( omposutions Ketko Matsui ~er/YVoN~Japan, itis said chacif children begin music lessons on June 6 following their fifth birthday, they will keep studying for a long time. nist Keiko Matsui was taken to her first piano lesson on that very day when she was five and she hasn't looked back since. ciko Matsui is an icon of contemporary jazz. With over 1.2 million units sold in the U.S. alone and packed concert halls, she is one of .e most recognized artists in the genre. Her elegant piano melodies and gente jazz grooves have enormous appeal and never disappoint er loyal fanbase which she has cultivated with over a dozen albums and stunning live shows. /ALLS OF AKENDORA, Matsui’s latest recording of all new material, showcases her signature sophisticated jazz style on ren tunes tat range from the classically-inspired co bold and brassy. “Akendora,” she explains, “is a fictional place of my own device! Ie is a place Lat I go to co find peace and ro spend contemplative moments.” The ‘walls’ of the title do not refer co any barriers around this haven, ut rather milestones, “e's like marking your child's height on the wall. I's about seeing where you have been and where you can go,” re explains. farsui has taken her music to extraordinary places since chat fateful day of her first piano lesson. By the time she was in junior high ‘hol, she began composing and developing a taste for jazz, drawing inspiration from a variety of classical and contemporary composers anging from Chopin, Mozart, and Rachmaninov to Chick Corea, Keith Jarrete, and Stevie Wonder. At the age of 17, Matsui was hosen to record for the Foundation, and chac same year, she composed her first film score. fatsui commenced her solo recording career with 1987's A DROP OF WATER. The album established Matsui as a talent of nore. Her ubsequent albums, including UNDER NORTHERN LIGHTS (1989), NO BORDERS (1990), NIGHT WALTZ (1991), CHERRY LOSSOM (1992), DOLL (1994), SAPPHIRE (1995), and DREAM WALK (1996) furcher cemented her reputation and increased her jopularity. No stranger to the upper reaches of the contemporary jazz album and airplay charts, Matsui was named Top Indie contemporary Jazz Artist OF The Year by Billboard Magazine in 1996. 998 saw the release of Matsui's album FULL MOON AND THE SHRINE, which was accompanied by an acclaimed PBS-1'V special ntitled Keiko Matsui: Light Above The Trees. The special reflected the multicultural nature of Matsui’ life and music and was filmed, n part, at Japan's breathtakingly beautiful 1,300-year-old Itsukushima Shrine and during a high-energy concert in San Francisco, The pecial earned Matsui a National Smooth Jazz Award for Best Long-Form Video Achievement in 2000. She was also honored as the Best ‘emale Artis that year and again in 2001 11 August 2001, Keiko’s album DEEP BLUE spent three weeks at the top of the Contemporary Jazz Chart of Billboard Magazine. 2001 brought about a period of reflection for Matsui and a strong desire to create music that would help heal a world in turmoil. She Segan to contemplate, “Why am I creating music, and as a musician, what can we do?” Marsui also reflected on the futures of children srowing up in a world devastated by violence and hatred. The resule was THE RING — an album intended to communicate a message sf peace, compassion, and humanity to listeners around the world. Her technical and compositional virtuosity chat has become her pallmark, along with the symphonic grandcur of her sound, paired beautifully in chis stitring and emotional album. On 2004's WILDFLOWER, Matsui once again used music as a platform for inspiring good. The album's title track benefits the United Nations World Food Programme's efforts in Africa. WEP is the world’s largest humanitatian agency which, in 2002, fed 72 million >cople in 82 countties including most of the world’s refugees and internally displaced people. “I decided I wanted to support the WEP sfcer learning about the tremendous problems in Africa and how humanitarian assistance can change people's lives for the better,” Matsui said. “So much help is needed there, particularly for the children who have been orphaned or abandoned because of war and AIDS.”Contents Beyond the Light trom aibumtina mirror] 12* Trees from Album [Deep Bluc] 14 wr | Midnight Stone from Albumin a Mirror! 