, Surrey, England. Clapton's mother, Patricia Molly Clapton, was only 16 years old at the time of his birth; his father, Edward Walter Fryer, was a 24-year-old Canadian soldier stationed in the United Kingdom during World War II. Fryer returned to Canada, where he was already married to another woman, before Clapton's birth. As a single teenage mother, Patricia Clapton was unprepared to raise a child on her own, so her mother and stepfather, Rose and Jack Clapp, raised Clapton as their own. Although they never legally adopted him, Clapton grew up under the impression that his grandparents were his parents and that his mother was his older sister. Clapton's last name comes from his grandfather, Patricia's father, Reginald Cecil Clapton. Clapton grew up in a very musical household. His grandmother was a skilled pianist, and his mother and uncle both enjoyed listening to big-band music. As it turns out, Clapton's absent father was also a talented pianist who had played in several dance bands while stationed in Surrey. Around the age of eight, Clapton discovered the earth-shattering truth that the people he believed were his parents were actually his grandparents and that the woman he considered his older sister was in fact his mother. Clapton later recalled, "The truth dawned on me, that when Uncle Adrian jokingly called me a little bastard, he was telling the truth." The young Clapton, until then a good student and well-liked boy, grew sullen and reserved and lost all motivation to do his schoolwork. He describes a moment shortly after learning the news of his parentage: "I was playing around with my grandma's compact, with a little mirror you know, and I saw myself in two mirrors for the first time and I don't know about you but it was like hearing your voice on a tape machine for the first... and I didn't, I, I was so upset. I saw a receding chin and a broken nose and I thought my life is over." Clapton failed the important 11-plus exams that determine admission to secondary school. However, he showed a high aptitude for art, so at the age of 13 he enrolled in the art branch of the Holyfield Road School. Musical Start By that time, 1958, rock 'n' roll had exploded onto the British music scene; for his 13th birthday, Clapton asked for a guitar. He received a cheap German-made Hoyer, and finding the steel-stringed guitar difficult and painful to play, he soon set it aside. At the age of 16, he gained acceptance into the Kingston College of Art on a one-year probation; it was there, surrounded by teenagers with musical tastes similar to his own, that Clapton really took to the instrument. Clapton was especially taken with the blues guitar played by musicians such as Robert Johnson, Muddy Waters and Alexis Korner, the last of whom inspired Clapton to buy his first electric guitar — a relative rarity in England. It was also at Kingston that Clapton discovered something that would have nearly as great an impact on his life as the guitar: booze. He recalls that the first time he got drunk, at the age of 16, he woke up alone in the woods, covered in vomit and without any money. "I couldn't wait to do it all again," Clapton remembers. Clapton was expelled from school after his first year. He later explained, "Even when you got to art school, it wasn't just a rock 'n' roll holiday camp. I got thrown out after a year for not doing any work. That was a real shock. I was always in the pub or playing the guitar." Finished with school, in 1963 Clapton started hanging around the West End of London and trying to break into the music industry as a guitarist. That year, he joined his first band, The Roosters, but they broke up after only a few months. Next he joined the pop-oriented Casey Jones and The Engineers but left the band after just a few weeks. At this point, not yet making a living off his music, Clapton worked as a laborer at construction sites to make ends meet. Already one of the most respected guitarists on the West End pub circuit, in October 1963 Clapton received an invitation to join a band called The Yardbirds. With The Yardbirds, Clapton recorded his first commercial hits, "Good Morning Little Schoolgirl" and "For Your Love," but he soon grew frustrated with the band's commercial pop sound and left the group in 1965. The two young guitarists who replaced Clapton in The Yardbirds, Jimmy Page and Jeff Beck, would also go on to rank among the greatest rock guitarists in history. Tears in Heaven “Would you know my name, if I saw you in heaven? Would it be the same, if I saw you in heaven?” asks the lyrics to "Tears in Heaven," the emotionally wrought hit song by guitar idol Eric Clapton. Released in 1991 it charted in the top 10 in more than 20 countries and won Grammys for Song of the Year, Album of the Year (Unplugged) and Best Male Pop Vocal Performance. Though it achieved incredible international success, the creation of the song, like many adored ballads and