Bill_Evans_-_The_Artistry_of_Bill_Evans

I I I I I I I I I I I I I I I I I I I I

The Artistry of

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Alj~e But Beautiful. Dolphin Dance Emily I Will Say Goodbye (Je Vi'vrai Sans Toi) Never Let Me Go Seascape The Summer Kn(nos (Theme From "Summer of '42") A Tim£ For Love Y(nl,Must Believe In Spring

Many thanks to CPP / Selwin, Inc. for their commitment to the artistry of my late-husband, Sill Evans.

Nenette Evans
c/o TRO 11 West 19th Street New York, NY 10011

')1989 CPP/Belwin, Inc. 15800 N.W 48th Avenue, Miami, FL 33014 Editors: David C. Olsen and Tom Roed Transcriptions by Pascal Wetzel Cover Photo by Fantasy Records WARNING: Any duplication, adaptation or arrangement of the compositions contained in this collection, without the written consent of the owner is an infringement of U.S. copvriqht law and subject to the penaities and liabilities provided therein.

I I I I I I I I I I I I I I I I I I I I

"c6i[[ 'Esoans...A

Remembrance"
by Charles Blancq

Few musicians in the history of jazz have had as great an impact on its structure and syntax as the latejazz pianist Bill Evans. From the beginning of his career in the mid-1950s to his untimely death in the fall of 1980, Evans did more to enrich the vocabularyofthejazz pianist and to ensure the continuation of the jazz rhythm trio than any other pianist of his generation. Born William John Evans on August 16, 1929 in Plainfield, New Jersey, Evans began musical training at an early age. By the time he was thirteen, he had already augmented his piano studies with violin and flute instruction, and was apprenticing as the pianist in a local New Jersey dance band. It was here that Evans first experimented with jazz, by altering the piano part on the then popular "Tuxedo Junction," and thus discovering the potential of jazz improvisation. The desire to master his newly acquired skill continued throughout his college years at Southeastern Louisiana College, his four-year stint in the Army as a flutist and pianist in the 5th Army Band at Fort Sheridan, and his long apprenticeship (first in Chicago and later in New York), where he played and recorded with an impressive number of established jazzmen, including Jerry Wald, Tony Scott, Dick Garcia, Charlie Mingus and George Russell. But his most important and critical association was still forthcoming. In 1958, Miles Davis hired him to replace Red Garland in his recently formed sextet, and with Miles, Bill became the conceptual force on KIND OF BLUE (Columbia CS-8163) by contributing two originals to that historic album, "Blue in Green" and "Flamenco Sketches." The association with Miles helped establish Evans as an important new voice in jazz, and provided him with the acknowledgement he needed in launching his own career as a leader. Beginning in 1959, he began to devote more of his energies to the formation of his own trio -a medium that he would almost singlehandedly reform during the early 1960s. The solo pianist, as well as the pianist who fronted rhythm trios had a long and integral role in the history of jazz, Sind indeed, there were many pianists who had made significant contributions to this tradition. Modest and unassuming as he was, Evans always acknowledged the contributions of these pioneering artists, and had in particular cited Art Tatum, Nat Cole, George Shearing and Bud Powell as having a long-lasting influence on him. But Evans' concept of the trio differed from that of his predecessors. In the rhythm trio before his time, the piano was the dominant instrument and the other instruments played secondary roles. Evans' approach was fundamentally different, for he envisioned a more equal dialogue between piano, bass and drums based on simultaneous improvisation. These ideas, somewhat novel for the time, eventually found fruition in the performances of his "first trio" (with bassist Scott LaFaro and drummer Paul Motian) and culminated in the celebrated Village Vanguard recordings of 1961 (now available as THE VILLAGE VANGUARDSESSIONS, Milestone 47002). Evans' contributions as a leader of trios would in itself ensure him a place in jazz history, but more importantly, he must be regarded as one of the most innovative pianists in modern jazz. The very personal harmonic language that he perfected through his many systematic reharmonizations of standard tunes (and his own originals), has infl uenced an entire generation of jazz pianists. The long, lyrical melodic lines, asymmetrical phrasing and especially his light, mobile (and often rootless) chord-voicings with the characteristic whole-step or semi-tone dash in the left hand, have now entered the vocabulary of virtually every modern jazz pianist of the last twenty-five years.

