In compositions from past centuries, before the advent of recording technology, we have to rely on the original composition as written down by the composer. However, from contemporary research we know that the ways pieces would be interpreted and played in performance would have differed considerably from the written scores. Let us take as an example a composition from the age of basso continuo. The notated accompaniment was only a starting point: a bass line with numbers indicating chord formations called figured bass, comparable to today’s chord symbols. The individual voices of the accompaniment would have been improvised. This also applies to the notated melody: through diminution (improvised subdivision of note values) and free ornamentation, the actually sounding melody would have differed considerably from what was written.
There are also some songs today for which it can be worthwhile to publish the original compositions; namely, songs in which the original compositions are used only as guidelines in performance, as is often the case with jazz. Here songs are notated as outlines: as a lead sheet, in which only the theme and the chord symbols are notated, as is also the case with the ‘‘Real Book’’- the ‘‘jazz bible’’. But most of jazzinotes' original compositions, e.g. those of Martin Tingvall, are very close to the interpretation: Here the difference between the original composition and the note-for-note transcription is very small.
jazzinotes offers a MISTAKE-FREE-GUARANTEE for all each of their Original Compositions. Be sure to see ‘‘jazzinotes’’ as music publisher and you will receive your exclusive guarantee.
All information on the form, instrumentation, original recording, and so on, can be found on the article page.