I tried in vain to find the sheet music for Jarrett’s Koln concert in 1975, not realizing it was improvised. Now, almost 50 years later I have discovered not one but TWO people who transcribe Jarrett’s music. Finally. Abundance. Almost completely missed it-will turn 75 in a few weeks.
This is a monumental work of art brought to extra light by your transcription, Michael. I saw Keith's talk with Rick Beato, and the after effects of Keith's stroke. It's strange how war profiteers, financiers, government politicians... have so broken our beautiful world, and somehow, Keith is punished. It's not right, but thank the universe he's recorded so much and was alive during our time.
Yes. I saw him in NYC at Carnegie in one of his last improv concerts. To be in the presence of the man was overwhelming, and the ephemeral nature of something so sublime.
Sunbear Concert is the most significant masterpiece of Keith Jarrett's Solo Piano Albums. and The Full Package Record Also 100th Album in ECM history. Catalogue Number is 1100. 10 LP set just release at the end of 70s. First I bought this boxset in 1999 when I graduated University. at that time it was 6CD package and also very expensive for students. so I bought it when i became regular office worker. I heard many time at this concert CD at that time. and this Sapporo Pt.1 is most beautiful improvisation in Whole Box set. after about 15years later I bought it in Vinyl Version. It was really great presure for me. I have almost Jarrett's full catalogue in ECM era. when someone ask me recommendation about his catalogue, I always choose his solo album with Sunbear Concert and Koln Concert. Thank you for your great achivement in full Transcription. Many of people who wants to play Jarrett's Solo Performance will must appreciate also of your great work!!!!! From 27:44 to 29:56 is my best loving part in whole performance. And really thank you of your script. It make us know How Mr. Jarrett makes melody and phrase with his two hand and ten fingers. what a great performance!!!!!!!
This just bubbled to my feed. I've been a lifelong Jarrett fan and was gifted this massive multiple album set when I was in my twenties by my then girlfriend, now wife of 41 years. Many thanks and kudos for your time spent on this impressive transcription.
What a beautiful piece of music, played by an incredible musician, and transcribed by someone who is seriously bloody good, and has impeccable taste. Thank you.
I live in France and have seen Keith whenever I could; on his own and with his trio. I was too young and he played with Jan Garbarek or Dewey Redman. His discography is immense and blissfully overwhelming.
I own all of the solo concerts that have been released so far and many of his other works with his European and American Quartets - and of course, his stuff with Peacock and DeJohnette. Had a chance to see the Trio at Antibes one year while staying at my sister's flat in Nice.
The D minor vamp starting around 14:12 might just be my favourite Jarrett vamp of all. Such a simple groove but he just keeps building and building it up. Amazing job on transcribing this! Dare I ask... any more Sun Bear transcriptions on the way?
This is incredible work. For many years I had hoped that someone would transcribe the Sun Bear concerts. And here it is. My dream has come true. When I win the lottery (or successfully rob a bank 😜) I will commission you to transcribe the rest. Great work. I stand in awe of both your talent, and your commitment. Sapporo was one of the best. But I would especially love to see Kyoto transcribed.
Thank you again for your great transcription work! This is a gift for us musicians to study how to deal with "time management", where Keith Jarrett is a master!!!!
41mn without stopping at all! That's how great Keith Jarrett is, a real meditation on a piano... Love it when he gets up to the higher pitches out the blue: it's magnificent! Never boring. And you transcribed the whole thing !?!?!? A thousand congratulations to you and thank you for sharing it with us.
After his bout of CFS in 1996 he stopped the long-form improvisations. His last group of them that's been released is his A Multitude of Angels, his Italian tour through Genova, Modena, Turin, and Ferrara - and of course, since he had his strokes he doesn't play at all anymore. We're lucky that he compiled such an incredible body of work.
Until the time signature changes at 4:57, the opening follows a 4-bar phrase structure. Something that is not obvious to me while listening. Reading the score helps a lot! Thank you very much for this. Will analyze this further.
AMAZING I've been looking for transcriptions of the sun bear concerts for so long, I think this is the first time I've seen an actual full transcription, insane! The theme from 27:43 is so beatifull (: Thanks for the hard work that has gone into this, much appreciated
Great, I'm glad you found this! And yes, that is a beautiful theme. It's like he just decided that he was gonna play the most beautiful, yet simple melody
Fantastic! Incredible work and achievement. It’s a challenge enough to get all the right pitches, but it’s how you represent all the subtle and complex rhythms that really impresses. Amazing!
