The Sky is a wonderful composition by Chick Corea from his 1976 album My Spanish Heart.
I am very familiar with this piece and have listened to it on a regular basis since the album first came out.
The piece is split into two parts.
Part One is Children's Song No.3 and is published in written form in 'Chick Corea Volume Two'.
Part Two has never been published.
Thanks to Brian Werner and Thomas Mueller, Part Two has now been transcribed and they have done a fantastic job.
This version corrects some errors and refines certain bars to play closer to the original.
I have used Brian and Thomas's version as a start point.
However, I have listened closely to the original and have come to my own conclusions with chords etc.
Note that every single note has been typed in from scratch using Noteworthy.
These amendments will be detailed below with the bar numbers.
The bar numbers have been kept the same for ease of cross-reference.
It should be noted that generally, in some areas, it is very difficult attempting to work out the actual notes being played.
Therefore, there can be other interpretations.
I believe the piece now plays very close to the original especially in the climax at bars 158-160
Some of the changes are quite subtle. For example:
-1- Bar 149, there is an initial 'F' but misses out the 'C' which gives the note more depth (and is what is played).
-2- Bars 158-160. As the piece reaches its final crescendo in bars 158 through 160, the original transcription lacked depth.
On closer listening this is because, I believe, Chick plays octaves in the left hand which gives it a lot more power.
It now sounds very close to the original.
-3- Bars 145-148. This has been smoothed out particularly in the bass line.
Here is a complete list of the main changes (there are some more subtle changes):
-01- Bar 1. I think the initial 'F#' is an octave - as a single note lacks depth.
-02- Bars 14-17. The original transaction shows A+C# in the bass. This is actually G#+C#
-03- Bar 22. As with bar 1, I think this is an octave on the B
-04- Bar 76. Has a Db as well as F and Gb
-05- Bar 77. Has a C as well as Db to give the chord a discordant feel.
-06- Bar 99. Final F is Fb
-07- Bar 128. Removed the top A
-08- Bar 129. Corrected right-hand chord.
-09- Bar 131. Corrected right-hand chord.
-10- Bar 137. Removes the G from the first left-hand chord as this continues the F/G, E/F from previous chord.
-11- Bar 141. Continues the appregio from bar 139 and corrects the notes.
-12- Bar 143. Continues the appregio from bar 139 and corrects the notes.
-13- Bar 144. The initial LH G is a minim and the final G and A are crotchets.
-14- Bar 145-147. Smooths out the bass line and revises the treble slightly to play better.
-15- Bar 148. Slight revision.
-16- Bar 149. Initial LH F has a 'C' and revised second LH chord to remove the G
-17- Bar 151-152 Now plays like the recording.
-18- Bar 158-160. Now plays like the recording (includes octaves in LH)
-19- Bar 170. Corrects chord
-20- Bar 173. Corrects chord
-21- Bar 175. Slight revision to LH and RH chords.
-22- Bar 178. Revises RH notes.
If you have another interpretation, drop me a post and I will include it.
Okay, here are some corrections to the previous release. With a bit of luck, it should be (almost) perfect soon!
It's such a beautiful composition, it deserves to be accurately transcribed so here is release 1.20.
As usual, for performance, listen to the track and play accordingly.
I have annotated the bars with changes to my previous version. At some point, these will be removed. You will see (1.20) underneath the relevant notes.
Release Notes for the main changes (although some repeat from the previous version).
Bars 1 and 22. I know Thomas and myself disagree on this but, to me, the initial RH note in bars 1 and 22 are octaves. It sounds just weak without it. I could be wrong so play as you feel.
Bar 61. The RH chord over the second LH beat of the bar is E + F#
Bar 70. The RH A+C#+E is not really a staccato so I have revised it to a quaver. Suitable short but not as short as a staccato.
Bar 76. The first note in the RH is a chord and needs an additional 'E' so E + B
Bar 77. The LH (to my ears) starts a downward progression so the second beat in the LH is a lower Gb + Db. This seems to logically follow on from bars 76.
Bars 109-113. Chick does an interesting thing here. It seems that the RH chords are smooth whilst the LH chords are staccato. There is also some pedalling going on. Quite tricky to write as played!
Bars 129 and 131. The second beat for the RH is, I think, F# + A (I think Thomas corrected this).
Bars 132 and 133. The more I listened to this the more convinced I am these are minim triplets. It sounds right, anyway.
Bar 139. Chick tends to arpeggio the RH only and that's what it sounds like so the arpeggio marking in LH now removed.
Bar 141. See bar 139 comments
Bar 143. See bar 139 comments.
Bar 146. The second RH beat is F + Bb and not G + Bb (although logically G+Bb is the correct choice. Not for Chick!)
Bars 158-160. I stand by my interpretation I think in the RH it is B minor and C# minor.
Bar 169. The second chord is certainly discordant. More like I have written (if not 100%).
Bar 173. Again, discordant. A couple of interpretations, here.
Bars 175 and 177. The RH chord is close (if not 100%) and I think they are the same each time.
Bar 178. The fast RH section ends on a D6 to my ears.
Bar 179. The SW I am using (Noteworthy) can't seem to handle those fast RH runs with the LH being played on the bar. So I have simply commented this is so (until I can figure out Noteworthy!).
Those are the main changes but there are subtle changes throughout.
It is find to disagree with me. Some passages it's hard to know exactly what is being played. I often *know* something doesn't sound write but it can be hard to work out what exactly is being played by Chick.
Again, thanks to great work by Thomas without whom I would never have got this far. Cheers, Thomas.
PS, I will amend as and when required and it would be great to get a single unified work with both Thomas and my changes.
Feel free to take a mixture of both mine and Thomas's work as you see fit and that suits your playing style.
This version has some additional fixes to v1.20. I must have listened to sections of this music over 100 times and am slightly bored of it now! As usual, sections are open to interpretation as difficult to hear exactly what notes are being played. In particular, bars 158 -160. Anyway, this will be the last version unless anyone comes up with some additional thoughts. Since first listening to this in 1976 (yes, I had the LP when it first came out) - I am quite familiar with it (and I like it a lot) - so I think this version plays close (if not exactly) to the original. Naturally, you should listen to the original for performance tips and adjust as appropriate. Another slight change was made to bars 56-59. The same notes are being played as before - but the RH plays the discordant notes to accent this (it doesn't sound quite the same if the chords are split as my previous version). I am still of the opinion that bar 1 and bar 22 have an octave being played as (to my ears) it sounds weak without it. I could be wrong but play this without the octave as your choice. Enjoy this wonderful piece and thanks to Thomas for his excellent work with this.