Pictured from left to right: Jon 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. Thestyle 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 captainon 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 sincerity,comedy, charm, high energy, and “aw- shucks manners” immediately endears him to the audience. His unusually warm rapport makesyou 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 isused sparingly to highlight his piano arrangements, which are always interesting and provocative. Schmidt’s original style combinesClassical 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 adefinite 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 acknowledgethat 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 originalpiano 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. . . . . . . . . . . . . . .1Cherished Moments. . . . 11Song of the Ocean. . . . . . 17 Morning Light. . . . . . . . . 27Tribute (Easier Key). . . . . . . 34Homecoming. . . . . . . . . . 44 All of Me. . . . . . . . . . . . . . 51Tribute (Original Key). . . . . . 62Jon 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

2Waterfall ©1996-CJS&JS

7

925

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

21

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

3Waterfall ©1996-CJS&JS

175 1 1

5 15 1 2 5

2 5 1 15 1

5 1 2 5

2

19 23 5 5 3 2

1 3 5 1

211

1

23

2 3 1

4

25L.H. over L.H. over

cresc.

Really! You can.You can do this.

- -

4Waterfall ©1996-CJS&JS

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

31 5 51

51

1 2

5 2 3 4 43 2 2

335

3

1

R.H. over

53

R.H. over

35

simile

-

1

- -

simile

-

-

dim.

-

2 3 1

5Waterfall ©1996-CJS&JS

37 42

39 3 4 54

41 25

3 12

432

45

cresc.

15

15

25

cresc.

cresc.

6Waterfall ©1996-CJS&JS

47 4

23

-important

(use thumb for C & D)

4

23

5

49L.H. over L.H. over L.H. over

51L.H. over L.H. over L.H. over

53 23 2 3 4

2 3 4 551

51

1 25

2 3 4

554 3 2 2

- -

simile

-

- -

simile

-

7Waterfall ©1996-CJS&JS

565

3

58

60 44 5 4

3

62 3 4 54

64 2

R.H. over

5

- R.H. over-

3 1

cresc.

cresc.

8Waterfall ©1996-CJS&JS

66

68

70

431

(on top)

71

(use thumb for C & D)

72L.H. over

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

2

cresc.

molto cresc.

( )�( )

( )��

--

simile

-

9Waterfall ©1996-CJS&JS

74L.H. over

L.H. over"G"

L.H. over

76 23 2 3 4

2 3 4 5 15 1

5 1 25

2 3 4

784 3 2 2 1

23

80

same as previous chordif you can't reach

35

3 24

2 1

824

5

23

5

2

4

21

32 4 3

5

2 23

1

--

simile

-

cresc.

molto cresc.

10Waterfall ©1996-CJS&JS

84 24

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

written by Jon Schmidt

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

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� � �

13Cherised Moments ©1996-CJS&JS

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

14Cherised Moments ©1996-CJS&JS

37

40

�

43

46

�

rit. a tempo

dim. rit.

15Cherised Moments ©1996-CJS&JS

49

3

523

55

58

Make sure to give this note two counts.

a tempo

rit.

a tempocresc.

.

poco rit a tempo

16Cherised Moments ©1996-CJS&JS

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.

^

*

*(

(

)

)

17

=135 -145

Side notes:

(from the album )

• This song is enjoyable because of its nice melody, flowing 3/4 meter and the fact that it's not too difficult to play.

Song of the Ocean ©1996-CJS&JS

1

�31

©copyright 1996 with your fingers

25

Song of the Ocean

written by Jon Schmidt

Helpful Hints:

months helps to reduce cavities.

August End

5

9 I had to try and try, and then all of a sudden, I could do it. For me, learning to play one hand louder than the other was like learning to rub my head and pat my stomach at the same time.

(To practice, play right hand with barely a sound as you bang the left hand as loud as possible.) In both cases,

Pedal ad-lib throughout

cresc. dim.

• Seeing your dentist every six

cresc. dim.

Bring out left hand melody.

dynamics simile

18Song of the Ocean ©1996-CJS&JS

13

17

21

25

phrasing simile

19Song of the Ocean ©1996-CJS&JS

28

32

36

405

2 2 1

52

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 ( ) )

14

13

����

13

1 2

� �

13

3

Keep bringing out left-hand melody.

51

.43

20Song of the Ocean ©1996-CJS&JS

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

421

5

57

42

2 1

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

R.H.

unless you use the fingering.

