Jon Schmidt Piano Solos Vol 2

February 27, 2019 | Author: jdjin311 | Category: Musical Compositions, Music Theory, Elements Of Music, Musical Forms, Musical Notation
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Jon Schmidt Piano Solos Vol 2...

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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 consent

Side 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)

 =125-145

 

written by Jon Schmidt

Better if played before Sept. '98

(from the album Walk in the Woods)

copyright ©1998 5 2

Pedal ad-lib

simile

|

|

|

|

|

etc.

|

Having this underlying beat in your mind makes playing the song twice, no, three times as nice. 6

9

1

2

3

4

5

6

7



These #s are for rhythm help. I like letting the  = 1 beat so you can avoid the dreaded "ee- and-ah."

Good   Times ©1998

1

(play R.H. notes an octave higher)

8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 12

 May I recommend recommend the accents this this evening?

End of 8 va -------------------------------------------------------5

15

5 3

ap-

ple

1 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 5

18

5

21

24

Good   Times ©1998

2

4 1

5 1

27

5 1

5 1

1

2

3

Certain notes can sound downright awful until you arrive at a reasonable tempo (in other people's music too - not just mine). 30

1

2

3 4

5

6

7

1

8  ap-

2

34

5 6 7



ple

34

37

40

1

Good   Times ©1998

3

2

3

4

5

6



8

43

1

2

3

4

5

6

7

1

8

2

3

4

5

6

7

1

8

5 2 1

46

2

3

5 3 1

4

5

6

7



5 4 2

etc.

"subliminal notes" marked like this: (see Helpful Hints for explanation)

49

(

52

)

2 on top

(use thumb for C&D) 5

5 2 1

55

6

7

8

5 4 2

5 3 1

( )

Good   Times ©1998

4

For a shorter performance skip to measure 82 .... now.

58

4 1

2

1

legato

61

 cresc.

64

4

5

4

2

1

( )

67

The fingering is your friend . 70

Good   Times ©1998

5 1

5

4 1

2

1

If this part gives you trouble, try the accents. 5 4 1

73

2

5

2

76

3

2

5

79

( ) 1

2

3

4

5

6

8



82

1

2

3

4

8

etc.

85

1

Good   Times ©1998

2

3

4

5

6

7

8

1

2

3

etc.

8

6

1

2

3

4

5

6

7

8

5 2

88

4 1

3 1

ap-

5



6

ple

8

91

( ) 3

5

4

6

7

1

8

2

3

4

5

6

7

8

( )

94

( ) 1

2

3

4

5

( ) 6 



( )

( )

8

You might want to delete these two measures. (They're not very interesting without the orchestra.) 97

1

2

3

4

5

6



8

 cresc.

Left hand crosses to upper stem until measure 116 100

L.H.

3

2

Good   Times ©1998

7

1

(use thumb for C&D)

etc.

103

5

6

7

8

106

5 4 2

4 2 1

108

( ) 1

2

3

4

5

6



8

5

( )

110

113

Good   Times ©1998

8





8

( )

116

1

2

3

4

5



8



cresc. ( )

119

Maybe do this part the same as measures 26-27 if it's still sounding bad after 100 tries. 122

3

1

2

3

4

5

6

7

8

124

8 va- - - - - - - - - - - 127

Good   Times ©1998

9

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - 130

End 8 va

133

 decresc.

136

139

rit.

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 ©1998

10

— 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-boom

to 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 and

imagine 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-CHOOOO

Side 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  =95-115

 

un poco moderato largamente presto wafflemaker 

written by Jon Schmidt (from the album Walk in the Woods)

