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Jon Schmidt – Piano Solos Vol. I.pdf – PDFCOFFEE.COM
Born to German immigrants who raised him on the music of the masters, Jon was already playing Mozart Sonatas and composing his own music by age 11. Hours a day …
Source: pdfcoffee.com
Date Published: 7/22/2021
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Jon Schmidt top rated scores – Musescore.com
Share, download and print Jon Schmt free sheet music with the world’s largest community of sheet music creators, composers, performers, music teachers, …
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Date Published: 8/2/2022
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Jon Schmidt Piano Solos Vol 2 – PDF Free Download
Jon Schmt Piano Solos Vol 2…
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Date Published: 7/3/2021
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Jon Schmidt – Christmas Book.pdf – DOKUMEN.TIPS
Text of Jon Schmt – Christmas Book.pdf … 1Were You There? Were You There? … would perform all over the city during the holays.This great song by Natalie …
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Date Published: 4/14/2021
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All of me comp Final* – comPartituras
is favorable at the first of this fine song. ©copyright 1996. 123 4. 56 7 8. (Sut’s Fav) written by Jon Schmt. All of Me. -. Helpul Hints:.
Source: repositorio.compartituras.net
Date Published: 6/4/2021
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Waterfall free sheet music by Jon Schmidt | Pianoshelf
Piano sheet music for Waterfall, composed by Jon Schmt for piano.
Source: www.pianoshelf.com
Date Published: 4/2/2022
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Game Day Jon Schmidt | PDF | Entertainment (General) – Scribd
music. All note infractions will result in a five yard penalty. Game Day (Highland Games). =142-160. With liberty …
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Date Published: 11/30/2021
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- Date Published: 2018. 3. 7.
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Piano Solos Vol. I.pdf
Citation preview
Pictured from left to right: Jon Schmidt. Not pictured: Candace Watkins, Mike VanRy…well a lot of people actually.
Jon Schmidt, Pianist, Composer, and Entertainer has a refreshingly unique style that is difficult to pin down. Just when you think you have a reflective New Age Pianist, he’ll do a back flip off the piano bench, throw himself under the keyboard and play ragtime with his hands crossed. Say his music has elements of Beethoven or Chopin and he suddenly turns into Jerry Lee Lewis. The style in which he sometimes plays makes you think of Billy Joel, but then suddenly he’s Victor Borge. Born to German immigrants who raised him on the music of the masters, Jon was already playing Mozart Sonatas and composing his own music by age 11. Hours a day at the piano, however, did not stop him from being well-rounded. He was captain on the varsity football team, the class clown, and the kid at school that got along with everyone. This could be why people often use the term “well- rounded” to describe his performance. A rare combination of sincerity, comedy, charm, high energy, and “aw- shucks manners” immediately endears him to the audience. His unusually warm rapport makes you feel like he’d love to go catch pizza with you after the show. Well-rounded could also describe the music of his albums, “August End,” “Walk in the Woods,” “A Day in the Sunset,” “Jon Schmidt Christmas,” and “To the Summit” in which Schmidt spotlights the beauty and the purity of the solo piano. Orchestration is used sparingly to highlight his piano arrangements, which are always interesting and provocative. Schmidt’s original style combines Classical and New-Age sensibilities with Pop-style elements of hook and melody, or “the simple genius of melody,” to use Schmidt’s words. He is also noted for his distinctive treatment of harmony, counterpoint, and rhythm. These elements give his music a definite signature, one in which the fun, the sincerity, and the warmth of his personality all find themselves revealed. Also reflected, in the words of an early write-up, is depth: “His music seems to carry more weight than you’d expect from his years. A family tragedy quickly sobered him as a young man and that resonance of maturity shows up in his songs.” Schmidt is quick to acknowledge that his best inspiration comes from the special relationships in his life, including those with his wife, Michelle, his children and God. Jon Schmidt has quickly become well known in the Salt Lake area, where he consistently performs to sold out audiences in major performance venues along the Wasatch front. Jon’s credits include five albums, four wildly popular volumes of his original piano scores, performances and radio play all over the country, several top 40 songs at mp3.com, a Pearl Award, a televised concert on a local PBS station and “A Jon Schmidt Christmas” which has fast become a successful yearly Christmas tradition in Salt Lake. About his show, one critic wrote: “When the energy and volume of the show have faded, what the audience will remember is the sweetness.” After the airing of a locally televised concert , more than 100 viewers called the station. Some of the comments were as follows: “Very inspiring.” “Very entertaining.” “I couldn’t turn it off.” “One of the most incredible hours I’ve spent on a Saturday night in a long time.”
Table of Contents Waterfall. . . . . . . . . . . . . . .1 Cherished Moments. . . . 11 Song of the Ocean. . . . . . 17 Morning Light. . . . . . . . . 27 Tribute (Easier Key). . . . . . . 34 Homecoming. . . . . . . . . . 44 All of Me. . . . . . . . . . . . . . 51 Tribute (Original Key). . . . . . 62 Jon Schmidt Catalog . . . .72 ©1998 JS Productions All Rights Reserved Any duplication of this material for any reason requires express written consent
Side Notes:
Helpful Hints:
• Of all my songs, many people say this one is their favorite. I think you’re gonna love this one.
• Give it a two-beats per measure feel, like a jig. • Level of difficulty: fifth easiest in the book. • A deep thought on the subject of fingering : We learn songs at slow speeds, and therefore fingering seems dumb or unimportant. Then we wonder why some places are such a pain to play as we become able to play the song faster. It is because we have formed permanent fingering habits that make those places almost impossible to play. Wouldn’t it be better to take just an extra minute to learn the right fingering the first time?
Waterfall .=125-135 With considerable body movement and obnoxious facial expressions ©copyright 1996
written by Jon Schmidt (from the album Walk in the Woods)
1
2
WARNING: You might be tempted to accent all of the “G’s” in this pattern. Don’t do it! It will foul you up. Instead, think of the notes in the pattern in groups of six and use my accents right from the start.
Pedal ad-lib, except where noted 3
5
Waterfall ©1996-CJS&JS
1
7
9
5 2
5
4
Those who choose not to use this fingering may never get the opportunity to enjoy playing this oft-repeated maneuver at high speeds.
1
2 2 1
3 1
4 2
3 1
1
fingering simile 11
The cool rhythm that starts here is twice as fun to play when you use the accents in the right hand. (Try practicing measure 13 and 14 slowly, until you get the hang of it.) 13
15
cresc.
Waterfall ©1996-CJS&JS
Same dynamics as measure 14. Hereafter noted:
2
simile
17 5
1
5 1
5 1
1
2
5 2
1
5
1
2
5 2
1
19
2 3
21
5 1
5 1
5
5
3
3
5
1
2
1
1
23
4
2
3
1
25
– L.H. over cresc.
You can do this. Really! You can. Waterfall ©1996-CJS&JS
3
-L.H. over
27
-L.H. over
-L.H.over
-L.H.over
simile
1
29
-L.H. over
2
2
3
4
3
2
simile 2
1
31
5
5 1
5 1
1
2 5
2
3
4
5
1
2
3
4
3
33
3
2
2
3 5
1
dim.
R.H. over
–
R.H. over
–
35
2
Waterfall ©1996-CJS&JS
4
3
1
3
4
37
4 2
cresc.
39
3
4
5 1
5 4
41
5 2
3
1
2
cresc.
43
2
45
cresc.
