文档内容
Pictured from left to right: Jon Schmidt. Not pictured:
Candace Watkins, Mike VanRy…well a lot of people actually.
Jon Schmidt, Pianist, Composer, and Entertainer has a refreshingly unique style that is difficult to pin down. Just when you
think you have a reflective New Age Pianist, he’ll do a back flip off the piano bench, throw himself under the keyboard and play
ragtime with his hands crossed. Say his music has elements of Beethoven or Chopin and he suddenly turns into Jerry Lee Lewis. The
style in which he sometimes plays makes you think of Billy Joel, but then suddenly he’s Victor Borge.
Born to German immigrants who raised him on the music of the masters, Jon was already playing Mozart Sonatas and
composing his own music by age 11. Hours a day at the piano, however, did not stop him from being well-rounded. He was captain
on the varsity football team, the class clown, and the kid at school that got along with everyone.
This could be why people often use the term “well- rounded” to describe his performance. A rare combination of sincerity,
comedy, charm, high energy, and “aw- shucks manners” immediately endears him to the audience. His unusually warm rapport makes
you feel like he’d love to go catch pizza with you after the show.
Well-rounded could also describe the music of his albums, “August End,” “Walk in the Woods,” “A Day in the Sunset,” “Jon
Schmidt Christmas,” and “To the Summit” in which Schmidt spotlights the beauty and the purity of the solo piano. Orchestration is
used sparingly to highlight his piano arrangements, which are always interesting and provocative. Schmidt’s original style combines
Classical and New-Age sensibilities with Pop-style elements of hook and melody, or “the simple genius of melody," to use Schmidt’s
words. He is also noted for his distinctive treatment of harmony, counterpoint, and rhythm. These elements give his music a
definite signature, one in which the fun, the sincerity, and the warmth of his personality all find themselves revealed. Also reflected,
in the words of an early write-up, is depth: “His music seems to carry more weight than you’d expect from his years. A family
tragedy quickly sobered him as a young man and that resonance of maturity shows up in his songs.” Schmidt is quick to acknowledge
that his best inspiration comes from the special relationships in his life, including those with his wife, Michelle, his children and God.
Jon Schmidt has quickly become well known in the Salt Lake area, where he consistently performs to sold out audiences in
major performance venues along the Wasatch front. Jon’s credits include five albums, four wildly popular volumes of his original
piano scores, performances and radio play all over the country, several top 40 songs at mp3.com, a Pearl Award, a televised concert on
a local PBS station and "A Jon Schmidt Christmas" which has fast become a successful yearly Christmas tradition in Salt Lake.
About his show, one critic wrote: “When the energy and volume of the show have faded, what the audience will remember is
the sweetness.” After the airing of a locally televised concert , more than 100 viewers called the station. Some of the comments were
as follows: “Very inspiring.” “Very entertaining.” “I couldn’t turn it off.” “One of the most incredible hours I’ve spent on a
Saturday night in a long time.”Tab le of Contents
Waterfall. . . . . . . . . . . . . . .1
Cherished Moments. . . . 11
Song of the Ocean. . . . . . 17
Morning Light. . . . . . . . . 27
Tribute . . . . . . . 34
(Easier Key)
Homecoming. . . . . . . . . . 44
All of Me. . . . . . . . . . . . . .51
Tribute . . . . . .62
(Original Key)
Jon Schmidt Catalog . . . .72
©1998 JS Productions All Rights Reserved
Any duplication of this material for any reason requires express written consentSide Notes:
(cid:127) Of all my songs, many people say this one is
their favorite. I think you're gonna love this one.
Waterfall
(cid:1)
.
=125-135
written by Jon Schmidt
With considerable body movement and obnoxious facial expressions
(from the album W a l k i n t h e W o o d s )
©copyright 1996
1
2
WARNING: You might be tempted to accent all of the "G's" in this pattern. Don't do it! It will foul you up.
Instead, think of the notes in the pattern in groups of six and use my accents right from the start.
