Wynton Kelly’s iconic solo on the Bb blues “Freddie Freeloader” is a clinic in eloquent, swinging, and masterful jazz piano playing. We can. Freddie Freeloader – Wynton Kelly Piano Solo – Free download as PDF File .pdf) , Text File .txt) or read online for free. Freddie Freeloader – Wynton Kelly’s. “Freddie Freeloader” originally appeared on one of the best-selling jazz .. Transcription of Miles Davis’ “Freddie Freeloader” trumpet solo by Jamie Breiwick .

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Piano Transcriptions by Dave Ratcliffe. I began creating music transcriptions of piano recordings in This fredeie made it possible to finally read soko accurately in music manuscript. I left Berklee after one year and moved slo New Haven, Connecticut. While in New Haven I began transcribing segments of piano recordings I wanted to learn and play. I have recently begun making electronic versions of some these transcriptions using Studio Vision and Finale. In this score, I include image files for both pages of the original key of B transcription, as well as PDF for the transposed-to-B flat version.

While reading Bill Evans: Now I understand why I thought the recording was in the key of B in Since the record pitch was between B flat and Freeloaedr, I somehow concluded it must have originally been recorded in the raised key.

I had the extraordinary good fortune to study with Mary Lou Williams in Her left-hand chord patterns taught me a great deal about substitution and comping that has significantly influenced and extended my own style. The first half is in F.

Then after Buster Williams’ bass solo, it modulates to B-flat. Another work from My Mamma Pinned a Rose on MeI love how the waltz feel combines the feel of both three and two with motif of dotted quarter notes predominating throughout the song in frwddie left hand.

And I am pleased to finally, as of Augustpresent the complete transcription of this work which I had originally done by hand in I love its swinging, funky waltz feel. This was one of the first jazz piano recordings I heard when I began listening to jazz piano in the mid seventies. I finally transcribed it in the late eighties. Two copies are included: The chord-less copy ffreddie for students to analyze for their own study.


A midi file is included to demonstrate a piano arrangement I made of the original duet of Oliver Nelon and Eric Dolphy. Syl-o-gism not included on the record was first released on the CD.

As always, please seek out the CD recording to hear the real thing. I transcribed this song in when I came back from studying with Mary Lou Williams. I love the way it sings and the way it moves through its different parts. In Relaxin’ eighth notes are played as swing eighths where, instead of each being half a beat, the eighth played on the beat is held longer and the eighth played in the middle of the beat is shorter the on-the-beat eighth can be thought of as lasting two-thirds of the beat and the off-the-beat eighth lasting the last one-third of the beat.

The produces a loong-short-loong-short feel. This Relaxin’ song file demonstrates the loong-short swing feel of eighths, while this song file segment demonstrates how it would sound to play the eighth evenly as straight half-beat notes. Alone in San FranciscoCD: This progression is imbued with Monk’s unique sense of bass and chord movement.

The transcription is a rough approximation to what he expresses in the first chorus of the recording. These works are unique in joining Bach’s sense of musical harmony and structure with that of what manifested during the 20th century.

Freddie Freeloader solo

In this interpretation of Prelude 4, John Lewis plays the score up through measure 34 and then goes off into his Two Clubs variation the guy loved Bridge, thus these recordings are titled, The Bridge Game.

Measures 33 and 34 are:. In this interpretation of Prelude fredie, John Lewis plays the score up through freeloade 26 and then goes off into his One Spade variation. Here is a song file version ndash; with very crudenon-rubato time — of this variation.

Measures 25 and 26 are:. In this interpretation of Fugue 10, John Lewis plays the score up through measure 14 and then goes off into his Elliot’s Convention variation. Measures 13 and 14 are:. Today is May 8,the one-hundredth anniversary of Mary Lou Williams’ birth.


While studying with her, Mary Lou told me that with Larry Gales, she wrote Sloo Mae with a rock beat in the bass line to interest kids in jazz music. It’s her bluesy jazz feeling that imbues this piece, as in all her music, with an inimitable sound that is uniquely hers. Earlier this year I began to convert the original by-hand transcription into the print-ready copy included here. During this process, I discovered some differences with the notation I wrote out in and what I hear in the recording in the fredeie time.

In my experience, transcribing is always only an approximation to the original recording. My desire has always been to learn to play a version of the recording that is as close to the original as possible. In making these transcriptions available on the net, I am engaged in a process of sending a message to the future.

When I was in my early twenties, there were no music transcriptions I was aware of like this that were available to study and learn from.

At that time I remember wishing there were. Mary Lou wanted young people to be exposed to riches of the unique American art form known as jazz, or, as Duke Ellington explained, “we stopped using the word frweloaderand we much prefer to call it the American Idiom, or the Music of Freedom of Expression.

Freddie Freeloader – Miles Davis Solo

Kind of Blue, by Miles Davis, 2 March Ffeddie the March 2 freeloacer, the master machine was running slow, so that when the tapes were played back at the correct speed, the music was slightly faster — sharper — than the April 6 session.

According to Teo Macero, the speed change was not intentional, and it is corrected here for the first time, using the safety tapes. Hollywood, California, 19 November ImagesPrestige P; CD: Zoning, by Mary Lou Williams, 17 January The Bridge Gamebased on J.