and several nominations. Warne Marsh and Tom Harrell.. Lee Konitz. Charles Blancq Department of Music University of New Orleans . One can learn much from the music of Bill Evans: the economy of his musical statement.but was subordinated instead to an overall musical message. Th us. for he recorded frequently. In many ways this was the most fertile decade of Evans' career. The majority of the transcriptions that follow date from the trio performances of the 1970s .I I I I I I I I I I I I I I I I I I I I He was. he was after all the recipient of five Grammy Awards. and his music was not based on any commercial motivation or an exaggeration of one particular skill. his mastery of the piano was as complete as any pianist of his time or before. formed a long-lasting musical relationship with bassist Eddie Gomez. Seeing his music transcribed into notation reveals all of this and more. a "total" pianist. Not that his work went unrecognized. nothing was further from the truth: Evans was in many ways the ultimate assimilator of a large variety of musical influences .a period during which Evans at times expanded his group to include guest performers such as Toots Thielemans. Untouched by both the new jazz of the early 1960s and the fusion movement of the 1970s. and it was his concept of the trio. Larry Schneider. swinging performance as well. exuberant. for Evans was a great interpreter of both his own and others' compositions. his creative and often startling sense of rhythmic subdivision and his free-flowing sense of phrase construction. In _!his. now well defmed. and made the greatest strides in the expansion of his repertoire.a musical poet. but he was also much more than that. Although an extraordinary technician. Harold Land. his technique was never an end in itself . and his improvisations stand as evidence of his enduring accomplishment. his highly original harmonic and melodic concept. after all. but one who was also capable of a high-powered. producing a large number of recordings that were remarkable for their consistent inventiveness. his performances possess an inner cohesion and con tin uity that place him among the fmest jazz musicians of his generation. that permitted him to direct his creative energies towards collaborative efforts with others. his playing took on a new vibrancy and a new challenge.the last decade of his life. but a certain misconception about Evans prevailed nevertheless: that he was a brooding romantic whose music was characterized by a uniform range of musical expression. Kenny Burrell. Actually. What the recordings from this p_e. Evans patiently followed his own musical instincts. But Evans was still first and foremost the trio performer. whose language revealed an inclination for the romantic and melancholy at times.riod_andhese transcriptions t reveal is that Evans was indeed the great romantic and lyrical player he was reputed to be.

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._ 3 G+7 !I-. .".... · · · · ! J ! 1"'. t- *"". ... ...~. =I ~ •• ~ .... ... •• .-.fL • wr -.'I' . r-3-----.. I -..:: .\ -9- 3 i ~._.._ -...._~. I I 22 D9sus r+: D9 D+7(+9) / f'I 3~r--3---.__ . ._) -'_ - !'l.::'" 3 • .. ... ~-.. -~ -r--: ~.:::=::-... 3 I--~ ...I.-11._ L_____ f 3 _____j 1= ~~~ e.r-.. -6 1. I ._ ) I .~ -:=:=:=:... • "f ... (b). .----. F7(~9) 1= 3 I f..~.. 3 3 ... 3 £.3 • ---. 3 a tempo I.. 1-... · I· . -----"_.-..0 D9 10.. r'1 -i . ~ E9sus I Em/D 3 V I I .... "'-=... 1\ /v ... ----------II II . (q)-- I - 3 ~. ... ~ 3 ~ 3 ~ .. -J=: 0 .-... 0 ---. j.. ~ \. .. .____ ... 3 ~~. II · I .. ~ ~ . r-. 3 F9 • ~... ~~ . F9 \ L__ _.._ c. 1"':\ I Em7 f'I il~ ._ \. . 0 - (7.. J.. 3 3 .. ·.. I 3.J C6(9) B~9 Am7 Dm7 f'I ••. ... ..---.~ 3 _j I=~~ . .--. I - Am/G _ . ~ ......... .J -t . -..3--. ~ l \ I < . _. .. .__.. 0 i. o m9 r-3 --._..3 --..... :J 3 ~ ~ . T' ..6 . ~ .. . ...I I )I · I· I -r=>« I .... ~'---'i ~ -I ~) == . ~~ • ~l-...~r • Em7 Am7 1\ I~ I~ I I ~ iI ~ ..L • I 0 r: L_ Dm9/G F- 1'1 l- ~(L~ r- 0 --------j__ Dm9/G f-3 _____J - .O..

~.. t L -l- t: ::: I .L .... . • I . 3 I I II Rubato Fmaj7C#ll) f\ @) I ... 8va------------------------------------------------------.I. . D D~ _j i r ~- T' '.. t . I T D"'i /7'. ~..L .L t=... . ~...-- - ~ .... 11..I I 23 Dm7 Dm(maj7) D7 C9(#11) G 13C?1 1) I G+7(+9) rall. I I . .

.\ f\ !lilt) · -I.. '"111 .\ . . 9) I I (!?)tf I I".c.\.. ~ 3 I I~ · · ..~'.. .L IJ .~i~llts ::--." L r1 ! I Cm9 1". -rt« PROf)LC-:-lO.'\S \lICHFi \111~i~i1ts tor dl-e (·. · · · "iI ~ .\ International COPYrJl?ht :'~el'llrl't1 \1~l(ie ..(b)~ I.)lllroiled :lllO.r+.\ G7(~5) Fm9 I B9 B!?9sus I B7+7(+9) 1 r -e- :: ~"iI -= ~ (b)8 ".. ~T'" ~ I I ~ · · Wmaj7 1 ._ · · I .I 124 I 1 I I I. \11 .. Ei?6 1-1 • "_. . Mmaj7 r"III b~ I- o(~):: "1 J J .n . - "1 17\ §1f I r' · · · C7(+9) I ..lcrell Ca .BK ·.. ! ~ Cm7 Cm/B:? I I AOmaj7 1'1 AOmaj7 I . ..OIllIIlI..J .~i: I.. .-.... · · V 17\ ~ ~ · • ~ ... I I 1 ..-f- ri I I I ~ Amaj7 Cm9 1".. r =l: G7d. G7 ~~ I- f.. -- I 1 .\~ ~ .. 111(1 naua C. i-{esefVl'L1 . EO/G Fm9 I r ~ ~~ . 1 \ L -._ ~ = __ .S . . < I I' " I I 1\ I @) I Will Say Goodbye (Je Vivrai Sans Toi) Rubato l)y MICHEL LEGRAND and EDDY MARNAY 11\1 @) mf G7(~5) C7(+9) 17\ I Fm7 _[ B9 BlJ9sus Emaj7 EOmaj7 Arnajv A~maj7 . :')71. r -eI I i ! r i .R\:\() --- L r:OpVIIQill 191>9.. ) " '~H. • I I -- .\U)(.