I don't know the Sun Bear concerts, but I just love the first part here, and huge congratulations to you for doing something so epic (I didn't look at it all). As subjective as it is, I really think Keith is unmatched as a jazz/ improvising/universal pianist. His mastery of the instrument and his huge and varied output is astonishing even without the classical stuff (they've just released his CPE Bach record, which sounds great). Thanks once more for your work.
I really like the way that the start of this track sounds like you're walking into the middle of a conversation - that these are all themes that you're expected to recognise and appreciate already. I find myself listening again and again to the first 5 minutes, and to the ten minutes from 25:00 to 35:00 (with the Rachmaninov-like bells at the end).
Thank you so much, Michael, for the incredible transcription and the amazing gift you've given us all! You're a true genius (not quite on Keith's level, but close! ;) ) Keep up the fantastic work! 🙌🎶
I agree with you. I have been listening to this piece for about 12 years now. There are so many (emotional) layers in it. So many perspectives. Joy, sadness, loss, beauty.
Thanks! Seems to be great work! I am also working on this piece right now. Planning to do my "own" piano version of it on RUclips, so I didn't check your transcription in detail, in order not to be biased. After I post my version, it will be interesting to compare it with your transcription. By the way, I just uploaded my version of Recitative by Keith Jarrett on RUclips
Thank you very much Michael, this is one of my favourites of the sunbear concerts. This is a real great gift for me. Would like to give you a strong hug, if I could!
Wow, great work in transcribing this one, incredible. I'd love to see 'Kyoto part 1' transcribed although have worked out the first bit with that atmospheric diminished flat 9 vibe over the pedal to start with :-)
Great choice, My favourite KJ piece. Congrats on your achievement here, I appreciate KJ's genius and this particular piece even more being able to follow the score as I listen.
I've listened to this so many times when I was younger and even though I'm not a good music reader it's quit fascinating to re-hear Sapporo p.1 with the notes written under ! Thank you
Thank you! It took several months, or maybe close to a year. I wasn't exclusively working on this during that whole time, and I also spent weeks checking it over
Excellent work ! Please note, in this video, the music heard is the original and does not completely correspond to that produced by a midi player because nuances and pedal strokes are missing.
Great work! Any reason why the tuning is so off? Having some form of absolute hearing, I was thrown off by it. Do you use a tool to fix the tuning while transcribing?
Yeah, you are totally right. It's sharp isn't it (I don't have perfect pitch and don't specifically remember now)? I did fix the pitch with the software I was using. After a certain point it started to get very annoying, but the audio used in the video is the original audio. I'm sure this must be something that happened somehow with the recording itself. I think Keith has very extreme perfect pitch so I can't imagine he would have played on an out of tune piano, even if it's in tune with itself!
Michael, tell me please, how can I support you? Patreon is forbidden in Russia, you know why. Unfortunately. Tell me, may be there is another way. Thanks. Dmitriy.
I humbly disagree with some of the time signature changes. Most of it might be in 4/8, even if his phrasing seems to phase in and out. If you count the beats *including the silent ones you will find it is mostly a four beat cadence.
Thanks for your comment. I'm not really sure where to start because this comment is very vague, especially in regards to a 41 minute transcription, but let me first say that I have been doing these transcriptions for about 25 years now. For whatever reason, pulling apart music and writing it out is what my brain does best. And, this particular transcription took me over 9 months. Are all of the meters that I've written correct? Who knows? I'm sure there are many places where someone could feel something differently than I am and choose a different meter. The meters that I've chosen reflect how I rhythmically feel this performance after months and months of extremely close listening. But, meters and bar lines are just our way of grouping music together so that it can be read easier. That being said, I can confidently say that this piece is not in 4/8. The beginning is undeniably in 3. Maybe it could be written in 3/8 or 6/8 and you could get the same results, but I chose 3/4 because it's easiest to read. In the D minor vamp section about 15 minutes in there are so many meter changes! He keeps adding little hitches to his groove. Could that all be written out in 4? Sure, but it would be extremely difficult to read. The downbeats of his phrases would stop being on beat 1 and would continue to drift further and further away as this section goes on. I'm sorry, I'm not aware of your musical background, or if you even are a musician, but I have spent a long long time doing this kind of work and I think I might know what I'm talking about! I can assure you that if you spent the time that I did writing this out, I strongly doubt you would come away thinking this could all be written out in 4/8.