Waterfall ©1996-CJS&JS
5
5 1
5 2
5 4 3 2
4 -important 3 2
47
(use thumb for C & D)
49
-L.H. over
-L.H. over
-L.H. over
simile
51
-L.H. over
-L.H. over
-L.H. over simile
53
2
3
2
3
4 2
3
5
4
5 1
5 1
1
2
5 2
55 4
Waterfall ©1996-CJS&JS
3
2
6
2
3
4
56
3 5
5
R.H. over
–
R.H. over
–
58
3
60
4
4
5
1
4 3
cresc.
62
3
4
5
64
2
cresc.
Waterfall ©1996-CJS&JS
4
7
66 2
68
cresc.
4 (on top) 3 1
70
molto cresc.
71
() (use thumb for C & D)
()
()
72
–
L.H. over
“D”
-L.H. over
-L.H. over simile
Waterfall ©1996-CJS&JS
8
-L.H. over
“G”
74
-L.H. over
-L.H. over simile
76
2
3
3
2
4
2
3
3
2
5 1
5 1
1
2
5 2
3
4
3 2 1
78 4
5
4
2
cresc.
same as previous chord if you can’t reach
3
3
80
2
4
5
2
molto cresc.
4
5
82
5 4
Waterfall ©1996-CJS&JS
3 2
2 2
2
3
4
1
9
5 3 2
3 2 1
1
4 2 1
84
85
4
4
3
87
cresc.
8 va . . . .
89
5
molto cresc. 5
Waterfall ©1996-CJS&JS
1
2
1
5
10
2
1
Side Notes:
Helpful Hints:
• Playing this song one night helped me seal a deal with a very pretty girl named Michelle. (Luckily she is also very near-sighted.) • This song features great counter-point harmonies around a nice simple melody.
• It says to play this song somewhat rubato. What is rubato, you ask. To use the definition in the “New Harvard Dictionary of Music,” it is “the expressive device of altering note values and making the established beat flexible by accelerating and slowing down the tempo.” So, in a more expressive piece, rubato doesn’t want you to be overly concerned about how precisely you keep the tempo. It is more concerned that you put your own feeling and interpretation into the music. You can use rubato to some degree on almost any expressive piece you play. In my opinion, this technique is one of the biggest secrets between an excellent and a blah performance of such a piece. Get a feel for when and how to use rubato. Once you master it, you will sound like a concert pianist, even when you play simple pieces — like mine. And besides, chicks dig-it. • Level of difficulty: third easiest in the book. (Don’t let the ties freak you out.)
Cherished Moments =52-62
written by Jon Schmidt
Not too fast, yet not dragging. Somewhat rubato 1 copyright
(from the album Walk in the Woods)
©1996
1
&
2 & 3 &
1
&
2 & 3 &
1
&
2
&
3
1
&
&
2 & 3 &
Pedal ad-lib, unless otherwise noted. 5
8 va
1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . End 8va
(play RH. an octave higher)
&
2&
3
&
1
&
2&3
&
1
&
2&
3
&
1
&
9
1
&
2 &
Cherised Moments ©1996-CJS&JS
3
&
1
&
2 &
3
&
11
etc.
only the first of the tied notes gets played
2&
3
&
13
16
poco rit.
(this means a little rit.)
a tempo
5
19
22
Some people have a tendency to play notes that should have been tied. Such people will murder this song. Remember, when two or more notes of the same position on the staff have a tie, (i.e. ) only the first note gets played. One reason for ties is because there is no such thing as a regular note that gets 4 and 1/2 counts, or 2 and 1/4 counts, etc. But sometimes we need a note to get something like that. The 0.1% of piano players who actually keep tied notes pressed down for their full value and who also hold all regular notes for their full value, and who also watch pedal markings, will uncover extra hidden harmonies in this song that the rest of us will just never know.
Cherised Moments ©1996-CJS&JS
12
Small hand: let R.H. help the L.H. and leave out the L.H. tie.
top note stays tied 25
28
31
poco rit.
34
Cherised Moments ©1996-CJS&JS
13
a tempo
37
40
rit.
a tempo
43
46
rit.
dim.
Cherised Moments ©1996-CJS&JS
14
3 49
a tempo
3 52
rit.
cresc. a tempo
55
. poco rit
58
Make sure to give this note two counts.
Cherised Moments ©1996-CJS&JS
15
a tempo
61
8 va . . . . . . . . . . . . .
65
rit.
dim.
a tempo
8 vb (play the first “d” an octave lower)
68
………………………………………………………………………………..
71
rit. ( (
keep pedal down
)* * )
^
* Immediately after playing the fermata “E,” push these asterisk notes down in advance, so gently that they don’t make a sound. Then play the right hand “D” as you lift the pedal. Keep the asterisk notes pressed down during this pedal lift so they pick up the ring from notes that were played earlier in the line. (Or just play the asterisk notes very softly.) Cherised Moments ©1996-CJS&JS
16
Side notes:
Helpful Hints:
• This song is enjoyable because of its nice melody, flowing 3/4 meter and the fact that it’s not too difficult to play.
• Seeing your dentist every six months helps to reduce cavities.
Song of the Ocean =135 -145
written by Jon Schmidt
with your fingers ©copyright 1996 1
(from the album August End )
5 2
3 1
cresc.
dim.
Pedal ad-lib throughout
5
cresc.
dim.
Bring out left hand melody.
For me, learning to play one hand louder than the other was like learning to rub my head and pat my stomach at the same time. In both cases, I had to try and try, and then all of a sudden, I could do it. (To practice, play right hand with barely a sound as you bang the left hand as loud as possible.) 9
dynamics simile
Song of the Ocean ©1996-CJS&JS
17
13
17
21
phrasing simile
25
Song of the Ocean ©1996-CJS&JS
18
28
1 4
2
1 3
1 3
5
1
1 3
2
If two flags scare you, try it at a snail’s pace (no pause tempo). Then slowly increase the tempo. You’ll see it’s not scary at all. Remember two of these ( ) fit into one of these ( ) (the same way that two of these ( ) fit into one of these ( ) )
32
3
36
40
5
2
2
1
1 5
3 4
Keep bringing out left-hand melody.
Song of the Ocean ©1996-CJS&JS
19
.
44 5
2
1
1 2 4
&
2
& 3
&
1
&
2
& 3
R.H.
1
2
1
2
1
2
& 2
1 5
Smoothness will elude you unless you use the fingering.
48
1 5
Melody moves to R.H. for a moment.
3 1
5
1
2
1
2
3
1
1
2
2
4 2 1 2
53 1
3
1
2
5
3 4
5
cresc.
57
3
Melody back to L.H.
Song of the Ocean ©1996-CJS&JS
2
5
20
3
2
1
2
1
2
1
2
3
4
5 1
61
1
R.H.
65
2
1
2
1
2
2
1 5
1 5
Now, bring out R.H. melody. 2
3
3 2
5
1
69
2
3 2
2
1
3
3
1
4
4
3
2
3 4
1
2
cresc.
73
1 5
1
2
2
1
cresc.
2 1
Song of the Ocean ©1996-CJS&JS
2 3
1 5
3
3
21
1
2
2
77
3
You’ll need this fingering when you play it up-tempo.
3 81
3
2
5
4
3
4
3
4
2
5
4
3
1
2
3 1
2
3
( ) optional note
85
4
4 2 1
89
2 1
1
3
2
3 4
5
cresc.
Song of the Ocean ©1996-CJS&JS
22
5
93
[Advanced optional measures 93-96 at end.]5
()
5
4 2
4
1
1
2
3
4
1
2
4 2
5
2
3
4
1
1
5
3
5
4 2 1
1
2
2
3
4 1
Fingering highly recommended.
97
3 2 1
4
3 1
dim.
cresc.
