jon schmidt - piano solos vol. i.pdf

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Pictured from left to right: J on Schmidt. Not pictured:Candace Watkins, Mike VanRy…well a lot of people actually.

Jon Schmidt, Pianist, Composer, and Entertainer has a refreshingly unique style that is difficult to pin down. Just when youthink you have a reflective New Age Pianist, he’ll do a back flip off the piano bench, throw himself under the keyboard and playragtime with his hands crossed. Say his music has elements of Beethoven or Chopin and he suddenly turns into Jerry Lee Lewis. Thstyle in which he sometimes plays makes you think of Billy Joel, but then suddenly he’s Victor Borge.

Born to German immigrants who raised him on the music of the masters, Jon was already playing Mozart Sonatas andcomposing his own music by age 11. Hours a day at the piano, however, did not stop him from being well-rounded. He was captaion the varsity football team, the class clown, and the kid at school that got along with everyone.

This could be why people often use the term “well- rounded” to describe his performance. A rare combination of sinceritycomedy, charm, high energy, and “aw- shucks manners” immediately endears him to the audience. His unusually warm rapport makeyou feel like he’d love to go catch pizza with you after the show.

Well-rounded could also describe the music of his albums, “August End,” “Walk in the Woods,” “A Day in the Sunset,” “JonSchmidt Christmas,” and “To the Summit” in which Schmidt spotlights the beauty and the purity of the solo piano. Orchestration iused sparingly to highlight his piano arrangements, which are always interesting and provocative. Schmidt’s original style combineClassical and New-Age sensibilities with Pop-style elements of hook and melody, or “the simple genius of melody," to use Schmidt’swords. He is also noted for his distinctive treatment of harmony, counterpoint, and rhythm. These elements give his music definite signature, one in which the fun, the sincerity, and the warmth of his personality all find themselves revealed. Also reflected

in the words of an early write-up, is depth: “His music seems to carry more weight than you’d expect from his years. A familytragedy quickly sobered him as a young man and that resonance of maturity shows up in his songs.” Schmidt is quick to acknowledgthat his best inspiration comes from the special relationships in his life, including those with his wife, Michelle, his children and God

Jon Schmidt has quickly become well known in the Salt Lake area, where he consistently performs to sold out audiences inmajor performance venues along the Wasatch front. Jon’s credits include five albums, four wildly popular volumes of his originapiano scores, performances and radio play all over the country, several top 40 songs at mp3.com, a Pearl Award, a televised concert ona local PBS station and "A Jon Schmidt Christmas" which has fast become a successful yearly Christmas tradition in Salt Lake.

About his show, one critic wrote: “When the energy and volume of the show have faded, what the audience will remember isthe sweetness.” After the airing of a locally televised concert , more than 100 viewers called the station. Some of the comments wereas follows: “Very inspiring.” “Very entertaining.” “I couldn’t turn it off.” “One of the most incredible hours I’ve spent on aSaturday night in a long time.”



Table of Contents

©1998 JS Productions All Rights ReservedAny duplication of this material for any reason requires express written consent

Waterfall. . . . . . . . . . . . . . .1

Cherished Moments. . . . 11Song of the Ocean. . . . . . 17Morning Light. . . . . . . . . 27Tribute (Easier Key). . . . . . . 34

Homecoming. . . . . . . . . .

44All of Me. . . . . . . . . . . . . . 51Tribute (Original Key). . . . . . 62

Jon Schmidt Catalog . . . .72



1

Side Notes:

(from the album )

Waterfall ©1996-CJS&JS

1

WARNING: You might be tempted to accent all of the "G's" in this pattern. Don't do it! It will foul you up.

=125-135.

their favorite. I think you're gonna love this one.

2

Instead, think of the notes in the pattern in groups of six and use my accents right from the start.

With considerable body movement and obnoxious facial expressions©copyright 1996

written by Jon Schmidt

Waterfall

• Of all my songs, many people say this one is

Walk in the Woods

3

5

Pedal ad-lib, except where noted

• Give it a two-beats per measure feel, like a jig.• Level of difficulty: fifth easiest in the book.• A deep thought on the subject of fingering : We learn songs at slow speeds, and therefore fingering seems dumb or unimportant.