@@michaellucke2654 Thank you for taking the time to respond. I am certainly only an amateur musician. I completely agree with you that this could be written in many different ways. However as an amateur musician I feel that all these multiple meter changes make things incredibly more difficult to decipher. In my (admittedly uninformed) opinion, most of the passages, especially the 'vamp' in G minor at 15mins, is in a 4 beat cadence. ( You have it as F major - but I read it as G dorian relative to F major). Yes, the beats weave in and out, and the down beat does not always fall on the one, but that is simply a lyrical device, not a meter change. Keith Jarrett stretches out time for emphasis but IMO he is not changing tempo. Remember that KJ is a jazz pianist, albeit incredibly lyrical, so it can be said he works in comping patterns. It is somewhat easier to view these passages as patterns rather than 'classically' written down phrases. A 4 beat cadence in G dorian is easier to understand than a bunch of unrelated F major phrases in a constantly changing meter signature just to accommodate KJ's lyrical phrasing. A Jazz musician can understand that he is weaving in and out of the comp using the minor third (Bflat) and the 5 (D) and the flat 7 (your F major) etc. using minor, dorian, whole tone and diminished scales - that's how a Jazz musician would see it.
I guess I would say that the reason some of this might be hard to read for an amateur musician is because this is incredibly difficult and complicated music. Also, I am a jazz musician, and the way I've written it out is how a jazz musician would see it. I've had some really heavy jazz pianists proofread this and they had no objections to the meter changes. And, these meter changes are absolutely necessary. He is definitely playing in all of these odd meters. As I said, maybe other meters could accomplish this, but there are a certain number of notes being played and the meters have to reflect that. In the vamp section that you talk about, there are bars where he plays 11 8th notes in his left hand pattern (for example). Those bars have to be in 11/8 or I would be leaving notes out. Are you saying that I should dumb down what Keith is doing so that it remains in 4 the whole time? I'm sorry, but these are absolutely meter changes, even if they are lyrical devices. Also, this section is written in D minor, not F major (same key signature). You are correct that the notes he is mostly improvising with are a G Dorian scale, but it's actually a D natural minor scale. These scales are the same notes, but the root in this section is a D, not a G. Anyway, the basic idea that he's doing in his left hand is a D (in the middle of the bass clef staff) to start each pattern, and then some amount of 8th notes in between these D's. If this part was in 4, the amount of 8th notes in between each of these D's would be 7 or maybe 15 if it's extended. But here we see a variety of the amount of 8th notes. Sometimes it's 7, sometimes it's 10, or maybe 8. It's constantly changing which is why there are so many meter changes. You seem to be suggesting that I leave it all in 4, so that some of these low D's that start these patterns might end up falling on non dominant beats in other measures? I just think that overall that will end up being much harder to read because the beginnings of the phrases aren't going to line up on beat 1 anymore. Or maybe you're thinking with more of a "lead sheet" mindset? If so, then yes, if I was writing out a "sketch" for this section, I could notate a generic pattern similar to what he's playing in the left hand and say "repeat ad nauseam, improvise in D minor and phrase freely." But, that's not the point of this transcription. The point here is to write down all of the notes and rhythms that he played as accurately as I could, and I think I've done a good job of that, if I do say so myself. I think if you understood the amount of work this took, how carefully and how many times I've listened to all of this you might get a better sense of why this needs to be written out this way. I mean, really, I've literally counted out how many 8th notes he's playing (and written them all down in the music!). They all have to be taken into account and the meters reflect that. I'm not just flippantly adding meters to make this look fancy or confusing or whatever. This was all done with extreme consideration. I spent hundreds of hours on this!
