Piano Sheets > David Baker Sheet Music > Lydian April (ver. 1) Piano Sheet

Lydian April (ver. 1) by David Baker - Piano Sheets and Free Sheet Music

  
About the Song
   Other avaliable versions of this music sheet: Version 1  Version 2  
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
David Nathaniel Baker Jr. (born December 21, 1931 in Indianapolis, Indiana) is a leading symphonic jazz composer at the Indiana University Jacobs School of Music in Bloomington. Born in Indianapolis, Indiana, David Baker attended Crispus Attucks High School. He was educated at Indiana University, receiving both his Undergraduate and Masters in Music Education from that institution. [1] He thrived in the Indianapolis jazz scene of the time, serving as a mentor of sorts to Indianapolis-born trumpeter Freddie Hubbard. Originally a talented trombonist, he was forced to abandon that instrument after a jaw injury left him unable to play (although he played brilliantly on the George Russell Sextet album Ezz-thetics after sustaining the injury) [2]. Following the injury, he learned to play cello, a rare instrument in the jazz world. This shift to cello largely ended his career as a performer and marked a period of increased interest in composition and pedagogy. Among the first and most important people to begin to codify the then largely aural tradition of jazz he wrote several seminal books on jazz, including Jazz Improvisation [3]. As an educator he has helped make Indiana a highly regarded destination for students of music. Probably the best known students to pass under his tutelage are Michael Brecker, Randy Brecker, Peter Erskine, Chris Botti, Jeff Hamilton, and the jazz-education mogul Jamey Aebersold. A 1973 Pulitzer Prize nominee, Mr. Baker has been nominated for a Grammy Award (1979), honored three times by Down Beat magazine (as a trombonist, for lifetime achievement, and most recently [1994] as the third inductee to their jazz Education Hall of Fame), and has received the National Association of jazz Educators Hall of Fame Award (1981), President’s Award for Distinguished Teaching (1986) from Indiana University, the Arts Midwest jazz Masters Award (1990), and the Governor’s Arts Award of the State of Indiana (1991). His compositional works are often cited as examples of the Third Stream Jazz movement, although they run the gamut from traditional jazz compositions intended for improvisation, to through-composed symphonic works. He has written over 2,000 compositions. Mr. Baker has been commissioned by more than 500 individuals and ensembles [4], including Josef Gingold, Ruggerio Ricci, Janos Starker, Harvey Phillips, the New York Philharmonic, St. Paul Chamber Orchestra, Beaux Arts Trio, Fisk jubilee Singers, Louisville Symphony, Ohio Chamber Orchestra, the Audubon String Quartet, and the International Horn Society. His compositions, tallying over 2,000 in number, range from jazz and sonatas to film scores. He has recently received a lot of attention for his "Concertino for Cell Phones and Orchestra", premiered in Chicago in October of 2006, with a European premiere in Dvorak Hall, Prague, Czech Republic. A dedicated music educator as well as composer and performer, Mr. Baker’s involvement in music organizations has encompassed membership on the National Council on the Arts; board positions for the American Symphony Orchestra League, Arts Midwest, and the Afro-American Bicentennial Hall of Fame/Museum; and past chairs of the Jazz Advisory Panel to the Kennedy Center and the jazz/Folk/Ethnic Panel of the NEA. He is a past president of the International Association of jazz Educators, and is currently president of the National jazz Service Organization and senior consultant for music programs for the Smithsonian Institution. He has more than 65 recordings, 70 books, and 400 articles to his credit.
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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...)