Then we wonder why some places are such a pain to play as webecome able to play the song faster. It is because we have formed

permanent fingering habits that make those places almostimpossible to play. Wouldn’t it be better to take just an extraminute to learn the right fingering the first time?

Helpful Hints:



2Waterfall ©1996-CJS&JS

7

92

5

1

54

Those who choose not to use this fingering may never get the opportunity to enjoy playing this oft-repeated maneuver at high speeds.

12

31 2

4 31

2

1

11

13

The cool rhythm that starts here is as fun to play when you use the accents in the right hand.(Try practicing measure 13 and 14 slowly, until you get the hang of it.)

twice

15

fingering simile

cresc.Same dynamics as measure 14. Hereafter noted: simile




17

5 1 1

5 1

5 1 2 5

2 5 1 1

5 1

51 2

5

2

192

3 5 5 3 2

1 3 5 1

211

1

23

2 3 1

4

25

L.H. over L.H. over

cresc.

Really! You can.You can do this.

- -




27L.H. over

L.H.over L.H.over

29L.H. over

2

1 2

3 2

3

3

2

4

1

2 3 4

315 5

1

5

1

1 2

5 2 3 4 4 3 2 2

33

5

3

1

R.H. over

5

3

R.H. over

35

simile

-

1

- -

simile

-

-

dim.

-

2 3 1




37 4

2

39 3 4 5

4

41 25

3 12

432

45

cresc.

1

51

52

5

cresc.

cresc.




47 4

23

-important

(use thumb for C & D)

4

23

5

49

L.H. over L.H. overL.H. over

51

L.H. over L.H. overL.H. over

53 2

3 2 3 4

2 3 4 551

5

1

1 25

2 3 4

55

4 3 2 2

- -

simile

-

- -

simile

-




565

3

58

60 44 5 4

3

623 4 5

4

642

R.H. over

5

- R.H. over-

3 1

cresc.

cresc.




66

68

70

431

(on top)

71

(use thumb for C & D)

72

L.H. over

L.H. over"D"L.H. over

2

cresc.

molto cresc.

( )

( )

( )

--

simile

-




74

L.H. over

L.H. over"G"

L.H. over

76 23 2 3 4

2 3 4 5 1

5 15 1 2

5

2 3 4

78

4 3 2 2 1

2

3

80

same as previous chordif you can't reach

3

5

3 2

4

2 1

824

5

2

3

5

2

4

2

1

32 4 3

5

2 23

1

--

simile

-

cresc.

molto cresc.




84 2

4

1

85 42 1

87

89 8 va . . . .

4 3

cresc.

molto cresc.

5 1 2 1 5

5



11

Side Notes:

• This song features great counter-point harmonies around a nice simple melody.

=52-62

Cherised Moments ©1996-CJS&JS

1

• Playing this song one night helped me seala deal with a very pretty girl named Michelle.(Luckily she is also very near-sighted.)

Not too fast, yet not dragging. Somewhat rubatocopyright ©1996


Cherished Moments

(from the album )Walk in the Woods

5 (play RH. an octave higher)8 va. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . End 8va

9

Pedal ad-lib, unless otherwise noted.

1 & 2 & 3 &

1

& 2 & 3 &

1 & 2 & 3 &

1 & 2 & 3 &

1 & 2& 3 &

1 & 2&3 &

1 & 2& 3 & 1 & 2& 3 &

1 & 2 & 3 &

1 & 2 & 3 & etc.

tied notes gets playedonly the first of the

• It says to play this song somewhat rubato. What is rubato, you ask. To usethe definition in the "New Harvard Dictionary of Music," it is "the expressivedevice of altering note values and making the established beat flexible byaccelerating and slowing down the tempo." So, in a more expressive piece,rubato doesn't want you to be overly concerned about how precisely you keep thtempo. It is more concerned that you put your own feeling and interpretation inthe music. You can use rubato to some degree on almost any expressive piece

you play. In my opinion, this technique is one of the biggest secrets between anexcellent and a blah performance of such a piece. Get a feel for when and how tuse rubato. Once you master it, you will sound like a concert pianist, even when you play simple pieces — like mine. And besides, chicks dig-it.• Level of difficulty: third easiest in the book. (Don’t let the ties freak you out