@@michaellucke2654 I completely appreciate the amount of work and effort put into this and I would defer to your expertise. In fact I really appreciate the opportunity you have provided us to see the notes he is playing. In my mind things sit differently in terms of the musical tapestry he is weaving. As a fan of KJ since 1976 (I bought this set when it came out on ECM vinyl) I just hear what he is doing differently. There is a tendency today to equate what he is doing with some sort of 'modern classical' music. But KJ says himself, he is just playing the American songbook. He has a wonderful lyrical ability to mesh these faint echoes together. I guess I am not enough of an expert to argue in depth, but from an ear and heart point of view, the cadence is easy to follow. Yes, he drifts and slows down. He comps and vamps. His music is almost like film music to an invisible film! But I do want to say kudos on the great work. This will no doubt give future music students a much better insight into the genius of Keith Jarrett and if I had this transcript 40 years ago I would have cherished it. So thank you for that! As an aside, the passage that I hear in G dorian is a simple chord substitution device, very common in Jazz, to replace the 1 chord with the 5 chord. So what you see as a D minor, I see as a G dorian. Since he is playing a G dorian scale, the tonal center for me is G. (and G dorian is F major...)
Sorry, I have to wade in here. @@beautardyartistit’s great that you’re a passionate fan of KJ! Me too! However, I have to say, you’re wrong here. That section is definitely in D natural minor, just look at all the Ds at the bottom of the left hand! And these meter changes are absolutely necessary and the correct way to notate this. It has nothing to do with jazz versus classical. KJ simply played a lot of odd meters there! This is the correct way to notate it. I don’t mean any disrespect and I’m glad you love KJ but you’re clearly out of your element with these comments. There’s just no reasonable way to notate this without the odd meters. That’s an insane thing to suggest.
As a professional transcriber myself, I cannot believe you made it through this. My deepest respects!
Thank you!
I also find this transcription easier to read than some others I was trying to work through! Bravo, I love this!
I tried in vain to find the sheet music for Jarrett’s Koln concert in 1975, not realizing it was improvised. Now, almost 50 years later I have discovered not one but TWO people who transcribe Jarrett’s music. Finally. Abundance. Almost completely missed it-will turn 75 in a few weeks.
Are there pianists who study Jarrett’s work and compose variations of it? Improvisations inspired by Jarrett’s improvisations?
Love Jarrett’s repetitions of delicious chords. They can’t be mentally digested and relished in a simple single playing
This is a monumental work of art brought to extra light by your transcription, Michael. I saw Keith's talk with Rick Beato, and the after effects of Keith's stroke. It's strange how war profiteers, financiers, government politicians... have so broken our beautiful world, and somehow, Keith is punished. It's not right, but thank the universe he's recorded so much and was alive during our time.
Yes. I saw him in NYC at Carnegie in one of his last improv concerts. To be in the presence of the man was overwhelming, and the ephemeral nature of something so sublime.
What a beautiful comment
Sunbear Concert is the most significant masterpiece of Keith Jarrett's Solo Piano Albums. and The Full Package Record Also 100th Album in ECM history. Catalogue Number is 1100. 10 LP set just release at the end of 70s. First I bought this boxset in 1999 when I graduated University. at that time it was 6CD package and also very expensive for students. so I bought it when i became regular office worker. I heard many time at this concert CD at that time. and this Sapporo Pt.1 is most beautiful improvisation in Whole Box set. after about 15years later I bought it in Vinyl Version. It was really great presure for me. I have almost Jarrett's full catalogue in ECM era. when someone ask me recommendation about his catalogue, I always choose his solo album with Sunbear Concert and Koln Concert. Thank you for your great achivement in full Transcription. Many of people who wants to play Jarrett's Solo Performance will must appreciate also of your great work!!!!! From 27:44 to 29:56 is my best loving part in whole performance. And really thank you of your script. It make us know How Mr. Jarrett makes melody and phrase with his two hand and ten fingers. what a great performance!!!!!!!
This was so moving. Once again, he rearranges the molecules in any space he gifts with his art.
The brightest piece of the epic seventies improvisation tour.
Wow! A thousand thanks! If I were ECM I'd pay you handsomely to transcribe as many Jarrett piano solo concerts as possible.
Haha, I wish!!!!! I would be totally onboard!
or schott , who publish some of Jarrett's music inc. the Koln Concert.
This just bubbled to my feed. I've been a lifelong Jarrett fan and was gifted this massive multiple album set when I was in my twenties by my then girlfriend, now wife of 41 years. Many thanks and kudos for your time spent on this impressive transcription.
What a beautiful piece of music, played by an incredible musician, and transcribed by someone who is seriously bloody good, and has impeccable taste. Thank you.
10:18 - 11:29 one of Keith's most celestial moments.