laments, was heavily influenced by the emotional state of its creator. For Clapton, it arose out of the pain following the accidental death of his 4-year-old son Conor, and it is infused it with all the loss, heartache and longing of a grieving parent. Making History Later in 1965, Clapton joined the blues band John Mayall & the Bluesbreakers, the next year recording an album called The Bluesbreakers with Eric Clapton, which established his reputation as one of the great guitarists of the age. The album, which included songs such as "What'd I Say" and "Ramblin' on My Mind," is widely considered among the greatest blues albums of all time. Clapton's miraculous guitar-playing on the album also inspired his most flattering nickname, "God," popularized by a bit of graffiti on the wall of a London Tube station reading "Clapton is God." Despite the record's success, Clapton soon left the Bluesbreakers as well; a few months later, he teamed up with bassist Jack Bruce and drummer Ginger Baker to form the rock trio Cream. Performing highly original takes on blues classics such as "Crossroads" and "Spoonful," as well as modern blues tracks like "Sunshine of Your Love" and "White Room," Clapton pushed the boundaries of blues guitar. On the strength of three well-received albums, Fresh Cream (1966), Disraeli Gears (1967) and Wheels of Fire (1968), as well as extensive touring in the United States, Cream achieved international superstar status. Yet they, too, broke up after two final concerts at London's Royal Albert Hall, citing clashing egos as the cause. Hard Times After the breakup of Cream, Clapton formed yet another band, Blind Faith, but the group broke up after only one album and a disastrous American tour. Then, in 1970, he formed Derek and the Dominos, and went on to compose and record one of the seminal albums of rock history, Layla and Other Assorted Love Songs. A concept album about unrequited love, Clapton wrote Layla to express his desperate affection for Pattie Boyd, the wife of the Beatles' George Harrison. The album was critically acclaimed but a commercial failure, and in its aftermath a depressed and lonely Clapton deteriorated into three years of heroin. Clapton finally kicked his drug habit and reemerged onto the music scene in 1974 with two concerts at London's Rainbow Theater organized by his friend Pete Townshend of The Who. Later that year he released 461 Ocean Boulevard, featuring one his most popular singles, a cover of Bob Marley's "I Shot the Sheriff." The album marked the beginning of a remarkably prolific solo career during which Clapton produced notable album after notable album. Highlights include No Reason to Cry (1976), featuring "Hello Old Friend"; Slowhand (1977), featuring "Cocaine" and "Wonderful Tonight"; and Behind the Sun (1985), featuring "She's Waiting" and "Forever Man." Despite his great musical productivity during these years, Clapton's personal life remained in woeful disarray. In 1979, five years after her divorce from George Harrison, Pattie Boyd finally did marry Eric Clapton. However, by this time Clapton had simply replaced his heroin addiction with alcoholism, and his drinking placed a constant strain on their relationship. He was an unfaithful husband and conceived two children with other women during their marriage. A yearlong affair with Yvonne Kelly produced a daughter, Ruth, in 1985, and an affair with Italian model Lory Del Santo led to a son, Conor, in 1986. Clapton and Boyd divorced in 1989. In 1991, Clapton's son Conor died when he fell out of the window of his mother's apartment. The tragedy took a heavy toll on Clapton and also inspired one of his most beautiful and heartfelt songs, "Tears in Heaven." New Beginnings In 1987, with the help of the 12 steps of Alcoholics Anonymous, Clapton finally quit drinking and has remained sober ever since. Being sober for the first time in his adult life allowed Clapton to achieve the kind of personal happiness he had never known before. In 1998, he founded the Crossroads Centre, a drug and alcohol rehabilitation facility, and in 2002, he married Melia McEnery. Together they have three daughters, Julie Rose, Ella Mae and Sophie. Clapton, who published his autobiography in 2007, was ranked the second greatest guitarist of all time by Rolling Stone in 2015. An 18-time Grammy Award winner and the only triple inductee of the Rock and Roll of Fame (as a member of The Yardbirds, as a member of Cream and as a solo artist), he continued to record music and tour through his 60s, while also performing charity work. In 2016, Clapton revealed that he had been diagnosed with peripheral neuropathy three years earlier, a condition that left him with back and leg pain. In early 2018, he admitted in an interview that he was also dealing with tinnitus, a ringing in the ears caused by noise-induced hearing loss. Despite the ailments, the guitar legend said he intended to continue performing that year.

