The results, however, are extraordinary on every level, fully justifying the album’s ranking as the most successful piano recording in history. Jarrett’s exploration of this instrument’s many quirks inevitably had a significant impact on the direction his freeform improvisation took. The story goes that when organising the concert at the Cologne Opera House, the wrong piano was placed on the stage not the Bösendorfer 290 Imperial that Jarrett had expected, but an inferior baby grand normally used backstage for rehearsal. It’s easy to use superlatives like “legendary” with too much ease, but in this instance it is fully justified: notching up global sales of more than 3.5 million, the Köln Concert album is not only the best-selling solo recording in jazz history, but also the best selling piano recording ever. La Fenice is the latest of jazz pianist Keith Jarrett’s solo concert recordings, building on a legacy which inexorably leads back to the legendary Köln Concert recording of 1975. Recorded live in concert on a single evening, La Fenice exemplifies everything that those in-the-know have come to treasure in Jarrett’s music. Information - Concerts, News,FAQs, Archives. Organs - Electronic (B3 etc.), Pipe, Theatre.
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KEITH JARRETT TRANSCRIPTIONS FULL
What I have transcribed of Keith's music, the entire Koln Concert Session and the entire Arbour Zena album, was done so for students as an analysis aid.īecause the music of Lennie Tristano fascinated me on a far more intimate level than Jarrett's, I've transcribed just about everything that Lennie recorded, both released and unreleased, in full piano notation for thorough study/analysis and for use by my students.ĭigital Pianos - Electronic Pianos - Synths &a. I can pretty much listen to Jarrett then sit and play it without having to transcribe it as a process stage for commission to memory. Jarrett is one of my favorites but his music all lies easily in the hand, very pianistic, and lends itself well to an easy transcription process, faily much a walk-through. Have you attempted to transcribe any of Radiance? I haven't transcribed any of Radiance. Referring an index number or sign over a particular note or group of notes with the direction indicator will save you and the reader from having to write 5 to 30 notes with a bracket overhead!I'm not sure what you mean. Referring an index number or sign over a particular note or group of notes with the direction indicator will save you and the reader from having to write 5 to 30 notes with a bracket overhead! Like Bach, Jarrett has a very definitive and repetitive style of ornamentation that can be codified much the same way that mordants and trills are in Bach. Just define his stylistically repetitive ornaments. Long before the Koln Concert was transcribed for publication, I had already written out the entire piece (and BTW, the published transcription is far from perfect). If you have any advice I'd appreciate it.
I was pondering the idea of simply defining trillo ornament in the beginning of the piece and then using them as actual ornaments, as Jarrett's inspiration is quite clear.Īside from all this, I'm curious if anyone has experience transcribing music like this. The second half of the piece is far more metric and classical, including baroque-styled trillo ornamentats. I'd like to be accurate, but I also don't want studying such a piece to be pure heck for the pianist. The introduction is obviously a rubato section, but I've been notating it as accurately as possible, and getting time signatures like 17/16 and 7/8 in the process. I love the entire recording, but this piece nearly brought me to tears. I began transcribing part 15 of Keith Jarrett's Radiance.
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