Man what a gift to post this here. I am amazed and deeply grateful!
I live in France and have seen Keith whenever I could; on his own and with his trio. I was too young and he played with Jan Garbarek or Dewey Redman. His discography is immense and blissfully overwhelming.
I own all of the solo concerts that have been released so far and many of his other works with his European and American Quartets - and of course, his stuff with Peacock and DeJohnette. Had a chance to see the Trio at Antibes one year while staying at my sister's flat in Nice.
As a fellow transcriber, I know how much work this is. My deepest respect!
Wow. My favorite of the Sun Bear concerts. The amount of work put into this was tremendous.
Thank you! It really was a tremendous amount of work! It was very rewarding though
The D minor vamp starting around 14:12 might just be my favourite Jarrett vamp of all. Such a simple groove but he just keeps building and building it up. Amazing job on transcribing this! Dare I ask... any more Sun Bear transcriptions on the way?
Hats Off Gentlemen! A Genius!
You’re unmatched, Mr. Lucke. Period.
🤘😝🤘
And always thankful for seeing transcriptions of my favorite living artist-KJ.
Haha, I try! It was very long, but a lot of wasn't super hard. His playing is always so clean, which really helps out a lot!
This is incredible work. For many years I had hoped that someone would transcribe the Sun Bear concerts. And here it is. My dream has come true. When I win the lottery (or successfully rob a bank 😜) I will commission you to transcribe the rest. Great work. I stand in awe of both your talent, and your commitment. Sapporo was one of the best. But I would especially love to see Kyoto transcribed.
Thank you again for your great transcription work! This is a gift for us musicians to study how to deal with "time management", where Keith Jarrett is a master!!!!
And you are a master as well!
41mn without stopping at all! That's how great Keith Jarrett is, a real meditation on a piano... Love it when he gets up to the higher pitches out the blue: it's magnificent! Never boring. And you transcribed the whole thing !?!?!? A thousand congratulations to you and thank you for sharing it with us.
After his bout of CFS in 1996 he stopped the long-form improvisations. His last group of them that's been released is his A Multitude of Angels, his Italian tour through Genova, Modena, Turin, and Ferrara - and of course, since he had his strokes he doesn't play at all anymore. We're lucky that he compiled such an incredible body of work.
Until the time signature changes at 4:57, the opening follows a 4-bar phrase structure. Something that is not obvious to me while listening. Reading the score helps a lot! Thank you very much for this. Will analyze this further.
Musically Astonishing, and incredible transcription. Thanks
Thanks for watching!
Michael! Stunning is your work too!!!😇 You are talking with angels...
AMAZING I've been looking for transcriptions of the sun bear concerts for so long, I think this is the first time I've seen an actual full transcription, insane! The theme from 27:43 is so beatifull (: Thanks for the hard work that has gone into this, much appreciated
Great, I'm glad you found this! And yes, that is a beautiful theme. It's like he just decided that he was gonna play the most beautiful, yet simple melody
Fantastic! Incredible work and achievement. It’s a challenge enough to get all the right pitches, but it’s how you represent all the subtle and complex rhythms that really impresses. Amazing!
Thank you! Admittedly, it was a ton of work. I had a good time doing it though!
Thank you for transcribing the impossible 🌷
I don't know the Sun Bear concerts, but I just love the first part here, and huge congratulations to you for doing something so epic (I didn't look at it all). As subjective as it is, I really think Keith is unmatched as a jazz/ improvising/universal pianist. His mastery of the instrument and his huge and varied output is astonishing even without the classical stuff (they've just released his CPE Bach record, which sounds great). Thanks once more for your work.
One of my Keith's favorites! Thanks so much for this incredible service to his legacy and to Music in general ❤
I really like the way that the start of this track sounds like you're walking into the middle of a conversation - that these are all themes that you're expected to recognise and appreciate already. I find myself listening again and again to the first 5 minutes, and to the ten minutes from 25:00 to 35:00 (with the Rachmaninov-like bells at the end).
Thank you so much, Michael, for the incredible transcription and the amazing gift you've given us all! You're a true genius (not quite on Keith's level, but close! ;) ) Keep up the fantastic work! 🙌🎶
Thank you! Keith's genius is unmatched!
I agree with you. I have been listening to this piece for about 12 years now. There are so many (emotional) layers in it. So many perspectives. Joy, sadness, loss, beauty.