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Debussy - The Piano Works Of Claude Debussy by E. Robert Schmitz (Book)

Debussy - The Piano Works Of Claude Debussy by E. Robert Schmitz (Book)

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Best of Clifford Brown In Paris (1953)

Best of Clifford Brown In Paris (1953)TRACK LIST: Best Sheet Music download from our Library. Please, subscribe to our Library. Thank you! Clifford Brown

Best of Clifford Brown In Paris (1953)

https://www.youtube.com/watch?v=s3Fdd5V-h0U

TRACK LIST: 00:00 - Blue and Brown 03:09 - The song is you 06:01 - Minority 11:31 - Keepin' up with Jonesy 18:40 - Strictly romantic 23:00 - You're a lucky guy 25:46 - Brown skins 31:54 - Come rain or come shine 36:07 - Salute to the band box 41:52 - It might as well be spring 46:51 - Goofin' with me 51:41 - All the things you are 55:35 - Baby 01:01:22 - All weird 01:06:39 - Conception 01:10:00 - I cover the waterfront 01:14:02 - Deltitnu 01:17:39 - Quick Step 01:20:23 - Bum’s Rush 01:23:36 - No Start No End 01:35:22 - Venez donc chez moi Clifford Brown is one of the greatest trumpet players in jazz history. He died at the age of 25 in a car accident, but his influence on generations of trumpet players and musicians has been considerable. Clifford Brown was a virtuoso, an amazing and brilliant technician of the trumpet. His music is modern and completely timeless. This is a “best of” the songs that he recorded in Paris during memorable sessions that featured some of the greatest talents of all time: Gigi Gryce, Quincy Jones, Art Farmer, Jimmy Cleveland. The sound on this program has been digitally re-mastered to achieve what is perhaps the finest sound quality ever.

Clifford Brown

The trumpeter, Clifford Brown (October 30, 1930, Wilmington, Delaware, United States – June 26, 1956, Turnpike, Pennsylvania, United States), was born 30 October 1930, and at 22 years old, already was a star of the trumpet and had worked with Tadd Dameron, Art Blakey, and Lionel Hampton. With the vibraphonist was even a European tour of which, fortunately, are testimonies record. At the age of 23, he made the first recordings to his name (especially significant, was the topic of: "Easy Living" for the label, Blue Note), and the following year he was already in the training that gave him fame and prestige in the world of jazz: the quintet that formed in the drummer, Max Roach. The year was 1954 and the quintet that both musicians have put in place, and that lasted until the tragic death in a traffic accident in the trumpeter the June 28, 1964, was one of the props must-haves of the hard bop, a style that was born as a result of the summation of the bebop and the need to recover the roots of jazz, and in a certain way remade by certain instrumentalists white tucked under the formula of cool on the West Coast of the U.S. The impression that you made that quintet was extraordinarily positive. The first recordings for the label: Emarcy, was made on 2 August 1954 and the last on February 17, 1956. What contributed, Clifford Brown jazz? Based on the concise formal Fats Navarro had been applied to the bebop, Clifford released his music of the bands metric, applied to the variability of the volume, and it solved the problem of the subject in the sense of recovering the "story to tell" as the basis of the just, an item quite lost in the abstractions of the bebop; he created a sound open, sensual and virile, more of a tenor sax that of a trumpet, and helped to restore the figure of the soloist, composer, very important from then on, and what is fundamental, with a sound exquisitely trumpet-like. After the untimely and tragic death of Clifford – was only 26 years old - his albums are included among the best albums of the hard bop. Read the full article

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Sidney Bechet Si Tu Vois Ma Mère (Easy Piano Solo arr. sheet music)