Helpful Hints:



12Cherised Moments ©1996-CJS&JS

13

16

195

22

(this means a little rit.)

poco rit. a tempo

Some people have a tendency to play notes that should have been tied. Such people will murder this song. Remember, whentwo or more notes of the same position on the staff have a tie, (i.e. )

need a note to get something like that. The 0.1% of piano players who actually keep tied notes pressed down for their full

value and who also hold all regular notes for their full value, and who also watch pedal markings, will uncover extra hidden

harmonies in this song that the rest of us will just never know.

is because there is no such thing as a regular note that gets 4 and 1/2 counts, or 2 and 1/4 counts, etc. But sometimes weonly the first note gets played. One reason for ties




25top note stays tied L.H. and leave out the L.H. tie.

Small hand: let R.H. help the

28

31

34

poco rit. a tempo




37

40

43

46

rit. a tempo

dim. rit.




49

3

52

3

55

58

Make sure to givethis note two counts.

a tempo

rit.

a tempocresc.

.

poco rit a tempo




61

65 8 va . . . . . . . . . . . . .

68 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

71

dim. rit. a tempo

(play the first "d" an octave lower)8 vb

* Immediately after playing the fermata "E," push these asterisk notes down in advance, so gently that they don't make a

lift so they pick up the ring from notes that were played earlier in the line. (Or just play the asterisk notes very softly.)sound. Then play the right hand "D" as you lift the pedal. Keep the asterisk notes pressed down during this pedal

keep pedal down

rit.

^

*

*

(

(

)

)



18Song of the Ocean ©1996-CJS&JS

13

17

21

25

phrasing simile




28

32

36

405

2 2 1

5

2

If two flags scare you, try it at a snail's pace (no pause tempo).Then slowly increase the tempo. You'll see it's not scary at all.Remember two of these ( ) fit into one of these ( )(the same way that two of these ( ) fit into one of these ( ) )

1

41

3

1

31

2

1

3

3

Keep bringing out left-hand melody.

5

1

.4

3




44

1

5

2 1 2

48

1

5

2

13 Melody moves to R.H. for a moment.

3

531 1

2 3 2 3

4 5

4

21

5

57

4

2

2 1

1 & 2 & 3 & 1 & 2 & 3 &

R.H.

unless you use the fingering.

1

Smoothness will elude you

5

2

1 2

1

51 2

1 2 1

2

cresc.

Melody back to L.H. 5

3 2 3 21 2

1 21 2

3 4




61

1 2 1 2

1

5 2

653

2 5

Now, bring out R.H. melody.

4

3 21 2 3

2

693

3 4 32 3

4 1 2

73

5 1 3

1 3 2 1 2

3 1 2

R.H. 1

5

2

1 2

1

5

1 2

1

cresc.

52

1

2

cresc.1




77 3

81 32

3 4 5

4 3 4 5

4 31

2

You'll need this fingeringwhen you play it up-tempo.

3

854

89

1 1

2 3 2 3

4 5

4

12 5

2 3

1 2

( )

noteoptional

3

cresc.




93[Advanced optional measures 93-96 at end.]

( ) 5 4 2

41 4 5

2

44 5

2

4

1

97

1

3 4

2

3

1

4

1

4 2

101

[Advanced optional measures 101-103 at end.]

2

1

3

1

45

105

1

2 3 2 3

4 5

4 5

5 1 32

1

23

2 1

5

13

2

Fingering highly recommended.

12

3 4

1

dim. cresc.

2

1

2

carpé dim.

3

cresc.




109[Advanced optional measures 109-110 at end]

5 4 24

1 4 5 2

44 5

24

1 5

113

Oh all right, you can just play the top noteif these octaves are too hard for you.

117

1 1

3

121 3 21 2

3 1 2

5 1 32

12

3 2 1

5

13

21 2

3 4

1

dim.(This means very much cresc. )

molto cresc.

5

( )2

use thumb for C & Din this measure

32

12

(slide thumb)

3 2 1

cresc.




125 3 21 2

3 1 2

129

133

1

137 5

32 1

32

5

2

1

2

1

cresc.

