@erforderlich5274 what are you rambling on about. What "doesn't happen"? It happens right away in bar 2 on the third beat. F7sus4 with the A in the melody. It's the clash of the major 3rd/sus4 that shouldn't work but does because of the voicing (playing the sus4 as the melody with the 3rd just beneath it would sound worse) 2:57 is another example of a major third in the melody over a sus4 chord. Dude even writes Fsus4 add3. Sure its not only them notes as it has the 13th there too but the sound is still there. This isn't the only time he does it in the piece, and in fact he does it a lot in his other performances of other pieces I'd suggest you refrain from trying to "disprove" comments on youtube with this cringe condescending arrogance and ego. There's more likes on my comment than entire subscribers to your channel btw, and you're saying "who is this guy?" about Keith Jarret in other comments. < someone bigger than you. We get you prefer the Bill Evans version. We get it
Whatever. Listened to your YT piano improvisations, saw some video games of yours - keep on playing, it'll be great! Still I see 2:57 as Cm7/9 over F with 'a' in melody, guess that's the way Keith thought about, rather than a somewhat overly intelligent "Fsus7/9/13/add3". However, let's not be aggressive on music.
@@erforderlich5274again condescending me by saying my content of 12 years ago needs more practice (when you have no content, no subs, no profile pic, and no name) ^sure
@@erforderlich5274the original chord is F7, not Cm7/F so stop digging a hole. You're the only one being "overly intelligent" and aggressive Put some content up, get some subscribers before you start putting others down and trolling on the internet "correcting" everyone
As a classically trained musician, please let me say what a gift you have crafted for those of us exploring the intersection of functional harmony and jazz. This is outstanding work and I will gladly purchase your transcription. Thank you so much - you have given me a way into jazz through my very familiar 'architecture' of Bach, Chopin et al.
to have transcribed this performance is work of gargantuan proportions. Kudos and respect to you, sir. As for the performance of this beautiful piece that is so often destroyed by pseudo expressive interpretations, this must be the best and the most sincere ever played. Tears streaming down my cheeks about 30 seconds into it.
I tear up at the beauty of this wonderfully exploratory conception of this divine melody…every time I listen to it. The score is one thing. Keith’s sensitive playing is another, and is heartfelt and far away beyond any other interpretation.
It's beautiful, for sure, and Keith shows his mastery of touch to great effect... but for me, at any rate, the Bill Evans version on Easy To Love just pips this. Both are fantastic interpretations, for sure, but the way Bill freewheels through the keys and his delicate solo just takes the piece to a different dimension. Horses for courses, though!
I dunno. This is good (and people like his faces) - but Bill Evans' version outplays this by far. His harmonics are richer & deeper from the git-go, and Bill's playing swings some great lines in the later part. In a historic view one has to conclude Keith is a trying tribute to his Master.
Wow!! The master at work, to take a relatively simple song and embellish it with both nuance and complexity, taking it to a whole new level of beauty...and then to have the transcription. Thank you so much.
Il suo modo di interpretarla e' veramente unico e geniale. Armonia, accordi, passaggi corposi e intensi, sembra che stia per esaurirsi ma poi incantevolmente si rigenera producendo il nuovo e l'inaspettato. Ti strugge, e' come una lama affilata che ti entra nel cuore. Ha la capacità di suscitare emozione sopraffine e intense. Gli viene tutto naturale. Le sue mani le guida Dio.
Just downloaded the score. It's within my reach, but not without hard work so that it all comes together fluidly.. What a gift, to make that magnificent score available to those of us who must "paint by the numbers" so to speak.
Very good job! just a few notes missing (for example bar 2 he plays A-C-D right hand second time, bar 5 left hand F-C-A, bar 6 the A 8th note is in octava (to go to the G), bar 8 right hand he plays C-D on the 3rd time, bar 10 on the end there is a C with the first of the 2 E right hand, bar 11 last time left hand is A-Ginstead of A-C (the C is played by right hand), etc. And bar 55 I think an error of writting: right hand is F-A (no F-C). But congratulation for your work and thanks for sharing it.
That is one thing to be able to play in the 12 keys but another thing to understand the relationship between all and every notes together. Keith’s musical vision is far beyond usual players reach and displays what is music in essence; unbounded, emotional, spirited.
Keith Jarrett - ultimate Over the Rainbow Full piano transcription pdf - th-cam.com/video/UMKSNcbDbDg/w-d-xo.html&ab_channel=PatricioFranzi
How dare you make me cry like that!! 😂 gorgeous
No pianist alive can evoke emotion from a piece of music as Keith Jarrett
You made my day. thanks for sharing.
Playing the major 3rd melody over a sus 4 chord has such a great sound
@erforderlich5274 what are you rambling on about. What "doesn't happen"? It happens right away in bar 2 on the third beat. F7sus4 with the A in the melody. It's the clash of the major 3rd/sus4 that shouldn't work but does because of the voicing (playing the sus4 as the melody with the 3rd just beneath it would sound worse)
2:57 is another example of a major third in the melody over a sus4 chord. Dude even writes Fsus4 add3. Sure its not only them notes as it has the 13th there too but the sound is still there. This isn't the only time he does it in the piece, and in fact he does it a lot in his other performances of other pieces
I'd suggest you refrain from trying to "disprove" comments on youtube with this cringe condescending arrogance and ego.