Sidney Bechet Si Tu Vois Ma Mère (Easy Piano Solo arr. sheet music)

https://youtu.be/RblCF6sf7V8

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Lee Morgan, American jazz trumpeter and composer (1938-1972)

Lee Morgan, American jazz trumpeter and composer (1938-1972)Best Sheet Music download from our Library.Please, subscribe to our Library. Thank you!The story of Lee Morgan, the jazz trumpeter murdered for infidelityWho was Lee MorganLee Morgan Quintet - Ceora

Lee Morgan, American jazz trumpeter and composer (1938-1972)

Edward Lee Morgan (July 10, 1938 – February 19, 1972) was an American jazz trumpeter and composer. One of the key hard bop musicians of the 1960s and a cornerstone of the Blue Note label, Lee Morgan came to prominence in his late teens, recording with bandleaders like John Coltrane, Curtis Fuller, Dizzy Gillespie, Hank Mobley and Wayne Shorter, and playing in Art Blakey's Jazz Messengers. Morgan stayed with Blakey until 1961 and started to record as leader in the late '50s. Morgan's solo recordings often alternated between conventional hard bop sessions and more adventurous post-bop and avant-garde experiments, many of which did not see release during his lifetime. His composition "The Sidewinder", on the album of the same name, became a surprise crossover hit on the pop and R&B charts in 1964. After a second stint in Blakey's band, Morgan continued to work prolifically as both a leader and a sideman until his death in 1972.