18 *% | Precious Tire rom bunt te Rie 26 to iets ent eee The Next Plateau trom sibum[the Ring! 38 be | Prism trom Albom the Rine! He 460% Forever, Forever tom Album{Full Moon and the Shrine] “55 sre White Castle trom Aleum{WILDFLOWERI 624 | Crescent Night Dreams trom album[Deep Blue] | Special Score Moon Circle ~jor Play-A-Long CD from Album The Ring Deity In the Silence for Play-A-Long CD rom Albam!The Ring) | fe: Beginner sWsntermediate trv: AdvancedBeyond the Light ‘Try playing as if you were telling a story, while using the pedal wisely and savoring the sound of the harmonies. Take care with the balance of the volume of the aeeompaniment so that the beauty of the melody line ean be heard. ‘The ‘tempo markings for this piece and the other pieces in this collection are merely a rough indication. Feel free to find the tempo that works best with the way you feel about the piece, Of course the tempo of each section may vary. Trees I wrote this piece upon seeing the beautiful view of the Hudson River and silhouetted trees from recording studio in the suburbs of New York. Be sure to make the repeating single-note melody line ring out, Midnight Stone ‘Try to play as if you are telling a story. Be careful with the volume of the left-hand arpeggios that begin at [F], and make the right-hand melody line ring clearly and beautifully. *) Here is another pattern for these four bars. In either case, it will help to smoothly build up the energy, toward the goal of the triplets. Precious Time ‘Try recalling a happy memory or pleasant time and play ‘with a mood toward recreating such a scenario, Mystic Dance ‘As you play, keep in mind the balance between the hands, Try not to get too caught up in the cycles in three, and try to be gentle and supple at times and resolute at others. This should help you to add colorful expressiveness to the melody. *1) You may also play single top notes here. "2)You may choose to play this melody line. It's more ‘mportant to put your heart into the phrase with fewer notes. The Next Plateau I wrote this piece after looking back at my life and feeling a sense of gratitude toward the people I have met and who have supported me through out my career. Be ware of the resonance of the piano strings as you play this piece. Completely change the mood when you play [B} Notes | Prism ‘Use the pedal so as to make the single notes in the right hand resonate in space. Take care to avoid a muddled sound by letting each individual point of the phrase be heard. In the ad lib section, you' Il find that judicious use of rests will make your phrases come alive rhythmically. Take good care of the ending, to make it feel somewhat like @ light drifting away. Forever, Forever ‘Try to play as if you are telling a story. Feel free to play at an even slower tempo and make use of pause: Sometimes the left hand sounds better the simpler it is. ‘Try it for yourself White Castle _ ‘Try playing the introductory chords so as to make them resonate far away. As you can hear from the two versions of this piece on the supplementary CD, a different mood will emerge from different ways of playing the same song. Try using your imagination freely to create your own space. Crescent Night Dreams Try being creative in expressing the melody. Your expressive world will expand as you add variation by playing simply in certain spots, playing with a greater emotional flow in others, ete Moon Circle ~jor-Pley-s-tong CD This has boon transcribed from the album, ‘The Ring. ‘Actually, there are many spots in my playing that can't be divided up perfectly and are therefore difficult to notate. Tn particular, in the solo section, I removed the barrier of bar lines from my mind and played as if adding on the notes which I heard while feeling the silence, I suggest you listen. to the original performance on the album. During the piece, the beat becomes quite complex rhythmically due to the relationship with other parts in the orchestra. It may be better to merge into the atmosphere of the piece, rather than trying to play the music on the paper note for