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Also, I just wanted to add a thought to this concept In getting to know this version and in experimenting with changes based on a few little things that rubbed me the wrong way, I began to see better what Keith Jarrett was trying to say in his interpretation.

Its hard to imagine anyone disliking this arrangement of over the rainbow. This was played on my Baldwin L, about 3 or 4 years ago, shortly after a fresh tuning ET of course. Nice performance of Over the Rainbow at your piano society site.

PL’us, I’ve said this since the beginning of the Shearing thread a couple of weeks ago, when I felt provoked to learn the Shearing version of “Over the Rainbow” in order to demonstrate a point about the Shearing arrangements which I cannot help but conclude has been missed or under-appreciated by you: I suspect Jarrett might be offended if we tried to reproduce his performance exactly notes, tempi, and rubatos, oh my! It is a shade too fast.


Try singing along with his version! For what it’s worth: Quote I like how you handle some of the somewhefe chord changes, especially since we have the score to refer to measure 14 and measures 58 through And its not done exclusively by bill evans either. The other I would like to comment on. More like using a Jarrett version as the basis for one’s own improvisation IMO. It’s that they’re both written down scores. This opening piece, in particular, was practically without precedent.


Originally Posted by ChrisKeys [ The whole thing is basically the same idea as the Liszt-Horowitz HR 2, except for the fact that some would say Horowitz is more “entitled” to make major changes if he wants to.

One is sort of insignificant.

Grossnick transcribed from the recording. How did rianbow discover this piece? I’m curious about this: These note for note transcriptions are not played in jazz competitions. The fact that there are no dynamic markings in the score doesn’t mean one can in the sense of sounding the best do anything one wants to.

I didn’t know the La Scala version was on Youtube. I would say that Jarrett is one of the greatest ballad players in history so that this is very difficult to do. When I heard your recording the shaping crescendo, decrescendo, the accents,subito piano didn’t always sound he jaerett someone would sing the line. I think sometimes you play the piece not the way you would sing it.

Over the Rainbow, Jarrett version – Piano World Piano & Digital Piano Forums

Quote I just felt compelled to change some things that rubbed me the wrong way, and then some other things that didn’t fit when I discovered my meaning in the piece. Over the Rainbow, Jarrett version [ Re: Each time, the spirit soars a little higher. Maybe you found this necessary because you had played the rest of the first page very slowly, far too slowly for my jagrett and far more slowly than Jarrett does. I really am glad for this experience of the last few weeks learning these pieces.

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That’s how I made sense of what I was playing.

Keith Jarrett “Over The Rainbow” version which Grossnick transcribed and which I got to know by reading the score and without listening to Keith Jarrett playing it, a score with no dynamic markings and a simple “tempo rubato” at the top A lack of dyanmic markings in a note for note transcription of a jazz performance doesn’t mean one can’t include them in a performance.

I think I prefer the original because they more effectively build toward the peak at measure They are all different to varying degrees, but I would think that if one is playing “version A” one should play it according to the transcription, otherwise one is playing one’s own version of version A, no?

Or by becoming a Subscribing member! Originally Posted by Cinnamonbear. Generally speaking, I believe a transcription of a jazz player’s performance is not as sacrosanct as, say, a Beethoven score.