[Advanced optional measures 101-103 at end.] 1012 1
4
3
5
1
carpé dim. 1 2
2
3
4
105
2 1
3
2
3 4
5
cresc.
Song of the Ocean ©1996-CJS&JS
23
5
4
4 1
2
109
[Advanced optional measures 109-110 at end] 55
1
4 2
4
3
1
2
2
5
4
1
4 2
1
1
2
3
4
3
5
4 2 1
5
2
1
5
2
3
4 1
Oh all right, you can just play the top note if these octaves are too hard for you.
113
dim.
molto cresc.
(This means very much cresc. )
3 117 1
for C & D (useinthumb this measure ) 5
2
3
2
1
1
(slide thumb) 2
3
2
3
121
2
1
1
2 3
cresc.
Song of the Ocean ©1996-CJS&JS
24
1
2
3
125
2
2
1
3
1
2
cresc.
1 2
2 1
5
129
cresc. 1 2
2 1
5
133 1
cresc. 2 5
3
1
1
Melody to L.H.
137
5 3
2
1
3
2
1 2
1 3 5
Song of the Ocean ©1996-CJS&JS
1 2 5
1
2
1 2 5
25
1
2
1 5
1
2
4
141 1
5
5
no rit.
2
3
1
2
dim.
1 2
4
8 va .(octave . . . higher) ……………
2
1
8 vb .(octave . . . .lower) …………..
145
advanced optional measures 93-96 (which are also the same for 109-112)
1
149
2
3 1
4 2
1
2
2
4 2
5
4
2
3
1
1 5
1
5
4
3
5
4 2 1
5
1
1
2
5
2
advanced optional measures 101-103 2
3
4
5
1
decresc.
1
2
1
3
2
2
3
advanced optional measure 120
(for those who enjoy the 4-5 finger trill) 152
Song of the Ocean ©1996-CJS&JS
26
2 1
1
1 5
1
3
1
2
3
Side Notes:
Helpful Hints:
• Playing this song is like playing the sunrise. Its melody is my favorite in the book. • Many thanks to my good friend Carl Sandquist who wrote the initial theme upon which I based this song. Also thanks so much, Carl, for the support, the prodding, and the resources without which this book would have never happened.
• Why the numbers on measure 10? Because everyone I tested this song on had trouble counting out the rhythm. So, I put in these numbers to help them keep track of the eighth note slots in each measure and that made it much easier. I’m inviting you to count 1 2 3 4 5 6 7 8 rather than than the traditional 1& 2 & 3 & 4 &. Having tried it both ways with people, the first way proved easier. (And plus, dancers use this method.) If it really bothers you, cross my numbers out and put in your own instead. • Level of difficulty: second easiest in the book.
Morning Light =52
written by Carl Sandquist and Jon Schmidt
With feeling, slower than you think
(from the album A Day in the Sunset )
©copyright 1996
Pedal ad-lib except where noted 4
…………………………………………………. …………………….. 8 va (play R.H. an octave higher)
End of 8va
………………………………… 7
Morning Light ©1996-CJS&JS
27
10
Here, you can skip to measure 27 when you need a shorter performance.
(Why these numbers? see Helpful Hints)
1
2
4
3
5
6
7
8
1
2
3
4
56
7
8
1
2
3
4
5
6
78
13
1
2
3
4
5
6
7
1
8
2
3
4
5
6
7
8
Not too early on this note, please.
15
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
17
1
2
Morning Light ©1996-CJS&JS
3
4
5
6
7
1
8
28
2
3
4
5
6
7
8
19
1
21
2
3
4
5
2
3
4
5
7
6
8
1
2
3
4
5
7
6
8
1-5
1
6
7
8
1
2
3
4
5
78
6
top two notes, if you can’t reach
23
1
2
1
2
3
4
5
6
7
8
1
25
Morning Light ©1996-CJS&JS
3
4
5
6
7
8
29
2
3
4
5
6
7
8
27
top two notes, if you can’t reach
slightly more bold
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
30
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
32
1
2
3
4
5
6
7
8
1
2
3
35
1
2
3
4
5
6
7
8
1
2
3
4
56
5 4 2
1
5
6
7
8
30
2
1
3
4
5
6
7
8
5
2
7
8
1
8vb
8vb (octave lower)
Morning Light ©1996-CJS&JS
4
2
3
4
5
6
7
8
38
1
2
3
4
5
6
7
8
1
2
3
top two if you can’t reach
40
1
2
3
1
2
3
4
5
7
6
8
1
8
1
2
4
5
6
7
8
4 2 1
3
4
5
6
7
8
42
molto cresc. 4
5
5
6
6
7
2
3
4
5
6
7
8
44
12
3
4
7
8
1
Leave bottom notes out of this octave run, if you want.
Morning Light ©1996-CJS&JS
31
2
3
4
5
6
7
8
2
46
1
2
3
4
1
5
()
6
3
7
1
2
3
4
8
1
3
4
5
6
7
8
2
1
2
2
5 3 2
48
1
2
3
4
5
6
7
8
1
2
3
5
4
7
6
8
Leave top notes out of this octave run, if you want. Just top two notes if you can’t reach.
Use thumb on D & E.
50
1
2
3
4
5
6
7
dim.
8
1
2
rit. 34
56
7
8
1
2
3
4
5678
Use thumb on A & B. 53
8 va . . . . . . . . . . . . . . . . . . . . . . .
Same feel as at first
a tempo 1
2
Morning Light ©1996-CJS&JS
3
4
56
7
8
1
2
3
4
32
56
7
8
1 2
34
5
6
7
8
……………………………….. ………………………………… End 8va
56
1
2
3
4
5
6
7
8
1
2
3 4
5
6
8
7
1
2
3
4
6
5
7
8
Don’t let these turn into eighth notes.
59
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
1
2
3
4
5
4
5
6
7
Delay top note if you can’t reach. 62
1
2
3
4
5
6
7
8
1
2
3
64
dim. 1
2
3
4
molto rit. 5
6
78
1
2
8vb
Morning Light ©1996-CJS&JS
33
3
4
5
6
7
8
6
7
8
8
Side Notes:
Helpful Hints:
• This song is dedicated to the memory of one of my best friends, who was also my music mentor and older sister, Rose-Anne. It is intended as an expression of loss, love, assurance and reunion.
• This version has been transposed to an easier key because, although it is a simple song, too many people who played it were intimidated by five flats. (I have however, included “Tribute” in the original key. It appears at the end of the book.) Try the original version first. If the five flats give you trouble, see my Helpful Hints in the song “All of Me” on page 51. If all else fails, learn this version first and it will make learning the other version much easier. • Besides the definition that I gave earlier in “Cherished Moments,” there is another definition of rubato that works better when playing expressive music that is very slow in tempo, like that at the beginning of this song. This definition says to let the important notes steal time from the less important notes. When thinking of this definition choose what you consider to be the important notes. Think of them as rocks thrown into a pool. Watch the ripples until you feel ready to go on. (Don’t let the fear of waiting too long make you continue before you are ready.) Then the job of the shorter or connecting notes is to balance out the lengthened notes with the feeling of acceleration. So the music doesn’t drag. • Level of difficulty: easiest in the book. (Especially if you start on measure 16 and skip the fast middle part.)
Tribute
(Rose-Anne’s Song) *Easier Key
written by Jon Schmidt
Slow Rubato
(from the album Walk in the Woods )
©copyright 1996 1
Pedal ad-lib, except where noted 8va . . . . . . .
6
Slowly, with the bottom note on the down beat.
11
R.H.