Pedal ad-lib, except where noted
3
5
Waterfall ©1996-CJS&JS 17
Those who choose not to use this fingering may never get the opportunity
5 to enjoy playing this oft-repeated maneuver at high speeds.
9 2 5 4
1 2
3 4 3 1
2 1 2 1
1
fingering simile
11
The cool rhythm that starts here is t w i c e as fun to play when you use the accents in the right hand.
(Try practicing measure 13 and 14 slowly, until you get the hang of it.)
13
15
cresc.
Same dynamics as measure 14. Hereafter noted: simile
Waterfall ©1996-CJS&JS 217 5 1 5 1 2 5 5 1 5 1 2 5
5 1 1 2 5 1 1 2
1 3 5 1
19
2
3 5 5 3 2
21 1
1
23 4
2 3 1
25 - -
L.H. over L.H. over
cresc.
You can do this.
Really! You can.
Waterfall ©1996-CJS&JS 327 -L.H. over - -
L.H.over L.H.over
simile
1
29 - L.H. over 2 3 2 3 4
2 3 4
simile
1 2 3 2 1
31 5 1 2
5 5 1 1 5 2 3 4 4 3 2 2
33 3 3
5 1 5
dim.
- -
R.H. over R.H. over
35
2 3 1
Waterfall ©1996-CJS&JS 437 4
2
cresc.
39 3 4 5 1 5 1 5 2 5
4
5
41 2
3 1
2
cresc.
43
2
45
cresc.
Waterfall ©1996-CJS&JS 547 4-important 4 5
3 3
2 2
(use thumb for C & D)
49 - - - L.H. over
L.H. over L.H. over
simile
51 - - -L.H. over
L.H. over L.H. over
simile
53 2 3 2 3 4 5 5 1 2 5
2 3 4 5 1 1 2 3 4
55
4 3 2 2
Waterfall ©1996-CJS&JS 63
56
5
5
- -
R.H. over R.H. over
58
3 1
60 4 4 5 4
3
cresc.
62 3 4 5
4
64
2
cresc.
Waterfall ©1996-CJS&JS 766
2
68
cresc.
4(on top)
3
70 1
molto cresc.
71
(cid:2)
( )
(use thumb for C & D)
(cid:2)
( )
(cid:2)
( )
-
72 - "D" L.H. over - L.H. over
L.H. over
simile
Waterfall ©1996-CJS&JS 8-
"G" L.H. over
74 - - L.H. over
L.H. over
simile
76 2 3 2 3 4 5 1 5 1 2 5
2 3 4 5 1 2 3 4
78 3
2
4 3 2 2 1
cresc.
same as previous chord
if you can't reach
3 2
80 3 4
5 2 1
molto cresc.
4 5
5 5 2 2 3 4 3 2 2 3
82 3 1 1
4 2 2
Waterfall ©1996-CJS&JS 94
84 2
1
85 4
2 1
4 3
87
cresc.
8 va . . . .
89
5
molto cresc.
5 1 2 1 5
Waterfall ©1996-CJS&JS 10Side Notes:
(cid:127) Playing this song one night helped me seal
a deal with a very pretty girl named Michelle.
(Luckily she is also very near-sighted.)
(cid:127) This song features great counter-point
harmonies around a nice simple melody.
Cherished Moments
(cid:2)
=52-62 written by Jon Schmidt
Not too fast, yet not dragging. Somewhat rubato (from the album W a l k i n t h e W o o d s )
1copyright ©1996
1 & 2 & 3 & 1 & 2 & 3 & 1 & 2 & 3 & 1 & 2 & 3 &
Pedal ad-lib, unless otherwise noted.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E nd 8va
5 8 va (play RH. an octave higher)
1 & 2& 3 & 1 & 2& 3 & 1 & 2 & 3 & 1 & 2& 3 &
9
1 & 2 & 3 & 1 & 2 & 3 & etc. only the first of the
tied notes gets played
Cherised Moments ©1996-CJS&JS 1113
16
poco rit. a tempo
(cid:3)
(this means a little rit.)