copyright ©1998

End 8 va

8 va- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - 1

1

2

3

4

5

6

7

8

1

2

3

4

5 678

1

2

3

4

5

6

7

6

7

8

Pedal ad-lib, except where noted 

5

1

2

3

4

5

6

7

8

56 7  ap-

1 2 3 4

ple

1

2

3

4

5

8

1 2 3 4 5 6

Here's a pedal lift that really makes a difference

9

1

Passages   ©1998

2

3

4

5

6

7

8

1

2

3

4

5678

12

1

2

3

4

5

6

7

8

7 8

3 2 1

13

1

2

3 4

5

6

7

8

Some 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. 18

1

2

3

4

5

6

7

8

1

2

3 4

5

6

7

8

21

1

2

3

4

5

6

7

8

24

1

Passages   ©1998

2

3

4

5

6

7

8

1 2 34

5 6 7 8

13

5 6 7 8

28

1

2

3

4

5

6

7

8

5 4 2 1

31

ap-

ple

ap-

ple

3 4 5 6 7 

ap-

ple

1

2

3

4

5

6

3 1

5 4 2

5 3 1

fingering saves lives

7 8

34

1

38

4

Passages   ©1998

2

3

4

5

6

7

8

1 2

3

4 5

12 3 4 5 6 7

3 2 1

14

6

7

8

8

42

R.H.

R.H.

45

1

2

3

4

5

6

7

8

48

ap1

51

ple

2

3

5

4

5

6

7

8

1

4

5

6

5

7

1

5

Passages   ©1998

2 3

1

3

2

15

1

8

2

3

54

3

5

57

1

2

3

5

1

2

3

60

1

64

2

3

4

5 6 7 8

1

3

ap- ple

3

4

5

6

7 8

4 2 1

ap-

ple

ap- ple

3

4 5

6

7

8 1

Passages   ©1998

2

16

4

56 7 8

68

1 2 3 4

5

6

7

8

72

1 2

3

4

5

6

7

8

1

75

1

L.H

L.H.

cresc.

HAZARDOUS AREA AHEAD: USE THE FINGERING OR TAKE THE DETOUR. (leave out the parentheses notes) 78

( ) ( )

2

1

3

2

1

5

1

3

2

2

5

Passages   ©1998

1 5

17

1

3

2

1

Those taking the detour may find it helpful to highlight the notes that actually do get played. (G) 2

81

2

( )

( )



( )

cresc. ( )

( )

( )

( ) ( )

( )

( )

( ) 2

5

1

3

2

1

2

3

1

4

3

2

1

2

1

2

2

3 4

1

2

1

2

1

 G sounds better here if you take the detour 5 84

1

2

2

( )

( )

( )

( )

( )

( )

( )

3

1

2

( )

4

1

2

2

5

2

3

1

( )

1

( )

2

5

87

cresc. ( )

( ) 1

2

1

1

2

3

4

( ) 3

2

1

5

2

1

1

3

4

2

4

5

5 2

5 2

2

90

2

1

1

( )

( )

( )

( ) ( ) ( ) 5

2

( )

( ) 1

3

2

1

2

3

1

3

2

1

2

1

2

4

4

1 4

 G sounds better here if you take the detour

Passages   ©1998

18

3

2

1

3

93

( )

( )

optional R.H. notes

( )

1

3

2

1

2

decresc.

( )

4

3

2

2

5

2

1

3

2

2

1

1

2

3

4

1

2

5

5

96

()

()

99

Important

8 va - - - - - - - - - - - - - - - - - - - - - - - - -

,

102

A

Passages   ©1998

19

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- -- -- -- - - End 8 va 106

Ah-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.

109

molto rit.

112

B

a tempo 1-5

3

114

 

A

rit.

 8 vb No pedal lift

Passages   ©1998

20

1/2 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  =135-150

 

written by Jon Schmidt

sehr klinghaftig

(from the album Walk in the Woods)

copyright ©1998 1

Keep these repeated notes subtle. (Make them part of the wash)

Pedal ad-lib

6

drop

The song just doesn't feel right unless ya do this.

simile

11

drop

Bells   of Freedom ©1998

(This means keep doing it throughout the song so I don't have to keep pasting it in.)

lift

simile 21

lift

16

5

21

26

5

30

Bells   of Freedom ©1998

22

4

4

33

4 on top

3 on top

(thumb on C&D)

3 2 1

1

37

42

46

Bells   of Freedom ©1998

23

accent simile

50

55

59

L.H.