1

Smoothness will elude you

5

2

1 2

15 1 2

1 2 12

cresc.

Melody back to L.H. 5

3 2 3 21 2

1 2 1 23 4

21Song of the Ocean ©1996-CJS&JS

61

1 2 1 2

15 2

65 32 5

Now, bring out R.H. melody.

4

3 2 1 2 32

693

3 4 3 2 34 1 2

735 1 3

1 3 2 1 23 1 2

R.H. 15

2

1 2

15

1 2 1

cresc.

52

12

cresc.1

22Song of the Ocean ©1996-CJS&JS

77 3

81 3 2 3 4 5 4 3 4 5 4 31 2

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

3

85 4

891 1

2 3 2 3

4 5

4

12 5

2 31 2

( )

noteoptional

3

cresc.

23Song of the Ocean ©1996-CJS&JS

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

( )5� 4 2

41 4 5 2

4 4 524

1

9713

423

1

414 2

101[Advanced optional measures 101-103 at end.]

21

31

45

1051

2 3 2 3

4 5

4 5

5 1 32

12

3 2 15

1 32

Fingering highly recommended.

1 2 3 41

dim. cresc.

2

1

2

carpé dim.

3

cresc.

24Song of the Ocean ©1996-CJS&JS

109 [Advanced optional measures 109-110 at end]5 4 2

41 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.

1171 1

3

121 3 2 1 23 1 2

5 1 32

12

3 2 15

1 32

1 2 3 41

dim.(This means very much cresc. )

molto cresc.

5

( )2

use thumb for C & Din this measure

32

1 2

(slide thumb)

3 2 1

cresc.

25Song of the Ocean ©1996-CJS&JS

125 3 2 1 23 1 2

129

1331

137 53 2 1

3 2

52

12

1cresc.

52

12

1cresc.

5 12

cresc.

Melody

3

to L.H.

1 2

135

125

12 1

125

1 251

21

26Song of the Ocean ©1996-CJS&JS

1411 2 4

12

4

5

(octave higher)

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

24

4 5 24

4 5 124

5

149149advanced optional measures 101-103

3 1

2 45

152

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

52

1 32

1 dim. no rit.

(octave lower)

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

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

1 2 1 53

21

23

12 1

51

53

21 1 2 3 1 2

3

2 13

2

1

2

decresc.3

1

2 1

51 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 basedthis song. Also thanks so much, Carl, for the support, the prodding, and the resources without which 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 really it 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

28Morning Light ©1996-CJS&JS

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

29Morning Light ©1996-CJS&JS

19

21 1 - 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

30Morning Light ©1996-CJS&JS

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

30

32

35 542 1 2

5

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

31Morning Light ©1996-CJS&JS

38

40top two if you can't reach 4

21

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 2molto 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

32Morning Light ©1996-CJS&JS

46

48

50Just 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 thumb on A & B.

7 8 1

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

33Morning Light ©1996-CJS&JS

56

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

59 Don'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

1dim.

2 3 4molto 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

written by Jon Schmidt

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.

[

35Tribute ©1996-CJS&JS

15

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

�

18

22

26

305 4 2

5 4 2 1 2 4 5

( )

slow cresc.

36Tribute ©1996-CJS&JS

34

385

4 2 1 1 2 3

42

46

3 4 1 2

50

53 5

3 42

21

53 4

231

42 3

1

42 3

142

53 simile

slow cresc.1 1 1

1 1 1

This fingering changed my life.

cresc.3 2 1

cresc.

37Tribute ©1996-CJS&JS

54

58

62

66

70

3 2 1

dim.

3 21

cresc.

38Tribute ©1996-CJS&JS

74

1 2

78

1 1

2

82

1

3 4 3 2

3

3

86

1 1

24

90top 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.

39Tribute ©1996-CJS&JS

94

1 1

3

98

1031 1

109Mood 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.

40Tribute ©1996-CJS&JS

117� =132-144

120

123 35

25

21

126 31

51

51

51

129 1 3 4 1 2 33 4

45

simileaccent

cresc.

41Tribute ©1996-CJS&JS

133

136

Make sure to notice quarter note.

140

143

52

52

52

3 21

146 52 3

53

Yes, that's right.

(quarter note)

42Tribute ©1996-CJS&JS

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. over L.H. over

dim.

accent simile

rit.