5
19
22
Some people have a tendency to play notes that should have been tied. Such people will murder this song. Remember, when
(cid:2) (cid:2) (cid:2)
two or more notes of the same position on the staff have a tie, (i.e. ) only the first note gets played. One reason for ties
is because there is no such thing as a regular note that gets 4 and 1/2 counts, or 2 and 1/4 counts, etc. But sometimes we
need a note to get something like that. The 0.1% of piano players who actually keep tied notes pressed down for their full
value and who also hold all regular notes for their full value, and who also watch pedal markings, will uncover extra hidden
harmonies in this song that the rest of us will just never know.
Cherised Moments ©1996-CJS&JS 12Small hand: let R.H. help the
top note stays tied L.H. and leave out the L.H. tie.
25
28
31
poco rit. a tempo
34
Cherised Moments ©1996-CJS&JS 1337
40
(cid:4)
rit. a tempo
43
46
(cid:4)
rit.
dim.
Cherised Moments ©1996-CJS&JS 143
49
a tempo
3
52
rit.
cresc.
a tempo
55
.
poco rit a tempo
58
Make sure to give
this note two counts.
Cherised Moments ©1996-CJS&JS 1561
(cid:4)
65 8 va . . . . . . . . . . . . .
dim. rit. a tempo
8 vb(play the first "d" an octave lower)
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
68
71
rit.
*
( )
*
( )
^
keep pedal down
* Immediately after playing the fermata "E," push these asterisk notes down in advance, so gently that they don't make a
sound. Then play the right hand "D" as you lift the pedal. Keep the asterisk notes pressed down during this pedal
lift so they pick up the ring from notes that were played earlier in the line. (Or just play the asterisk notes very softly.)
Cherised Moments ©1996-CJS&JS 16Side notes: Helpful Hints:
(cid:127) This song is enjoyable because of its nice melody, flowing (cid:127) Seeing your dentist every six
3/4 meter and the fact that it's not too difficult to play. months helps to reduce cavities.
Song of the Ocean
(cid:1)
=135 -145
written by Jon Schmidt
with your fingers
(from the album A u g u s t E n d )
©copyright 1996 5
1 3 2
1
cresc. dim.
Pedal ad-lib throughout
5
cresc. dim.
Bring out left hand melody.
For me, learning to play one hand louder than the other was like learning to rub my head and pat my stomach at the same time. In both cases,
I had to try and try, and then all of a sudden, I could do it. (To practice, play right hand with barely a sound as you bang the left hand as loud as possible.)
9
dynamics simile
Song of the Ocean ©1996-CJS&JS 1713
17
21
phrasing simile
25
Song of the Ocean ©1996-CJS&JS 1828
1 1 1
4 3 3 1
2 1 2 3
5
If two flags scare you, try it at a snail's pace (no pause tempo).
Then slowly increase the tempo. You'll see it's not scary at all.
Remember two of these ( (cid:2) (cid:2) ) fit into one of these ( (cid:3) )
(the same way that two of these ( (cid:3) (cid:3) ) fit into one of these ( (cid:1) ) )
32
3
36
40
5
2 2 1
1
5 4 3 .
Keep bringing out left-hand melody.
Song of the Ocean ©1996-CJS&JS 1944
5
1 2 1 2
1 & 2 & 3 & 1 & 2 & 3 &
4 2 2 1 R.H. 1 2
5
1 2
Smoothness will elude you
unless you use the fingering.
48 Melody moves to R.H. for a moment.
3
5 1 3
1 2
1 5 1 2 1 2 1 2
4
2 5
1
53 2 3 2 3
1 1 4 5
cresc.
57
3 2 3 2 1 2 1 2 1 2 3 4
Melody back to L.H. 5
Song of the Ocean ©1996-CJS&JS 2061 5 2
1
1 2 1 2
R.H. 2
1 1
5 5
1 2
Now, bring out R.H. melody.