iJII- . 58 Bm7(~5) Am9 Amtmaj?) Am7/G ~ ... ..m7(~5) Em Em/O f\ .L' ~ot . •• I I~ I I I I I I .. I • 0.... . I / I\~I=! 7( . :J .!- p..~. rail.I I/ 9.. Ii I .p..-...-. T 1. ' C+'""''<z:».-.. .j.-- r.-. j. ....... ~I .-.-..-.-.. I Bm7(~5) 1\ J. · :: '.. (~)~ .-.1 --w ~: ~ SS: . I ) II · · I J= I \ . s: +- +- • ./ _/J C7(+9) .--..' I ) ~l · II · I I Al117(~5) . 25 09 -1-1 -I --- Cmaj7 09 l l · · · · t.:: I I ~~ I T ~ \ """"-1. +- = -l- +:. LI: \ Bass enters C13 B13 F..j j.. t-I -T' '. E9 I . o L L~L~ ritard..:: em I~\J .-. \ ~ E7(+9) ca.-.1 I ~ 3 ~ -s .--...AY..J.j.L:. I . rr ~.j ~ _-& q~ I ~J: ~ . s= .-- +- _ +- • r. +LI.j..

.f~~~t.. ..maj7 Am7CDS) ... ... ~~.L~.a...... ~ ..tL..... B • '- • ~ 3 3 3 ~P"-'l"""l I · · f\ I Ii. ...) t (~) == l. ~ # f::.....~ 3 3 3 3 1. A~maj7 sva.-.. ... -- ~ D[. ~ ~t~~~~maJ7 A ........- l ...maj7 ) ...f.1 G+7 -= Cm6(9) I!-= ~ ...~~.. ~ ~... ~ =~ " t~~~.0 A[..a... I .. • 3 t..L I Fm9 • ~....• ........ iD) Fm9 f\ I F7(+9) ... .. ~d Gm9 - 3 J - 1.Straight 8th's Fm9 f'l I ~ = ca.:> ~~ 3 3 ..-----3 F7(+9) Fm9 gva: ....... 60 1 t \ ~-.tL.... · · f ( D) fl~~ Ll ~ ~ G+7 Cm6(9) ~ C7(+9) (with Bass and Drums) Dm9("5) G+7 8va .-{.. · .t-...' ...

= t:b.L~t".I... Cfl1l17(115) ..._ I L ___ 27 F'I'1'm7(115) .1:pna... ~ \[ .....1 a...... .:::::=:::~: b.fI- L L \ 8va .... b!-t:.:: E I I f\.L ...~o 0 r ..... _lj~ ~.... ...(jj.::F t= t:.. ..'_ _ ..-g: Bm7(~5) 3 E9 r \ I 1'\ ~ I I I 1 I I (... "±-t:_-f-±-_t ttt: ~~:t:z. .\ ~ 11~ Il. bl' b....... Am(maj7) Am7 Bm7(b 5) Am9 Em/D 1'\ j.j.. -. .... bl-_ t:1""....... I• I (~!: 8: · I· I I em .... I... - 0 :c: j. I L I ~ . .j. Io!o 3 ___j 3 3 I 3 3 b ~:= ! :: :=:.I I "\ • I ~i ·· ~: It -= I I I I I I ~. ~ ~ I.... b- .. . I J t:=::: I::J:~e~~~-~ ~~: ..c~ ._ ------i...... I (~~~~~~~~~~~ \.. h~ r::::-. 1- 0 3 ===: I I l J rail. L .l... · I· I .

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. Bass Bill Evans. Piano Left Photo by: Swing Journal I I to Right: Bill Evans Eddie Gomez Left Photo by: Giuseppe Pino I I I I I to Right: Bill Evans Eddie Gom Left Photo by: Hans Hartziern . -.to Right: Eliot Zigmund... Drum Eddie Gomez.

_._I ( ~ .----------. 0. . ..- J I . I I ~ Cm7 V1i -I· . IUJ ~l~~...r-.. i nn-rna nonat ('opynght Copvrizn t Secllred-\1ade 19(. ..#I ____ .. ._. !... '1 I I I 1\ . • ql ~... .. . I - . .J7 ___ ~:e:' L • . ~J' ( \ < .A. __ · I I . j I i T -f D(~)" . ... \11 Rights Rl''C'fll"U ..0/ It. -.' I · · 1 . 17-- L .LII J. 7~ Am7(bs) D7 1\ ..S.---.. .) - - . I • P' I I ~ ~ hJ J T I ! - • r..6 HANCOCK \1USIC CO_ in U. I II . _____ v~. I • . [I- ~.--0 f*-~ I •I / Cm . u::: 3 (G7) Ebmaj7 ..~ · · 17-- I ~ ._ I .1 I I I I I I I ~ 30 Dolphin Dance Rubato f\ Music by HERBIE HANCOCK E maj7 B m9 / ~~ D-I ...