5

2

1

2

1cresc.

5 1

2

cresc.

Melody

3

to L.H.

1 2

1

3

5

1

2

5

1

2 1

1

2

5

1 2

5

1

21




141

1 2 4

12

4

5

(octave higher)

145advanced optional measures 93-96 (which are also the same for 109-112)

24

4 5

24

4 5 1

24

5

149149

advanced optional measures 101-103

3 1

2 45

152

advanced optional measure 120(for those who enjoy the 4-5 finger trill)

5 2

1 3

2

1dim. no rit.

(octave lower)

8 va . . . . . . . . . . . . . . . . . . .

8 vb . . . . . . . . . . . . . . . . . . .

1 2 1 5

32

12

3

1

2 1

5

1

5

3

21 1

2 31 2

3

2 13

2

1

2

decresc.

3

1

2 1

5

1 1



27Morning Light ©1996-CJS&JS

©copyright 1996

Side Notes:

Its melody is my favorite in the book.

who wrote the initial theme upon which I based this song. Also thanks so much, Carl, for thesupport, the prodding, and the resources withoutwhich this book would have never happened.

With feeling, slower than you think =52

Morning Light

I tested this song on had trouble counting out the

than the traditional 1& 2 & 3 & 4 &. Having tried

track of the eighth note slots in each measure and

bothers you, cross my numbers out and put in your

that made it much easier.

own instead.

A Day in the Sunset

written by Carl Sandquist

Helpful Hints:

(from the album )

and Jon Schmidt

4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .(play R.H. an octave higher)8 va . . . . . . . . . . . . . . . . . . . . . . . . . .

7

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .End of 8va

• Playing this song is like playing the sunrise.

• Many thanks to my good friend Carl Sandquist

Pedal ad-lib except where noted

(And plus, dancers use this method.) If it reallyit both ways with people, the first way proved easier.

• Level of difficulty: second easiest in the book.

rhythm. So, I put in these numbers to help them keep

I'm inviting you to count 1 2 3 4 5 6 7 8 rather than

• Why the numbers on measure 10? Because everyone




10 when you need a shorter performance.Here, you can skip to measure 27

13

15

17

(Why these numbers? see Helpful Hints)

1 2 3 4 5 6 7 8 1 2 3 4 56 7 8 1 2 3 4 5 6 78

1 2 3 4 5 6 7 8 1 2 3

Not too early on this note, please.

4 5 6 7 8

1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8

1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8




19

211 - 5

23 if you can't reachtop two notes,

25

1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8

1 2 3 4 5 6 7 8 1 2 3 4 5 6 87

1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8

1 2 3 4 5 6 7 8




27 slightly more bold if you can't reachtop two notes,

30

32

35 5

4

2 1 25

1 2 3 4 5 6 7 8 1 2 3 4 65 7 8 1 2 3 4 5 6 7 8

1 2 3 4 5 6 7 8 1 2 3 4 65 87

1 2 3 4 65 87 1 2 3 64 5 7 8 1 2 3 4 65 7 8

(octave lower)8vb

1 2 3 4 5 6 87 1 2 3 64 5 7 8

8vb

1 2 3 4 65 87




38

40

top two if you can't reach4

2

1

42

4444

1 2 3 4 65 7 8 1 2 3 4 5 6 7 8

1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8

1 2

molto cresc.3 4 5 6 7 8 1 2 3 4 65 7 8

12

this octave run, if you want.

3

Leave bottom notes out of

4 65 7 8 1 2 3 4 5 6 7 8




46

48

50

Just top two notes if you can't reach.

5353

1 2 3

1 ( )

4

3

5

4

6

3 2

7

1

8

2 1 2

1 2 3 4

2

65 7 8

5

1

32

this octave run, if you want.

2 3

Leave top notes out of

4 65 7 8 1 2 3 4 65 7 8

1 2 3 4 65

Use thumbon A & B.

7 81

on D & E.Use thumb

dim.32 4 65 7 8

rit.1 2 3 4 6785

a tempo1

Same feel as at first

32 4 65 7 8 1 32 4 6 7 85 1 2 34

8 va . . . . . . . . . . . . . . . . . . . . . . .