65 3 3 2 1 2 3
2 5 4 2
1 2 1
69 3 3 4 3 2 3
4 1 2
cresc.
73 1 3 2 1 2
5 1 3 3 1 2
cresc.
1
2 2
5 1
Song of the Ocean ©1996-CJS&JS 2177 3
You'll need this fingering
when you play it up-tempo.
3
2 3
81 3 2 3 4 5 4 3 4 5 4 3 1 2 1 2 3
( )
optional
note
85
4
4
2 5
1
89 2 3 2 3
1 1 4 5
cresc.
Song of the Ocean ©1996-CJS&JS 22[Advanced optional measures 93-96 at end.] 4
93 ( (cid:4) ) 5 4 4 2 1 4 5 4 2 4 5 2 1
1 1 2
5 1 3 2 2 3 2 1 5 1 3 2 3 4 1
Fingering highly recommended.
97 3 4 2 3 4 4 2
1 1 1
dim. cresc.
[Advanced optional measures 101-103 at end.]
101 4
2 3 5
1 1
carpé dim.
1
2 2 3
4 5
105 2 3 2 3
1 4 5
cresc.
Song of the Ocean ©1996-CJS&JS 23[Advanced optional measures 109-110 at end] 4
109 2
5 4 4 2 1 4 5 4 2 4 5 1 5
5 1 3 2 1 2 3 2 1 5 1 3 2 1 2 3 4 1
Oh all right, you can just play the top note
if these octaves are too hard for you.
113
dim. molto cresc.
(This means very much cresc. )
3
117
1 1
(u s e t h u m b fo r C & D )
(slide thumb)
in this measure
1
2 2
5 3 3 2 1
2
121 3 2 1 2
3 1 2
cresc.
Song of the Ocean ©1996-CJS&JS 24125 3 2 1 2
3 1 2
cresc.
1
2 2
5 1
129
cresc.
1
2 2
5 1
133
1
cresc.
2 3 1 2
5 1
Melody
to L.H.
137 5
3 2 1 3 2
1
2 1
2
1
1 1 1 2 1
1 2 2 5
3 5 5
5
Song of the Ocean ©1996-CJS&JS 254 8 va .(o .c ta.v .e h. ig.h .e r.) . . . . . . . . . . .
141 1 2 5
1 2 4
dim. no rit.
1
2 2
5 1 3
8 vb .( o.c t.a v.e .lo w. e.r ). . . . . . . . . . . .
advanced optional measures 93-96
145 (which are also the same for 109-112) 4 2 4 5 2 4 4 5 1 2 4 5
3 2 1 2 3 2 1 1 3 2 1 1 2 3 1 2
1 2 1 5 1 5 5 3
advanced optional measures 101-103
114499 2 4
5
3 1
1 decresc.
3 2 2 3 2 1 1 1
2 1 1 5
advanced optional measure 120
(for those who enjoy the 4-5 finger trill)
152
Song of the Ocean ©1996-CJS&JS 26Side Notes: Helpful Hints:
(cid:127) Playing this song is like playing the sunrise. (cid:127) Why the numbers on measure 10? Because everyone
Its melody is my favorite in the book. I tested this song on had trouble counting out the
(cid:127) Many thanks to my good friend Carl Sandquist rhythm. So, I put in these numbers to help them keep
who wrote the initial theme upon which I based track of the eighth note slots in each measure and
this song. Also thanks so much, Carl, for the that made it much easier.
support, the prodding, and the resources without I'm inviting you to count 1 2 3 4 5 6 7 8 rather than
which this book would have never happened. than the traditional 1& 2 & 3 & 4 &. Having tried
it both ways with people, the first way proved easier.
(And plus, dancers use this method.) If it really
bothers you, cross my numbers out and put in your
own instead.
(cid:127) Level of difficulty: second easiest in the book.