The riff at 27:40 is absolutely killer.
OMFG ...... the amount of work ... michael ! congratulations :) and thanx .... this is a masterpiece
That is amazing.
You are insane! In a very good way!
🌸
Ipnotico.
Bravissimo
Grazie
I appreciate your work so much 🙏🙏🙏 thank you 🙏🧡
You are so welcome!
Thanks! Seems to be great work! I am also working on this piece right now. Planning to do my "own" piano version of it on RUclips, so I didn't check your transcription in detail, in order not to be biased. After I post my version, it will be interesting to compare it with your transcription. By the way, I just uploaded my version of Recitative by Keith Jarrett on RUclips
Este extracto de su gira por Japón es fascinante, recorre todos los estadios emocionales en su inspiración, un viaje excelso.
Thank you very much Michael, this is one of my favourites of the sunbear concerts. This is a real great gift for me. Would like to give you a strong hug, if I could!
Absolutely incredible work!! Huge respect!
Benefactor! Thank you Michael!
I feel better at work when I listen to KJ.
This is such a HUGE transcription! Well done!
Wow, great work in transcribing this one, incredible. I'd love to see 'Kyoto part 1' transcribed although have worked out the first bit with that atmospheric diminished flat 9 vibe over the pedal to start with :-)
Great choice, My favourite KJ piece. Congrats on your achievement here, I appreciate KJ's genius and this particular piece even more being able to follow the score as I listen.
Well done, great job. Rather you than me!
Incredible work! The Sun Bear Concerts are probably my favorite Keith Jarrett works so it's really nice to see some of it transcribed!
This is an incredible achievement! Thank you.
And thank you for watching!
What a profound work! I've gotten so much out of watching the score march through. What an amazing job - from Keith and you!
Awesome! Thanks for watching!
I've listened to this so many times when I was younger and even though I'm not a good music reader it's quit fascinating to re-hear Sapporo p.1 with the notes written under ! Thank you
Graaaaaziiieeeeeeeee!!! ❤❤❤
HUGE!!! only you know how many hours you've spent to give this gift to the world. THANKS
Amazing performance / amazing transcription. Thanks ( im an amateur pianist w a huge backgrounding in classical AND jazz composition. So bravo.
The use of C and C# in the melody freely interposed, the sections in 4, 5 and sometimes 7 freely intertwined, the gorgeous singing... W@W.
Incroyable !
Quelle patience,car c’est très long!!
À 24’30 on croirait entendre Mike Garson ,autre monstre sacré de l’improvisation !
Wow who could be arsed lol. Respect
Crazy work, congrats! 👏
Amazing work!!! I Salute you!
Im not a musician but Keith touches my soul. Thank you for making this available and kudos to the tremendous work you put in!❤
Beautiful! Deep respect!
Stunning piece and stunning work of yours Michael: all my admiration for your huge, painstaking work
Always been my favorite from the Sun Bear Concerts! Amazing you are able to transcribe it!
What a labor of love to have the patience to do this. I have nothing but admiration for your Herculean effort to transcribe this. Wow!
It seems to me that Jarrett adds an extra C sharp to the right hand on the very last chord :-) Nevertheless, this video is a fantastic piece of work!
Genio!!! Impresionante trabajo!!! Felicitaciones
that‘s such an immpressive work you did!
I would also love to get the score on Encore from Nagoya 😍
senza parole
That transcription is incredible. Thank you.
Wow Michael. Really really impressive !
24:55 Lyle Mays cogió el guante aquí y nos enseñó el camino a casa
Amazing work
Thank you!
great work !
Respect
Amazing ❤ thank you 😊 🙏
stunning.
Amazing! Thank you so much!!
Wow, I‘m very impressed by your work. This is a masterpiece of Keith. Do you have the transcription also in paper?
woooow. must have been looots of work! great, thanks!
This piece reminds me the intro of My funny Valentine in the album Still live recorded in Munich july 13 1986.
Wow!!! Thank you!
wow great man!!!
amazing, and thank you so much sharing!
❤
Bach would be proud. A beautiful Toccata for modern times
Wow! I am stunned by this immense job you have done…..out of interest and respect…. How long did it take??
Thank you! It took several months, or maybe close to a year. I wasn't exclusively working on this during that whole time, and I also spent weeks checking it over
Very impressive, did Rick Beato order this one? Haha
Ha! He did not
I just know I am about to trip.