[This is a downward arpeggio. Tribute ©1996-CJS&JS
34
15
=84
now flowing, but not too fast (sensitive)
18
22
26
(
)
slow cresc.
30
Tribute ©1996-CJS&JS
5
35
4
2
5
4
2
1
2
4
5
34
38
5
4
2
1
1
2
3
1
1
1
4
1
2
3
2
1
slow cresc.
42
1
1
1
46 3
cresc.
5 3 50
This fingering changed my life. 5 3
4 2
5 3
2 1
4 2
3 1
4 2
3 1
4 2
3 1
4 2
cresc.
Tribute ©1996-CJS&JS
36
5 3
simile
54
dim.
58
62
66
3
70
cresc. 3
Tribute ©1996-CJS&JS
37
2
1
2
1
Majestically
74
2
1
rit.
a tempo
78 2
1 1
thumb on both
dim.
cresc. 2
3
1
1
82
3
1
3
86 2
1 1
slow dim. 1
90
3
2
1
top two if you can’t reach 3
4
Tribute ©1996-CJS&JS
5
4
3
2
38
4
3
2
4
3
94
3
1 1
98
dim.
molto cresc.
103 1
1
For a shorter performance, skip to measure 169 now.
rit.
109
Mood change: begin a double time feel. (Make a gradual transition to an up-beat mood.)
rit.
a tempo
113
a tempo
Continue transition until the measure 117.
cresc.
Tribute ©1996-CJS&JS
39
=132-144
117
accent simile
120
123
3
126
3 1
5
5
2 1
2
5 1
5 1
5 1
129
1
cresc.
Tribute ©1996-CJS&JS
40
3
4
1
2
3
3
4 4
5
133
Make sure to notice quarter note. 136
(quarter note) 140
5 2
143
146
5 2
3
Tribute ©1996-CJS&JS
5 2
5 2
Yes, that’s right.
5 3
41
3
2
1
4
5
149
5
3
5
153
L.H. over
157
160
L.H. over
L.H. over
accent simile
dim.
163
L.H. over
L.H. over
L.H. over
rit.
Tribute ©1996-CJS&JS
42
L.H. over
“G”
167
return to slow Rubato feel
172
dim.
175
Tribute ©1996-CJS&JS
43
Side Notes:
Helpful Hints:
• This song evolved out of an improv. on “Piano Man”, by Billy Joel. Don’t worry, part of the bass-line of the chorus is the only thing I stole. (Billy probably wouldn’t care because I’m sure he realizes that this bass-line had already been used in about 10,000 other songs before he ever used it in his.)
• Again, fingering makes this song much more enjoyable to play at higher speeds. • Give it a definite down beat. (I sometimes imagine the feeling of lift and drop that you get when boating on glassy water.) • Level of difficulty: sixth easiest in the book
Homecoming written by Jon Schmidt
Intro part: make it sort of introductory 1
(from the album August End ) ©copyright 1996 8 va . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
=160-168
Now up-tempo, with a definite down beat 7
……………….
rit.
13
accent simile 1
3 1
accent simile
Homecoming ©1996-CJS&JS
2
1
44
3 1
8 va . . . . . . . . . . . . .small . . . . hand: . . . . . let . . L.H. . . . . help . . . .(or . . just . . . play . . . .top . . .two . . .notes) …… ………….
19
2
5
4
4
5
2 1 4 2 1
24
5 3
3 2
4 3
2 1
5 3
5
5 2 1
2
2 5
5 3
29
3 2
2
2 5
1
2 5
2 5
1
2 5
1
4 2
5 2 1
1
2 5
4
l.h. fingering simile
1
1
5
5 2 1
34
4
4
5
5 3 39
5
Homecoming ©1996-CJS&JS
1
45
4 2 1
5 2 1
1
44 4
4
1
49
2 1
4
1
3
3
54 3
4
dim. 3
1
2
2
3
4
5
4
59
5
4
1
1 2
64
5 3 2
4 2 1
2 5
3 2
1
4 2
1
5 2 1
3 1
4
1
5
1
(
Homecoming ©1996-CJS&JS
46
Notes in parentheses are optional advanced notes.
)
69
1
5
1
(
1
5
5
1
)
1
(
1
5
)
1
(
)
74 4
3
1
79
5 4
2
2 5
84
3
4 4
5
4
1
2
1
2
() 3
( )
1
2
3 1 89
2
3
4 2
1
3
2
1
2
3
4
5
5 3
() ()
accent simile
() ()
accent simile
2
4 1
3 1
1
( ) 5
Homecoming ©1996-CJS&JS
47
1
5 2
5 3
5 1
5 1
5 1
94
5 1
4
2
8 vb
99
1
1
5
(
If you think this song is getting a little long and/or if you don’t dig this key change, you may go to a special ending option after measure 105.
104
2
dim. 1 1
5
5
1
1
( ) (
)
110
1
5
1
(
)
115
( )() cresc. ( ) ( ) Homecoming ©1996-CJS&JS
48
)
119
()
123
8 va . . . . . . . . . . . . . . . . . . . . . 2 1
3
129
2
3
8 va . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
3
134
2
4
……………….
2
() rit.
Simplified optional ending 140
Homecoming ©1996-CJS&JS
8 va . . . . . . . . . . . . . . . . . . . . . . 2 1
2
49
optional last chord (for small hand)
()
146
3
8 va . . . . . . . . . . . . . . . . . . . . . . . . . .
3 3
3
151
2
4
……………………………………………. 2
155
() rit.
Homecoming ©1996-CJS&JS
50
optional last chord (for small hand)
()
Side Notes:
Helpul Hints:
• You’ve probably never played a song like this before. It will have you playing with your forearms, for one thing. That’s one reason it’s called “All of Me.”
• Again the numbers in the first section are for the rhythm impaired. As in “Morning Light,” I am inviting you to count 1 2 3 4 5 6 7 8 rather than 1 &2 & 3 & 4 &. • The rhythm gets much easier at measure 31. (You may start there if you wish.) • Don’t let five flats scare you. It’s easy when you think of C and F as your only white keys. Just lean to the left black key on everything (except C and F, but they don’t have black keys to lean to anyway) • Level of difficutly: seventh easiest in the book (out of seven, ha ha)
All of Me (Sut’s Fav)
– coll. for favorite; the one preferred] [Fav: n.(fav)
Sut is a life-long buddy whose encouragement was a key factor as I was writing this song.
Facilitating a rubato yet fanfare-filled feeling is favorable at the first of this fine song
written by Jon Schmidt
(from the album August End )
(for a fun definition of rubato find page fifteen minus four)
1
©copyright 1996
5 3
5 1
2
5
5
(Why these numbers? see Helpful Hints)
123 4
56 78
123
4
56 7
8
12
3
4
5
6
7
8
1
2
3
4
5
6
7
8
Pedal ad-lib throughout 3
5
123
456
7
12
8
3
4
56
9
1
All of Me ©1996-CJS&JS
2
3
4
5
6
78
123
78
123 4
56
56
51
123
4
56
7
8
small hand: let left hand help
3
4
78
7
8
12
3
4
5
6
7
8
small hand: let left hand help 12
1
2
3
4
56
78
123
456
=176-208
15
1234
78
poco rit
5
6
78
Using the accents gives this part rhyme and reason. (But get the underlying rhythm in your head first.)
fast (put “all of yourself” into it)
a tempo 12 3
4
5
6
78
1
5
6
78
1
5
6
78
2
3
4
5
6
7
3
4
5
6
7
3
4
5
6
7
8
12
3
4
5
6
8
12
3
4
5
8
12
3
4
5
6
3
4
5
6
78
1
2
3
4
5
6
5
6
7
8
19
12 3
4
2
6
78
1
2
3
4
7
8
23
12 3
4
1
2
78
1
2
3
4
2
3
4
5
6 7
8
27
12
All of Me ©1996-CJS&JS
3
4
5
6
78
1
2
3
4
5
6
7
8
52
12
7
8
1
5
6
7
8
31
8 va . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
…………………………………………………………………………………..
