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  • Joshua Redman-Hide and Seek-SheetMusicMobile

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    shazri shahrir
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    The document is a musical score titled "Hide and Seek" by Joshua Redman. It consists of chord changes and notation for a tenor saxophone and bass. The score indicates a medium funk style with a tempo of 100 beats per minute. It outlines two sections of the song separated by solos, utilizing jazz chord progressions.

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    The document is a musical score titled "Hide and Seek" by Joshua Redman. It consists of chord changes and notation for a tenor saxophone and bass. The score indicates a medium funk style with a tempo of 100 beats per minute. It outlines two sections of the song separated by solos, utilizing jazz chord progressions.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as pdf or txt
    104 views3 pages

    Joshua Redman-Hide and Seek-SheetMusicMobile

    Uploaded by

    shazri shahrir
    The document is a musical score titled "Hide and Seek" by Joshua Redman. It consists of chord changes and notation for a tenor saxophone and bass. The score indicates a medium funk style with a tempo of 100 beats per minute. It outlines two sections of the song separated by solos, utilizing jazz chord progressions.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as pdf or txt
    of 3

    HIDE AND SEEK

    JOSHUA REDMAN
    MEDIUM FUNK q = 100
     ten. sax. ad lib.

            
            
    Ten. Sax.

      
    A. Bass 

    A
       tenor              
          

    & guitar
     
      

                      
    B7#9
         

            
               
           
     
          
    E7#9
             
      

              
                  
     
                  
    B7#9 F©7#9
        
      

                   
               
      

          
    E7#9
            

    Transcribed by Ville V. (2011)
    
    2
      
      
     
          
      
    
         
    B7#9 G© F/A F©&/A©
              
       
     

     
    to Coda 
    
    after repeat, D.S. for solos


                
                

        
    B7#9
              
    after solos, D.S. al Coda (no repeat)
    play between solos
    B
      
    B7#9
             
      
             
     
              
                

     E7#9
                          
     
     B7#9    
           
                
     F©7#9 
                             

    
    E7#9 3 3
                        
       
     B7#9 
                 
              



    to piano solo B7#9
     3 3
      
                 
             
    3


         2.
                
    1.

        


             

                      B7#9    


      
    G© F/A F©&/A© B7#9
                 

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