~ . 3 Gbmaj7 I 1\ . . 176 ~ ..~ 3 I ~ \ . V" ... . V - ~ ~ t-_ .?'~ -.I: I I I '" I) J · I· [r I I \ I) · I ·• I · I · · · I~) · I ·U I I I I ·· I I __ I . Bass & Drums enter .•. Gmaj7 I .-... . 1: · · · • [. lJ''-~ ~.)-:_J 1---"'" ..-. .~ . ...:2lI. .---0.. G9SLlS G7sus G7( -5) \ < I 1\ ... Itd9-:: ]r= ~ \ \ < 1\ F7sLlS F7(~5) ~ F7sLlS . . ~ I I " .... t? ... "'i ~ \ LEbmaj7 --. ~ t---e- .0 - r-1 I '-' J.J-.. II ca...J I~-"":"'" . - •. ~ 1hl~. • c. - ---- __ -'0 1/" .) (~fd.T - 1"11 • • .--. l I I I J=: D9 1 . I ..---------.~J' v# #- • I' • ___ .._ ~ "... v (n = J ~ .... . I \ · __ '""" ---. ..~.... ~ 1\ 3 ~) ~e- 4-1: ->..J em7 I Fm7 Cm/BI. J~) Am7(~5) Gmaj7 I 1\ ~ O)~· ..--::t .. .

.. E pedal . v ~ ...)_...-J D9sus • · · ~·t. "£ pedal.. fe' pedal _ . .. ...~~.-~" -jJ .--_... ........ .. ~~ I: .__ .._...- _ I Am9 Bm9 Am9 I'- . Em7 1\ A7 3 I' ~ -.......__ ... ......Bm9 _ Am9 Bm9 '" J 3 I ._ L.. I .. · · (7 I ~ Bm9 E9 Dm7 C#n17 I Bm9 Am9 ...~J . ...

..~.........---- ... ...............(~~~~... I ·-~ I f\ ......... ~-&.. \ 33 33 ....J I Ib)~ ° · b~ E~ pedal 3 Dm7(~5) L.J L ...) 0 (C)......I I I\ I) I / 33 Bm9 f\ . ~ o....--" E~ pedal .. '................. ./f: : f\ ............ ...... Bm9 joI. .....J ..J Bass Solo -~ I( I Il · I CD I. ... .. ......._...........) ..._.__ ........ .. i--o : ..- I I I ) II I I \ .~ --- E pedal .. Cm6(9) -• L..................... o...$:: S _--.. E pedal ... ................... ~ Cm9 .~: 0 0 ~)~ (~)~ < o ____ 0 ........G7 I I -~::::::::::==:: .._.... .• I il ~r.J 3- ~ \ ~Ji~~~~: · · Am9 f\ ...... -~-~ ~ ..: . 33 33 ° Cm9 \ 1'\ _.. I ° 7 T I I r !.... ~ .......1-----: t#rr~~: • ----n... "'" L_~ Am9 ....

- E~6(9) I v - I .. Am7 I . I ~~ em7 _I I" - . -------r.: I -_) ..r--. ~Q. • L - +- L • i I (. f: - --'e-.) '. ~ .~~ !: F ~ Am7(~5) '~ ~~ ~~ f r:.O~ (Q)~ i 'il: .I I . '--" '-' I ~~(~). Gmaj7 I'" I . '- I ._ • -- . I r I I I I ~ I ~ I 1-) < fr . ' ~. • ~~ ~~ D7 ~ • f+ I . .__~ - ..~::::~: . - 'rl~~: 17e- I I ..-----~ . D7 I. 'T _ •• _ _. $::~: .. ~.. (~ $: ~ ~~~ t= G7sus (~~ ~ .. ~ ~Il~J 3 • !-.. .~":' t·~_Q: . F7sus F7 . l!__ 1"--6. I:?~· . Gmaj7 A~m7 f+ I ~I l' . G7sus I ..../\ : .

. ::> -- -. Bm9 I I I l T +! .------I I I Am9 1'\ 3 3 D9 Bm9 E7 Dm7 \ I • r 3 ~ .. Bm9 \ I I I< .t lit.. E pedal ..J::.. ...... ~ !JI?ridi 3 _L • 3 I~ .. I ~. E pedal _ E pedal ___ __ _ __ _ __ __ _ __ _ __ __ __ __ __ _ _ __ __ _ __ _ _ __ _ _ __ _ __ _ __ _ _ _ __ _ _ __ B~13 E~maj7 I.j -.. ....~ .. . Am9 ~~ ... •• _ ... ~: II . I) -_ I. t..I 3S F7sus Em7 A7 ....! I(. ... I I I I I .. .-V r r ~#~B::: .- Am9 ....) :1II ~~ ..~ ... -" . . F-. .r--~. ..~ ·1'\ ~ ~ .L#4l:~: ..---.....