37
……………………………………………………………………………………
………………………………………………………………………………….. fingering or die
39
5
………………………………………………………………………………….. 42 5
5 5
1
3
4
cresc.
All of Me ©1996-CJS&JS
53
………………………………………………………………………………….. 44
46
…………………………………………………………………………………..
1
2 5
48
50
…………………………………………………………………………………..
…………………………………………………………………………………..
…………………………………………………………………………. 52
5
4
Measures have been spaced for maximum page turning enjoyment. All of Me ©1996-CJS&JS
54
accent simile 54
57
59
61
1
63
All of Me ©1996-CJS&JS
55
65
5 5
5
67 5
1
3
4
molto cresc.
dim.
70
1
72
1
75
2
All of Me ©1996-CJS&JS
4
56
5
79
Using the accents here will reveal a hidden melody in an otherwise boring few lines of the piece.
82
85
88
91
cresc.
All of Me ©1996-CJS&JS
57
94
96
1
2
3
4
5
6
7
8
1
2
3
4
5
6
7
8
5
6
7
8
99
1
102
1
2
cresc.
3
105
All of Me ©1996-CJS&JS
58
2
3
4
107
110
113
[ [ (• Use left forearm across general area (elbow pointed left). – Lift wrist so that left hand doesn’t strike any notes. – Not overly loud.
116
)
Or you can select any portion of the chord to play with your fingers, if playing with your arm takes you too far out of your comfort zone.
[ 119• Use right forearm across general area (elbow pointed right). – Lift wrist so that right hand doesn’t strike any notes. – Not overly loud.
]
] ] ] ]
cresc. 1
All of Me ©1996-CJS&JS
2
3
4
5
6
7
8
1
2
59
3
4
5
6
7
8
accent simile
122
125
128
131
dim.
134
1
molto cresc.
All of Me ©1996-CJS&JS
60
137
1
2
3
4
5
6
7
8
1
2
139 2
cresc.
accent simile
142 4
All of Me ©1996-CJS&JS
5
61
Side Note:
Helpful Hints:
This song is dedicated to the memory of one of my best friends, who was also my music mentor and older sister, Rose-Anne. It is intended as an expression of loss, love, assurance and reunion.
• Besides the definition that I gave earlier in “Cherished Moments,” there is another definition of rubato that works better when playing expressive music that is very slow in tempo, like that at the beginning of this song. This definition says to let the important notes steal time from the less important notes. When thinking of this definition choose what you consider to be the important notes. Think of them as rocks thrown into a pool. Watch the ripples until you feel ready to go on. (Don’t let the fear of waiting too long make you continue before you are ready.) Then the job of the shorter or connecting notes is to balance out the lengthened notes with the feeling of acceleration. So the music doesn’t drag.
Tribute (Rose-Anne’s Song) written by Jon Schmidt (from the album Walk in the Woods)
Slow Rubato ©copyright 1996
1
Pedal ad-lib, except where noted 8va . . . . . .
6
Slowly. Feel the down-beat on the bottom note.
11
R.H.
[ Tribute ©1996-CJS&JS62
This is a downward arpeggio.
15
=84
now flowing, but not too fast (sensitive)
18
22
26
(
)
slow cresc.
30
Tribute ©1996-CJS&JS
5
63
4
5 2
4
2
1
34
38
slow cresc. 1
1
42
1
2
1
46
cresc.
5 3
50
4 2
3 1
This fingering is just wonderful.
cresc.
Tribute ©1996-CJS&JS
64
1
54
dim.
58
62
66
3
70
cresc.
Tribute ©1996-CJS&JS
65
2
1
Majestically 74
3
1
3
a tempo
rit.
1
1
8vb 78
cresc.
dim.
82
3
86
slow dim.
Top two if you can’t reach
3
90
3
. dim.
Tribute ©1996-CJS&JS
66
94
3
98
dim.
molto cresc.
103
For a shorter performance, skip to measure 169 now.
rit.
Mood change: begin a double time feel. 109
(Make a gradual transition to an up-beat mood.)
rit.
a tempo
113
a tempo
Continue transistion until the measure 117.
cresc.
Tribute ©1996-CJS&JS
67
117
=132-144 accent simile
120
123
126
129
cresc.
Tribute ©1996-CJS&JS
68
133
136
Make sure to notice quarter note.
(quarter note) 140
143
Yes, that’s right.
146
Tribute ©1996-CJS&JS
69
149
153
L.H. over
157
160
L.H. over
L.H. over
accent simile
dim.
163
L.H. over
L.H. over
L.H. over
rit.
Tribute ©1996-CJS&JS
70
L.H. over
“A ” 167
Slow Rubato Again
172
dim.
175
Tribute ©1996-CJS&JS
71
Jon Schmidt Piano Solos Vol 2
Table of Contents Good Times (Class of ’84). . . . 1 Passages. . . . . . . . . . . . . . . 12 Bells of Freedom. . . . . . . . 21 By Moonlight. Moonlight. . .. . . . . . . . 31 Sacred Ground. . . . . . . . . 39 Ridin’ West. . . . . . . . . . . . . 44 Winter Wind. . . . . . . . . . . .53 Jon Schmidt Catalog . . . . .63 .63 ©1998 JS Productions All Rights Reserved Any duplication of this material for any reason requires express written consentSide Notes:Helpful Hints:• I owe an awful lot to the great group of kids I went through high school with. This song was written way back then and it’s dedicated to all of them.• One unusual thing you’ll find in this song is what I call subliminal notes. Subliminal notes are notes with a rhythm function that find their way into my music because I’m feeling a percussion part in my mind as I play. I think it makes for a fun style of piano music, but I did notice that some of these notes bothered some of my student testers at first. Therefore, I’ve marked the potentially bothersome subliminal notes so they can be deleted, if you want, without really hurting the song. After you’ve learned the song, you might put the subliminal notes back in. For best results keep the subliminal notes subtle.(I know it sounds silly, but the subtitle subtitle has the year our class was born born instead of the year we graduated.)Good Times (Class of ’84) =125-145written by Jon SchmidtBetter if played before Sept. ’98(from the album Walk in the Woods)copyright ©1998 5 2Pedal ad-libsimileetc.Having this underlying beat in your mind makes playing the song twice, no, three times as nice. 6These #s are for rhythm help. I like letting the = 1 beat so you can avoid the dreaded “ee- and-ah.”Good Times ©1998Side Notes:Helpful Hints:• I owe an awful lot to the great group of kids I went through high school with. This song was written way back then and it’s dedicated to all of them.• One unusual thing you’ll find in this song is what I call subliminal notes. Subliminal notes are notes with a rhythm function that find their way into my music because I’m feeling a percussion part in my mind as I play. I think it makes for a fun style of piano music, but I did notice that some of these notes bothered some of my student testers at first. Therefore, I’ve marked the potentially bothersome subliminal notes so they can be deleted, if you want, without really hurting the song. After you’ve learned the song, you might put the subliminal notes back in. For best results keep the subliminal notes subtle.(I know it sounds silly, but the subtitle subtitle has the year our class was born born instead of the year we graduated.)Good Times (Class of ’84) =125-145written by Jon SchmidtBetter if played before Sept. ’98(from the album Walk in the Woods)copyright ©1998 5 2Pedal ad-libsimileetc.Having this underlying beat in your mind makes playing the song twice, no, three times as nice. 6These #s are for rhythm help. I like letting the = 1 beat so you can avoid the dreaded “ee- and-ah.”Good Times ©1998(play R.H. notes an octave higher)8 va – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 12May I recommend recommend the accents this this evening?End of 8 va ——————————————————-5155 3ap-ple1 2 3 4 5 6 7 8 The more you count like the tick of a metronome, the better these numbers work. (Use the word “apple” to keep the beat steady through a double flag.)1 5182124Good Times ©19984 15 1275 15 1Certain notes can sound downright awful until you arrive at a reasonable tempo (in other people’s music too – not just mine). 