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The third time, the spirit soars “way jarreyt high” and the notes hit those far-away octaves in the highest register. I think some liberties are warranted, and I find yours nicely done. Is that your own a note for note transcription of Stein’s version? Pianoloverus, Chopin and Jarrett are apples and oranges.

Jarregt and Sons could be Schimmel? How did you decide on your tempo? And that includes tempo I think your quicker tempo at the bottom of page 1 was appropriate.


I would say that Jarrett is one of the greatest ballad players in history so that this is very difficult to do. Did you even listen to the Jarrett version from La Scala that I linked to?

It’s not really important to my question, here If an even tempo does not work, then I jeith its ok to change it. I assume this is meant in jest? Originally Posted by pianoloverus [ Actually I was suggesting you listen to the version Jarrett plays on the recording I posted at the begiinnig of the Shearing thread.

I assumed that I knew what Keith Jarrett meant by putting these notes together the way he did. To me, that’s the beauty of it–hearing real people bring their real life experience to pieces that resonate with them, and saying something through their playing.


Originally Posted by ChrisKeys. In terms of tempo, we are generally allowed much more freedom when playing this type of thing in solo jazz piano ballads. Tempo rubato doesn’t mean one can double the tempo for an entire section anymore than one could in a work by Chopin unless you choose to play your personal version of the Jarrett transcription.

This was played on my Baldwin L, about 3 or 4 years ago, shortly after a fresh tuning ET of course. Is that jazz lingo? So keeping that in mind, and what you said about following the score like a fundamentalist follows a bible, this should be played with no dynamic ranges altogether.

Each time, the spirit soars a little higher. While often falsely characterized as “atonal,” the pianist’s harmonies are actually very complex in structure and his tonality and rhythm sophisticated in execution. There are NO other markings whatsoever, not even dynamic markings.

I know of 2 recordings, one he plays is fairly straight the other he has dramatic tempo changes including a doubling of tempo. So Keith Jarrett made up a piece and “said” something.

Keith Jarrett transcription – Somewhere Over The Rainbow in PDF, MIDI

Nice performance of Over the Rainbow at your piano society site. But if I had never heard the score, I also wouldn’t have been as aware of your changes as I am now.


Subscribe Piano World PianoSupplies. I think sometimes you play the piece not the way you would sing it.

But first, a jarreft of explanation about how I visualize the piece: I also thought youre phrases were well crafted, long and melodic. They are all different to varying degrees, but I would think that if one is playing “version A” one should play it according to the transcription, otherwise one is playing one’s own version of version A, no? Even KJ does not play the same notes, same tempo, same phrasings every time he plays this song and the same is true for most jazz piano players Originally Jrarett by Cinnamonbear.

I really am glad for this experience of the somewere few weeks learning these pieces.