' ..-.. 3 b.flo_ 3 .. 3 D7 I (~~D~ .em7 em7 I I I hbl.::.D~ -& .I.~~ ~ ~ ~D" 3 3 t(~.! Fm9 I E~6(9) I ~ ~. I I Gmaj7 11 • ..I.I-.. APm7 ~ Am7 Gmaj7 I I G~maj7 f'l ~. . r "0. I I . .jo_ _ ~f:.I'~j.-&...I I ~ I I II ..__ ill!._ --.J ~ .•• I ·L - r 3 . ... . ~·iT• ._)I l 3 3 :r19-•• · · I..h.. ~~--------. · LD e- n e- em7 f\ I Am7 . I-. 3 G7sus (I)~ I G13 ~. r: J-::=- - ~~: . ~ I · · h~~:: D7 I • L1I 3 -{9.:... e~ :. ~ I ..

.....---- I I I II I ) ---- 1\ (~)~ -r-r- f:- t- t- L .f: ...~.-- ..$_" •• ...-.. =~ ~~: .. Df-~f:. ~D'~ 37 F7 F7 sus (h)... OJ ~ .. Am9 ._-b-~ · · ~: Am9 t--~: Bm9 ~. :'..Cf. F7sus .j... ... H pedal (0)'. . I~ ~::=.._ 8va . -- Bm9 j... -- I .1 1\ ... • _ ~L I ~ I · · I~::::::==::::::. I ( \ I I C~m7 8va .:_....~ {hI. . __ ..~ ~ ~...f:- e: .j.. ...~~ ... )~~~ :.....r ----------- ~..l [.~#~ ~:.')1' ....... ... . .I) ~ I I I / G7 sus J ~ 1\ l- .--------- I 3 () I... # ~ HV~i.j. '!'!' '" ~:. __ ...._ .(/1/ / . '-~~~ Em9 A7 D~ J=- t--.. .... _ j.. ..._) # t- .

._ ~: . • .i=)l:?_t:~ I t'_.-/ 11\ · · ~~~:: I ~ A~m7 G~maj7 Fm7 (• r. . I ~ ...) • 32 - •• - . J Am7 D7 Gmaj7 I~ == Cm7 !\~ j . .. I. 09- i ~ 0 .(ql!E pedal .-r---. _ . .......) 32 l..3 I .... · pedal t~.~ f.. G7 f\ ...· I .... _.. ·----. ~a..... :ft :: J «:r-. I ' . I "-' \ ~ I .Iv ~ ._.. A\ ~ ~ Drum Solo -------...l • #qT • ~ -:.....---------- == J ~ I r.. ~7T ) J . I 9-•• '~ 3- I r .. -e- u _.~:: (l..) · I~· I f\ .. Cm7 I • I I • · · l.~' .~~:-----. · · ._ ~ - .:-' ~ .' III ~ .~ . (~~ l& I ~ .

. .. • __.~ - I ~ :-l> • · -----e- ----. - ~ · ... --.~: . · .__ - \ · · tI. I. .l..r:.) l' Am7 ..II I( I) I I I\ I ( I I I II I I ~ \ (em7) 1\ . I 1\ ~ - D9sus . ~ G7sus F7sus . .. · ~B::: . ~:'"-----------._.. 9- ::... · . J --. --. _11- I .. ~ . v- i--' -.0 ~:: . L---3- I II .._ :_.... -. ~ ~... ~ '-rfr ~ ~~.. I~ I I I Bm9 .. D7 (Gmaj7) '" G7sus I -- ---.J -- .a)~ (F7sus) ~~~ I L-~~ 13· · F9(#11) Em9 A13 tI.. 39 . == . I. ~) v . · · ...'..._. tI. f9-" .

.B~m9 ...... I........ J~ r---e.. \ A~m9 1\ ~j :..~ I . i".~~~~:: I I • II I ~I:b .!!_- e -... C~m7 ...I 40 / 1\ ~ E9 I 0 0 Dm7 ..- ..Io 0 0 0 0 III I I) 'l#l: b~~ f· I I I .. I .<..i..)~'JJl= '-' E pedal .. ~~# -c-~ I Am9 ~E Bm9 ~ --.. ...... _l ..........j v Q - 'f ~ -t---.-s: -~- 0 00 ::::::I..(r._..._--------- 00 l:' ~ pedal . I ( I II ~I:: kb................~o~ ------------------_..._ I~ 't:-o B~m9 I~ ...........il~ I ~) -----.... I I V 0 ~ ~ _... .......b~:~~ '-' o· 0 E pedal ... - A~m9 ~ ~ 'Eo ~A~~ ... ~... .... 0 0 \ Bm 9 \ t / \ 1\ ~ ~ }}---.. ~ ~ 'f b ...................(:P-eS ---------------------------------- ..._ ..q $= f::: :j:::(1~ ~~ ~ .. ~: '-' _hOJ _G~:: L......-.....- - 1 ~ 0 · ...A m9 B~ m 9 _ I\---'_ ....--.... E ~ pedal ------------------------------------------ Abm9 .. ... \ 1\ ~~ _h_......- I I( II I .:.or r$:: . ~ ~.~~........ 1'-. f. _WQ)~ 6~:: 00 E ~ pedal ...._) 1 0 '-' 0 ~~p~: ~.... r --~~ ......I 1'1(~) ~~: -.........~~: · · I ~.

