57 Best Things In Life Are Free, The – Frank Sinatra. 153 I Could Write A Book – Miles Davis & John Coltrane. 260 My Favorite Things – John Coltrane. John Coltrane: My Favorite Things for piano solo, intermediate piano sheet music. High Quality and Interactive, transposable in any key, play along and easy practice by changing the tempo, and more. Includes an High Quality PDF file to download instantly.

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I got really fed up with the Real Book version, so I tried to do a lead sheet that would get the Coltrane version. I used what I think was the original 'hit' recording. Kind of hard to boil this one down to a useable leadsheet -- I wanted to come up with something fairly similar to what I thought the group (Trane, Tyner, Garrison, Jones) might have in their mind at the time when they recorded it. Goal wasn't a 'transcription,' but, rather just a useable leadsheet that got the essence of the thing -- Though I still probably weaseled a bit on the melody and just transcribed it rather than trying to strip it of unessentials. I was hoping to come up with something that would actually be useable and put an end to the wretched reading-out-of-the-Real-Book version that ends up being played too often.

A lot of tough decisions: Like whether to include the pedal bass in the chords, what to do about the vamp lengths, how to change from section to section and still have some semblance of a form, etc., etc. ScotGormley 26/3/2010, 1:36 น. I'm still going back and forth over a few chord names, like whether the F#-7(9,11)/B in the intro should just be a Bsus13, More importantly: Whether the chord between the A-7(9)/E and B-7/E in bar 10 from the 'Top' should be D13(b9)/E or B7(b9)/E. Same thing for the last chord before the vamp out -- Whether to call it B7(b9)/E or D13(b9)/E.

In both cases the structure is B F# D# C E (bass) The four-note stack above the bass is a pretty common and logical piano voicing. Trouble is, it could go either way -- Today I'm leaning toward B7(b9)/E in bar 10 (right now it's D13(b9)/E), since I hear it more as an E minor tonality than a diminished thing.

In either case, the E in the melody doesn't conflict vertically because the comping happens on the 2nd beat, after the E has moved to an F#. Today, D13(b9)/E in the bar before the Coda just because it makes more sense going to the Gmaj7.

Maybe I'll change my mind again tomorrow. YMMV -- Maybe we'll eventually get a consensus on those chords. 'Des Higgins' wrote in message news:8fe7b0df-8429-44d2-94e2-ea611842f95d@g28g2000yqh.googlegroups.com. Catha.@gmail.com 6/4/2015, 13:27 น.