65 87




56

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .End 8va

59Don't let these turn into eighth notes.

62

64

1 2 3 4 65 7 8 1 3 42 65 7 8 1 32 4 65 7 8

1 32 4 5 6 87

Delay top note if you can't reach.

1 2 3 4 5 6 87 1 32 4 65 87

1 2 3 4 65 7 8 1 32 4 5 6 7 8

1

dim.2 3 4

molto rit.865 7

8vb

1 32 4 5 6 7 8



34

(from the album )

Tribute ©1996-CJS&JS

1

Side Notes:

• This song is dedicated to the memory of one

mentor and older sister, Rose-Anne.

love, assurance and reunion. It is intended as an expression of loss,

of my best friends, who was also my music

Slow Rubato©copyright 1996

(Rose-Anne's Song)*Easier Key


Tribute

Walk in the Woods

6

11 note on the down beat.

Slowly, with the bottom

Pedal ad-lib, except where noted 8va . . . . . . .

This is a downwardarpeggio.

R.H.

[

• This version has been transposed to an easier key because, although it is a simple songtoo many people who played it were intimidated by five flats. (I have however, included “Tribute” in the original key. It appears at the end of the book.) Try the original versionirst. If the five flats give you trouble, see my Helpful Hints in the song “All of Me” on pag

51. If all else fails, learn this version first and it will make learning the other version mucheasier.• Besides the definition that I gave earlier in “Cherished Moments,” there is another definition of rubato that works better when playing expressive music that is very slow intempo, like that at the beginning of this song. This definition says to let the important notessteal time from the less important notes. When thinking of this definition choose what youconsider to be the important notes. Think of them as rocks thrown into a pool. Watch theripples until you feel ready to go on. (Don't let the fear of waiting too long make youcontinue before you are ready.) Then the job of the shorter or connecting notes is to balanout the lengthened notes with the feeling of acceleration. So the music doesn’t drag.• Level of difficulty: easiest in the book. (Especially if you start on measure 16 and skipthe fast middle part.)

Helpful Hints:



35Tribute ©1996-CJS&JS

15

=84

now flowing, but not too fast (sensitive)

18

22

26

305

4 25

4 2 1 2 4 5

( )

slow cresc.




34

385

4 2 1 1 2 3

42

46

3 4 1 2

50

5

353 4

22

1

5

3 4

2 3

1

42

3

1

42

3

1

42

5

3 simile

slow cresc.1 1 1

1 1

1

This fingering changed my life.

cresc.3 2 1

cresc.




54

58

62

66

70

3 2

1

dim.

3 2

1

cresc.




74

1 2

78

1 1

2

82

1

3 4 32

3

3

86

1 1

2 4

90 top two if you can't reach

4 5 43 2

3

rit.

Majestically

a tempo

thumb on bothcresc.

1 3 2 1

dim.

1 3 2 1

slow dim.




94

1 1

3

98

103

1 1

109

Mood change: begin a double time feel.(Make a gradual transition to an up-beat mood.)

113 Continue transition until the measure 117.

molto cresc. dim.

For a shorter performance,skip to measure 169 now.

rit.

a tempo rit. a tempo

cresc.




117 =132-144

120

123 35

2

52

1

126 31

51

5

1

51

1291 3 4 1 2 3

34

4 5

simileaccent

cresc.




133

136

Make sure to notice quarter note.

140

143

5

2

5

25

23

21

146 5

23

5

3

Yes, that's right.

(quarter note)




149 5 4 5 3 5

153

157 L.H. over

160 L.H. over L.H. over

163 L.H. over L.H. over L.H. overL.H. over

dim.

accent simile

rit.




167

"G"

return to slow Rubato feel

172

175

dim.



44Homecoming ©1996-CJS&JS

1

Side Notes:

Intro part: make it sort of introductory©copyright 1996

8 va . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Helpful Hints:

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

(from the album )

Homecoming

August End

7. . . . . . . . . . . . . . . . . . .

