Now it is my turn to ask.Are you joking? Did you even listen to the Jarrett version from La Scala that I linked to? This is the version that Grossnick transcribed-the one you suggested I look at more closely, and the one that I worked from, posted above. 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. When I heard your recording the shaping(crescendo, decrescendo, the accents,subito piano)didn't always sound he way someone would sing the line. Suggesting someone think of singing a melody line is a common way of teaching how to shape a melody line because most people shape a melody line naturally correctly when singing. Tempo rubato doesn't mean one can double the tempo for an entire section anymore than one could in a work by Chopin unless you choose to play your personal version of the Jarrett transcription. Jarrett changes tempo slightly whereas you double and then halve the tempo(or come close to doing this). I simply botched it that night.Īlso, I would be remiss if I did not remind everyone that the Lester is tuned to the EBVT III temperament. I would insert an excuse here, but I'm not going to. It comes out of nowhere and is a jarring change. It is the tempo in the tick-tock section that really bugs me. You certainly don't have to agree with my subtext, but that's where I'm coming from, just so you know.! That's how I made sense of what I was playing. Immediately after this last soaring/grounding section is a "tick-tock time is running out" section, right before the death scene, which is followed by the "everlasting life glad I had Jesus in my heart happily ever after" scence. The third time, the spirit soars "way up high" and the notes hit those far-away octaves in the highest register. Each time, the spirit soars a little higher. ![]() Grounding, soaring, grounding, soaring, grounding, soaring. More than half of the piece is divided into sections of grounded spirit and soaring spirit. The other I would like to comment on.īut first, a word of explanation about how I visualize the piece: I see a grounded human spirit considering a rainbow and poignantly aware that one's life on earth does not last forever. There are two tempo changes in my recording that bother me. I'm almost inclined to put you on my "not to be taken seriously" list, except I don't have one, yet. He varies his tempo as well, but almost exactly opposite of the way I chose to vary mine! Ha-ha!!! Try singing along with his version! And he gets ANGRY at the end, too. Now that I hear Jarrett playing it (which is, as you know, a different version than the one you linked to for me to listen to, as we started this exchange in the Shearing thread) I am even more perplexed. 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. These sentences are truly perplexing to me. I would listen to Jarrett's recording for an example of what I think is near perfection in this area. I think sometimes you play the piece not the way you would sing it. I would think about shaping/voicing of the melody and chords. So, there are about 18 out of 70 measures in six different sections that I changed.Ģ. When I saw that idea, I decided to take it there more definitively with some of the changes that I made to the transcription and in my playing of it. It seemed as though he was trying to take a pretty little song about wishful thinking and take it to a new level, so that "Over the Rainbow" would speak of the arc of life and confronting one's own mortality. ![]() 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. You can follow that drama in the George Shearing thread, where this recording is cross-posted.īy Arlen/Harburg, a Friedrich Grossnick transcription of a Keith Jarrett improvisation/interpretation, re-arranged a little and played by me on "The Mighty Lester" 36" spinet. I owe Pianoloverus thanks for insisting that I take a closer look at the Jarrett version, after professing my love for the George Shearing arrangement.
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