Lee Morgan - Jazz Play Along Vol. 106

The story of Lee Morgan, the jazz trumpeter murdered for infidelity

He was a great talent from a young age, until heroin consumed him. A woman recovered him, but then she was the one who killed him. The phrase “I'm Not With This Bitch Anymore ” cost trumpeter Lee Morgan a bullet in the chest . Her partner until that moment, Helen More, snubbed and in a fit of jealousy shot her with the revolver that Morgan himself had given her for her protection, a silver .32 short. Lee Morgan was 33 years old and bled to death at the Slug's Saloon jazz club in New York's East Village on the cold and stormy night of Saturday, February 19, 1972, almost 50 years ago, when snow prevented for the ambulance to arrive on time. The bullet did not kill him immediately and they even had time to say goodbye according to the version of someone who was present. Helen screamed seconds after the shot: “Oh, what have I done to you?” and Lee responded, “I know you really didn't want to do this. I'm sorry too". The relationship between Helen and Lee went back a long way, living together would have begun in 1967, when Morgan was broke and living on the street due to his heroin addiction . Helen not only helped him in his recovery, as she got him into the “detox program” through methadone treatment, she also became her manager and Lee started making money. Who was Lee Morgan Without a doubt, Morgan was a musician with strength, soul and emotion ; one of the most soulful trumpet players in modern jazz and a passionate improviser full of emotion and energy; His style represents the quintessence of hard bop trumpet. Edward Lee Morgan was born in Philadelphia on July 10, 1938 . He began with the piano and alto sax before switching to the trumpet at the age of 13, an instrument that seduced him from the first moment. His main influence was the great Clifford Brown, with whom he took classes. When Morgan began his life, he was as far removed from the style of a drug addict as could be imagined. He enjoyed a strong family background with strong connections to the church and which consistently supported him in his desire to be a musician. He was the youngest of four children, and his sister Ernestina was the one who gave him his first trumpet. His development was vertical, his precocity striking. He became a professional at age 15 and at age 17, that is, four years after starting with the trumpet, 's Big Band he was already playing in Dizzy Gillespie . Lee Morgan's legendary album In 1957, he participated in John Coltrane , Blue Train , and in 1958, when he had just turned 20, he joined drummer Art Blakey 's Jazz Messengers , where in addition to showing his talent as a soloist he also excelled as a composer, with songs like The Midget , Haina , Celine , Yama , Pisces and Blue Lace , among others. Morgan's music has an urban sound that he combined with the cleanliness of Clifford Brown to produce something unique. Over time, she came to develop a personal style in which she mixed short, penetrating phrases with long, swinging ones, masterfully using the resource of repetition. The fall Lee Morgan began using heroin during his time in the Messengers until there came a time in 1961 when the situation became unsustainable for both him and pianist Bobby Timmons, composer of the song that became the band's anthem, Moanin. ' ; both left the quintet. Morgan returned to his native Philadelphia to “get clean.” He abandoned jazz for two years and with his trumpet sold and his lip damaged he entered Narcotic Farm, in Lexington, a rehabilitation center that had housed William Burroughs and Chet Baker , among others. There were months in which rumors spread about his death or that he had joined the army. For his part, the trumpeter's biographer, Tom Perchard, stated that it was Art Blakey who introduced him to heroin, which ended up ruining his career. The drummer used the drug with a behavior rarely seen to the point that it allowed him to maintain a decent consistency in his work, something absolutely unusual and that the trumpeter, like thousands of other artists, did not achieve. The return Two years later, in November 1963, Morgan returned to New York much better and decided to start his career as a soloist, although since 1956 he had been recording albums under his name on the Blue Note label. In 1964, he released The Sidewinder , which achieved unexpected success and reached number 35 on the sales charts. The song that ended up giving the album its title was written in the recording studio because there was a missing composition; specifically, The Sidewinder was the filler. The artist with great skill developed a style of jazz funk, which in the discos they called “boogaloo” and which gained airplay on the radio and was even used by the automobile company Chrysler as the main theme of the 1964 baseball world series. Morgan was a prolific artist, with 25 albums to his name and countless works as a sideman with Wayne Shorter , Hank Mobley, Andrew Hill, McCoy Tyner , Jackie Mc Lean, Elvin Jones, Joe Henderson and Freddie Hubbard, among others. It's hard to put it in a category. “I don't like labels; If you can play, you can play with everyone . Look at Coleman Hawkins, Joe Henderson. "We shouldn't limit our minds." "I'm one of those who prefer swing, but I experimented with free forms like Evolution , by Grachan Moncur, and Grass Roots , by Andrew Hill. I made an album with Larry Young ( Mother Ship , recorded in 1969) and a week later, one with Lonnie Smith ( Turning Point , 1969), something completely different,” the trumpeter noted in an interview in 1970. The beginning of the end Of the $15,000 he had earned with The Sidewinder It was 1967 and nothing was left . Morgan was on his last legs and preferred to do drugs than make music. Jeff McMillan would describe in his biography of the trumpeter Delightfulee (it coincides with the name of one of the artist's albums): “ Sleeping on the sidewalk in front of Birdland without shoes , sleeping on pool tables in bars, wearing a dirty suit over his pajamas, stealing a TV from a hotel lobby to get some money.” This is how Morgan was that year. At this point in his decline, a miracle occurred . One freezing night in 1967, Helen More held an open house at her home in Hell's Kitchen, a poor neighborhood in Manhattan, where there would be jazz and food, and Morgan appeared, without a coat and without a trumpet . More described him as “ ragged and pitiful , but for some reason my heart went out to him.” The first thing Helen did was retrieve the trumpet from her and thus, with that gesture, she sealed a close relationship of affection and dependence. Morgan moved in with her (moving out is a word that implies he brought her things, which he didn't) or just stayed at her house. “He clung to me” and Helen, 13 years older than Lee, took complete control of his life. He fed him, took care of him, dressed him, put him on the methadone program, took him to the dentist to fix his loose teeth that made his embouchure difficult, and Morgan began to play and compose. More rebuilt Lee Morgan's career and although they never married, they presented themselves as husband and wife ; even Helen adopted the surname Morgan. She was his manager, she booked dates, managed the money and ensured that he behaved like a punctual and responsible professional and she achieved it. Journalist Stuart Nicholson, from Jazzwise , noted that saxophonist Bennie Maupin defined Helen More as his confidant, friend and lover . "She had a really calm strength and he trusted her." Encouraged by More, he built a circuit with three clubs, Left Bank Jazz Society, in Baltimore, Slug's Saloon, in the East Village, in Manhattan, which ended up closing months after the murder de Morgan, and the Baron Club, in Harlem. In July 1970, Morgan, established as a musician and with a comfortable financial background, recorded with a solid group made up of Maupin, Harold Mabern on piano, Jimmie Merritt on double bass and Mickey Roker on drums (Jack DeJohnette also participated in one of the songs. ) Live at the Lighthouse , famous jazz club in Hermosa Beach, California. Morgan's life was sailing with the wind in his sails until, in mid-1971, More began to notice changes in Lee's behavior. He was seeing another woman, Judith Johnson; Furthermore, some nights he did not return to stay at her house in New Jersey and he was using cocaine . The night of the tragedy he went with Johnson to his presentation at Slug's and between one set and another, More appeared, who violently confronts him. After verbally attacking her, he pushed her out of the club and at that moment, Helen dropped the gun from her purse on the street, took it, returned to the club and shot him in the chest, killing the trumpeter. About 1,000 people attended Morgan's funeral at The Advocate in Philadelphia, while Helen More pleaded guilty to second-degree murder and spent two years in prison. Upon leaving she returned to her hometown, North Carolina. Shortly before she died, in February 1996, she gave the only interview to jazz writer Larry Reni Thomas, who wrote The Woman Who Killed Lee Morgan . Precisely, the documentary I Called Him Morgan , by Kaspar Collins, on the Netflix platform , in addition to being the best source of information about the last five years in the trumpeter's life, used much of the material from that interview. Helen More died of a heart attack in March 1996. In Morgan one clearly perceives that peculiar fascination that exists between art and excess , as in the case of Charlie Parker or Jimi Hendrix, for example, from where a romantic figure emerges so long later like that of this trumpeter who, mortally wounded, tells his victimizer: “I know you really didn't want to do this.”