1

Now up-tempo, with a definite down beat

23

1

13 accent simile1

3

1

• This song evolved out of an improv. on "Piano Man",

probably wouldn't care because I'm sure he realizesthat this bass-line had already been used in about10,000 other songs before he ever used it in his.)

by Billy Joel. Don't worry, part of the bass-lineof the chorus is the only thing I stole. (Billy

• Level of difficulty: sixth easiest in the book

• Give it a definite down beat. (I sometimes imagine the

glassy water.)

to play at higher speeds.

feeling of lift and drop that you get when boating on

• Again, fingering makes this song much more enjoyable

=160-168

rit.

accent simile




19

2

8 va . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .small hand: let L.H. help (or just play top two notes)

5

2

1

4 4 5

42

1

52

1

. . . . . . . . . . . . .

5 5

3

24

5

3

2

32

1

4

3 2

29

5

3

2

32

1

4

2 1 1

25

4

34125

4 4 5

1

24

12

5

39

35

2

5

1 2

5 1

2

5 1

2

5 5

21 5

21

l.h. fingering simile 1

5

5




44

4 4

492

1 3

4 1

54

3 4

59

4

4 5 421

64 3

5

2 2

3

1 24

1 1

2

5

4 1

3

1

3

3 2 1

2 3

dim.

4 5

1

2

1 2

5

optional advanced notes.Notes in parentheses are

1 5 1

( )




69

74

4

79

4 2

5

84

4 5 4 1

4 3

( )

( )

( )

89

3

1 2

43

5

231

4

1

5

2

53

51

1 5 1

( )

15 1 5 1

( )

1 5 1

( )

31

2

5

2 1 2

( ) 3

1 2 3 2 1 3 2

12 3 4 5

( )

( ) accent simile

accent simile

1

( )5 1




94

5

1

51

51 4 2

99

104key change, you may go to a special ending option after measure 105.If you think this song is getting a little long and/or if you don't dig this

2

110

115

( )( )

8 vb

1

( )

5 1

dim.

1

( )

5 1

1

( )

5 1

1

( )

5 1

cresc.

( )

( )




119

( )

1238 va . . . . . . . . . . . . . . . . . . . . .

129 3 3 8 va . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

134. . . . . . . . . . . . . . . . . . .

optional

12 2

3 4

3 2

2

rit.

( )

( )last chord

(for small hand)

140

Simplified optional ending2

1

8 va . . . . . . . . . . . . . . . . . . . . . .2




146

3 4

3 33 2

8 va . . . . . . . . . . . . . . . . . . . . . . . . . .

151 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2

155

optionalrit.

( )

( )last chord

(for small hand)



51All of Me ©1996-CJS&JS

Sut is a life-long buddy whose encouragement was a key factor as I was writing this song.

1

Side Notes:

Facilitating a rubato yet fanfare-filled feeling

123 4 56 78

(for a fun definition of rubato find page fifteen minus four)

is favorable at the first of this fine song

©copyright 1996

123 4 56 7 8

(Sut's Fav)


All of Me-

Helpul Hints:

12 3 4 5 6 7 8

5

3

1

5

2

1 2 3 4 5 6 7 8

5

(from the album )

5

August End

5

123 456 7 8 12 3 4 56 78

3

123 4 56 78

123 4 56 7 8

9

1 2 3 4 5 6 78

123 4 56 7 8

3

12 3 4 5 6 7 8

let left hand helpsmall hand:

• You've probably never played a song like this before.

thing. That's one reason it's called "All of Me." It will have you playing with your forearms, for one

Pedal ad-lib throughout

(Why these numbers? see Helpful Hints)

• Don't let five flats scare you. It's easy when you think of C and F

• The rhythm gets much easier at measure 31. (You may start there

as your only white keys. Just lean to the left black key on every-

if you wish.)

As in "Morning Light," I am inviting you to count 1 2 3 4 5 6 7 8rather than 1 &2 & 3 & 4 &.

anyway)thing (except C and F, but they don't have black keys to lean to

• Level of difficutly: seventh easiest in the book (out of seven, ha ha)

• Again the numbers in the first section are for the rhythm impaired.

[Fav: n.(fav) coll. for favorite; the one preferred]




12

1 2 3 4 56 78

small hand: let left hand help

123 456 78

poco rit 1234 5 6 78

15

12 3 4 5 6 78

fast (put "all of yourself" into it)

a tempo

1 2 3 4 5 6 7 8

(But get the underlying rhythm in your head first.)

