Table of Contents

Good Times (Class of '84). . . . 1

Passages. . . . . . . . . . . . . . . 12
Bells of Freedom. . . . . . . . 21
By Moonlight. . .. . . . . . . . 31
Sacred Ground. . . . . . . . . 39
Ridin' West. . . . . . . . . . . . . 44
Winter Wind. . . . . . . . . . . .53
Jon Schmidt Catalog . . . . .63

©1998 JS Productions All Rights Reserved

Any duplication of this material for any reason requires express written consent
Side Notes:
• 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.
(I know it sounds silly, but the subtitle has the year our class was born
instead of the year we graduated.)
Helpful Hints:
• 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.

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
simile

Pedal ad-lib | | | | | | etc.

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

1 2 3 4 5 6 7 8
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 the accents this evening?

End of 8 va
--------------------------------------------------------
15 5 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

21

24

Good Times ©1998

2
 4 5 5
27 5 1 1 2 3
1 1 1

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 34 5 6 7 8 1 2 34 5 6 7 8

ap- ple

34

37

40

1 2 3 4 5 6 7 8

Good Times ©1998

3
 43

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

5 5 5
46 2 3 4
1 1 2

etc.

"subliminal notes" marked like this:

49 (see Helpful Hints for explanation)

( )

52 2 on top

(use thumb for C&D)

5 6 7 8

5 5 5
55 2 3 4
1 1 2

( )

For a shorter performance skip

Good Times ©1998 to measure 82 .... now.
4
 58 4
1 2 1

legato

61

cresc.

64 4 5 4
2 1

( )

67

The fingering is your friend.

70 5 4 2 1
1 1

Good Times ©1998

5
 If this part gives you trouble, try the accents.
5
73 4 3
1 2 2

5
2 5
76

79

( )

1 2 3 4 5 6 7 8

82

1 2 3 4 etc. 8

85

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

Good Times ©1998

6
 88 5 4
2 3 1
1

ap- ple
5 6 7 8

91

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

( )

94

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

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

1 2 3 4 5 6 7 8
cresc.

Left hand crosses to upper stem until measure 116

100
L.H. etc.

2 3 1
(use thumb for C&D)

Good Times ©1998

7
 103

5 6 7 8

106

5
4 4
108 2 2
1

( )

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

( )
( )

110

113

Good Times ©1998

8
 116

1 2 3 4 5 6 7 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
 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - End
8 va
130

133

decresc.

136

139

rit.

You might be interested to know that

I let go of the R.H. "G" so that it dis-
appears 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. • For best results, stick only to the notes that are written.
I guess it's because it came to me during a serious time. • Remember the sha-boom trick.
Although I was optimistic about the future, I began to • Honor all the ties.
realize my carefree days that I had loved as a "youngster" • Honor all your commitments.
would soon be gone forever. (Don't worry, I got better)

Passages
 =95-115
un poco moderato largamente presto wafflemaker written by Jon Schmidt
copyright ©1998 (from the album Walk in the Woods)
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 8

Pedal ad-lib, except where noted

1 2 3 4 5 6 7 8 1 2 3 4 56 7 ap- ple 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8

Here's a pedal lift that really makes a difference

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

Passages ©1998 12
 3
13 2
1

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 2 3 4 5 6 7 8 1 2 34 5 6 7 8 5 6 7 8

Passages ©1998 13
 28

1 2 3 4 5 6 7 8

5
4 5 5 fingering saves lives
31 2 3 4 3
1 1 2 1

ap- ple ap- ple 3 4 5 6 7 ap- ple 1 2 3 4 5 6 7 8

34

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

3
38 2
4 1

1 2 3 4 5 6 7 8

Passages ©1998 14
 42

R.H.
R.H.

45

1 2 3 4 5 6 7 8

48

ap- ple
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8

51
5 5 3
1 2

5 1 3 2 1

Passages ©1998 15
 54

57 5 1 2 3 5 1 2 3

60

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

4
64 2
1

ap- ple ap- ple 3 4 5 6 7 8

1 ap- ple 3 4 56 7 8

Passages ©1998 16
 68

1 2 3 4 5 6 7 8

72

1 2 3 4 5 6 7 8

75 1
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 2 1 3 2 1
5 3 1
1
2
5
5

Passages ©1998 17
 Those taking the detour may find it helpful to highlight the notes that actually do get played.
(G)
2
81
2
( ) 
( )
( )

cresc.
( ) ( ) ( )
( )
( ) ( ) ( )
( )
2 1 3 2 1 2 3 1 3 2 1 2 1 2 2 1 2
5 4 3
1
4

G sounds better here if you take the detour

5
84 2 2
1
( ) ( )
( ) ( ) ( ) ( )

( ) ( )
( ) ( )

3 2 1 4 2 1 2
1 3
1
2 2
5 5

87

cresc.

