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The Real Guitarist (ver. 1) by Steve Kuhn - 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
Steve Kuhn (b. Brooklyn, NY, March 24, 1938) is an American jazz pianist, composer and trio leader. He began studying piano at the age of five and studied under legendary Boston piano teacher Margaret Chaloff, mother of jazz baritone saxophonist Serge Chaloff, who taught him the "Russian style" of piano. At an early age he began improvising classical music. As a teenager he appeared in jazz clubs in the Boston area, gigging with the likes of Coleman Hawkins, Vic Dickerson, Chet Baker, and Serge Chaloff. He graduated from Harvard and attended the Lenox School of Music where he was associated with such other future jazz masters as Ornette Coleman and Don Cherry, with a supportive faculty that included George Russell, Gunther Schuller, and Bill Evans. This allowed Mr Kuhn to play, study, and create with some of the most forward-thinking innovators of jazz improvisation and composition, culminating with his joining trumpeter Kenny Dorham's group for an extended time. He also has appeared most notably with artists such as Stan Getz, Art Farmer, Oliver Nelson, Gary McFarland, Ron Carter, Scott LaFaro, Harvie Swartz, vocalist Shelia Jordan, Billie Drummond, David Finck, and Miroslav Vitous. From 1967 to 1971 Kuhn moved to Stockholm, Sweden where he worked with his own trio throughout Europe. In 1971 Kuhn moved back to New York and formed a quartet but continued doing European gigs, and appearing at the Newport Jazz Festival. In his early years, Mr Kuhn was known as an 'avant-garde' pianist (but not "New Thing"). Steve Kuhn was the first pianist for the initial groundbreaking quartet formed by John Coltrane. Mr Kuhn was associated with bassist Steve Swallow and drummer Pete La Roca during the 1960's for several notable recordings: "Three Waves" under Kuhn's leadership, "Basra" under La Roca's leadership which also featured Joe Henderson, and "Sing Me Softly Of The Blues" under the leadership of flugelhornist Art Farmer. Among other notable recordings which were also critically acclaimed was "The October Suite" written by Gary McFarland for Mr Kuhn and an ensemble which included strings, woodwinds, and reeds. Yet another very notable and critically praised CD is called "Promises Kept" featuring Kuhn's compositions, piano, and strings. For decades, Mr Kuhn has led an all-star trio that has included such luminaries as bassist Ron Carter and drummer Al Foster and has had several live recordings in some of New York's top jazz clubs.
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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...)