4 on top

L.H. over

L.H.

3 on top

L.H. over

(thumb on C&D)

64

(thumb on C&D)

Bells   of Freedom ©1998

24

L.H.

L.H.

69

2 1

2 1

( )

73

R.H. option

2

cresc.

1

1 1

77

4 2 1

5

2

1

1

1

Like "Good Times," this song has some "subliminal notes." Please see explanation in Helpful Hints section on p. 1. 81

5 4 2

4 2 1

5 4 2

4 on top

5 on top

1

( )

cresc.

Bells   of Freedom ©1998

(thumb on C&D)

25

cresc.

3 on top

L.H. over

85

(thumb on G&A)

L.H.

L.H.

89

5 on top

4 on top

93

1

3 1

4 2

L.H.

( ) (thumb on C&D)

3

97

L.H.

2

1

L.H.

(thumb on C&D)

Bells   of Freedom ©1998

26

102

2 1

1

106

R.H. option

1

2

5

3

4

4 1

110

cresc.

4

2

1

1

1

1 1

1

5 4 2

114

4 2 1

5 4 2

4 on top

(thumb on C&D)

cresc.

Bells   of Freedom ©1998

27

1

3 on top

118

(thumb on G&A)

molto cresc. this means quite a lot of cresc.

( )

( )

( )

( )

( )

( )

( )

3

( )

2

1

122

( ) 1

2

1

( ) 1

2

1 2

1

5

2

5

1

G sounds better at slower speed

127

3

(thumb on C&D)

132

( ) 1 5

Bells   of Freedom ©1998

2

1

( ) 1

2 1

2

1 2

5

28

1

137

142

3 on top

147

2

5 3 2

2

(thumb on C&D)

slow cresc.

151

Bells   of Freedom ©1998

29

155

1

1

5

1

1

1

5

1

fingering rather necessary at top speed

159

accent simile

163

3 167

cresc.

allarg.

allargando: slowing and broadening

Bells   of Freedom ©1998

30

Side 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

  =65-72

 

written by Jon Schmidt

With a flowing, yet rubato feel 

(from the album A Day in the Sunset )

copyright ©1998

asterisk notes may be played with R.H. if you like  *

 *

 *

Pedal ad-lib, except where noted  4

*

*

*

*

6

By   Moonlight ©1998

31

I 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

 =1

The

 =2

The

  =3.

Isn't that easy? Oh, and sometimes you might need to know that

8

The



=4

The

  =6

and The

 =8

 I 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 ........

1

2 3

You 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 3

11

14

17

 pedal simile

By   Moonlight ©1998

32

20

* *

F#

23

*

*

E

26

*

 *

29

cresc.

|

By   Moonlight ©1998

A

33

*

32

decresc.

L.H. R.H.

 *

cresc.

35

cresc.

decresc.

38

dolce

40

*

*

* 1

*

By   Moonlight ©1998

34

2

3

*

42

*

45

cresc.

 pp |

Cross R.H. thumb under to avoid collision 48

1

decresc.

5

3

2

 *

cresc.

1

51

|

|

Do a 3 against 2 rhythm if you like.

By   Moonlight ©1998

35

54

decresc.

cresc.

 *

 *

57

*

4 1

60

cresc.

a tempo

molto allarg.

E

63

A

 *

By   Moonlight ©1998

36

*

5 1

66

decresc.

cresc.

8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (play R.H. notes octave higher)

69

dolce

 *

*

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - End 8 va 72

cresc.

75

decresc.

By   Moonlight ©1998

37

77

1

2

3

4

E

molto rit.

a tempo

(a division of Molto Meal ®)

cresc.

79

F

molto rit.

decresc.

no pedal lift 

82

a tempo

 *

*

important hold 84

A G

rit.

By   Moonlight ©1998

38

Side 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)

 =60-70

 

written by Jon Schmidt

Freely, but not dragging

(from the album To the Summit )

copyright ©1998 1

1 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".

