A RTT ST

PIAN( '

Transcribed bv Bob Leso

n l cGoy TyrterÏRANCRIPTIOI{S'

Front Cover Photo by Gene Martin

tsBN 0-7935-0747-2

-znHAL.LEoNARD'l - - c o I R P o R A - r I o N7 7 7 7 W . B L v e M o v N D R D . P . o . B o x t 3 8 Í 9 M t L w a u K E E . w l 5 3 2 1 3

Copyright @ 1992 by HAL LEONARD CORPORATIONlnternational Copyrlght Secured All Righls Reserved

For all works contained herein:Unaurhoiized copyins, arransins,

"?,iljil;l? #',lLiJ [x::: fn"J,:|.#""ce is an inÍrinsement ot copyrishl

McGoy TyneÍ. GoNTENTS

Biography

TITLE

Fly With The !íind

Folk

For Tomorrow

High Priest

ls land Birdie

Just In Time

La Habana Sol

fhe Havana Sun)

Man From Tanganyika

Theme For Nana

Prelude To A Kiss

Sefror Carlos

You Stepped Out Of A Dream

RECORDING

FIy !íith The !íind (Milestone M-9067)

Echoes Of A Friend (Milestone M-9055)

lnner Voices (Milestone M-9079)

Tender Moments (Blue Note 85T84275)

Looking Out (Columbia BL 38053)

Dimensions (Elektra - 60350-1-E)

La Leyenda De La Hora (Columbia AL37375)-ffhe Legend Of The Hour)

Tender Moments (Blue Note 8ST84275)

Focaf Point (Milestone M-9072)

Dimensions (Elektra - 60350-1-E)

Looking Out (Columbia BL 38053)

Fly !í ith The V/ind (Milestone M-9067)

22

7

32

47

46

56

71

78

85

92

112

100

BIOGRAPHY

McCoy Tyner Í i rst exploded on the scene as a part of John Coltrane's early '6Os quartet,

certainly one of the most innovat ive and inf luent ial groups in jazz history. Over the past decade

he's carved a most impressive niche for himself as a composer, arranger, band leader and most

signi f icant ly a pianist whose unique and forceful style has inspired and inf luenced a whole new

genera t ion o f mus ic ians . H is impact on the mus ic o f the '70s and 'BOs and cont inu ing th rough the

'90s is comparable to Coltrane's on the music of the '60s.

McCoy was born in Ph i lade lphra on December 11 , 1938, the o ldes t o f th ree ch i ld ren . He was

encouraged to study piano by his mother. He Í inal ly began studying the piano at age 13 and

within two years, music had become the focal point in his l i fe.

In the beginning McCoy pract iced on a neighbor 's piano. When his family bought one, he

began host ing jam sessions. Among his fr iends and neighbors were a number of young musicians

who would go on to make their marks in jazz, such as trumpeter Lee Morgan, saxophonist Archie

Shepp, pianist Bobby Timmons, and bassist Reggie Workman. "Bud and Richie Powel l moved into

my neighborhood. Bud was a major inf luence on me during my early teens. He was very

dynamic." In addit ion, Thelonious Mond and Art Tatum were young McCoy's major inf luences.

McCoy, obviously a very fast learner, at age 1 5 led his first band, a 7 piece band that played

the rhythm and blues hi ts. He studied at the West Phi iadelphia Music School and later at Granoff

Music School, also in Phi ladelphia where he learned theory and harmony. At age 17, whi le

playing at a local c lub cal led the Red Rooster, with a band led by trumpeter Cal Massey, also

known to few close friends as "Folks", he first met.John Coltrane.

Coltrane was in Phi ladelphia between gigs with Mi les Davis. The saxophonist , whose

dist inct ive style was st i l l in i ts formative stages and whose reputat ion was on the r ise, had no

working group of his own, but secured a few engagements in and around Phi ladelphia, with

McCoy often in his rhythm section.

McCoy later recal led that Coltrane hadn't developed the way he would later on, but "aÍter I

heard him play, I knew he was someone exceptional." The rapport between the two was so

apparent, that Coltrane made i t c lear that he hoped to eventual ly have a regular band with McCoy

Tyner in i t .

In 1959 McCoy, who had been work ing main ly in and around Ph i lade lph ia , wasof fe red h is

Í i rst ful l - t ime job in music with the Jazztet, a group co-led by Art Farmer and Benny Golson.

McCoy stayed with the group 6 months, long enough to make his recording debut on the album

Meet The Jazztet, but left when Coltrane íinally left Miles Davis to form his own group.