303 48 ap-345 6 7ple343740Good Times ©1998435 2 1465 3 15 4 2etc.”subliminal notes” marked like this: (see Helpful Hints for explanation)49522 on top(use thumb for C&D) 55 2 1555 4 25 3 1( )Good Times ©1998For a shorter performance skip to measure 82 …. now.584 1legato61cresc.64( )67The fingering is your friend . 70Good Times ©19985 14 1If this part gives you trouble, try the accents. 5 4 1737679( ) 182etc.85Good Times ©1998etc.5 2884 13 1ap-ple91( ) 3( )94( ) 1( ) 6( )( )You might want to delete these two measures. (They’re not very interesting without the orchestra.) 97cresc.Left hand crosses to upper stem until measure 116 100L.H.Good Times ©1998(use thumb for C&D)etc.1031065 4 24 2 1108( ) 1( )110113Good Times ©1998( )116cresc. ( )119Maybe do this part the same as measures 26-27 if it’s still sounding bad after 100 tries. 1221248 va- – – – – – – – – – – 127Good Times ©1998- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – — – – – – – – – – – – – – – – – – – – – 130End 8 va133decresc.136139rit.You might be interested to know that I let go of the R.H. “G” so that it disappears on the second pedal lift.Good Times ©199810— Advertisement —The Syncopation Angst Institute is currently accepting new candidates for research. Those eligible will qualify for FREE counseling and therapy sessions.You qualify if you meet the following criteria: You get flustered, hopeless, or go into denial whenever the music requires you to perform weak-beat eighth note rhythms that tie in this fashion:Therapy sessions will include the following: The Sha-Boom Treatment : Mentally or audibly say the word sha-boomto get the right feel, thus:Simply say “sha-boom” in perfect eighth note rhythm. (You have to feel the word “boom” on the strong beat even though you don’t play anything.)Sneeze Inducement Therapy :Sneeze where indicated with metronome -like precision.Hi-Hat Imagery Training : (For patients that are able to identify andimagine the hit-close combination of a hi-hat when heard in pop music.)The hi-hat is the open flying saucer cymbal that is often hit on the weak beat and then silenced on the strong beat with a foot-pedal.Patients will also learn to apply any one of these same treatments when weak-beat eighth notes appear in the following manner:To respond to this ad, please dial 1-800-A-CHOOOOSide Notes:Helpful Hints:• This piece is one of the more serious ones I’ve written. I guess it’s because it came to me during a serious time. Although I was optimistic about the future, I began to realize my carefree days that I had loved as a “youngster” would soon be gone forever. (Don’t worry, I got better)• • • •For best results, stick only to the notes that are written. Remember the sha-boom trick. Honor all the ties. Honor all your commitments.Passages =95-115un poco moderato largamente presto wafflemakerwritten by Jon Schmidt (from the album Walk in the Woods)copyright ©1998End 8 va8 va- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – — – – – – – – – – – – – – – – – – – – – – – – – – – – 15 678Pedal ad-lib, except where noted56 7 ap-1 2 3 4ple1 2 3 4 5 6Here’s a pedal lift that really makes a differencePassages ©19985678127 83 2 1133 4Some have found the ties in the first few pages to be quite … onerous, shall we say. It might be helpful to take a highlighter and mark the notes that actually do get played. 183 42124Passages ©19981 2 345 6 7 8135 6 7 8285 4 2 131ap-pleap-ple3 4 5 6 7ap-ple3 15 4 25 3 1fingering saves lives7 83438Passages ©19981 24 512 3 4 5 6 73 2 11442R.H.R.H.4548ap151plePassages ©19982 315545760645 6 7 8ap- ple7 84 2 1ap-pleap- ple4 58 1Passages ©19981656 7 8681 2 3 4721 275L.HL.H.cresc.HAZARDOUS AREA AHEAD: USE THE FINGERING OR TAKE THE DETOUR. (leave out the parentheses notes) 78( ) ( )Passages ©19981 517Those taking the detour may find it helpful to highlight the notes that actually do get played. (G) 281( )( )( )cresc. ( )( )( )( ) ( )( )( )( ) 23 4G sounds better here if you take the detour 5 84( )( )( )( )( )( )( )( )( )( )87cresc. ( )( ) 1( ) 35 25 290( )( )( )( ) ( ) ( ) 5( )( ) 11 4G sounds better here if you take the detourPassages ©19981893( )( )optional R.H. notes( )decresc.( )96()()99Important8 va – – – – – – – – – – – – – – – – – – – – – – – – -102APassages ©199819- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – — — — — – – End 8 va 106Ah-ha! It doesn’t say to flat it this time, now does it?For a more “pleasant” effect, please allow me to call your attention to the ties, rests and pedal lifts in this area.109molto rit.112Ba tempo 1-5114rit. 8 vb No pedal liftPassages ©1998201/2 Lift pedal half way so that the low note stays ringing a little.Side Notes:Helpful Hints:• I guess my German roots had a lot to do with this song being dedicated to the fall of the Berlin Wall in 1989. Try to recreate the scene of that day: Bells ringing through the country side, people joyfully hammering away at the wall, and a performance of Beethoven’s 9th with chorus and symphony from both sides of the wall joined together.• Are you often tired….? Do you lack energy….? Maybe you need food…. Try food, for that extra touch.Bells of Freedom =135-150written by Jon Schmidtsehr klinghaftig(from the album Walk in the Woods)copyright ©1998 1Keep these repeated notes subtle. (Make them part of the wash)Pedal ad-libdropThe song just doesn’t feel right unless ya do this.simile11dropBells of Freedom ©1998(This means keep doing it throughout the song so I don’t have to keep pasting it in.)liftsimile 21lift16212630Bells of Freedom ©199822334 on top3 on top(thumb on C&D)3 2 1374246Bells of Freedom ©199823accent simile505559L.H.4 on topL.H. overL.H.3 on topL.H. over(thumb on C&D)64(thumb on C&D)Bells of Freedom ©199824L.H.L.H.692 12 1( )73R.H. optioncresc.1 1774 2 1Like “Good Times,” this song has some “subliminal notes.” Please see explanation in Helpful Hints section on p. 1. 815 4 24 2 15 4 24 on top5 on top( )cresc.Bells of Freedom ©1998(thumb on C&D)25cresc.3 on topL.H. over85(thumb on G&A)L.H.L.H.895 on top4 on top933 14 2L.H.( ) (thumb on C&D)97L.H.L.H.(thumb on C&D)Bells of Freedom ©1998261022 1106R.H. option4 1110cresc.1 15 4 21144 2 15 4 24 on top(thumb on C&D)cresc.Bells of Freedom ©1998273 on top118(thumb on G&A)molto cresc. this means quite a lot of cresc.