12 3 4 5 6 78 1 2 3 4 5 6 7 8

19

12 3 4 5 6 78 1 2 3 4 5 6 7 8 12 3 4 5 6 78 1 2 3 4 5 6 7 8

23

12 3 4 5 6 78 1 2 3 4 5 6 7 8 12 3 4 5 6 78 1 2 3 4 5 6 7 8

27

12 3 4 5 6 78 1 2 3 4 5 6 7 8 12 3 4 5 6 7 8 1 2 3 4 5 6 7 8

Using the accents gives this part rhyme and reason.=176-208




318 va . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

34. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

37. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

39

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5

42. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

5 5

5

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1 3

4

cresc.

fingering or die




44

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

46. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

48. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

50 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

52. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

4 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

25

1

maximum page turning enjoyment.Measures have been spaced for




54

accent simile

57

59

61

63

1




65 5

5 5

67

5 1 3

dim.

4

molto cresc.

701

72

752 4 5

1




79in an otherwise boring few lines of the piece.Using the accents here will reveal a hidden melody

82

85

88

91

cresc.




94

96

1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8

99

1 2 3 4 5 6 7 8

102

cresc. 1 2 3

105




107

110

113

116

- Lift wrist so that left hand doesn't strike any notes.- Not overly loud.

( )

119

1 2 3 4 5 6 7 8

cresc.

- Lift wrist so that right hand doesn't strike any notes.- Not overly loud.

] ] ] 1 2 3 4 5 6 7 8

] ]accent simile

• Use left forearm across general area (elbow pointed left).

[Or you can select any portion of the chord to play with your fingers, if playing

[

• Use right forearm across general area (elbow pointed right).

[

with your arm takes you too far out of your comfort zone.




122

125

128

131

dim.

134

molto cresc.

1




137

1 2 3 4 5 6 7 8 1 2

139

accent simile cresc.

2

142

4 5




1

Side Note:

Slow Rubato

This song is dedicated to the memory of one

mentor and older sister, Rose-Anne.

love, assurance and reunion. It is intended as an expression of loss,

of my best friends, who was also my music

©copyright 1996

(Rose-Anne's Song)


Tribute

(from the album )Walk in the Woods

68va . . . . . .

11Slowly. Feel the down-beaton the bottom note.

Pedal ad-lib, except where noted

This is a downwardarpeggio.

[R.H.

• Besides the definition that I gave earlier in “Cherished Moments,”there is another definition of rubato that works better when playingexpressive music that is very slow in tempo, like that at the beginningof this song. This definition says to let the important notes steal timerom the less important notes. When thinking of this definition choose

what you consider to be the important notes. Think of them as rocks

thrown into a pool. Watch the ripples until you feel ready to go on.(Don't let the fear of waiting too long make you continue before youare ready.) Then the job of the shorter or connecting notes is tobalance out the lengthened notes with the feeling of acceleration. Sothe music doesn’t drag.

Helpful Hints:




15

now flowing, but not too fast (sensitive)=84

18

22

26

30 54

2

5 42 1

( )

slow cresc.




34

38

1 1 1

42

1 2 1

46

50

5

3 42

31

This fingering is just wonderful.

slow cresc.

cresc.

cresc.




54

58

62

66

70

dim.

3 2

1

cresc.




74

1

3

3

78

823

86

90Top two if you can't reach

3

.3

rit.

8vb

1

Majestically

1

a tempo

cresc. dim.

slow dim.

dim.




943

98

103

109

Mood change: begin a double time feel.(Make a gradual transition to an up-beat mood.)

113 Continue transistion until the measure 117.

molto cresc. dim.

skip to measure 169 now.For a shorter performance,

rit.

a tempo rit. a tempo

cresc.




133

136

Make sure to notice quarter note.

140

(quarter note)

143

146 Yes, that's right.




149

153

157 L.H. over

160 L.H. over L.H. over

163 L.H. over L.H. overL.H. over L.H. over

dim.

accent simile

rit.



167

"A "

Slow Rubato Again

172

175

dim.

jon schmidt - piano solos vol. i.pdf

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