43Tribute ©1996-CJS&JS

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

written by Jon Schmidt

Helpful Hints:

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (from the album )

Homecoming

August End

7 . . . . . . . . . . . . . . . . . . . 1

Now up-tempo, with a definite down beat 2 3

1

13 accent simile1

31

• 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 about 10,000 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

45Homecoming ©1996-CJS&JS

19

2

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

5

2

1

4 4 5

421

521

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

5 53

24

53

23

21

43 2

29

53

2

32

142 1 1

25

4

34125

4 4 5 124

125

3935

25

1 25 1

25 1 2

5 52

1 52

1l.h. fingering simile 1

5

5

46Homecoming ©1996-CJS&JS

444 4

49 21 3

4 1

543 4

594

4 5 421

64 35

2 23

1 24

1 125

4 13

1

3

3 2 1 2 3

dim.4 5

12

1 25

optional advanced notes.Notes in parentheses are

1 5 1

( )

47Homecoming ©1996-CJS&JS

69

744

794 2

5

84

4 5 4 1

4 3

( )

( )

( )

89

31 2

435

231

41

52

53

51

1 5 1

( )

1 5 1 5 1

( )

1 5 1

( )

31

25

2 1 �2( ) 3

�1 2 3 2 1 3 2 1 2 3 4 5

��( )

( )��accent simile

accent simile

1

( )5 1

48Homecoming ©1996-CJS&JS

94

51

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 11

( )

5 1

1

( )

5 1

cresc.

( )

( )��

� �

49Homecoming ©1996-CJS&JS

119

( )

123 8 va . . . . . . . . . . . . . . . . . . . . .

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

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

optional

�

12 2

3 4

3 2

2

rit. ��

( )

( )last chord

(for small hand)

140Simplified optional ending

21

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

50Homecoming ©1996-CJS&JS

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)

written by Jon Schmidt

All of Me-

Helpul Hints:

12 3 4 5 6 7 8

53

15

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]

�

52All of Me ©1996-CJS&JS

12

1 2 3 4 56 78

small hand: let left hand help

123 456 78poco 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�

53All of Me ©1996-CJS&JS

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

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

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

39

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

5

42

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

5 55

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

1 34

cresc.

fingering or die

54All of Me ©1996-CJS&JS

44

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

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

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

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

52

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

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

25

1

maximum page turning enjoyment.Measures have been spaced for

55All of Me ©1996-CJS&JS

54accent simile

57

59

61

63

1

56All of Me ©1996-CJS&JS

65 55 5

67

5 1 3

dim.

4

molto cresc.

70 1

72

75 2 4 5

1

57All of Me ©1996-CJS&JS

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

82

85

88

91

cresc.

58All of Me ©1996-CJS&JS

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

59All of Me ©1996-CJS&JS

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.

60All of Me ©1996-CJS&JS

122

125

128

131

dim.

134

molto cresc.1

61All of Me ©1996-CJS&JS

137

1 2 3 4 5 6 7 8 1 2

139

accent simile cresc.

2

1424 5

62Tribute ©1996-CJS&JS

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)

written by Jon Schmidt

Tribute

(from the album )Walk in the Woods

6 8va . . . . . .

11

Slowly. Feel the down-beaton the bottom note.

Pedal ad-lib, except where noted

This is a downwardarpeggio.

�[R.H.

�

63Tribute ©1996-CJS&JS

15

� � � �now flowing, but not too fast (sensitive)

=84

18

22

26

30 5 42

5 42 1

( )

slow cresc.

64Tribute ©1996-CJS&JS

34

38

1 1 1

42

1 2 1

46

50

53 4

231

This fingering is just wonderful.

slow cresc.

cresc.

cresc.

65Tribute ©1996-CJS&JS

54

58

62

66

70

dim.

3 21

cresc.

66Tribute ©1996-CJS&JS

741

3

3

78

82 3

86

90

Top two if you can't reach3

. 3

rit.

8vb

1

Majestically

1

a tempo

cresc. dim.

slow dim.

dim.

67Tribute ©1996-CJS&JS

94 3

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.

68Tribute ©1996-CJS&JS

117 � =132-144

120

123

126

129

accentsimile

cresc.

69Tribute ©1996-CJS&JS

133

136Make sure to notice quarter note.

140

(quarter note)

143

146 Yes, that's right.

70Tribute ©1996-CJS&JS

149

153

157 L.H. over�

160 L.H. over� L.H. over

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

dim.

accent simile

rit.

71Tribute ©1996-CJS&JS

167

"A "�Slow Rubato Again

172

175

dim.