note. Deity In the Silence ~or Pray. ‘This has also been transcribed from the album, The Ring. From [il, try playing the melody by giving it various expressions. From [B], enjoy the groove by feeling a different atmosphere, Adding some accents will eroate liveliness to the phrases. -Long CD cetIn Japan, itis said cha if children begin music lessons on June 6 following thei fic birthday, they will keep studying for 2 long time. Pianist Keiko Matsui was taken to her fist piano lesson on that very day when she was five and she hasn’r looked back since Keiko Matsui is an icon of contemporary jazz, With over 1.2 million units sold in the U.S. alone and packed concert halls, she is one of che most recognized artists in the genre, Hier elegant piano melodies and gence jaz grooves have enormous appeal and never disappoint ther loyal fanbase which she has culivated wich over a dozen albums and stunning live shows WALLS OF AKENDORA, Macui’s latest recording of all new material, showcases her signature sophisticated jazz style on ren tunes thar range from the clasically-ingpited co bold and brassy. “Akendors,” she explains, “sa Fictional place of my own device It isa place thar | go to o find peace and to spend contemplative moments.” The ‘walls’ ofthe rite do not refer co any barriers around this haven, bbuc rather milestones. “Tes like marking your child's height on the wal. Ie's about secing where you have been and where you can ge she explains. “Macsui has taken her music to extraordinary places since that faeful day of her frst piano lesson, By che time she was in junior high school, she began composing and developing a taste for jazz, drawing inspiration from a variety of classical and contemporary composers ranging from Chopin, Mozart, and Rachmaninov to Chick Corea, Keith Jarrett, and Stevie Wonder. At the age of 17, Maesui was chosen co record for the Foundation, and that same year, she composed her firs film score: Matsui commenced her solo recording career with 1987's A DROP OF WATER. The album established Matsui asa talent of note. Her subsequent albums, including UNDER NORTHERN LIGHTS (1989), NO BORDERS (1990), NIGHT WALTZ (1991), CHERRY BLOSSOM (1992), DOLL (1994), SAPPHIRE (1995), and DREAM WALK (1996) further cemented her reputation and increased her popularity. No stranger to the upper reaches of the contemporary jazz album and aigplay charts, Matsui was named Top Indie Contemporary Jazz Artise OF The Year by Billboard Magazine in 1996. 1998 saw the release of Mats’s album FULL MOON AND THE SHRINE, which was accompanied by an acclaimed PBS-TV special centiled Keiko Matsui: Light Above The Trees. The special reflected che multicultural nature of Matsui’ life and music and was filmed, in pare a Japan’s breathtakingly beautiful 1,300-yearold Itsukushima Shrine and during a high-energy concert in San Francisco. The special earned Matsui a National Smooth Jazz Award for Best Long-Form Video Achievement in 2000. She was also honored as che Best Female Artist that year and again in 2001 In August 2001, Keiko's album DEEP BLUE spenc thrce weeks atthe tp of the Contemporary Jazz Chart of Billboard Magazine. 2001 broughe about a period of reflection for Matsui and a stong desire to create music that would help heal a word in curmoil. She began to contemplate, “Why am I creating music, and as a musician, what can we do?” Matsui also reflected on the Furures of children ‘rowing up in a world devastated by violence and hateed. The resule was THE RING — an album intended co communicate a message of peace, compassion, and humanity to listeners around the world, Her technical and compositional vitwosity that has become her hallmark, along with she symphonic grandeur of her sound, paired beautifully in ths stirring and emotional album. (On 2004's WILDFLOWER, Matsui once again used music asa platform for inspiring good, ‘The albums tse track benefits the United Nations World Food Programme's efforts in Africa. WEP is the world’s largest humanitarian agency which, in 2002, fed 72 million people in 82 countries including mos of che word's refugees and internally displaced people. “I decided 1 wanted to support the WE? afer learning aboot the tremendous