Lee Morgan Quintet - Ceora

https://www.youtube.com/watch?v=ECw3WAX41OA Lee Morgan Quintet - Ceora (1965) Personnel: Lee Morgan (trumpet), Hank Mobley (tenor sax), Herbie Hancock (piano), Larry Ridley (bass), Billy Higgins (drums) from the album 'CORNBREAD' (Blue Note Records) Read the full article

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Dave Grusin (b. 1934) Biographie et partitions (sheet music)

Dave Grusin (b. 1934) - Biographie et partitions (sheet music) Dave Grusin - Ray's Blues (from The Firm) sheet music Jazz arr. Best Sheet Music download from our Library. Please, subscribe to our Library. Thank you! Téléchargement des meilleures partitions dans notre bibliothèque.La carrière de Dave Grusin Oeuvres célébres Browse in the Library: Best Sheet Music download from our Library.

Dave Grusin (b. 1934) - Biographie et partitions (sheet music)

Dave Grusin - Ray's Blues (from The Firm) sheet music Jazz arr.

https://dai.ly/x8d3dyb Né le 26 juin 1934 à Littleton, CO; fils d'un pianiste classique et d'un violoniste classique. Éducation: Diplômé de l'Université du Colorado; études supérieures à la Manhattan School of Music. Adresses : Bureau-- GRP Records, 555 West 57th St., New York, NY 10019.