*É:,8;

#

The chemistry between Coltrane, Tyner and drummer Elvin Jones was immediately apparent.

Coltrane went through a number of bassists beíore sett l ing on Jimmy Garr ison. That chemistry can

be heard on the group's f i rst recordings for At lant ic Records in 1960, which include the classic, "My

Favori te Things." Coltrane was searching Íor ways to extend the boundaries of jazz, including a

denser harmonic structure, a mult i - layered approach to rhythm, and a greater rel iance on scales

and modes as a basis for improvisat ion, and McCoy was r ight there with him.

The pianist part ic ipated in numerous histor ical recording sessions with Coltrane, including

Africa Brass, A Love Supreme, and Áscension, to name a few, during his six year tenure with the

quartet. He also began recording on his own, occasional ly in a tr io context (his Í i rst album was

lnceptÍon, recorded in 1962 for lmpulse, which had become Coltrane's label) , and tended roward

a somewhat more melodic and conservat ive approach than he displayed in the context of

Coltrane's group.

As close as his musical relationship with Coltrane was, it was inevitable that Mccoy would

eventually want to form his own group. His split from his mentor, which was an amicable one, was

hastened by the fact that Coltrane, whose music was moving in an increasingly free-form direction,

had added a second saxophonist (Pharoah Sanders) and a second drummer (Rashid Ali). McCoy was

simply having difÍiculty hearing himself play.

Unfortunately, for the next few years, he encountered di f f icul ty making a l iv ing playing his

music. He cont inued to record as a leader, making a ser ies of impressive albums for the Blue Note

label, and he worked as a sideman with the great Art Blakey and his Jazz Messengers. lt took

McCoy several years to establish himselÍ as a leader.

In 1971 McCoy signed a recording contract with Milestone Records, at which time things began

to improve. His first album for the label. Sahara, released the following year, received two Grammy

nominat ionsand was named "Album Of TheYear" inthe Down BeatCri t ics Pol l . Subsequent Lp'sÍor

the label found him strelching out in a wide variety oÍ musical contexts. He recorded with strings,

with large horn sections, with voices; with all-star ensembles, with tightly-knit trios, and solo; in

clubs, in concert, and in the studio. In '78 he teamed with Sonny Rollins, Ron Carter and Al Foster ro

tour the U.S. as the Milestone Jazzstars. The tour, documented on a live double Lp set, was one of the

most extensively-promoted eyerby an acoustic jazz ensemble.

Throughout the'70s, his art and inf luence ccnt inued to grow. His readi ly ident i f iable piano

style - forceful , percussive, dense, but also capable oí tender lyr ic ism - came more clear ly into

focus. 5o did his inf luence; there are few jazz pianists on the scene today, including the veterans,

whose styles have not in some way been touched by his. This inf luence has been fel t also in the

contr ibut ions of the many outstanding musicians who have gained valuable school ing as members

of his band, such as the late !íoody Shaw, Sonny Fortune, Alphonse Mouzon, Azar Lawrence, Gary

Bartz, George Adams, Joe Ford, John Blake, Benny Maupin, and Gui l lherme Franco to name a Íew.

McCoy's dedication to the acoustic piano and reÍusal to convert to electricity has been an

inspiration to many.

The worldwide awards and accolades are too numerous to list. SuÍfice to say that he rs

recognized by musicians, cr j t ics and l isteners al ike as a major force of the'60s, '70s, 'BOs and now

t h e ' 9 0 s .

Freely9va- - - - -

roll

FOLKSBy McCOY TYNER

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FLY WITH THE WIND

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Copyr ight @ 1976 AishaAdministered by Music

lnternat ional Copyr ight Secured

Cmtrem.

Music CompanyOf The World

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FOR TOMORROWModerate Jazz Waltz

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Copyr ight @ 1978 AishaAdministered bv Music

Internat ional Copyr ight Secured

Music CompanyOf The Wor ld

All Rights Reserved

nbmtt Eh

By McCOY TYNER

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45

ISLAND BIRDIEBright Calypso Tempo(Intro played once on D.C.)

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fS lanUay phyed by steel drum and alto sax)

Fm7 BFTsos

Copyr ight @ 1982 AishaAdminis tered bv Music

Internat ional Copyr ight Secured

Fm7 BbTsus

Music CompanyOf The Wor ld

All Rights Reserved

Fm7 nhsus

By McCOY TYNER

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46

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49

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51

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JUST IN TIMEModerately Fast Swing

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(t played

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sbe pF

Words by BETTY COMDEN and ADOLPH GREENMusic by JULE STYNE

CmTlF

D7alt.