3

4

5

6

7

8

Pedal ad-lib, except where noted 

(play R.H. notes an octave higher)

8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

4

1

7

2

3

4

5

6 7

8

1

2

3

4

5

6

7

8

1

2

3

4

5

6

7

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - -

1

2

3

4

5 6

7

8

R.H.

Sacred   Ground ©1998

39

8

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - 11

1

2

3

4

567

8

1

2

3

4

5 6

7 8

1

2

3

4

1

5 67 8

2

3

4

5 6 7 8

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - 15

1

2

3

4

5 6 7

8

1

2

3

4

5 6 7

8

6

8

1

2

3

4

5 6 7

8

End 8va 18

 - - - - - - - - - - - - - - - - - - - - - - - - - -

1

2

3

4

5

7

8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - gentle

21

1

2

3

4

5

6

7

8

1

2

( )

optional note

Sacred   Ground ©1998

40

3

4

5 6

7 8

 - - - - - - - - - - - - - - - - - - - - - - - - - - - End of 8 va 24

1

2

3

4

5 6

27

7

1

8

2

3

4

5

6

7

8

&

gentle

( )( )

1

2

3

4

5 6

7

8

( )( )

gentle

30

33

slow cresc. 1

Sacred   Ground ©1998

2

3

4

5 67

8

&

1

2

3

41

4

5 67

8

1

2

3

4

5

6

7 8

&

slight rit. a tempo 36

1

2

3

4

5

6



keep cresc.-ing

8

39

(pull back)

allarg. (broaden as you rit.)

ap-

ple

42

1

2

3

4

5

6

8



1

2 3

4

5 6 7

45

1

2

3

4

5 6

7

8

slight rit.

Sacred   Ground ©1998

1

2

3

a tempo

42

4

5 6

7

8

1

2

3

4

5

6

7

8

8

8 va- - - - - - - - - - - - - - - - - - - - - - - - - - - 48

1

2

3

4

5

6

7

8

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - -

slight rit.

51

a tempo

1

2

3

4

5 6 78

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 54

important

rit.

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - End of 8 va 56

a tempo

Sacred   Ground ©1998

molto rit.

43

Side 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  =145-160

 

written by Jon Schmidt

C 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)

5

1

2

3

4

5

6

7

8

1

2

3

4

5

6

7

8

Pedal ad-lib  - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 4

4

4

2

( ) 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")

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 7

4

_

4

5 4 2

1

2

1

Ridin'   West ©1998

44

10

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 4

4 2

( )

13

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - _ 4 4 ( )

16

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - End 8 va

( )

1

1

19

4

22

( )

Ridin'   West ©1998

45

5 4 1

25

( )

( )

28

( )

31

( )

34

37

( ) ( ) Ridin'   West ©1998

46

8 va - - - - - - - - - - - - - - - - - - - - - - - 5 3 1

40

2

1 4

- - - - - - - - - - - - - - - - - End 8 va 3

43

5 3 1

3 2

1

4

8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 46

( )

49

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - 3

( )

52

Ridin'   West ©1998

3

47

End 8 va

55

cresc.

( )

58

Some people turn their bench sideways right here (as if riding a horse, I guess).

61

( )

64

( )

( )

( )

( )

( )

( )

( ) ( )

67

( )

( )

( )

( )

( )

( ) Ridin'   West ©1998

48

( )

( )

( )

( )

70

( )

( )

( )

( )

( )

73

( )

( )

( )

76

80

1 2 3

4

5

6

7

cresc.

8

84

( )

Ridin'   West ©1998

49

( )

( )

( )

87

( )

( )

( )

90

93

Sometimes, especially at slower speeds, it feels better to skip from measure 93 to 104.

( )

( )

( )

( )

( )

( )

( ) ( )

96

( )

( )

( )

( )

( )

( )

( )

( )

99

Ridin'   West ©1998

50

( )

( )

( )

( )

( )

102

8 va - - - - -

105

109

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 112

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - 115

Ridin'   West ©1998

51

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