Excellent work ! Please note, in this video, the music heard is the original and does not completely correspond to that produced by a midi player because nuances and pedal strokes are missing.
why you are talking about a MIDI player we may never know
Great work! Any reason why the tuning is so off? Having some form of absolute hearing, I was thrown off by it. Do you use a tool to fix the tuning while transcribing?
Yeah, you are totally right. It's sharp isn't it (I don't have perfect pitch and don't specifically remember now)? I did fix the pitch with the software I was using. After a certain point it started to get very annoying, but the audio used in the video is the original audio. I'm sure this must be something that happened somehow with the recording itself. I think Keith has very extreme perfect pitch so I can't imagine he would have played on an out of tune piano, even if it's in tune with itself!
🤯
Michael, tell me please, how can I support you? Patreon is forbidden in Russia, you know why. Unfortunately.
Tell me, may be there is another way.
Thanks.
Dmitriy.
Patreon is blocked in my country too (China), but I'm able to use it with a VPN. I don't know if that would work for you
Measure 764 a quote of Le Sacre?
He also quotes Le Sacre at measures 537/538
21:54 The Lick?!?? xD
After hearing Sun Bear a lot. Ithink Sapporo is the clue
22:55 got me thinking Dr. Dre 😅
I dare you to transcribe my piano solo piece Home Neverland 😉
I humbly disagree with some of the time signature changes. Most of it might be in 4/8, even if his phrasing seems to phase in and out. If you count the beats *including the silent ones you will find it is mostly a four beat cadence.
Thanks for your comment. I'm not really sure where to start because this comment is very vague, especially in regards to a 41 minute transcription, but let me first say that I have been doing these transcriptions for about 25 years now. For whatever reason, pulling apart music and writing it out is what my brain does best. And, this particular transcription took me over 9 months. Are all of the meters that I've written correct? Who knows? I'm sure there are many places where someone could feel something differently than I am and choose a different meter. The meters that I've chosen reflect how I rhythmically feel this performance after months and months of extremely close listening. But, meters and bar lines are just our way of grouping music together so that it can be read easier. That being said, I can confidently say that this piece is not in 4/8. The beginning is undeniably in 3. Maybe it could be written in 3/8 or 6/8 and you could get the same results, but I chose 3/4 because it's easiest to read. In the D minor vamp section about 15 minutes in there are so many meter changes! He keeps adding little hitches to his groove. Could that all be written out in 4? Sure, but it would be extremely difficult to read. The downbeats of his phrases would stop being on beat 1 and would continue to drift further and further away as this section goes on. I'm sorry, I'm not aware of your musical background, or if you even are a musician, but I have spent a long long time doing this kind of work and I think I might know what I'm talking about! I can assure you that if you spent the time that I did writing this out, I strongly doubt you would come away thinking this could all be written out in 4/8.
@@michaellucke2654 Thank you for taking the time to respond. I am certainly only an amateur musician. I completely agree with you that this could be written in many different ways. However as an amateur musician I feel that all these multiple meter changes make things incredibly more difficult to decipher. In my (admittedly uninformed) opinion, most of the passages, especially the 'vamp' in G minor at 15mins, is in a 4 beat cadence. ( You have it as F major - but I read it as G dorian relative to F major). Yes, the beats weave in and out, and the down beat does not always fall on the one, but that is simply a lyrical device, not a meter change. Keith Jarrett stretches out time for emphasis but IMO he is not changing tempo. Remember that KJ is a jazz pianist, albeit incredibly lyrical, so it can be said he works in comping patterns. It is somewhat easier to view these passages as patterns rather than 'classically' written down phrases. A 4 beat cadence in G dorian is easier to understand than a bunch of unrelated F major phrases in a constantly changing meter signature just to accommodate KJ's lyrical phrasing. A Jazz musician can understand that he is weaving in and out of the comp using the minor third (Bflat) and the 5 (D) and the flat 7 (your F major) etc. using minor, dorian, whole tone and diminished scales - that's how a Jazz musician would see it.