( ) ( )
( )
1 2 1 1 2 3 4 3 2 1 2 1 2 3 4
1
1 2
5
4 5

5 5
2 2
2
90 2 1 1
( ) ( )

( ) ( )
( ) ( )
( ) ( )
2 1 3 2 1 2 3 1 3 2 1 2 1 2 4 3 2 1 3
5 4
1
4

G sounds better here if you take the detour

Passages ©1998 18
 93

( ) ( )
optional
R.H. notes
decresc.
( )
( )

3 2 1 2 3 4 2 1 3 2 1 2 3 4 1 2
1 2
1 5
2 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

a tempo B
1-5

3
114

rit.
A

 1/2
8 vb Lift pedal half way so that the
low note stays ringing a little.
No pedal lift

Passages ©1998 20
Side Notes: Helpful Hints:
• I guess my German roots had a lot to do with this song being • Are you often tired....?
dedicated to the fall of the Berlin Wall in 1989. Try to Do you lack energy....?
recreate the scene of that day: Bells ringing through the Maybe you need food....
country side, people joyfully hammering away at the wall, Try food, for that extra touch.
and a performance of Beethoven's 9th with chorus and
symphony from both sides of the wall joined together.

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

drop lift

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

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

drop lift
simile

Bells of Freedom ©1998 21

 16

4
5

21

26

5 4

30

Bells of Freedom ©1998 22

 4 on top 3 on top
33 3
2
1

1
(thumb on C&D)

37

42

46

Bells of Freedom ©1998 23

 50 accent simile L.H. over

55 L.H. L.H.

4 on top
59 3 on top L.H. over L.H. L.H.

(thumb on C&D)

64

(thumb on C&D)

Bells of Freedom ©1998 24

 69 2 2
1 1

( )

73

R.H.
option cresc.

2 1 1
1 2
1

77 4 1
5
2 1
1

Like "Good Times," this song has some "subliminal notes."

Please see explanation in Helpful Hints section on p. 1.
5 5
4 4 4 5 on top
81 2 2 2 4 on top
1 1

( )

(thumb on C&D)
cresc. cresc.

Bells of Freedom ©1998 25

 3 on top
85 L.H. over

(thumb on G&A)

89 L.H. L.H.

5 on top 4 on top
93 4
L.H.
3
1 1 2

( )

(thumb on C&D)

3 2 1

L.H. L.H.
97

(thumb on C&D)

Bells of Freedom ©1998 26

 102 2
1 1

106

R.H.
option cresc.

1 2 3 4 2 1 1 1 1

5 4 1
4 1
110 1

5 5
4 4 4
2 2 2
114 1 4 on top

cresc. (thumb on C&D)

Bells of Freedom ©1998 27

 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 2 1
5 5
G sounds better at slower speed

127
3

(thumb on C&D)

132

( )
( )
1 2 1 1 2 1
2
2
5 1 5 1

Bells of Freedom ©1998 28

 137

142

3 on top 5
147 3
2 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

accent simile
159

163

3
167

cresc. allarg.

allargando: slowing and broadening

Bells of Freedom ©1998 30

Side Notes:
• A friend of mine met a very pretty Fijian woman on
a trip to the island. One warm clear night they found
themselves walking hand in hand by a river. The
moonlight was reflecting off the water and into her
beautiful long black hair, etc., etc., etc.. They fell in love
and ended up gettting married. As a wedding gift I tried
to capture in music that perfect night for them.
Helpful Hints:
• The rhythm on this song looks like it could be scary. It's Not.
Just take it one column at a time and the rhythm will take care
of itself.
• To the great relief of many, I've decided not to reprint what I had
thought to be an excellent essay on Rubto in Book 1 (in an effort to
be a little more up to date politically). Let me just mention that the
gist of "Rubato" is that you have the permission to speed up, slow
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

* * *
*

By Moonlight ©1998 31
 I find it funny that people are fine with 6-8 time, yet they have a problem with 12-8 and 9-8 time. This is quite useless because 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 The  =4 The   =6 and The  =8
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
or 5-8 ........