Morning Light
(cid:1) written by Carl Sandquist
=52 and Jon Schmidt
With feeling, slower than you think
(from the album A D a y i n t h e S u n s e t )
©copyright 1996
Pedal ad-lib except where noted
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4 8 va(play R.H. an octave higher)
End of 8va
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7
Morning Light ©1996-CJS&JS 27Here, you can skip to measure 27
10 when you need a shorter performance.
(Why these numbers? see Helpful Hints)
1 2 3 4 5 6 7 8 1 2 3 4 56 7 8 1 2 3 4 5 6 78
13
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
Not too early on this note, please.
15
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
17
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
Morning Light ©1996-CJS&JS 2819
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
21 1 - 5
1 2 3 4 5 6 7 8 1 2 3 4 5 6 78
top two notes,
23 if you can't reach
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
25
1 2 3 4 5 6 7 8
Morning Light ©1996-CJS&JS 29slightly more bold top two notes,
27 if you can't reach
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
30
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
32
1 2 3 4 5 6 7 8 1 2 3 4 56 7 8 1 2 3 4 5 6 7 8
5
35 4 5
2 1 2
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
8vb(octave lower) 8vb
Morning Light ©1996-CJS&JS 3038
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
top two if you can't reach
4
40 2
1
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
42
molto cresc.
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
4444
12 3 4 5 6 7 8 1 2 3 4 5 6 7 8
Leave bottom notes out of
this octave run, if you want.
Morning Light ©1996-CJS&JS 312
46
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
(cid:2)
( )
1 3 3 2 1 2 1 2
4
5
48 3
2
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
Leave top notes out of
this octave run, if you want.
Use thumb Just top two notes if you can't reach.
50 on D & E.
dim. rit.
1 2 3 4 5 6 7 8 1 2 34 56 7 8 1 2 3 4 5678
Use thumb
on A & B.
8 va . . . . . . . . . . . . . . . . . . . . . . .
Same feel as at first
5533
a tempo
1 2 3 4 56 7 8 1 2 3 4 56 7 8 1 2 34 5 6 7 8
Morning Light ©1996-CJS&JS 32. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
End 8va
56
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
Don't let these turn into eighth notes.
59
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
Delay top note if you can't reach.
62
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
64
dim. molto rit.
1 2 3 4 5 6 78 1 2 3 4 5 6 7 8
8vb
Morning Light ©1996-CJS&JS 33Side Notes:
(cid:127) This song is dedicated to the memory of one
of my best friends, who was also my music
mentor and older sister, Rose-Anne.
It is intended as an expression of loss,
love, assurance and reunion.
Tribute
(Rose-Anne's Song)
*Easier Key
written by Jon Schmidt
Slow Rubato
(from the album W a l k i n t h e W o o d s )
©copyright 1996
1
Pedal ad-lib, except where noted
8va . . . . . . .
6
Slowly, with the bottom
note on the down beat.
11
(cid:1)
R.H.
[
This is a downward
arpeggio.
Tribute ©1996-CJS&JS 34(cid:4)
(cid:2)
=84
15 now flowing, but not too fast (sensitive)
(cid:3)
(cid:2)
18
22
26
( )
slow cresc.
30
5 4 2 5 4 2 1 2 4 5
Tribute ©1996-CJS&JS 3534
38
5
4 2 1 1 2 3
slow cresc.
1 1 1
42
1
1 1
46
3 4 1 2
cresc.
3 2 1
This fingering changed my life.
5
50 3 5 3 4 2 2 1 5 3 4 2 3 1 4 2 3 1 4 2 3 1 4 2 5 3 simile
cresc.
Tribute ©1996-CJS&JS 3654
dim.
58
62
66
1
2
3
70
cresc.
3 2 1
Tribute ©1996-CJS&JS 37Majestically
74
1 2
rit. a tempo
78
2
1 1
thumb on both
dim.
cresc.
1 3 2 1
82 3
1
3 4 3 2 3
86
4
2
1 1
slow dim.
