Uprighteous!

As played by Shaun Martin

Improvised by Transcribed by Timothy Gondola

    
tgondolamusic@gmail.com


Shaun Martin


       
  
B♭ F

 
     


                  
   

   
  
          
E♭ B♭

  
5




                   
         
       
     


   
                 
        
    
F E♭ B♭ Cm

 
10

                       

        



    B♭
  
               
            
B♭ B♭/D E♭ Fsus D7 D7(#5)

  
15



  
            
     
  

www.timothygondola.com www.patreon.com/timothygondola
      
                    
           
G7 C7

    
19

    
 
               
      
  

 F  F/G A♭+ F7/A B7
                             
                    
23 Fsus


    
         
  
  
     

  
    G7    
           
                   
 
26 D7



  

       
         
      
  
           
      
  
     
F♭lues B♭

  
29

    
      
      

C7

   
 

   E♭7  F#m7 
  

      
                
D7 E7 (b5)

    
32



           
    
 
       
2 www.timothygondola.com www.patreon.com/timothygondola
    
          
      
Gm E♭7

    
35

   
  
       
             
     
  

  Gm 

                
   
         
 
D7 E7 F#m7(b5) G7

  
38


     
       
     
         

 
              
        
Cm7 A♭13

  
41


                   
          

     
 

       
    
                     
Dm7 B♭/D♭


44

         
    
  


                  
         
Cm7 B♭ E♭ Eο7 Fsus B♭add6

 
47


          
      
3

  
  
www.timothygondola.com www.patreon.com/timothygondola 3
      

               
       
D+7 G7

         

50

  
              
            
  

 
            
       

             
C7 Cm7/F

 
53

   

  
            
      
  

               
 
                          
       
B♭ D7

 
56

 
       
          
           


                
 
G7 C7

  
59

 

     
 
          
       
           
  
 

   B♭

        
 
Fsus

  
62


         
  
  
B♭m/D♭ C7 BM7(no3) B♭

      
   
  

4 www.timothygondola.com www.patreon.com/timothygondola
 Improv
      A7       
                         
 
65 F D7

 


       
      
     

             
               
69 G7 C7

     
     

       
             
   


72 F A7

 
  

    
     

            
  

                 
  
75 D7 D7 G7

        
    
 
             
             


 

    
  
78 C7 Fadd6 B♭/C F

      
    
  
www.timothygondola.com www.patreon.com/timothygondola 5
                    
                     
A7 D7


81

    
   
      

               
                 
G7


84


        
      

        

         
 
87 C7 F13


   
       

s.
glis

           
  
                  
90 A13 D7

 
       
       

        
         
  
        
93 G7 B♭/C G7

      
 
    

6 www.timothygondola.com www.patreon.com/timothygondola
               
               
96 B♭/C G7 B♭/C

       
     

   
          
         
F F13


99

    
   
  

               
Dr. Dre
               
 
103
















     
  
Dm Am

  

www.timothygondola.com www.patreon.com/timothygondola 7
 Transcriber’s notes
Hey! I hope you enjoy this sheet music. I transcribe entirely by ear. To me, transcriptions
ought to be both a playable score, but also a historical record of what the original musician
played. To this aim, I labor to convey the detailed melodic nuances and articulations of the
pianist. Here are a few “Timothy-isms” you may encounter in your score.

Melodically implied ghost note Note that the pianist approached but barely hit, in
a melodic manner.

Percussively implied ghost note Note that the pianist approached but barely hit, in
a percussive manner.

Slapped notes/chords Chord that’s hit like a slap.

Octave/near-octave chord, where the palm plays a

Palm clusters cluster of notes in the middle.

It’s important to distinguish between

Appoggiatura appoggiaturas (no line) and acciaccaturas (line).
Appoggiaturas are also known as forefalls: the
notes land on the beat. Acciaccaturas on the other
Acciaccatura hand (also known as backfalls) hit before the beat.

Stand-in for melodically and percussively implied

Implied ghost note ghost notes.

Note that the pianist meant to play, but didn’t fully

Implied/missed note press down.

I sometimes use this peculiar way of tying, to

Ties reduce clutter and notate more neatly.

Sometimes the improviser plays the notes slightly

Delay/behind the beat behind of the beat (e.g. the first f on the left would
land slightly after the first beat starts).

Ahead of/in front of the beat
Transposed Clefs
Sometimes the improviser plays the notes slightly
ahead of the beat (e.g. the first f on the left would
land slightly before the measure starts).
Transposed clefs are sometimes a cleaner way of
designating 8va and 8vb markings. You play
everything one octave higher, or lower.

You may come across such slurred appoggiaturas

= in my older transcriptions. The slurred e is to be
Chords
played with the chord, and the higher note, f in this
case, follows after the chord’s been played.

Inverted Fermatas This just means to play the opposite of the fermata.
Instead of holding the note for a little longer, hold
it for a little shorter than written length.

A very quick arpeggiation. (If the arrow is pointed

Quick Rolls/Arpeggiation downward it means something else: regular
arpeggiation but from the top to bottom note).