E ~ pe dal _...._.. >-.. · I I I I .._ ~ • ~~ IR.. 3 ±_U _f-_ 3 ~ t~ b~ tJ 1'"~. ... 3 ~~ .. ~1-_ 3 ~.. ..3 ----' 3 3 3 3 3 J 3 3 I~ "<ll I I I~~·~~i~~~~~~~~~~~~~~~ ..........i ~~ ~ • • - 1 ~~I ~ ~c~:: ......~ 'i~~~~~~~~~~~~~~~~~~~~~~ L b.... f= ~ E~pedal ..........~ II · · I I 41 B~m9 B~m9 \ / \ 1\ r. (~t: h...3 J...-- B~m9 APm9 8va ....1 .... 3 '11.....: _l 3 _.L b ........~ ..................... 3 -I l 1I 3 b~L~ ....I I I I. ......_ .J 3 3 ~~I ~ ~......) I I I U ~)L......__ . ....._J Eb pedal . bl~.. 1 _h__.... I) · (0)(2-66:::.. I I I \ .... u. ~m9 _l I ..- -- _ 1\ (~~ i-..1 \ \ I 1\ I t ~. b~ ~ rr. I............. ....~ I ) (bJL......._ ......... 3- " •• 1""........_ ..- ..~ 3 3 -~ 3 3 ~.... . 3 I- ...1 ~ .. .- fast Bbm9 I I..

1\ ~f@)- - 3 ._ ~ l I I L:. ../ ._ t I I --.-3-.~ C7 Fmaj7 F6 Gm7 . ll~ -j9I !~ F] . / 0-1 (~)::1~::I •• : I. ~ "~ ": "l . · · · r. +~ .... .. :: mp ~ " I -t -t F7(+9) E7(+9) I I I Am Am+ r--1 r JJ. _. .._.---- ." " " .~=I: ----.\rrangement Copyright @ 1989 by FAMOUS MUSIC CORPORATION international C()pvrigllt Secured Mad e In U.... .. Reserved Copyriuht @ 1956 bv FAMOUS MUSIC CORPORATION COPvrIgh't Renewed @ 1984 hv FAMOUS ~1USIC CORPORATION rhis . -&.A."" ff:g: ...11 Rights . . ~l " j. Ie'--..S..~..'___"' .-/ Am6 D7sus 3 ~~ D7 3 Gm Gm+ f --I~ T' . I ... 3 - I -r ..'!'" . }i "'~ Bm7 OJ I E9 E maj7 . 1. I " ~ l 1~ ---- l r" p-Am7 Gm6 Gm7 C7(~5) C7sus ._ • I " --..-~~ ".. ----- 3 =I • ..' ~ I <.I I I I I I I Ill'I Never Let Me Go Rubato Bm7(~5) 1\ Words and Music by JAY LIVINGSTON and RAY EVANS \ I ~ I..j j IJ I J ~-----::1~• -------.:=::.

. ~... ~ A+7 D6(9) .. .. . .. l c... T1~~7 I ~1 ~ u.. . r .--3- V I · · · · ._ i \ .. - - 3 Em7(~5) f'l p~~t~~ -t ~ -j_1 r I - -... l 3 --.~ .~n. Cm(maj7) ... .. 3 ! ! .- ~ < I - \ pAm Bm7(~5) \.. . ..' I ( -I) I -· · I I I )• I t ·· r I I ... I I)· f · I \ I I"'" ._ .._ -& - I .... :.I I I I ) I· I I I) jf'l D9sus D9 Dm9 ~ ~ ~~ 11_ H'1 3/ G13 . .. ~ . '-3 I L-3 Bbmaj7 ~ 3 ------' : 1'\ 1 r-- l- .." r '--3___J -------I · I '. . . ~ A13 .. \ p- G13 ~ J I f'l ~ ~ 1 ~ ~ ?: 3 r J -t \. ..' .. I 3 i E7 f'l r • I ~ ' ! I i l '---' i . ~. I ~) ·T .

... 0 .... "--- ~ l' . . r--- 1 I I I · · D9 1\ r--1 3 ----- . ... 'J.... • . I . J - I ~ I ._. .. @) ~ \ ...-31 -~ 3 I ~ r~ 3 Gm7 Am7 I @) --- _v ___________ ..r ~ D7sus 1\ ~j -:>: I ~ r 3 _j" Gm ~ .. ."~- -- ~ I . r·------· Am Am(maj7) Am7 3 . -. r -t .-::_# 4= .. oJ G9sus'0..c:. · · G13 1\ ~: r l . • #'-~:1"" ~ I _·· I I t\ @) ----=::::::::=: "O-i_T.1-. I . To Coda I 1 Fmaj7 ~ I -t • . / I I· - 3 I t r C/G I ~ . ~ ) l' ~ 3---. . . 1 I .--3----. ~ 3 3 ---.--3-"1 E7 3 < #f .. ## #. 4-_____ •· I - 3 +(.L . .. -n I f. '1 \ d · \ I . I I _ )..___.-- .~ ~ I 1 < i I I. ~ ~ .. . Bm7 .. C7 Lb_o? r C7sus Fmaj7 • ° o -- .: .... ... I ( \'4"" I ~ I - -./ I --I / t\ ~ ·--· -t I .

