This line features a number a great articulation techniques as well as varied note lengths and motivic development. Waiting On A Friend. "Waiting on a Friend" was first recorded for The Rolling Stones' 1981 album Tattoo You and featured a legendary Sonny Rollins solo. Just click the 'Print' button above the score. Be sure to purchase the number of copies that you require, as the number of prints allowed is restricted. After "I'm just trying to make some sense": --0-0-0---0-. Notes in the scale: C, D, E, F, G, A, B, C. Harmonic Mixing in 1d for DJs. Please contact us at [email protected]. Find similar songs (100) that will sound good when mixed with Waiting on a Friend by The Rolling Stones. Maybe you used an alternative e-mail address or you have not registered as a customer? Get Waiting on a Friend BPM. I could have added some articulation markings to these eighth notes, but because it's fairly subtle, I decided to keep them blank.
This particular phrase makes use of: 1) varied articulation, 2) tension and release, and 3) grace notes. Usually the E minor 7 is followed by some variation of an A7 chord -- helping him create some harmonic motion (which also leads him to the home key, D major) in an otherwise harmonically static song. This part is in the bridge, after "I'm just standing in a doorway", and. After making a purchase you will need to print this music using a different device, such as desktop computer. Interestingly, the songs are in the same key, C major. Chords Texts ROLLING STONES Waiting On A Friend. You'll find below a list of songs having similar tempos and adjacent Music Keys for your next playlist or Harmonic Mixing. Redman also slyly pays homage to the original soloist, Sonny Rollins, with an ingenious quote about half-way through. Convert to the Camelot notation with our Key Notation Converter. However, for this 1997 live performance in St. Louis, MO, The Rolling Stones invited Joshua Redman on stage to play the saxophone solo. Redman is great at building entire solos from basic musical elements (as is Sonny Rollins). Next beat is a permutation of an E minor 7 chord. While reading and listening to the line below, notice how a backup singer bends into to a note and then follows it with a descending line.
This may be more clear with listening to it in context, and not just from the clip below. 0-0-0-0--2-----2--------. About half-way through we hear Redman quote Sonny Rollins' most well-known composition, "St. Thomas. " While I've added some articulations, I encourage readers to study the recording to hear Redman's particularly approach to articulation rather than rely on the relatively few articulation symbols at the music engravers disposal. This example also features a plethora of Redman-esque techniques. These are the "(ish)" parts, referenced in the sub-heading above. The last time this descending E minor 7th chord appears is in the very end of the song, just before Redman's short cadenza on the final chord.
Modulation in C for musicians. You are purchasing a this music. Redman stretches the time on the two eighth notes on beat-one of the third measure in this example. Below are a few examples: Here, Redman plays this motif in three consecutive beats. This solo is a showcase of articulation brilliance. This score is available free of charge. Rollins is renowned for quoting melodies and tunes in his improvisations, which makes this a fitting tribute to the master. There are 3 pages available to print when you buy this score. Harmonic anticipation is very effective at creating forward motion. To download and print the PDF file of this score, click the 'Print' button above the score. The purchases page in your account also shows your items available to print. Redman also plays a few other four-note descending arpeggio-like 16th lines. Guess does Redman plays just two beats later? Chordsound to play your music, study scales, positions for guitar, search, manage, request and send chords, lyrics and sheet music.
Video and PDF Download. Not available in all countries. This score preview only shows the first page. It's in need of an update, but for now I present this analysis as it was origianlly published. The next three beats demonstrate the descending 7th chords, each of which he played earlier in the solo, as seen in the previous. This simple yet, relatively rhythmically complex phrase, owes its catchiness and memorability to Redman's articulation. I admit that this could be a stretch, but given Redman's musicality, I'm betting this is not just a coincidence. Combining the E minor 7 on beat three with the A7 on beat four creates a ii-V to the next chord, D major. Please enter a valid e-mail address.
"... a form of motific development using rhythmic embellishment where all (or most) of the note values of a motific are contracted or decreased by a noticeable amount in a subsequent motif. After making a purchase you should print this music using a different web browser, such as Chrome or Firefox. As you'll see below, he plays a descending E minor 7th chord most often. Another very catchy three-note phrase. In an ingenious move during his second solo, Redman acknowledges Sonny Rollins, the original soloist on this song. These are often inversions. If you believe that this score should be not available here because it infringes your or someone elses copyright, please report this score using the copyright abuse form. Redman's solo masterfully walks the line between jazz and pop by blending grace notes and bends with traditional bebop-esque jazz vocabulary.