( )( )( )( )( )( )( )( )122( ) 1( ) 11 2G sounds better at slower speed127(thumb on C&D)132( ) 1 5Bells of Freedom ©1998( ) 12 11 2281371423 on top1475 3 2(thumb on C&D)slow cresc.151Bells of Freedom ©199829155fingering rather necessary at top speed159accent simile1633 167cresc.allarg.allargando: slowing and broadeningBells of Freedom ©199830Side Notes:Helpful Hints:• The rhythm on this song looks like it could be scary. It’s Not. • A friend of mine met a very pretty Fijian woman on Just take it one column at a t ime and the rhythm will take care a trip to the island. One warm clear night they found of itself. themselves walking hand in hand by a river. The • To the great relief of many, I’ve decided not to reprint what I had moonlight was reflecting off the water and into her thought to be an excellent essay on Rubto in Book 1 (in an effort to beautiful long black hair, etc., etc., etc.. They fell in love be a little more up to date politically). Let me just mention that the and ended up gettting married. As a wedding gift I tried gist of “Rubato” is that you have the permission to speed up, slow to capture in music that perfect night for them. down, or even stop the tempo if you feel it will help you to express the phrase more, uh, expressively. (And also, girls dig it.)By Moonlight (while it’s cheap)Attention beginners: If this song looks too hard, start at measure 10 =65-72written by Jon SchmidtWith a flowing, yet rubato feel(from the album A Day in the Sunset )copyright ©1998asterisk notes may be played with R.H. if you like *Pedal ad-lib, except where noted 4By Moonlight ©199831I find it funny that people are fine with 6-8 time, yet they have a pr oblem with 12-8 and 9-8 time. This is quite useless bec ause they all work the same. Remember, whenever the bottom # is 8:The =1The =2The =3.Isn’t that easy? Oh, and sometimes you might need to know thatThe=4The =6and The =8I use this system almost all the time because I don’t like saying “ta te ta” or “ee and a”. (It can be used with 4-4 time!…or 3-4!.. or 2-4 or 2-2 or 7-8 or5-8 ……..2 3You might want to start on this measure the first time. If you do, look at measure 2 to see what the asterisks mean.1 2 3111417pedal simileBy Moonlight ©19983220* *F#232629cresc.|By Moonlight ©19983332decresc.L.H. R.H.cresc.35cresc.decresc.38dolce40* 1By Moonlight ©1998344245cresc.pp |Cross R.H. thumb under to avoid collision 48decresc.cresc.51Do a 3 against 2 rhythm if you like.By Moonlight ©19983554decresc.cresc.574 160cresc.a tempomolto allarg.63By Moonlight ©1998365 166decresc.cresc.8 va – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – (play R.H. notes octave higher)69dolce- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – End 8 va 72cresc.75decresc.By Moonlight ©19983777molto rit.a tempo(a division of Molto Meal ®)cresc.79molto rit.decresc.no pedal lift82a tempoimportant hold 84A Grit.By Moonlight ©199838Side Notes:Helpful Hints:• This is a favorite piece of mine. To me it is a scene out of a movie. I see a lake surrounded by trees, with shafts of light coming through clouds after a storm. The feeling is perfect stillness.• Try to paint the picture I describe in the side notes. Don’t be afraid to adjust or suspend the demands of tempo to fit the picture you paint. I have marked some possibilites with ritards and fermatas.Sacred Ground (different key version can be downloaded free of charge at www.jonschmidt.com) =60-70written by Jon SchmidtFreely, but not dragging(from the album To the Summit )copyright ©1998 11 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 These #s are for rhythm help. I like letting the eighth note equal 1 beat so you can avoid the dreaded “ee-and-ah”.Pedal ad-lib, except where noted(play R.H. notes an octave higher)8 va – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – -6 7- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – — – – – – – – – – – – – – – – – – – – – -5 6R.H.Sacred Ground ©199839- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – — – – – – – – – – – – – – – – – 115675 67 85 67 85 6 7 8- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – — – – – – – – – – – – – – – – – – 155 6 75 6 75 6 7End 8va 18- – – – – – – – – – – – – – – – – – – – – – – – – -8 va – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – — – – – – – – – – – – – – – – – gentle21( )optional noteSacred Ground ©1998405 67 8- – – – – – – – – – – – – – – – – – – – – – – – – – – End of 8 va 245 627gentle( )( )5 6( )( )gentle3033slow cresc. 1Sacred Ground ©19985 67415 677 8slight rit. a tempo 36keep cresc.-ing39(pull back)allarg. (broaden as you rit.)ap-ple422 35 6 7455 6slight rit.Sacred Ground ©1998a tempo425 68 va- – – – – – – – – – – – – – – – – – – – – – – – – – – 48- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – — – – – – – – – – – – – – – – – -slight rit.51a tempo5 6 78- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 54importantrit.- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – End of 8 va 56a tempoSacred Ground ©1998molto rit.43Side Notes:Helpful Hints:• This song is a great example of what can happen when • This is another song with subliminal notes (please see explanation some dumb 16 year old finally grasps the possibilities of of subliminal notes in the Helpful Hints section of Page 1). Again, I, IV, V. potentially bothersome subliminal notes are marked with ( … and the VI … and the pedal tone … and the IV over 2.) • Something meaningful my Dad used to say to me back parentheses and may be deleted without hurting the song. then was: “Jon, when I was your age, I was about 16.” • A deep thought on the subject of practicing: “To be average, practice till you get it right. To be great, practice till you never get it wrong … and drive the family crazy.” — Author unknown (adapted)Ridin’ West =145-160written by Jon SchmidtC a a r l a s e r r e C r l w wa s he e(from the album August End )copyright ©1998 8 va – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – — – – – – – – – – – – – – – – – – – – – – – – – – – (play R.H. octave higher)Pedal ad-lib – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – —- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 4( ) These darn rhythm numbers are a royal pain to put in. You all wouldn’t mind figuring it out on this one, would ya? (Don’t worry, It’s nothing like “Good Times”)- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – —- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 75 4 2Ridin’ West ©19984410- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – — – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 44 2( )13- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – —- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – _ 4 4 ( )16- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – End 8 va( )1922( )Ridin’ West ©1998455 4 125( )( )28( )31( )3437( ) ( ) Ridin’ West ©1998468 va – – – – – – – – – – – – – – – – – – – – – – – 5 3 1401 4- – – – – – – – – – – – – – – – – End 8 va 3435 3 13 28 va – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – — – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 46( )49- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – —- – – – – – – – – – – – – – – – – – – – – – – – – – – – – 3( )52Ridin’ West ©199847End 8 va55cresc.( )58Some people turn their bench sideways right here (as if riding a horse, I guess).61( )64( )( )( )( )( )( )( ) ( )67( )( )( )( )( )( ) Ridin’ West ©199848( )( )( )( )70( )( )( )( )( )73( )( )( )76801 2 3cresc.84( )Ridin’ West ©199849( )( )( )87( )( )( )9093Sometimes, especially at slower speeds, it feels better to skip from measure 93 to 104.( )( )( )( )( )( )( ) ( )96( )( )( )( )( )( )( )( )99Ridin’ West ©199850( )( )( )( )( )1028 va – – – – -105109- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – —- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – — – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – —- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 112- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – —- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 115Ridin’ West ©199851