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Copyr ight @ 1956 by Bet ty Comden, Adolph Green and Jule StyneCopyright Renewed

lnternational Copyright Secured All Rights ReservedUnauthor ized copying, arranging. adapt ing, recording

or publ ic per formance is an in Í r ingement of copyr ight .In Í r ingers are l iab le under the law

56

F9sus F6le Fm7

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nbrrfit at:ftt ot9-- Gl3 To Coda$

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pzbr:(fs) p*ntbl

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63

G9sus G13- 3 - - 3 -

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65

Cm9tem.

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66

Drum Break

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Drum Break

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F13

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Cm9

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GTsus- 3 -

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69

ebr: lrs nbr:

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Cm Dm EDmajT cb9 rzbs nbr{hl) Drum Break

------------z\rh

70

LAModerately, Lafin Feel

(Played by ensemble)N.C. Db

HABANA(The Havana Sun)

soL

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By McCOY TYNER

CmTPb.r.b-7cb Yfrr:1$

Copy r i gh t @ 1981 A i shaAdminis tered bv Music

Internat ional Copyr ight Secured

Mus ic CompanyOf The Wor ld

Al l Rights Reserved 71

cb sb.z/Á,b

E "'n,

., Fm9 BD7 cmzhs csils Ff,m7 BTsus

2 , e l l r ï _

lrá-a

c ' r ' vTl-= |

c v 7 ' 1 1 4 - a ct- |

Itta tO

c 1 ' | -

l v I a + l -t l t t ' t ' t

L ^

7

a["lcb r;bffiltbc^tBb

-6b1fi cm/Bb

lst Chorus

nbr:@ soto,

Ahsus

cbr:Abgsus abt:c13C9sus

,bt 2t - t : a C

n r 1 2 - -It:&: t t u*

roll -

74

tr Gm7 Fm9 BD13 C9sus

l >2 C t h r A

@ zna chorus

f--h-b,.ebe'-

76

BbTsus sht: Gm9

AbTsus

D.C. al Fine

77

MAN FROM TANGANYIKA

African feel (12/8 feel)

By McCOY TYNER

- J -

mf-3 -'t r{- , T3 -r - 3 - 3 T 3 :- 3 1 - 3 -

E.@ {urUay phyett by Jtute and piano)

G- 3 - - J -

Copyr ight O 1973 Aisha Music CompanyAdminis tered by Music Of The Wor ld

Internat ional Copyr ight Secured Al l Rights Reserved

- 3 - - 3 -> : >

tr" D m -J -- G7sus "nhilr- J -

o - u -- J -

FmajT C13> >

79

% - Bhfil- J -

To Coda SFmajT C13

>

@ soto: lstGm

- d -

Chorus

3 -

.---=3 ----- -3 -----=3 ---'- -J

80

@ s*ing feel (ll

EDmajT

ptayed * j"j I

81

fE-l Afri"un feel 2nd Chorus-Gm -J ------=- J

- ? - - 3 4

,-Fc *- . ? -

- C "--ZÉry,

82

El s,oingEDmajT

f :.0 chorus

- 3 - - 3 -

a Eti \ t , l r r r 3

- 3 -

, Gfr-3-^ ---

,€cÊ-

83

a)

^ - 3 - 3 n ' -^fi"Ft Ê Ê r fr C íT

nbt: cgsusfeel

Ebsusll SwingEWnzjT

- 3 -

Fl3 Gm6

D.S. al Coda- 3 -

'0 codati'n 3C1

atQ: a C r02

Il

= -

2?

f

84

f stowty

THEME FOR NANA(Melody played by flute)

cf;-z cFflrrtbsl Df'/ cfl*e clt chz

(mf

Df/sus Dfr',/

Double-time swingcfm

feelGhus

Copyr ight @ 1976 AishaAdminis tered by Music

Internat ional Copyr ight Secured

Music CompanyOf The Wor ld

Al l Rights Reserved

l,-a ^ ^ 1

-ï_T

- ^ , t

E_l Ë Tempo 1nf-riltttfsl cf,m7

cfirnz cFfitttbsl Bmaj9

ffi

l 1 4 l

7 r^V'l Hg

|_

tz- 6 - - F { P f i x J - l ' I

, , 1 / )

xa q t

}ffié

86

cfr"z

cils

cfTflrrtf,sl cillril B9

Double-time swing feelGflsus

t 7 - - t

!D l ( ,To Coda O

-Solo'

cfmT

3a) rl

3

7 - 1 7 - -

- J . r J

) a

r c - E : í - t

,, ,,_.-4 I

:t''F#5-

Gf,m7

E6le Dfi7fie

cfilcf cfm tr3

\--z

:

,crenf=

)-r

chnT cf"ot

BTsus trem.