1 2 3 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.

11

14

17

pedal simile

By Moonlight ©1998 32
 20

*
* *

F#

23

* *

26

*
*

29

cresc.

| A

By Moonlight ©1998 33
 32

decresc. L.H. R.H.

* cresc.

35

cresc. decresc.

38

dolce

40

*
* * *
1 2 3
*

By Moonlight ©1998 34
 42

45

pp
cresc.
|

Cross R.H. thumb under to avoid collision

48

1
decresc. *
cresc.

5 3 2 1

51

| |
Do a 3 against 2 rhythm if you like.

By Moonlight ©1998 35
 54

cresc. decresc. * *

57

4 5
60 1 1

a tempo
cresc. molto allarg.

63

A
* *

By Moonlight ©1998 36
 66

cresc. decresc.

8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
(play R.H. notes octave higher)
69

dolce
* *

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

cresc.

75

decresc.

By Moonlight ©1998 37
 77

molto rit. E
1 2 3 4
(a division of Molto Meal ®) a tempo cresc.

79

F
decresc. molto rit.

no pedal lift

82

a tempo * *

important hold
A
G
84

rit.

By Moonlight ©1998 38
Side Notes:
• 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.
Helpful Hints:
• 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 fer-
matas.

Sacred Ground
(different key version can be downloaded free of charge at www.jonschmidt.com)

 =60-70
Freely, but not dragging written by Jon Schmidt
(from the album To the Summit )
copyright ©1998
1

1 2 3 4 56 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
These #s are for rhythm help. I like letting the eighth note equal 1 beat so you can avoid the dreaded "ee-and-ah".

Pedal ad-lib, except where noted

(play R.H. notes an octave higher)

4 8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

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

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

1 2 3 4 5 6 7 8
R.H.

Sacred Ground ©1998 39

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

1 2 3 4 567 8 1 2 3 4 5 6 7 8 1 2 3 4 5 678 1 2 3 4 56 7 8

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

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

End 8va
18 --------------------------

1 2 3 4 5 6 7 8

8 va - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
gentle
21

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

( )

optional note

Sacred Ground ©1998 40

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

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

27 gentle
( )( )

1 2 3 4 5 6 7 8

( )( )

gentle

30

33

slow cresc.
1 2 3 4 5 67 8 & 1 2 3 4 5 67 8 1 2 3 4 5 6 7 8 &

Sacred Ground ©1998 41

 slight rit. a tempo
36

1 2 3 4 5 6 7 8 keep cresc.-ing

39

(pull back)
allarg.
(broaden as you rit.)

ap- ple

42

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

45

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

slight rit. a tempo

Sacred Ground ©1998 42

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

1 2 3 4 5 6 7 8

-------------------------------------------------------------------------------
51 slight rit. a tempo

1 2 3 4 5 6 78

-------------------------------------------------------------------------------
54 important

rit.

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

a tempo molto rit.

Sacred Ground ©1998 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.( ... and the VI ... and the pedal tone ... and the IV over 2.) potentially bothersome subliminal notes are marked with
• 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
Carl was here (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")

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
1 2
7 5
4
_ 4 4
2

Ridin' West ©1998 44

 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
10 4 4
2

( )

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
13
4
_ 4

( )

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - End 8 va
16

( )

1
1

19

22 4 5
4
1

( )

Ridin' West ©1998 45

 25

( ) ( )

28

( )

31

( )

34

37

( )
( )

Ridin' West ©1998 46

 8 va - - - - - - - - - - - - - - - - - - - - - - - -
5
40 3
1

2 1
4

- - - - - - - - - - - - - - - - - End 8 va 5
3 3
43 3 1
2 1 4

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

( )

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - ---- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - End 8 va
49
3

( )

3
52

Ridin' West ©1998 47

 55

cresc.

( )

Some people turn their bench sideways right here

58 (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 8
cresc.

84

( )
( )

Ridin' West ©1998 49

 87

( ) ( )
( )

90

Sometimes, especially at slower speeds, it feels

93 better to skip from measure 93 to 104.

( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )

96

( ) ( ) ( ) ( ) ( ) ( ) ( ) ( ) ( )

( ) ( ) ( )
( )

99

Ridin' West ©1998 50

 102

105 8 va - - - - -

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109

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115

Ridin' West ©1998 51

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118

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121

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Ridin' West ©1998 52