1 3 2 1
top two if you can't reach
90 3
4 5 4
3 2
Tribute ©1996-CJS&JS 3894 3
1 1
98
molto cresc. dim.
103
1 1
For a shorter performance,
skip to measure 169 now.
rit.
Mood change: begin a double time feel. (cid:1)
109(Make a gradual transition to an up-beat mood.)
a tempo rit. a tempo
113 Continue transition until the measure 117.
cresc.
Tribute ©1996-CJS&JS 39(cid:4)
=132-144
117
accent
simile
120
5 5
123 3 2 2 1
126 3 5 1 5 1 5 1
1
4
3 5
129 1 3 4 1 2 3 4
cresc.
Tribute ©1996-CJS&JS 40133
Make sure to notice quarter note.
136
(quarter note)
140
5 5 5
2 2 2
143 3 2
1
146 5 5 Yes, that's right.
2 3
3
Tribute ©1996-CJS&JS 41149 5 4 5 3 5
153
157 L.H. over
160 L.H. over accent simile L.H. over
dim.
L.H. over L.H. over
L.H. over L.H. over
163
rit.
Tribute ©1996-CJS&JS 42"G"
167 return to slow Rubato feel
172
dim.
175
(cid:3)
Tribute ©1996-CJS&JS 43Side Notes: Helpful Hints:
(cid:127) This song evolved out of an improv. on "Piano Man", (cid:127) Again, fingering makes this song much more enjoyable
by Billy Joel. Don't worry, part of the bass-line to play at higher speeds.
of the chorus is the only thing I stole. (Billy (cid:127) Give it a definite down beat. (I sometimes imagine the
feeling of lift and drop that you get when boating on
probably wouldn't care because I'm sure he realizes
glassy water.)
that this bass-line had already been used in about
(cid:127) Level of difficulty: sixth easiest in the book
10,000 other songs before he ever used it in his.)
Homecoming
written by Jon Schmidt
Intro part: make it sort of introductory
(from the album A u g u s t E n d )
©copyright 1996
8 va . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. .. .. .. .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1
(cid:2)
(cid:1)
=160-168
Now up-tempo, with a definite down beat
. . . . . . . . . . . . . . . . . . .
7 1 2 3
1
rit.
(cid:3)
accent simile
13 3
1 1
accent simile
Homecoming ©1996-CJS&JS 44small hand: let L.H. help (or just play top two notes)
8 va . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
2 5 4 4 5
2
1
4 5 5 5
2 2 3
1 1
5
24 3 2 3 2 4
1 3 2
5 2 1 2 5 1
5
29 3 2 2 3 1 4 2 1 1 2 5 4
5 2 1 2 5 5 2 1 5 2 1 l.h. fingering simile 1 5
34 1 2 5 4 4 5 4 1 2 1 2 5
5
3
39
5
Homecoming ©1996-CJS&JS 4544
4 4
1
49 2 4 1
1 3
3
54
3 4
dim.
3 2 1 2 3
4 5
59 4 5 4
4 2
1
1 1 2
2 5
5
64 3 2 2 3 1 2 4 1 1 2 5 4 1 3
1 5 1
( )
Notes in parentheses are
Homecoming ©1996-CJS&JS 46 optional advanced notes.69
1 5 1 1 5 1 5 1 1 5 1
( )
( ) ( )
74
4
1
3
79 5
4 2
2
5
84 4 3
4 5 4 1 (cid:4)
( )
(cid:4)
2 1 2 ( )3 1 2 3 2 1 3 2 1 2 3 4 5
1 3 2 4 3 5
89 (cid:2) accent simile 3 1 4 2 5 5 3 5 1
2 1
( )
(cid:2)
( )
(cid:2)
accent simile
( ) 1
(cid:2)
( )
( )
5 1
Homecoming ©1996-CJS&JS 475 5
1 1
94
5
1 4 2
8 vb
(cid:5)
99
(cid:5)
1 5 1
( )
If you think this song is getting a little long and/or if you don't dig this
key change, you may go to a special ending option after measure 105.