problems in Africa and how humanitarian assistance can change people’ ives forthe etter,” Matsui ssid, "So much help is needed sere, particularly forthe children who have been orphaned or abandoned because of war and AIDS.Guz Em a tempo Be. Be. Dosusd Dsus4 Em IB) Guz Desus4 Dsus D Guo oe aTrees Music by Keiko Matsui =56.ca. Ewr €8 Ew 68 a a Se. . Ehead2) cm semplice cn FD. simile w i eee TTTEE SE ‘20 Ka Mase ‘Alig everod ‘Thera tered Alin Corp& Eheaca) cm? fe i, SB, simile fed lib—* Ehece2)e cm Bieuss 8 Etomita DE Elm DOE Eomits 16Eheusa Dime" Elsuss Eins DE EMO ag Eheas2) e ea. 0, simile ‘ eur aMidnight Stone Music by Keiko Matsui 4=98 ~104 Alem Fiat pea Ewe = aes G D fed Emr eae Sm Sax. simile 6 D Cine ae tah Rowred ‘Rade Jue ise Aim CopBi. - a. BD. simile Ems pnt?80. Ba simile Cn= ca Em sineALT ome OEEA,Fe t : fal nf , $B simile8B. 2. simile Ema 6Precious Time Music by Keiko Matsui J=106~110 Ajowr etme Fm Elm? Dur m7 Fz Elmr Les (et 4 a. simile Dur Emr mz. Ebmz iw E'm7 Fm Emr Dir Enz, m7 E'm7 Dir poco rit _——Dur Fm7 Ehn7 Dur Elm7 Fm7 em? ] etempe Dur Elm? Fm? ebm7 Dur Em Fz. E'm7 Dir Elm? Fm7 Emr Diwr poco rit.Dwr eur D'ur of Sf brillome Diu our Dir rit Hi Fz Diw7 eln7 oe ee cae Eee ee, a, simile E'mr Dw em7 Fo Diw7 Ehm7poco poco (peered eeeDiu Em7 Fm? Ehm7 Diu Elm Fm7 Ebr Dwr oh re ee oN ae Sbrillante cw Diz a8 rit gears maDr m7 m7. m7 Dir Emr F] tempo —— << | Z Ke Sa, 8 simite Fm? elm? Dur Elm Fm? E'm7 Diu Elm7 Fm7 E'm7 Diu7 Em Fm? Em Dw? em Fm7 Em? Div E'mz Fim? Elm Dim a1Mystic Dance Music by Keiko Matsui ‘Tetaporubaty | ee cera ie = = = oy eB d=82 ca. (J=156ca.) Bim crm" Fon DP misterioso a. Ed, simileBd. simile Bee eerie Bin _—_—__ En 2 Bias a Feuss _————————___ FLLORDAMRLCEME EEA 332. ip, simile crm Fad Bim fee ly ae Eee : ae =e ufa. .simite ARIS SURL TEER, 35(ad ib) —,a7The Next Plateau Music by Keiko Matsui ‘Tempo rubat Mg : Din = renee (9am BP tranquillocq 0. simile Garett E Fsa, simile ‘ad lib. —> Ew? Din ewr Dim?tm aime En bone chet Dradaome! ssenca tempo 5 2, simile oe ‘abe! etm o o Eiomita)Breau) Gtmiadea) ei? Ftaaao 8, simile Bread) Gtmjaaca) Ewe Fleaao Baavae) st Freado Bead) Gin E19 Fr Beeos2) ritPrism Music by Keiko Matsui Misterioso J=110~114 — Aomits = en 2. simileawn Gomis Am Gomits FurDomits Fs Gomis omits D Fe omits Am Gok Aomits con Ped,Am Gomita Fur ease Fe Gomis Am G Am Dose Fe Gomis Am a Am ane Dera ae pe D] a 49Amr pea Am? pea a emo Ais Gna Am Emer’ Am one ‘ad lth Fu Gomirs Am7Fur Am Fur Gs Ams Gr™® Ce Cum Fe G8 Gladaaps® 5 tempo molto rit. 3 2 3 3 3 3 a J=110~ 2 ad lib Tempo d=i0~114 Gomits Am iG P con Ped, Gomits Fear BeForever, Forever Music by Keiko Matsui Dir m7 F Bhar ear Dmz Cm F Bur (2) eur D7 Gm Fe oeur oF Gm GmrmF ‘Thera or spn adie by Alin Corneur Der mz Bhar — Ebr Dm7 cm? F Bia Bheho m7 Fas) e guar ew Ar “t pmr ra 37(ad tb) M7 Dm7 m7 F Bur Ew Dm7 Chnz Cm F Bhar : 2) Eur D7 Gm Fehr of Gm GmEur om Foa) Frevsaes! B mn D Gm va-~ IK] @tempo BD. simile GtWhite Castle Music by Keiko Matsui J=120a, Bmo acai PaAllegretto (4=112.0.) x) Bm Fema Dea otal ce A ear eee a. BD. simile Fm Em7 Feousa FE Bm — con sentimento 7 pom Fe ows Gin 6 Fm Em7 Pluss 63B] 8 repo a ae freee seg ees Em? fempo rubaro a nf britianteBm? a in tempo 65,(ad ib b>)B "8 Gee A F] arempo peer ct == SB. simile r a ~ smorzando ee ae os orCback Co Tew Crescent Night Dreams Music by Keiko Matsui J=88ca, Am raeAn Amr Pur em = ad th _ nen aienpo é A oe ree ane swing £ dd om oa) a —- = py hme Amis Fur Em?Ammiads2) Amzen® Fu Emr Amlaas2) Ammon non swing Ama) Fur, Enz 2 Fur Em? Amr" aAmine) Eur rit P me (ad ib) a 121270 amg a JMoon Circle~for Play-A-Long CD i 3% Music by Keiko Matsui d=a128 7 Fim — neFim Fimago 6Fm Gher Fim Dn BmoFDer= ‘ad lib,—SFim od fib = mp—— pp —s:_# tet patBP tranguitlo alDeity In the Silence~for Play-A-Long CD Music by Keiko Matsui _ aEw dD oom, - pe Cms"* [ow a cm Da? arDa? ar omHem Bt Elur D D cur D Eur D Ew DEM D a) Eur D El? D ur D Emr D Ely D Ew? D eur D‘ Eu? D eu7 OD Ez D Eur D ew De D Ez D Elz Db Ew7 D Eur 6D Eh D eta7 D Eur D wr D El D Eur OD Eur D Eur D Ew7D Ew7D EM7 DEM D Eur D Eur =D 87ISBN4-636-29313-4 C0073 ¥2286E | UL 9784636293135, NN 1920073022862 ‘efi (2, 286F1+ #8) YAMAHA MUSIC MEDIA CORPORATION 4 HI