Disponível originalmente no site Anime Keys, estou fazendo upload para que a partitura não se perca!
Transcrição da versão de Ave Maria, apresentada no anime La Corda D'Oro, por Patrick Castro.
Disponível originalmente no site Anime Keys, estou fazendo upload para que a partitura não se perca!
Transcrição da versão de Ave Maria, apresentada no anime La Corda D'Oro, por Patrick Castro.
Nuxeo encourages community contributions - to code and documentation. This sideshow explains how Nuxeo manages the development process and how community developers can get involved in shaping the direction of the products.
Ballad, from Songs Without Words (Fred Hersch)John Turville
The document is a musical score for a piano ballad composed by Fred Hersch. It consists of the musical notation for both the piano and voice parts over 23 measures. The time signature is 4/4 and the key signatures indicate it is in E-flat minor. The piano introduction is followed by the entry of the voice, with the parts engaging in call-and-response exchanges throughout the piece.
The document contains musical notation for a guitar instrumental piece titled "The Woodcocks SOLO". It consists of 61 measures of music featuring chord progressions and melodic lines notated using musical symbols. The piece progresses through various keys and time signatures over its duration.
Nuxeo encourages community contributions - to code and documentation. This sideshow explains how Nuxeo manages the development process and how community developers can get involved in shaping the direction of the products.
Ballad, from Songs Without Words (Fred Hersch)John Turville
The document is a musical score for a piano ballad composed by Fred Hersch. It consists of the musical notation for both the piano and voice parts over 23 measures. The time signature is 4/4 and the key signatures indicate it is in E-flat minor. The piano introduction is followed by the entry of the voice, with the parts engaging in call-and-response exchanges throughout the piece.
The document contains musical notation for a guitar instrumental piece titled "The Woodcocks SOLO". It consists of 61 measures of music featuring chord progressions and melodic lines notated using musical symbols. The piece progresses through various keys and time signatures over its duration.
This appears to be a musical score or composition. It contains various musical notation symbols such as notes, rests, and time signatures. The document is divided into measures and sections that would provide the rhythm and melody of a jazz piece performed by a small ensemble. The score features multiple instruments or voices including saxophone and piano.
1) The document is a musical score for a jazz solo performance of the song "Comrade Conrad" by Tom Harrell on trumpet.
2) It consists of notation for the trumpet part over 17 verses spanning pages 1 through 4 of the score.
3) The notation indicates the melodic line, rhythm, and chord changes for the trumpet to improvise over during the solo.
This document appears to be a transcription of an unknown text. It contains symbols and characters arranged in lines with some repetition of symbols and line breaks. The overall content and meaning is unclear from the transcription alone without additional context.
This document contains a musical transcription of the John Taylor solo "Everything I Love" from the Peter Erskine album "You Never Know". It consists of musical notation written using symbols to represent notes, rhythms, dynamics, and other musical elements. The transcription spans multiple pages and contains complex rhythmic and melodic passages.
The document appears to be a complex work of abstract art or symbolic writing. It contains various symbols and markings with no clear narrative or meaning that can be discerned in 3 sentences or less.
1. Ritual
chord types - see key at end written section only john taylor (from 'phases')
{
# œ # œ ™™ œ ™™ # œ n œ b n œ
transcribed tom hewson
œ b œ ™ n# œ œ ™ œ ™ # œ œ™ # œ
D D
A B C D D D E
œ D
# œœ œ ™ # œ œ
3 nœ™ 5 œ
œ œ bœ
œ™ œ ™™™ 5
F
Ϫ 8
œ œ œ
5 3 œ 3 œ 8
&8 8 4 8 œ
œ n #œ ™™™ #œnnn œœ ™™™™ 3 b œ ™™ 5 b nœ b b œ ™™™ 3 n œbb œœ bnn# œœ 3 #œ ™ 5
Piano œ
& 8 # # œœ ™ n œ œ œ 8 b œ 8 n œœ œœ 4 œœ œ
œ
b b œœ ™™ œ œ™ œ œ 8 # œ™8
5 b œœ œ œ
œ # # œœ ™™
{
### œ # œ ™™™
cycle of 12 chords starts again
bb œ n# œœ ™™™ b œ ™™
œ™ n œ œœ œ œ
3 #œ ™
8# Ϫ
D
7
5 œ
œ œ œ n œ bb œ nnœ
œ œ œ
Ϫ
œ
4 œ
3 5 3 œ 5
&8 8 8 8
œ™ 3 #œ ™ 5 #œnnn œœ ™
™ œ™
& 5 n##œœbn œœ ™™ 8 #n# œœ ™ œ œ™
Pno.
œ ™™ 8 nœ 4 bbbb œœ#n#œœ n œ 8 œ ™
œ œ b œ nn œœ ™™
3
8 œ œ œ œ œ 3 5
Ϫ
œ 8
{
nœ
5 nœ bbnœ ™ 3
œ œ ™™ 5 b œ n# œœ ™ # #œ n#œ 3 n œ ™™ 5œ™
cycle of chords starts again
œ
8 b œ œ™ ™
12
œ œ
œ ™™
&8 œ b œn # œ œ 8 œ 8
3
œ œ
Ϫ
œ
8 œ 4 œ
# œ bn œœ ™™™ 3 #n## œœ #nœ nnn œœ 3
œ
œ ™™™
? 3 ## # œ ™
œ œ
œ ™™™
Pno.