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• _hh.' I· · I I I I· · I I I I I I I I· · 55 I \ I \ \ /1\1 . G~maj7 \ I 1\ I j) I J-J AI3 Fm9 @::_ . .An---------. 1=1 ~ Bbm9 A~9sus I I A~7 Dbmaj7 F+7 Bbm9 ~ Bot 7 I 1\ \ OJ ••••• I .W j~' .. · · · · ~.) LJ-.h~.. ~. I ~ . < t \ -----_ . ---C= C= G~13 - ..:!_ i I v I D~maj7 F: (+9) BDm9 Eb9 .. k Ebm7 r---J. C013 - .J f::..~ ._ fb·== J ~ ~ ~ != .. .I I I .. B~13 ~tq)~ JT J r: -- L-J_..k I--. ~ . J.:~ ~.. ~ .. -----cb)R- ~~r·· ~ ~ I...l I (b~~t F7(+9) tt:hJ...

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I .j. " '" ...L~ I 0 . I I I Cmaj7 Em9/B Am7 I j \ " j.j. i .I ~ v- 1 i -t I u I ~ \ . I ~.. !9- J T 1 ~ I I r 86(9) i Em f\ j. \11 Rights Reserved .\.e:~~. I) · · . I I .j. · f · · ~...._) I I i . • I ( I #F I .. -:J.. \ Rubato C13 f'lJ!_ ~ .---_.. _ I .. I I I ---I . ... r .. I • I I i • Copyright) lnt crnat io nul COPYright Secured i osn \IARISSA . ~j...j.I Seascape I I ~.• ~ By JOHNNY MANDEL B+7 ~ .... I I I -.. ._) ~. (~). • _j mf . I I .. r. II f . I -----_ -#. I I .\IUSIC \1ade in U 5 ..l·'" J7J ~ . -I I\ ..:-j~ .._) I I < I 'I 1 r o· - j. . J I · \ --Ii I J _jJ ·.. f'-I I n J ..--:.--· I 58 < ... T ~~~~ Em Am(maj7) Am7 D9sus D7(D9) Gmaj7 I 87(+9) (175 ) I ~ ~ -.

j~~ ". lL. AI3 I I • ( ~... 1 I "" I~I 17\ " v I I .. j.j. I • I"'" - 1\ ~ 11 . I j 1'-'1 I Am(maj7) Am7 1\ j..II I Em 1\ ~ •_j 59 . 17\ I I I . u · · ~-rr. . I I I I II 1\ . 1 • 1 . . Em9 .__. J~ I r• I ---------I I · · I . D9s11S I D9 G o· .j.j. . i 9-. .. I I \ .-3---._ • Cmaj7 Em/B Am/G J 1 - . Am7 --!'- ~j. -r I. ~ WIth Bass Gmaj7 I Em7 J p'. I I I ~ ( · · ~~ . I . i J:. B~~~~ ~1 J _ J I ~ .L. I .." ~~U'r-=t 'V 1 1 I r I . I Bmaj7 r . .) I .j. i · · • D9sus D7(~9) I r 17\ ".

.....0 I· · I . D7(~9) I Grnaj7 B7 t1~ . .. -< I .. T J I J D9sus .J T liLt- r 'I I r ! I I i~f I T~ I · · .. _) < r I . • I ~ ~.. ~~ ! . l ... ~ r-I 3 ... ' '. ./ I ..--. I . • .... i . r--3--..j.-.. ..r ~ .-....i . I .... T. I.. -9- . .J V - 1 I 1 3 I D9 . • I o • J G ( o' J J_ J ... I I A9sus AI3 . Cmaj7 ~... .. Em7 F#dim7 Em A9sus ~ ~ · · (~). \ \~ .II f I I I I) -If I) · · • I o.~j I I ~ OJ: . II · · I I( I (~J ~~ j · I· I I( ) ~%.1 1 - Em/I3 I i . ~ ~ .J Am7 I D7 Em9 1\ ~ ~ JI • ~ J . 1 I. _w.. I ..p...I .!.. • L-1___J 3 Em9 Am(maj7) / Am7 I.... D9sus B+7 1'1 j.. t..p.- ...... -----I 60 / 1'1 . \ :::. -<9-. D9sus I I J D9 1 I r 1 ~ \ II · · · ~J: q~ i Cmaj7 ti~ (bj~ -= G(4) G(9) t\~t j I I J -. 1 ~ I !'- -r--.. ...

--.I. ""iI \ OJ ~J I ..'l"'~.= ca.. ~ - .. . s _S. v '.......--... A7sus l_1I_ A7 _l ~ ~ i rall. . \ 0 . .. .#-f- J Em I r r-~ t- ... ..:.. ~) ff -. \9-. D9 I I 3 _..m7(~5) 1\ . ._ _. s s s: :s: .~... --_ . ..:.... 1 -... .._ .~ r · · I ~~ _ . ._~ t ..oj.:. J • ~ J r' • _l ~ · · . 80 Am9 ...--· · • • • ._ ~ 1 • Am I \ ~ \ / 1'I. I I . . ------ Cmaj7 .1= i 17\ Straight 8th's Em9 1\ .~. r I I 3 B7(~9) F~dim7 Em F."f.: :J: I . I Gmaj7 Dll r---.I I I ) I I I I) I I I I I I I I I I I II It / 61 Em 1\ ... Em/B Am/G 1 I c. I I · · t ~. I D9 ~ (~11- . -. Dll Dll 1---)_ J. ... 1\ ~ ._ 1 f'- . 1= 1= .. .. i Gmaj7 ~~ == B7(~9) i D9 sus . 17\ ""iI ~ I / · · (b~ . I ..) I . If J... Bmaj7 L .