90

D.S. al Coda

- J - - d -

S coda

Emajel3 nFflstflql Ghus

Gliss onblack keys

,. Gliss on black keys .-

PRELUDE TO A KISSFreely I

ED6 DhnajT EhnajT DbmajT

QuicklyC

By DUKE ELLINGTONIRVING GORDON and IRVING MILLS

rcbe AhtajTGbmajT Fm7 nsbs

3 ::--f

813f,11 nbr A13f,113

f'l

abr:#n cr3flu cbr:#rr nbnfirr

mf'lk r

, l \ . t l 'ó J t t h )

by M i l l s Mus i c , I nc .Al l Rights Reserved

Copyr igh t @1938 (Renewed)ln te rna t iona l Copyr igh t Secured

c13fl11roll *

obr:fir nr:frr

nb

lTl not"toAm7

c13 cfi6-3

Dl3hr(b)- 3 -

Am7

II

nbmZ Libs Dm

Steady Stride ( rfI

Dm9 GjWtr

Aalt. Am7 D7 Gm7ba, -^-

--/

3

cl3f,u Bl3fil sbrfrr

r:r-

93

cf,sf,tt FmajTflrl st:fitt nbt:firt ar:fiu

- 3 -

sbffi Nb-3 - , I . - : ,

b\!* bbl*\

Dm A78

5--:3 -----

Ggsus cil6,-3

Am7 > D13h1(Pe) D/Fflh

nhnZ lbmZ- J -

FfmT73 --1

Straight 8th's

94

6-1 Steady

- F'6lg

r 3 r

Stride (I played as J))Cf;dim7 A7

r 3 -

Bm7 87b13(f;9)-3- , -3=1--

stblnide) Em7 Al3hl

nf*z 87b13(ile)

Eo-s

rf-z- 3 -

- 3 -t t : >

_ 2t à u -

--o

-= . i l t tQ Ft Flt- 3 - -

cfaimz- 3 -

FmajTf,ll

ch:f,rr

cr/3 - - 3 -

G13 Gf,62 - à

:>

Br3hl rbr:flrr Ar3hl

C+

l+lí

nbmZ L7E Dm L1W Dm9

.:--J -

Gm9 -- J -

-f

95

Am7

-'-j-:D13fi1 D

- 3 -

Dm9

roll *

G alt.

-3 - roll *

obr:ilrrroll -ba.

tEl--Á:m7Fmajg{l1 Bm9 ̂ Bhmg ̂ A7 -

- J - - J - - t -

- 3 - - J

Glb Gf,oim

nbrsilrr Ar3*11

D G 9

- 3 - - 3 -

Cf,9- 3 -

C- 3 -

cTbstrAm

mf

3 3 3-. ï - -3- -3-- - - -

Br3$ll Bbl3h1 shrz- 3 n

l't)

Al3hrr - 3 '

GTsus Gfm6 ,tsus- 3

> > >

Dr3hr(b)

AD6. : -3- -/-\-3-

bjl2 4

l'-í-)- 2 - - 2 53--

-=--f' 1 - 3 -

Steady Stride ( ,[] played as J ) )

E6ls cilsÍjr r FC*e

rf-z--3 ----

nzbr:(fis).-3

F7- 3 -

Ff,'/- 3 -

A7 Bh- 3 -

B 7 - C 7- J -

^ t)-rJ / ( r l l /

- 3 - - 3 -

lH l | |-Am7 D7DI3(D9) Cm7 C7

rhne B7b13(f,e) nbr:f,rt

3 --- -3

Ar3f,l1

f decresc.

