Piano Sheets > Miles Davis Sheet Music > Freddie Freeloader (ver. 1) Piano Sheet

Freddie Freeloader (ver. 1) by Miles Davis - Piano Sheets and Free Sheet Music

  
About the Song
"Freddie Freeloader" is a composition by Miles Davis and is the second track on his seminal album Kind of Blue. The piece takes the form of a twelve-bar blues in B-flat, but the chord over the final two bars of each chorus is an A-flat7, not the traditional B-flat7 followed by either F7 for a turnaround or some variation of B-flat7 for an ending. Davis employed Wynton Kelly as the pianist for this track in place of Bill Evans, as Kelly was something of a blues specialist. The solos are by Miles Davis, John Coltrane, Cannonball Adderley, and Wynton Kelly. According to the documentary Kind of Blue: Made in Heaven, the song was named after an individual named Freddie who would frequently try to see the music Davis and others performed without paying (thus freeloading). The name may have also been inspired by Red Skelton’s most famous character, "Freddie the Freeloader" the hobo.    Download this sheet!
About the Artist
Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century, Davis was at the forefront of almost every major development in jazz from World War II to the 1990s: he played on various early bebop records and recorded one of the first cool jazz records; he was partially responsible for the development of hard bop and modal jazz, and both jazz-funk and jazz fusion arose from his work with other musicians in the late 1960s and early 1970s; and his final album blended jazz and rap. Many leading jazz musicians made their names in Davis' groups, including: Joe Zawinul, Chick Corea and Herbie Hancock, saxophonists John Coltrane, Julian "Cannonball" Adderley, Gerry Mulligan, Wayne Shorter, George Coleman, pianist Keith Jarrett, and Kenny Garrett, drummer Tony Williams and guitarist John McLaughlin. As a trumpeter, Davis had a pure, round sound but also an unusual freedom of articulation and pitch. He was known for favoring a low register and for a minimalist playing style, but was also capable of highly complex and.
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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...)