Piano Sheets > Earl Zindars Sheet Music > Sareen Jurer (ver. 1) Piano Sheet

Sareen Jurer (ver. 1) by Earl Zindars - Piano Sheets and Free Sheet Music

  
About the Song
Sheet Music - Purpose and use Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores. Comprehending sheet music requires a special form of literacy: the ability to read musical notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation—as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composers and lyricists Lionel Bart, Irving Berlin and Paul McCartney. The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece. With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. In jazz music, which is mostly improvised, sheet music—called a lead sheet in this context—is used to give basic indications of melodies, chord changes, and arrangements. Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral—and aural—tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well. Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail. (More...)    Download this sheet!
About the Artist
Earl Zindars (September 25, 1927 – August 15, 2005) was an American composer of jazz and classical music. Chicago-born Earl Zindars graduated from DePaul University and went on to earn a Masters Degree in Music Composition from Northwestern University. He studied with Dr. Leon Stein and Walingford Riegger, and earned a Fulbright Scholarship to attend Oxford University, where he studied with Edmund Rubbra. Postgraduate work was at Columbia University with Dr. Otto Leuning. Fellowships include Yaddo[1], The MacDowell Colony[2], and the Huntington Hartford Foundation. Earl received numerous commissions and awards throughout his career, including the National Institute of Arts and Letters. He was also the recipient of Broadcast Music, Inc.'s "Jazz Pioneer Award", given in recognition of his "long and outstanding contributions to the world of jazz." His long association with the legendary Bill Evans produced several recordings on Evans's albums. Evans particularly favored "Elsa" and "How My Heart Sings", which evolved into jazz standards over the pianist's prolific recording career. In recognition of Evans's connection with "How My Heart Sings" and the title's evocative nature, Peter Pettinger used it as the name of his acclaimed 1998 biography of Bill Evans.[1] His music has also been featured on the albums of numerous other jazz greats including Cannonball Adderley, Donald Byrd, Eddie Daniels, Philly Joe Jones, Dino Saluzzi, and Tony Williams. Most recently, pianist Bill Cunliffe brought forward a CD entitled How My Heart Sings, dedicating it exclusively to the music of Earl Zindars. The CD enjoyed several weeks ranked among Jazz Week's top ten. Zindars's extensive discography numbers nearly 100 albums and continues to grow. Beyond the jazz realm, Earl's classical compositions have been performed by the International Chamber Orchestra of Rome (Italy), San Francisco Symphony Chorus, San Francisco Symphony Brass, San Jose Symphony Orchestra, San Francisco Chamber Players, and various brass ensembles around the world. He was living in New York when he met Anne Bohigian, whose first name is "Annig" in Armenian. She was a jazz singer headlining at Radio City Music Hall with a group called "The Axidentals". Zindars was a timpanist in the orchestra. In between shows, they shared the only available rehearsal room. Six months later, they were married. Shortly thereafter, they moved to San Francisco where they put down their roots and raised two daughters. He taught music composition and theory for six years at San Francisco State University and performed with the Ernie Heckshire Orchestra at the Venetian Room in San Francisco's landmark Fairmont Hotel. A great lover of the outdoors, he looked forward to Sunday afternoons where he was the longtime timpanist of the San Francisco Golden Gate Park Band. He was also an avid rose gardener. In 2003, Alisa Clancy, host of KCSM 91.1FM Bay Area Jazz Station's "Desert Island Jazz" program, chose Zindars to be a featured "Castaway". The show challenges each castaway to pare life down to its bare essentials by allowing them to select eight pieces of music to accompany them on a deserted island. In addition, they can choose one book and one luxury item. You can view Zindars's selections on KCSM's Desert Island Jazz page: [3] Zindars, who expressed himself more through his music than words, composed his final composition less than a month before passing away in his Richmond District home. It was called "Roses for Annig" and was dedicated to his wife of 43 years.[2]
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Sheet Music - Purpose and use Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores. Comprehending sheet music requires a special form of literacy: the ability to read musical notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation—as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composers and lyricists Lionel Bart, Irving Berlin and Paul McCartney. The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece. With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. In jazz music, which is mostly improvised, sheet music—called a lead sheet in this context—is used to give basic indications of melodies, chord changes, and arrangements. Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral—and aural—tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well. Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail. (More...)