Am7 3bnbr: azbr1br; ^7b Dm Gsus

Abmal7fin lr,ful(bl

Pbmsl >Deb,

0

Faster , ?u' :ii;T nbe $enbelt rbeltobm"jz A16 te Dbmaj, Ètflï,td8va (both hands)-__ba,b

-J - .. -3 ---l Dl3D9 D7

-t-- #fuo-1--

pt l lo v -

-^fj

-\ - í -

"mp

l a

e

rubato !1_L-t--

-::-?- -bt b{P. + 8)'o---

bir: - - tv9't

, r^',t b5í

--Da r-r-

v ) 'r bÍ b-t w ' oí-.-

e ^ - e=

r n l l

"04t È r l

w--m p p

l< - : - ^ '

--+

99

YOU STEPPED OUT OF A DREAMWords by GUS KAHN

Music by NACIO HERB BROWN

Moderately

CTsus

trE'C

Copyr ight O 1940 (Renewed 1968) by LEO FEIST, lNC.Al l Rights Contro l led and Adminis tered by EMI FEISï CATALOG lNC.

International Copyright Secured AII Rights Reserved100

trem.

O t ' - - - a ? ? ,

I

7 r a 2 -/ _

Il-------ít_ lL

cósr

f-f-

- 3 - - 3 - Dm9D5 G7alt.

ffi zJ--_-_t--r# --.< r--1rt

w r a " b 7 J t

fa e *l*: Lh ---

v - \ 1 C - J

l - - .

) L t r - P 2 - 3)-

101

gc

To Coila Scbsilrr

trDmsbs

102

CTsus-rà17k

, rí\ bjí)b J r l , - , 1 -- . ' E - h t r

e

trC

Solo: lst ChorusCTsus

sbr: I-13h!

E c*zbs ctb ^- J -

- 3 -b

4a .t

Ee .' bn 2l t -

-=Í:'-i:-

c -.3 -J ,n , - { - Tb ' . - tb

d -- ----------ï_---------------a

_J_ - J : - - ^ - J_^_ -3

*=

ADI3

trCIG

CTsus/G ctbslr o l l -.1 f t - - l

Àz-,,b. ,. lal

105

abr: czfis(f,tt)

:c frbbrÊ b!fr \# 3 €*) { ,

f z"a chorus

106

cósl

o | -

b*=*ff* fr b*: 6* ft

c6le=>

roll-

a l

-)r-- [=

r

trr t f t - fz,

> 7

e

D.S. al Coda

+M

Coda

omgbs

Cmaj9 Ar13 roll -

ta

?' -----

? Q2- 2- r ên1 2'-i- ttê t2 t).

-:--r-l^:-r=-

109

SEN

s

Freelv' Fml1

A

Íà.

F9sus Fm7A

OR GARLOSnbspp

X (Uaoay phyed by guitar and piano)Fm7

Ebsus/Bb

e€tr

By McCOY TYNER

s8vb--- --

mf2,-t

l|2.

Copy r i gh t @1982 A i shaAdminis tered by Music

lnternat ional Copyr ight Secured

Music CompanyOÍ The World

All Rights Reserved

Fm7EbDb

a) 4e

- . =_= '

7 - a

112

ett

?Eo 2

=?E

aE

)Z

T

eo ?={e .á

,urdurdLw)ll".Ía

--- J- l, n

l

?E

22=E

?E

d-tb-,,!C

.i- '7oÀ

obp

nbrnajzftt

114

DDmaj9

DbmajT Cm7 Fm7Fm

r D - h Jr, j -

d -

I

7- J_A ae

L - I V U À ' a

" P ' ) ) I €a) n

IIe a

a4e

l t

E N.c.

@ Soto, lst ChorusFm9 DD9 DbgrutT

t ;

a O

fF14- tt f*:*, \F

) ï f f i

1 1 6

nb*s lbr:

t -tlrl#

",^fr \* b* e,-

?-

c7w

Cm7

Fm7 DD

nbTc cTbs Fm9 rbtns lbt:

Fm619

> >/-\

Dhgsus Db

DD619

EbDbFm

- H_____+___+_

- 4q* b\"1k bt; 2-f

q t I -

7 d ' 7 - a a ' | / :

lJ.-

:Ê_Ê G:*, r

e l

ia ta j - t - ,4Q-

r "- --va--Zr-

et-ur ,ffi

117

[rem.

2 a 2 ?

Y

' - - i - e I

o_e

2.,'

A12D , '

1 1 8

@ z"a chorusFm7

nblc cTbs nbms AD13

Dbgsus Db9 BblcF _ ?

>

\t baáz

Db9sus Db9

Dv619

\t *blaa 4 {

r r

'* * *s-s a tí-- - ^GI#J

1 1 9

trem.h Ití

' 2 2 l ^ l c. b D D ^ D '

é-u

a)

? ' ho !ft Í - t t {b^, t2

>,-r 8va D.S. al Fine

120