104
2
dim.
1 5 1
1 5 1
( )
( )
110
1 5 1
( )
115
(cid:4)
(cid:2)
( )
( )
cresc.
(cid:4)
( )
(cid:4)
( )
Homecoming ©1996-CJS&JS 48119
(cid:4)
( )
8 va . . . . . . . . . . . . . . . . . . . . .
123
2 2
1
129 3 3 8 va . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3 2
3 4
(cid:6)
. . . . . . . . . . . . . . . . . . .
134
2
( )
optional
rit. (cid:6)
last chord
(for small hand)
( )
Simplified optional ending
8 va . . . . . . . . . . . . . . . . . . . . . .
140 2
1 2
Homecoming ©1996-CJS&JS 49146 3 3 8 va . . . . . . . . . . . . . . . . . . . . . . . . . .
3 2
3 4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
151
2
(cid:6)
155
( )
optional
rit. (cid:6) last chord
(for small hand)
( )
Homecoming ©1996-CJS&JS 50Side Notes: Helpul Hints:
(cid:127) You've probably never played a song like this before. (cid:127) Again the numbers in the first section are for the rhythm impaired.
It will have you playing with your forearms, for one As in "Morning Light," I am inviting you to count 1 2 3 4 5 6 7 8
thing. That's one reason it's called "All of Me." rather than 1 &2 & 3 & 4 &.
(cid:127) The rhythm gets much easier at measure 31. (You may start there
if you wish.)
(cid:127) Don't let five flats scare you. It's easy when you think of C and F
as your only white keys. Just lean to the left black key on every-
thing (except C and F, but they don't have black keys to lean to
anyway)
(cid:127) Level of difficutly: seventh easiest in the book (out of seven, ha ha)
All of Me
(Sut's Fav)
-
[Fav: n.(fav) coll. for favorite; the one preferred]
Sut is a life-long buddy whose encouragement was a key factor as I was writing this song.
Facilitating a rubato yet fanfare-filled feeling
written by Jon Schmidt
is favorable at the first of this fine song
(from the album A u g u s t E n d )
(for a fun definition of rubato find page fifteen minus four)
©copyright 1996 5
1 3 5
1 2 5 5
(Why these numbers? see Helpful Hints)
123 4 56 78 123 4 56 7 8 12 3 4 5 6 7 8 1 2 3 4 5 6 (cid:1) 7 8
Pedal ad-lib throughout
3 (cid:1)
5
123 456 7 8 12 3 4 56 78 123 4 56 78 (cid:1)123 4 56 7 8
(cid:1) small hand:
let left hand help
9 3
1 2 3 4 5 6 78 (cid:1)123 4 56 7 8 12 3 4 5 6 7 8
51
All of Me ©1996-CJS&JSsmall hand: let left hand help
12
1 2 3 4 56 78 123 456 78 1234 5 6 78
poco rit
(cid:2)
=176-208 Using the accents gives this part rhyme and reason.
fast (put "all of yourself" into it) (But get the underlying rhythm in your head first.)
15
a tempo
12 3 4 5 6 78 1 2 3 4 5 6 7 8 12 3 4 5 6 78 1 2 3 4 5 6 7 8
19
12 3 4 5 6 78 1 2 3 4 5 6 7 8 12 3 4 5 6 78 1 2 3 4 5 6 7 8
23
12 3 4 5 6 78 1 2 3 4 5 6 7 8 12 3 4 5 6 78 1 2 3 4 5 6 7 8
27
12 3 4 5 6 78 1 2 3 4 5 6 7 8 12 3 4 5 6 7 8 1 2 3 4 5 6 7 8
52
All of Me ©1996-CJS&JS8 va . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
37
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
fingering or die
39
5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
42
5 4
5 5 1 3
cresc.