Jon Schmidt – Christmas Book.pdf
Table of Contents 2002 JS Productions All Rights ReservedAny duplication of this material for any reason requires express written consent Were You There? (Natalie Sleeth) . . . . . . . . . 1I Saw Three Ships. . . . . . . . . . . . . . . . . . 5Christmas Medley . . . . . . . . . . . . . . . . 13 (What Child is This, Carol of the Bells, We Three Kings) Bring a Torch Jeanette, Isabella . . . . . 22Star Carol (Alfred Burt). . . . . . . . . . . . . . . . 32Susser de Glocken. . . . . . . . . . . . . . . . .35 Stars Were Gleaming . . . . . . . . . . . . . .42 (Infant Holy, Infant Lowly) Christmas Morning . . . . . . . . . . . . . . . 47It Came Upon the Midnight Clear. . . 55Lo, How a Rose Ere Blooming. . . . . . 58Christmas Hymn. . . . . . . . . . . . . . . . . . 59Jon Schmidt Catalog. . . . . . . . . . . . . . . 61
1Were You There? Were You There? Side Notes: Helpful Hints: It would be pretty hard to beat my high school choir experience. Some of my best memories are of when we Rubato means that you use dynamics and/or tempo to would perform all over the city during the holidays.This great song by Natalie Sleeth was one of my favorites. create a subtle rise and fall effect whenever you feel so inclined. Here is a handy rhythm guide to which you can refer to for all of the songs, except “Stars were Gleaming”: = 70Tenderly; rubato (see Helpful Hints) copyright 2002 arranged by Jon Schmidt = 1 beat ( also equals 1 beat) = 2 beats ( also equals 2 beats) = 3 beats ( . also equals 3 beats) = 4 beats ( also equals 4 beats) Two of these: = 1 beat _ written by Natalie Sleeth 1976 Hope Publishing (ASCAP). Used by permission. 1 5 9 The Jon Schmidt numbering system you are about to see is an excellent rhythm aid when counted with a beat pedal ad-lib except where noted 1 2 3 4 5 6 1 2 3 4 5 etc. make beat 4 your friend 3 4 5 6 4
2Were You There? 13 17 21 25 29 4 1 2 3 4 5 6 G if your hand is big enough, do what I do and play the B down an octave (with the L.H.) 1 2 3 4 5 6 1 2 3 4 3 4 5
3Were You There? 34G 38 note (like grace notes but gentler) for full value and use the pedal markingsThis measure sounds best if you hold all notes 41 slow cresc. 45 48 attach these notes to the following A 1 2 3 4 5 6 1 2 1 3 4 5 1 6 & 1 2 1 & 3 5 4 5 6 & 15 slow decresc. 3 4 5 6rit.
4Were You There? 53 more sensitive and slightly slower 58G 62 67 71 a tempo ____________________________ ________________________ 1 2 3 4 5 6 & 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 & 1 2 3 4 5 6 rit. a tempo small hand: play last chord one note at a time slowly beginning with the bottom rit.small hand: see below
5I Saw Three Ships I Saw Three Ships 8 va – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 8 – – – – – 8 va – – – – – – – – – – – – – – – – – – – – – – – – – – 15 22 = 120 -135copyright 2002 intro: kind of a “call / echo” type of … you know pedal ad-lib except where noted 1 2 3(Rhythm impaired? These numbers will help you figure out what each note is worth.) 1 2 34 5 6 1 2 34 5 6 4 5 6 etc. deranged by Jon Schmidttraditional | now lively yet soft (save room for an underlying crescendo to the song’s high point) feel two strong beats per measure (like a march)| | | | | | | | | | |
6I Saw Three Ships 27 52 31 53 2 54 32 37 42 46 1 slow cresc. slow cresc. simile 1
7I Saw Three Ships 51 52 31 53 254 ( ) 1 2 notes in parentheses optional 4 2 5 55 31 53 5 2 4 59 63| 67 |L.H. option cresc. now for the chimes section 8 vb A accent simile might want to use A at slower tempo 8 vb cresc. 8 vb
8I Saw Three Ships 71 4 4 35 4 2 75 79 831 2 3 1 2 87 5 1 4 3 1 5|important 5 2 3 1 2 4 5 1 2 3 4 5 cresc. simile A no pedal this measure 3 A cresc. no pedal R.H. option cresc.
9I Saw Three Ships 91 955 99 103 4 15 1078 va – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 5 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – change to a rock feel with a strong off-beat simile simile cresc. simile( )optional simile ( )
10I Saw Three Ships 111- – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – 115 119 123 127 ( ) ( ) A dim.
11I Saw Three Ships 131 135 139 144 149 bring out melody as before A A
12I Saw Three Ships 154 1598 va – – – – – – – – – – – – – – – – 164 – – – – – – – – – 169 173 cresc. dim. no pedal lift until last note rit.
13 Freely Christmas Medley Side Notes: Helpful Hints: I had Simon & Garfunkles famous tune: “Are you going to Scarborough Fair” in mind when I did this arrangement (for optimal performance, keep the feel of that song inmind). Dont rush, period (the only possible exception mightbe on 3rd and longbut be careful of the screen or the quarterback draw). copyright 2002 = 125arranged by Jon Schmidt & Chuck Myers Christmas Medley “What Child Is This” : Traditional”We Three Kings” : Traditional “Carol of the Bells” : P. Wilhousky, M. Leontovich 8 14now gentle, with a laid back approach to the rhythm (otherwise it can start sounding like too many notes) pedal ad-lib except where noted rit. a tempo “Carol of the Bells” 1936 Carl Fischer Inc. (ASCAP) used by permission
14Christmas Medley 19 (pp) 24 29 34 (pp) 39 1 2 3 4 5 6 1 2 3| 4 5 6 1 2 3 1 1 1 2 3 1 52 2 4 4 5 6 1 2 3 4 5 6 1 23 4 5 6 1 2 3 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 1 2 3 | 1 2 3 4 5 6 1 2 3 1 2 3 4 5 6 1 2 3 2 13
15Christmas Medley 43 bring out melody 48 53 58 (L.H.) 63 1 2 3 simile1 2 3 1 2 3 4 1 2 3 25 14 1 2 3 1 2 3 1 2 3 4 5 6 1 2 3 4 5 6 5 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 2 34 5 6 1 2 3 1 542
16Christmas Medley 68 L.H. 73 bring out melody 77 84 90 1 2 3G 4 5 6 1 2 3 1 2 3 4 5A6 1 2 3 4 5 6 1 2 3 1 2 3 1 2 3 1 2 3 4 1234 5 6 1234 5 6
17Christmas Medley 96 101 start a slow build to the high point 106 accent simile 111 116 1 2 3 4 5 6 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 5 6 1 2 3 4 1 2 3 4 1 2 3 4 5 6 15 2 3 1422 3 4 2
18Christmas Medley 121E 126 over to the next measure 131 8va……………………………………………………………………………………………………………(8va means play an octave higher) molto rit. 136 (L.H.)over you might want to try this sectionwithout the crossover notes at first (L.H.) (L.H.) 8va…………. 141 8va…………………………….. end 8va (L.H.) let the pedal hold this note F | 15 4 32 5 1 32 4 3 5 keep the tempo laid back 2 3 1 ………………………. 4 32 1 3 8va………………… 2 4 3 1 8va………………… still treble EC 2 3 13 52 1 3 B B (R.H.)
19Christmas Medley 145 149__________________ 153__________________________________________________________________ 157 161 42 3 2 13 3 slow decresc. 14 4 53 E decresc.
20Christmas Medley 165 169 173 177 181 3 4 5 4 13 L.H. Melody small hand: roll this chord|
21Christmas Medley 185 190 195 200 bird’s eye holds ahead 206Finger substitute so you can hold the E through the pedal lift 25 1 2 3 1 2 3 small hand roll last chord(including the E)
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