I guess I would say that the reason some of this might be hard to read for an amateur musician is because this is incredibly difficult and complicated music. Also, I am a jazz musician, and the way I've written it out is how a jazz musician would see it. I've had some really heavy jazz pianists proofread this and they had no objections to the meter changes. And, these meter changes are absolutely necessary. He is definitely playing in all of these odd meters. As I said, maybe other meters could accomplish this, but there are a certain number of notes being played and the meters have to reflect that. In the vamp section that you talk about, there are bars where he plays 11 8th notes in his left hand pattern (for example). Those bars have to be in 11/8 or I would be leaving notes out. Are you saying that I should dumb down what Keith is doing so that it remains in 4 the whole time? I'm sorry, but these are absolutely meter changes, even if they are lyrical devices. Also, this section is written in D minor, not F major (same key signature). You are correct that the notes he is mostly improvising with are a G Dorian scale, but it's actually a D natural minor scale. These scales are the same notes, but the root in this section is a D, not a G. Anyway, the basic idea that he's doing in his left hand is a D (in the middle of the bass clef staff) to start each pattern, and then some amount of 8th notes in between these D's. If this part was in 4, the amount of 8th notes in between each of these D's would be 7 or maybe 15 if it's extended. But here we see a variety of the amount of 8th notes. Sometimes it's 7, sometimes it's 10, or maybe 8. It's constantly changing which is why there are so many meter changes. You seem to be suggesting that I leave it all in 4, so that some of these low D's that start these patterns might end up falling on non dominant beats in other measures? I just think that overall that will end up being much harder to read because the beginnings of the phrases aren't going to line up on beat 1 anymore. Or maybe you're thinking with more of a "lead sheet" mindset? If so, then yes, if I was writing out a "sketch" for this section, I could notate a generic pattern similar to what he's playing in the left hand and say "repeat ad nauseam, improvise in D minor and phrase freely." But, that's not the point of this transcription. The point here is to write down all of the notes and rhythms that he played as accurately as I could, and I think I've done a good job of that, if I do say so myself. I think if you understood the amount of work this took, how carefully and how many times I've listened to all of this you might get a better sense of why this needs to be written out this way. I mean, really, I've literally counted out how many 8th notes he's playing (and written them all down in the music!). They all have to be taken into account and the meters reflect that. I'm not just flippantly adding meters to make this look fancy or confusing or whatever. This was all done with extreme consideration. I spent hundreds of hours on this!
@@michaellucke2654 I completely appreciate the amount of work and effort put into this and I would defer to your expertise. In fact I really appreciate the opportunity you have provided us to see the notes he is playing. In my mind things sit differently in terms of the musical tapestry he is weaving. As a fan of KJ since 1976 (I bought this set when it came out on ECM vinyl) I just hear what he is doing differently. There is a tendency today to equate what he is doing with some sort of 'modern classical' music. But KJ says himself, he is just playing the American songbook. He has a wonderful lyrical ability to mesh these faint echoes together. I guess I am not enough of an expert to argue in depth, but from an ear and heart point of view, the cadence is easy to follow. Yes, he drifts and slows down. He comps and vamps. His music is almost like film music to an invisible film! But I do want to say kudos on the great work. This will no doubt give future music students a much better insight into the genius of Keith Jarrett and if I had this transcript 40 years ago I would have cherished it. So thank you for that! As an aside, the passage that I hear in G dorian is a simple chord substitution device, very common in Jazz, to replace the 1 chord with the 5 chord. So what you see as a D minor, I see as a G dorian. Since he is playing a G dorian scale, the tonal center for me is G. (and G dorian is F major...)
Sorry, I have to wade in here. @@beautardyartistit’s great that you’re a passionate fan of KJ! Me too! However, I have to say, you’re wrong here. That section is definitely in D natural minor, just look at all the Ds at the bottom of the left hand!
And these meter changes are absolutely necessary and the correct way to notate this. It has nothing to do with jazz versus classical. KJ simply played a lot of odd meters there! This is the correct way to notate it. I don’t mean any disrespect and I’m glad you love KJ but you’re clearly out of your element with these comments. There’s just no reasonable way to notate this without the odd meters. That’s an insane thing to suggest.
This is great but my favorite of his is this which I’ve only hard on youtube (Madrid 1988): ruclips.net/user/livesoBy__OddN8?si=eIB5GrKSimtqt3-R
Keith Jarret:
genius? or enlightened
Tasty, but (IMO) not as good as KJ's recording of Handel sonatas. (Yes, it's on YT.)