53
All of Me ©1996-CJS&JS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
46
1
2
5
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
48
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
52 4 5
Measures have been spaced for
maximum page turning enjoyment.
54
All of Me ©1996-CJS&JSaccent simile
54
57
59
61
1
63
55
All of Me ©1996-CJS&JS65 5
5 5
67
5 1 3 4
dim. molto cresc.
70
1
72
1
75 2 4 5
56
All of Me ©1996-CJS&JSUsing the accents here will reveal a hidden melody
in an otherwise boring few lines of the piece.
79
82
85
88
91
cresc.
57
All of Me ©1996-CJS&JS94
96
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
99
1 2 3 4 5 6 7 8
102
1 2 3
cresc.
105
58
All of Me ©1996-CJS&JS107
110
113
[ [
(cid:127) Use left forearm across general area (elbow pointed left). (O r y ou ca n s el ec t an y p o rt io n o f t h e ch o rd t o pl a y w it h yo u r fi ng e rs , i f pl a yi ng)
- Lift wrist so that left hand doesn't strike any notes. with your arm takes you too far out of your comfort zone.
- Not overly loud.
116
[
(cid:127) Use right forearm across general area (elbow pointed right).
- Lift wrist so that right hand doesn't strike any notes.
- Not overly loud.
119
] ] ] ] ]
cresc. accent simile
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
59
All of Me ©1996-CJS&JS122
125
128
131
dim.
134
1
molto cresc.
60
All of Me ©1996-CJS&JS137
1 2 3 4 5 6 7 8 1 2
139
2
cresc.
accent simile
142
4 5
61
All of Me ©1996-CJS&JSSide Note:
This song is dedicated to the memory of one
of my best friends, who was also my music
mentor and older sister, Rose-Anne.
It is intended as an expression of loss,
love, assurance and reunion.
Tribute
(Rose-Anne's Song)
written by Jon Schmidt
Slow Rubato (from the album W a l k i n t h e W o o d s )
©copyright 1996
1
Pedal ad-lib, except where noted
8va . . . . . .
6
Slowly. Feel the down-beat
on the bottom note.
11
(cid:1) (cid:1)
R.H.
[
This is a downward
arpeggio.
Tribute ©1996-CJS&JS 62(cid:4)
(cid:2)
=84
15 now flowing, but not too fast (sensitive)
(cid:3)
(cid:2)
18
22
26
( )
slow cresc.
30 5 4 5 4
2 2 1
Tribute ©1996-CJS&JS 6334
38
slow cresc.
1 1 1
42
1 2 1
46
cresc.
5 3 4 3 This fingering is just wonderful.
50 2 1
cresc.
Tribute ©1996-CJS&JS 6454
dim.
58
62
66
1
3 2
70
cresc.
Tribute ©1996-CJS&JS 65Majestically
74 3
1
3
rit. a tempo
1 1
8vb
78
cresc. dim.
82 3
86
slow dim.
3
Top two if you can't reach
90 3
.
dim.
Tribute ©1996-CJS&JS 6694 3
98
molto cresc. dim.
103
For a shorter performance,
skip to measure 169 now.
rit.
Mood change: begin a double time feel. (cid:1)
109 (Make a gradual transition to an up-beat mood.)
a tempo rit. a tempo
113 Continue transistion until the measure 117.
cresc.
Tribute ©1996-CJS&JS 67(cid:4)
117 =132-144
accent
simile
120
123
126
129
cresc.
Tribute ©1996-CJS&JS 68133
Make sure to notice quarter note.
136
(quarter note)
140
143
Yes, that's right.
146
Tribute ©1996-CJS&JS 69149
153
(cid:5)
157 L.H. over
L.H (cid:5) . over L.H. over
160 accent simile
dim.
L.H. over L.H. over
L.H. over
L.H. over
163
rit.
Tribute ©1996-CJS&JS 70(cid:6)
"A "
167 Slow Rubato Again
172
dim.
175
(cid:3)
Tribute ©1996-CJS&JS 71
