HIROMI UEHARA TRANSCRIPTION PDF

Transcriptions of Hiromi Uehara’s jazz piano solos including Brain training, Bern baby bern, Yamaha Commercial, I’ve Got Rhythm, Wake Up and Dream. Print and download in PDF or MIDI lg My transcription of Hiromi’s ” Place to Be”. A great piece for intermediates and I hope it can be. View Notes – Hiromi-Uehara-Transcriptions from MUSIC at Douglas College. 22 18 5 5 mf f.

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I’m whispering because behind me, you can hear Japanese jazz pianist Hiromi performing for us here in the studio. Right now, she is playing a composition she calls “Choux a la Creme. Anyway, I’ll keep quiet for the moment so you can hear more. Right now, Hiromi is leaning over the top of the piano, and she’s reaching inside and pressing, literally pressing, on the bass strings. She’s been called one of the most inventive jazz pianists on the scene, and her latest album is called “Place to Be.

The composition is called “Choux a la Creme,” and you can find it on Hiromi’s new record. It’s called “Place to Be. I once saw Keith Jarrett perform, and I had front row seats, and I could see his hands, and I could see him talking to the piano, and it felt like you were speaking to the piano.

I mean, you were literally speaking. Is that what you were doing? Yeah, I do talk to the piano. You know, I have to be really best friend with my instrument. That’s how I can really create the music together with my instrument. This composition is how you feel when you’re eating a creampuff.

So, I mean, you’re describing it in sounds. How would you describe it in words? Well, I was just walking down the street in France, and I was looking for a bakery, and when you’re aiming for something that you love, you know, your happiness level just goes up every minute.

And when I find a bakery, it steps up again, you know? Then, when I find the creampuff itself, I’m so happy. And when I have it, I’m fulfilled with happiness. And when it’s gone, I’m sad. And it’s quite an adventure. I’m wondering if that happens to you a lot. I mean, you travel all around the world, and you perform. A lot of the music on this album is inspired by the places that you’ve been. Of course, this last piece about the creampuff inspired by a visit to Paris.

When you go to new places, do you sort of take in the scenery and think about how each place, each city, each street would sound on the piano? Yes, I do, and sometimes, you know, without an effort, I just hear the music. You know, like for example, when I was in this beautiful place in Sicily, I was just walking down the street, and I heard the melody, and I had to take the notes. So I just write a travel journal in music instead of notes. And I just named it “Sicilian Blue” because I was so inspired by how blue the ocean was, and I mean, the sea was, and how blue the sky was.

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And that song can be found on your new album, “Place to Be. Can you tell me about that song?

Well, for me, that’s a very special place. You know, it’s I see the reality and fantasy exist together because, you know, it’s always crazy, hectic drive way, and on the side, you can overlook the beautiful landscape of Manhattan, and almost everybody comes to New York to, you know, catch their dream.

You have to take that expressway, and when I’m on it, and I’m facing the reality, and on the side, there is a dream, and that really makes me think that when you want to catch a dream, you have to face the reality.

And, you know, that highway really inspired me, and I wrote this song. Well, let’s ushara it. The piece is called “BQE,” and it’s Hiromi performing it. It’s from her new record.

There aren’t enough words in the English language to really do justice to describe what I just saw. That’s the pianist Hiromi, playing her composition, “BQE. I’m wondering how audiences react when you perform because just sitting here in the studio watching you, jumping up and down, stomping your feet, I almost want to uehqra up there and join you, do audiences ever do that? I mean, do they ever just stand up and start dancing in the aisles? They go pretty crazy sometimes, and I really enjoy that.

You know, it’s like, you know, I meet people at the age of, like, 70, 80 years old. They come to talk to me after the show, and Rranscription haven’t screamed like that for ages.

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And that made me so happy. You know, it’s really because I put out all the emotions here, and, you know, for some people, it’s quite surprising because I don’t hide anything and just put everything out, and they receive it, and they put everything out, and it’s beautiful.

And I should mention that listeners who want to see one of those performances can actually watch it at our Web site, npr.

Hiromi, you’re from Japan. You studied music here at the Berklee College of Music in Boston. How did you begin to experiment with the piano in such an unconventional way? I started playing the piano when I was six years old, and I was just very curious kid.

Well, yes, but my very first piano teacher happened to be a huge fan of jazz music, and she introduced me to this beautiful record by Erroll Garner called “Concert By the Sea,” and transcrpition Oscar Peterson’s “We Get Requests,” and I just started to imitate what transcriptino were doing, you know, just like learning new words, and I just really fell in love with how much freedom that music had.

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How important do you think the other sounds are that you build because it’s not just the piano keys that you’re striking, you’re literally – you are plucking inside the piano. You’re stomping your feet.

Hiromi: A Melodic (And Headbanging) Travelogue : NPR

You’re talking, sometimes, sounds from deep down in your throat. That’s all part of the sound. Well, I don’t know. I guess I was very naughty kid, playing with it, you know, as much as I can because this was the most interesting, most attractive toy for me for a long time when I was a kid.

You know, I didn’t need any other toy to play with. I want to close with a piece I heard a few months ago, and we played it on this program. It’s your version of “Pachelbel’s Canon,” and that’s, of course, a well-worn piece of music, but your take, as we’ll hear, is completely different.

First, tell me how you decided to perform tranwcription the way you do. The very first version that I heard of this tune was played by unintelligible in, like, harpsichord kind of. So I just, you know, I wanted to create that sound with, of course, a piano, just trying to find the sound, and I did find the sound, you know, using the metallic ruler inside of the piano.

Her latest album is called “Place To Be,” and she’s going to leave us with “Pachelbel’s Canon For Prepared Piano,” and you can hear that performance in its entirety at transcroption Web site, nprmusic.

Visit our website terms of use and permissions pages at www. NPR transcripts are created on a rush deadline by Verb8tm, Inc.

This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. Accessibility links Skip to main content Keyboard shortcuts for audio player. In a solo performance, the energetic jazz pianist shows how hkromi translates street scenes to melodies, with her typical effervescence. A Melodic And Headbanging Travelogue. March 27, 2: Facebook Twitter Flipboard Email. Thank you very much for having me.

Soundbite of laughter RAZ: Hironi did Sicily sound like? Can you play a few seconds of that? Soundbite of “Sicilian Blue” Ms.

Hiromi Uehara Place to Be Piano Solo Sheet Music Book Transcription Japan

Soundbite of laughter Ms. You were playing standard classical composition. Literally putting a ruler into the piano.

Sliding it into the strings inside the piano. And that has a result of Ms. Soundbite of music RAZ: Hiromi, thank you so much for coming in. Thank you very much.