Dave Grusin est un pianiste, claviériste, arrangeur, producteur de disques et cofondateur de GRP Records qui aime le moins le titre 'artiste solo'. Lauréat d'un Grammy Award du meilleur arrangement instrumental sur l'album Harlequin en 1985 et d'un Oscar pour la musique de film The Milagro Beanfield War en 1989, il a déclaré à Scott Yanow dans Down Beat : 'Je ne me considère toujours pas comme un interprète'. . Je n'ai pas un désir ardent de sortir et de jouer devant les gens. Je le fais de temps en temps pour essayer de faire connaître mes disques, mais fondamentalement, je ne me suis jamais senti comme un interprète. Je préfère de loin le processus de création en studio, l'écriture et l'enregistrement.' Dave Grusin est né le 26 juin 1934 à Littleton, Colorado, de parents tous deux musiciens classiques. 'Mon père était un très bon violoniste et un professeur parfait', a expliqué Grusin à Yanow. « Il ne nous a pas imposé la musique, mais c'était une partie si inhérente de nos vies qu'elle est devenue une partie naturelle de mon enfance. Ma mère jouait du piano et j'ai commencé quand j'avais quatre ans, avec les leçons habituelles. " À la maison, la formation musicale de Grusin était dans le genre classique, mais le jeune a également été exposé au jazz. Bien qu'il ne se souvienne d'aucun disque de jazz joué à la maison, ses parents l'ont emmené à des concerts à Denver, dans le Colorado, où il a vu des artistes tels que Ray Brown, Ella Fitzgerald, Hank Jones, Gene Krupa, Illinois Jacquet et Flip Phillips. 'C'était très excitant', se souvient Grusin à Yanow, 'et a préparé le terrain pour que je m'intéresse au jazz.' Ayant grandi dans une communauté agricole, où il a travaillé dans un ranch jusqu'au lycée, Grusin avait initialement prévu d'être vétérinaire. «Trois semaines avant d'entrer à l'université», a-t-il déclaré à Yanow, «je suis passé à la musique par culpabilité pour l'immense effort et les dépenses que mon père avait consacrés à mon éducation musicale. Il ne m'a pas forcé à étudier la musique mais je savais qu'il approuverait le changement. Grusin s'est spécialisé en piano et mineur en clarinette à l'Université du Colorado, où il a également soutenu des interprètes comme Anita O'Day dans des clubs locaux lorsqu'il n'était pas en classe. En 1959, Grusin se rend à New York pour commencer des études supérieures à la Manhattan School of Music. Découvrant qu'il a dû attendre six mois avant que son adhésion au syndicat soit transférée localement, Dave a été contraint de trouver un emploi à l'extérieur de la ville pour subvenir aux besoins de sa jeune famille. Il raconte à Yanow : « Un de mes ex-colocataires a découvert que Andy Williams avait besoin d'un pianiste. Andy avait eu quelques disques à succès, mais c'était toujours un nouveau gars. Le travail du chanteur impliquait de nombreux voyages, alors Grusin a finalement quitté l'école doctorale. Le musicien s'est rapidement retrouvé à Los Angeles, où il a été nommé directeur musical et arrangeur de Williams lorsque le chanteur a commencé une émission de variétés télévisée hebdomadaire.