. ...-~ ..L 0---------...---.. ~=t ~ .L . f'l _ ._...) (Gmaj7) B+7 .J I Em9 II . _. _.... .. !! ~....10 .... ... • --• (qrt..__:.L 3 ---...II..._-...:l- (~):: · · ~f- ~ ~ ~~ . ~ (q~ ~. . D9sus D9 U~_~~~· Ir~ l--3__.J · · 1 -. t-:: ~._ _..L--!'.~ _..L_. _ • ...L ~~~-!'- . - = !::: ..) I .~ II ..-- ...: .._:fI= .$ S- B+7 I A13 I I 11 " .. Am9 _::I- S . ... ~j. '_I~ L.Gmaj? :: :: ..II .._ ..._q ~ II " I I I ~ .. I iolo II I · · -f- 4- t- ...1:_ .# ~ _...) Em9 ~ 3 I • 3 fL t t -.L :~ ._ ~f= =f= ~.. .... - Bmaj7 ..~..f:-~ Em7 I I I · · ~.J ~. -IL ~..~ Cmaj7 ... .. s _...

.. ..r~ -._ \ I 1'\ . ~_...1 .. 3 ---___ • ---1*". . I I\ II · · I .-._) < \ Bmaj7 Cmaj7 1'\ ~ _) ._..I I I I I ~.. +..:-'1 . ..._! I I) · :f · Am9 Em9 I 63 B+7 -#. ~ . I I ) ..--.. .....-fL::' f:1~~ r:-"_= ~ # 8va._------~ e#~ f!:- 1'\ .JfI_ - • l.. I .- - Gmaj7 -& _. .-.._-#- :::~ ' ...L i .. ..-~.. ~ ~~'~-fiI£:-----~: ~ . ... -#- . ±= r:- < .fr :f_: .- A13 \ < j \ / 1'\ .. ~ 3 . I II · ~t:l· I . = .--3 3 ~ _...:I- rJ:: B+7 ~Jf -#--#- \ Am9 8va .. -3 l(~l...<'lS I· · I I ... -~-: I .. . -. .... ... ._. Em9 ~ :SS: D9sus ...« ~ Bm9 .. ...:I- ... D9 Cmaj7/G Q I .

. .... ~ _. G/D ~ Q. I~j... ~ _. 1 Am7 07 1 ..---J ~ D9 sus Gmaj7 t" ~ ----.'·· "11 II "11 n ·· c 1 J 'I D9 n . B7 @) r "11.. . -t +t'~ -r I I I · · ~J. Em9 · I 1\ flo 1 . +1'...r-::. '" I I I ._...1 ._ D7(b9) rt-.1 - I J i I ::±:::::::l Bmaj7 i~ I . \ 1~~:~~~l~~~~~*r~~~~~i1I~~~~~ B7 f\ flo Em9 A7sus • AI3 ~ I " l' +t. .. . · "11 "11 .. (b~ @) I · · . -oj . v- .. .. I I ~ .... -L ~.__.... r • . 19-.J'. .. -t )~J E m9 I I Am9 f\ ~ J I .{ I I Piano Solo Rubato Cmaj7 Bm7 ~. ~ til @) I I · · Am _...J r !lI .....:~ . J ~ I J • F~7(+9) Cmaj7 I I I . -- i . ~ I J I I .... . .. • I . ...L' I " - ! L~"" .._"!"". I L J I 1...

.. ----- I~ I~ ~ r:.0. .~~cm~~~j_?__~~~.~. ~ _ _Il_ ~ L ± ~ t- . J I I 1 (-i .clim7 Em -=:l ... Am9 .u. S:_ ~- ._) r -fL l t \ .II.I I \ I I I I \ I I I / 65 Bm7 1\ ~ Am7 I I . ~ Em7 F...-------.~(::~S~~~~~~Eijl~5V~~~.. D9 ~ / I..§...t: s- ~.....s rita rd ... (::~t!: 1*- f- t ~ • -+_L"_ t +- • .. I . · · I- A- t- I 8va .-1 i Gmaj7 • I- l- DJ 1 !\ loio _.. .- rt- 1 f:- .... B 'f J I (~)I- I · · A9sus 1\ ~ J AI3 It: I I I ~ ~~ ~~ .. ~b). .~-~. < II I I I \ Gmaj7 !\-lo ~) G ~ ~ -f'..~~-g-E-~-~-~~-~-~-~..~-~-~-~-~-~'~~::-__~...:-----.. ... ~ Gmaj7 t=-----IL .. • 8va . -.' ~ - Gmaj7 Cmaj7 -~I~ - ~I· I I II... .~-~-~..-~-~-~...._ .~ "......':-"'~-~--!-~-~...... - ~) ~ \ · · i Straight Sths ~Je J .-.

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( . Photo by: Francis Paudras .-..

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