There's more likes on my comment than entire subscribers to your channel btw, and you're saying "who is this guy?" about Keith Jarret in other comments. < someone bigger than you. We get you prefer the Bill Evans version. We get it
@erforderlich5274 nah. My reply was just highlighting your ego. Just because you don't agree with the response doesn't invalidate it
Whatever. Listened to your YT piano improvisations, saw some video games of yours - keep on playing, it'll be great!
Still I see 2:57 as Cm7/9 over F with 'a' in melody, guess that's the way Keith thought about, rather than a somewhat overly intelligent "Fsus7/9/13/add3".
However, let's not be aggressive on music.
@@erforderlich5274again condescending me by saying my content of 12 years ago needs more practice (when you have no content, no subs, no profile pic, and no name)
^sure
@@erforderlich5274the original chord is F7, not Cm7/F so stop digging a hole. You're the only one being "overly intelligent" and aggressive
Put some content up, get some subscribers before you start putting others down and trolling on the internet "correcting" everyone
As a classically trained musician, please let me say what a gift you have crafted for those of us exploring the intersection of functional harmony and jazz. This is outstanding work and I will gladly purchase your transcription. Thank you so much - you have given me a way into jazz through my very familiar 'architecture' of Bach, Chopin et al.
I love the way you described this... intersection of functional harmony and Jazz! PERFECT!!
to have transcribed this performance is work of gargantuan proportions. Kudos and respect to you, sir. As for the performance of this beautiful piece that is so often destroyed by pseudo expressive interpretations, this must be the best and the most sincere ever played. Tears streaming down my cheeks about 30 seconds into it.
Wonderful to have a transcription of this masterpiece ❤
Simply a genius. An artist who has access to a dimension only very few humans have. 😊
I tear up at the beauty of this wonderfully exploratory conception of this divine melody…every time I listen to it. The score is one thing. Keith’s sensitive playing is another, and is heartfelt and far away beyond any other interpretation.
a stunna.
It's beautiful, for sure, and Keith shows his mastery of touch to great effect... but for me, at any rate, the Bill Evans version on Easy To Love just pips this. Both are fantastic interpretations, for sure, but the way Bill freewheels through the keys and his delicate solo just takes the piece to a different dimension. Horses for courses, though!
I dunno. This is good (and people like his faces) - but Bill Evans' version outplays this by far. His harmonics are richer & deeper from the git-go, and Bill's playing swings some great lines in the later part. In a historic view one has to conclude Keith is a trying tribute to his Master.
Great work on this important transcription...my all-time favorite ballad pianist.
Thank you for the wonderful transcription of this most gorgeous arrangement by Keith.
Wow!! The master at work, to take a relatively simple song and embellish it with both nuance and complexity, taking it to a whole new level of beauty...and then to have the transcription. Thank you so much.
I've never had so many goosebumps listening to a piano solo, he played with his soul.
That's amazing that you put in the work for this. Because of it, I am forever grateful. Thanks.
Glad you enjoy it!
This is the closest thing to perfection.
Hear, hear!
bill evans one is more
I like Bill Evans' version more. Far more. And his isn't perfect. Perfection is for the neurotic anyway.
A wonderful transcription of a TOP SHELF player. Sincerely,Steve,NJ,USA
Il suo modo di interpretarla e' veramente unico e geniale. Armonia, accordi, passaggi corposi e intensi, sembra che stia per esaurirsi ma poi incantevolmente si rigenera producendo il nuovo e l'inaspettato. Ti strugge, e' come una lama affilata che ti entra nel cuore. Ha la capacità di suscitare emozione sopraffine e intense. Gli viene tutto naturale. Le sue mani le guida Dio.
Thank you so much for transcribing that! It's magic! Your work is so appreciated!
Thank you for the transcription of this wonderful piece of art
Just downloaded the score. It's within my reach, but not without hard work so that it all comes together fluidly.. What a gift, to make that magnificent score available to those of us who must "paint by the numbers" so to speak.
Stunningly beautiful performance and great transcription- thank you!
Thank you ! It^s awesome !
that piano sounds unreal. Amazing thank you
🙏
Un genio straordinario. Senza parole❤
Many thanks for piano transcription. Can't imagine how you got it!
Great job, congrats !
Thank you so much 💓
아름답다❤
Enorme trabajo de transcripción!! Felicitaciones!!!
🙏juuu
Incredible work, thanks so much for doing this! ❤❤
The tension is so palpable...
すばらしい
grande pato!
gran material
🙏Marian!
Very nice! Bar 6, beat three should have an Eb in that bass cleff F7sus4. .
Wow
WauW!!!!!!
Very good job! just a few notes missing (for example bar 2 he plays A-C-D right hand second time, bar 5 left hand F-C-A, bar 6 the A 8th note is in octava (to go to the G), bar 8 right hand he plays C-D on the 3rd time, bar 10 on the end there is a C with the first of the 2 E right hand, bar 11 last time left hand is A-Ginstead of A-C (the C is played by right hand), etc. And bar 55 I think an error of writting: right hand is F-A (no F-C). But congratulation for your work and thanks for sharing it.
The good ol’ Diminished Scales Phil .L.
❤❤❤
I wonder what it feels like to be able to play like this? (And to be comfortable in all 12 keys!)
That is one thing to be able to play in the 12 keys but another thing to understand the relationship between all and every notes together. Keith’s musical vision is far beyond usual players reach and displays what is music in essence; unbounded, emotional, spirited.
do you have perfect pitch?
i wish
🥺
0:59 great moment
😪😪😪😪
I know everybody's just all ga-ga over this guy, but Danny Boy like this sounds wrong.
нафига он столько мимо играет?((/)))