Dave Grusin a noté dans Down Beat : « C'était une belle émission musicale au début des années 60 et nous n'avons joué aucune musique dont nous aurions honte, même si c'était à la télévision commerciale. C'était une corvée, un travail très dur ; mais pour moi, cela s'est avéré être un atelier incroyable. À cette époque également, Grusin a réalisé quelques enregistrements, notamment Subways Are for Sleeping, Piano, Strings and Moonlight et Kaléidoscope, qui reflétaient l'influence d'Art Tatum et d'autres artistes de jazz. En 1964, Grusin a quitté The Andy Williams Show pour écrire de la musique pour des films cinématographiques. Il a déclaré dans Down Beat : 'Obtenir le premier devoir est toujours le plus difficile car si vous n'avez jamais écrit auparavant, personne ne veut en parler'. Je serai toujours reconnaissant à Norman Lear et au Bud d'avoir tenté ma chance et de m'avoir engagé pour Divorce American Style. ' Tout au long de sa carrière, Dave Grusin a écrit et arrangé des partitions pour plus de 50 films, dont The Graduate, Heaven Can Wait, The Goodbye Girl, Reds, On Golden Pond, Tootsie et Tequila Sunrise, et pour des émissions de télévision telles que Baretta et St. . Autre part. Nominé quatre fois auparavant, il a remporté un Oscar en 1989 pour la partition musicale qu'il a composée pour le film The Milagro Beanfield War. Son occupation principale - écrire et arranger des partitions musicales pour des films - n'a pas dissuadé Grusin d'entreprendre un travail supplémentaire dans le domaine de la musique. En 1976, il a commencé à produire des disques avec son partenaire Larry Rosen, qu'il avait rencontré plus tôt lorsqu'il avait embauché Rosen comme batteur pour le groupe d'Andy Williams. Les musiciens ont commencé comme producteurs indépendants, mais ont finalement formé leur propre maison de disques, GRP Records, en 1983. De nombreux albums à succès de divers artistes influencés par le jazz ont suivi, et les producteurs ont été acclamés par la critique et de nombreux prix. En 1985, Grusin a remporté un Grammy Award pour le meilleur arrangement instrumental d'une coupe sur l'album Harlequin, et au fil des ans, GRP a reçu de nombreux Grammy Awards et nominations ; la société possède une liste d'artistes qui comprend Lee Ritenour, Diane Schuur, Chick Corea, Eddie Daniels, Dave Valentin et Kevin Eubanks. 'Nous ne sommes pas une avant-garde ou un grand label public', a expliqué Grusin à Yanow dans Down Beat, 'mais nous ne sommes pas non plus intéressés par la création d'une sorte de formule new age. Nous sommes à l'aise dans un type de jazz fusion qui semble aller quelque part et qui continuera à se développer. La réaction critique aux interprétations de GRP du jazz contemporain varie. Un critique de High Fidelity a décrit les enregistrements GRP comme «principalement légers», se concentrant sur un «produit plus doux, souvent électrifié». Bien que Robin Tolleson ait qualifié un numéro de Grusin de ' bonbon pour les oreilles ' dans une critique de Down Beat , Stereo Review a noté le ' penchant de GRP Records pour une production soignée '. En 1986, Grusin a déménagé à Santa Fe, au Nouveau-Mexique, réalisant un désir de vivre près des montagnes Rocheuses. Il décide de faire un album en 1988 avec son frère, le claviériste Don Grusin, et les deux enregistrent le duo électronique Sticks and Stones. Bien que son temps soit extrêmement limité, le musicien et homme d'affaires aux multiples talents aspire à atteindre un objectif de carrière supplémentaire : 'Un jour, j'aimerais écrire un morceau sérieux de musique classique', a déclaré Grusin à Yanow dans Down Beat. 'Je trouve cela difficile à faire dans une vie pleine de missions, mais je veux éventuellement composer de la musique non-jazz dans une veine contemporaine.' La carrière de Dave Grusin A commencé comme pianiste, est devenu directeur musical et arrangeur pour The Andy Williams Show, au début des années 1960 ; auteur et arrangeur de partitions musicales pour de nombreux films, dont Divorce American Style, 1967, The Goodbye Girl, 1977, Heaven Can Wait, 1978, Reds, 1981, On Golden Pond, 1981, Tootsie, 1982, The Milagro Beanfield War, 1989, Tequila Sunrise, 1988, and For the Boys, 1991; et pour les émissions de télévision, y compris St. Elsewhere et Baretta. Producteur de disques, 1976-- ; cofondateur de GRP Records, 1983. Oeuvres célébres Selective Works Subways Are for Sleeping Epic. Piano, Strings, and Moonlight Epic. Kaleidoscope Columbia. Dave Grusin and the N.Y./L.A. Dream Band GRD. Night-Lines GRD. Mountain Dance GRD, 1979. Out of the Shadows GRD. One of a Kind GRD. Cinemagic GRD. The Dave Grusin Collection GRD. The Gershwin Collection GRP Records, 1991. With Lee Ritenour Harlequin GRP Records, 1985 Festival GRP Records, 1989. Rio Elektra/Musician. On the Line Elektra/Musician. Earth Run GRP Records. With Quincy Jones Body Heat A & M. I Heard That! A & M. With Earl Klugh Earl Klugh Blue Note. Living Inside Your Love Blue Note. Other (With Don Grusin) Sticks and Stones GRD, 1988. (With GRP All-Stars) GRP Super Live in Concert GRD, 1988. (With Eddie Daniels) Blackwood GRD. (With Kevin Eubanks) Face to Face GRP Records. (With Ray Brown) Brown's Bag GTI. (With Art Farmer) Crawl Space CTI. (With John Klemmer) Barefoot Ballet ABC. (With Harvey Mason) Marching in the Street Arista. (With Sergio Mendes) My Favorite Things Atlantic. (With Gerry Mulligan) Little Big Horn GRP Records. (With Grover Washington, Jr.) A Secret Place Kudu. Read the full article

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Francis Lai (partitions, sheet music)

Francis Lai (partitions, sheet music)

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