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Speak No Evil Piano Transcription

Evil Piano Transcription

The most widely accepted method for learning improvisation from the masters is to first observe and then transcribe. While the process of transcription can be time consuming, it is one of the most efficient ways to learn to play jazz. By transcribing a master’s solo, the student observes all aspects of performance – tone color, rubato, changes in time feel, etc. The goal is to capture as much of the feeling and content as possible, and by spending so much time with the solo it should be subconsciously absorbed into the player’s own playing. This is why transcribing is so important, because it takes the imitation stage to a new level.

This particular tenor saxophone arrangement of Speak No Evil was transcribed by the amazing, acclaimed saxophonist/composer/teacher/artist, Myron Walden. He has a deep appreciation of the music, as well as an excellent ear for detail. Myron’s approach to the transcribed melody is both expressive and melodic, and allows for the full range of the saxophone to be expressed. This is an extremely popular arrangement, and has been used in college, high school, and university ensembles.

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By the time this album was recorded, Wayne Shorter had carved out quite a name for himself as a bandleader and composer. In fact, this was his third album for Blue Note, and he had already established himself as one of the most inventive players of his generation. This album is a perfect showcase of his unique harmonic style, which is both ferocious and elegant.

Speak No Evil Piano Transcription

He has assembled a troupe of exceptional musicians for this session, and they all excel. Pianist Herbie Hancock is on top form as usual, bassist Ron Carter is a force to be reckoned with, and drummer Elvin Jones (from Coltrane’s classic quartet) is a powerful presence on the set as well. Trumpeter Freddie Hubbard rounds out the group, and his fiery tendencies provide a nice contrast to Shorter’s comparatively cooler style.

Piano transcription, as an art form, is a testament to the versatility and adaptability of the piano as a musical instrument. It allows for the exploration of diverse musical styles and genres, transcending the limitations of individual instruments or ensembles to create rich and expressive interpretations that resonate with audiences worldwide.

One of the most compelling aspects of piano transcription is its ability to breathe new life into existing compositions. By translating music originally written for other instruments or contexts into the language of the piano, transcribers unlock fresh insights and perspectives, revealing hidden nuances and layers of meaning that may have gone unnoticed in the original work.

This is a great album to listen to and to study, and the piano transcription is a good place to start. Ultimately, though, listening to the original recording is still the best way to hear the magic of this music. By doing this, the player can understand what makes it work and then incorporate that into his or her own approach to improvisation. The more that this process is applied, the more a musician can develop their own voice and create their own musical legacy.

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