5 n# œœ œ œ œ
& 8 bbbb œœ ™ 8
œ œ
& 8 b œœ # œ ™™ 8 # œœ
5 bœ œ 5
œ n œœ ™
Ϫ
8 4 œ
{
Ϫ
#œ œ™
œ œ™ 3 #œ ™ 5 nœ b nœ ™™
cycle of chords starts again
œ ™™ 8 œ b œ ™
œ
17
5 œ œ 3 œ 3 5
&8 8# œ 4œ bb œ #nn œœ
œ œ œ 8
b œ ™™™
8
œ œ
œ
5 b nœ b b œ ™
Ϫ
8 bbnb œœ ™
Pno.
œ #œ
& 8 n œœ œœ ™™ œ ™™™
? 3 ## # œ nn œœ nœœ
8 œ ™ 8 b œœ # œ ™ 4 # œœ
5 bœ œ
n œœ ™™ œ n œœ ™™
3 3 5
œ bœ
œ™ œ™ œ 8
{
Ϫ
#œ œ ™™
new second chord 'g'
œ
3 #œ nœ bbnœ
& 8 # # œ # œ ™™ 8 nœ™
22
œ ™™ œ ™™
5 3 5 œ œ œ œ 3 5
4# œ œ
n # œ œ™ œ 8 œ œ 8
Ϫ 8
œ œ
œ œ
œ™ œ
œnn œœ ™™™™ 3 bbœœ ™ bnn œœ b œœ ™™™ œ bb œœ nn# œœ
3 #### œœ ™
œ œ
b œ ™™ œ ™™™
Pno.
œ œ n œœ œ
8 Ϫ
?5 œ œ
8 #œ œ
œ œ
œ
5
8
3
4 8 œ 5
8
new fifth chord 'h'
2. {
#Ϫ
# œ ™™
nœ
5 n# #œ #œ ™
œ #œ œ
2
œ œ™ œ œ™
cycle of chords starts again
œ œ
& 8 bb œ n# œœ ™™ b œ ™™ 8 # œ œ™
27
3 nœ œ 3 œ
œ™ 4 œ
5 3 5
œ 8 œ œ 8 8
™ œ™
n## œœ bn œœ ™™ # œ ™™ # œ nnn œœ ™™™
3 #n# œœ ™ 3 œ™
œ™ œ œ
8 n œœ ™
Pno.
œ œ
?5 œ
8 8
5 nœ
8
œ & 4b
3 b œ nœ b b œ
b œœ n œœ œœ
œ œ œ ™™ 5
8
œ
{
original second chord
still the new fifth chord
n œ ## œ ™™™
these don't quite fit
œ
3 nœ ™ 5 b œ n# œœ ™ 3
the system,,,
œ œ
cycle of chords starts again (all original chords)
bœ
œ ™™ 4
œ œ #œ #œ
n œ ™™™ 8
32
&5 b œ n## œ n œ
œ œ œ
3 5
8 8 8 œ œ 8 œ
œ
5 b œœ #n#œ ™ # œ ™™
œ
œ ™™ 3 bœ ™ 5 bœ
™™ 8 b œœn n œœ ™™ 4 # œ œ nn nœœ ? 8 ### œœ ™™
Pno. bœ 3 3 5
œ œ
nœ ™ œ b œ ™ n œ #œ n œ
&8 8 bb œœ 8
{
# # œœ nn œ
œ œ
œ ™™™ 3 #œ ™ 5 nœ bbnœ ™
œ œ ™™
œ
8# Ϫ Ϫ
œ bb œ ™™
œ ™™ œ
37
œ
œ™ œ™ œ
?
&5
8 #œœ œ 8 œ
œ œ œ œ œ
nœ™ œ™ bb œœ # œ ™™™
œ œ
bnn œœ bb œœ ™™™ n œœ ™™™ ™
### œœnn# œœ ™™™ œ™ œ
œœ ™™™ œœ
œ œ
œ œ œ™
Pno.
?5 œ 3 œ 5 œ # œ œ œ œ œ œ
8 8 8
{
CHORD TYPES
A B C D E F G
n#w nw
H
#w w w w
& n# ww
w bw
w n## w
w
w w w nnw nnb w
w w w
w w # w w nw
w
Pno. ww # w
? b w #n# ww
w #nw nnn ww
w
w w w ### ww b b w
bn ww
bw w b w
n ww bw
w bbww
n w
a = first chord in cycle (never transposed)
b = second chord in cycle (never transposed)
c = third chord in cycle (never transposed)
d = fourth chord in cycle (used frequently in different transpositions)
e = seventh chord in cycle (never transposed)
f = eleventh chord in cycle (never transposed)
g = replacement for second chord in the 4th cycle only
H = replacement for fifth chord in the 4th and 5th cycles only (not transposed)
Some interesting points:
- built on a sequence of 12 chords, the top notes of which are a 12 tone row
- repeating rhythmic structure which is only 11 note values long - out of phase with the harmony
- the chords do suggest certain scales, but the sonorities of each individual voicing seem more important
than any harmony they might imply, even in the short improvising section that follows