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Oriģināls

Jeru. Claude Thornhill. Guitar sheet music. B-Flat Trumpet sheet music. Drums sheet music. Horn sheet music. Percussion sheet music. Piano sheet music. Trombone sheet music. Advanced.

Tulkojums

Jeru. Claude Thornhill. Ģitāra notis. B-Flat Trumpet notis. Drums notis. Horn notis. Perkusijas notis. Klavieru notis. Trombonu notis. Uzlabots.

Oriģināls

Jeru by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For big band. 1 Clarinet, 1 Alto Saxophone, 2 Tenor Saxophones, 1 Baritone Saxophone, 3 Trumpets, 2 Horns in F. Alternate Parts included. Trumpet 4 and Trombone 4. , 3 Trombones, Guitar, Piano, Bass, Drums. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8418. Background. The period from 1948-9 was a time of experimenting and discovering for the young Gerald Mulligan. Encouraged by Gil Evans to move to New York, Mulligan not only became a mainstay at Evans 55th Street apartment, but acquired a mentor in Evans, who encouraged Mulligan by getting him work writing for the Claude Thornhill Orchestra. Mulligan was one of the group of musicians who developed and wrote for what would become the Miles Davis Nonet. Except for Venus De Milo, Mulligan not only arranged his own compositions for the small ensemble, but wrote versions of them for big bands led by Thornhill or fellow Philadelphian Elliot Lawrence. Thornhill clearly liked Mulligans music. his band was still playing it in the late 1950s. The Music. The original score for Jeru was unavailable for reference. in fact, the Mulligan estate obtained copies of the parts from a 'friend' who wanted to do Mulligan a favor. several Thornhill arrangements were loaned out for a concert and never returned. copies of these circulated underground for years. I wrote out a score from these parts that I donated to the estate. In preparing this edition, I consulted the original parts anew as if Id never prepared the earlier score. One of the key issues to be dealt with was Mulligans use of chord names. He had shared with me that he was not writing vertically during the period in question, but horizontally. When writing chord names for the rhythm instruments, he was not as clear about alterations to chords as he would be years later. Jeru is pure counterpoint, and Mulligans chord names are either simplified or substitutions that did not represent the harmony accurately. The chord names in this publication have been extensively reviewed and corrected. When Jerome Klinkowitz wrote about Jeru in his book Listen. Gerry Mulligan An Aural Narrative in Jazz. N.Y., Schirmer Books, 1991. , he criticized the form of the arrangement based on Thornhills 1953 recording for Trend Records. What he did not know was that two cuts were made for time purposes. bars 103-4. the first ending of Letter K. , and then from 107-117. As a result, his conclusions are inaccurate. This reinforces yet again the importance of seeking out first-hand sources when writing about a composers music, in this case the original score and. or parts. Alternate parts have been added so that this arrangement may be played by a standard big band with 4 trumpets and 4 trombones. 4th trumpet and trombone parts are alternates for horns 1 and 2. However, we encourage you to play this arrangement as-written without those alternate parts. Notes to the Conductor. As stated above, Mulligan was writing by line and not thinking in chordal structures and chord names in 1948-9. he certainly was not boxed in by them. I suggest that you play or sing through each instrumental line, and then play them against the other pitches to observe the shapes of the lines, and then to see how they fit in with everything else. Like Evans music from the same period, there are numerous examples of subtle dissonances or grinds which go by so fast that the listener is hardly aware of them. Mulligan was particularly concerned with the proper tempos of his pieces. The big band version of Jeru was recorded in New York while he was on the west coast, but he never objected to it as he would other performances. recordings of his music. Please do not rush the piece. let it flow easily. Please note that on the recording, there is a conga playing in the rhythm section. A part for this instrument was never written by Mulligan, and it should not be added for authenticity. Jeffrey Sultanof Note. The sound sample is courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio.

Tulkojums

Jeru Claude Thornhill. Edited by Jeffrey Sultanof. Organizēja Gerry Mulligan. Par bigbenda. 1 klarnete, 1 alta saksofons, 2 Tenor saksofoni, 1 Baritons saksofons, 3 trompetes, 2 Horns F. Aizstājējus Parts iekļauti. Trompete 4 un trombonu 4. , 3 tromboniem, ģitāra, klavieres, bass, bungas. Šūpoles. Grūti. Pilna partitūra un komplekts daļām. Publicējusi Jazz Lines publikāciju. JL.JLP-8418. Fons. Posms 1948-9 bija laiks eksperimentēt un atklāt jaunajai Gerald Mulligan. Iedrošina Gil Evans pārcelties uz Ņujorku, Mulligan ne tikai kļuva galvenais pie Evans 55th Street dzīvokli, bet ieguvis darbaudzinātāju Evans, kurš iedrošināja Mulligan, kļūst viņam strādāt rakstot par Claude Thornhill orķestri. Mulligan bija viens no grupas mūziķiem, kas izstrādātas un rakstīja par to, kas varētu kļūt Miles Davis nonets. Izņemot Venus De Milo, Mulligan organizēta ne tikai savas kompozīcijas mazo ansamblis, bet rakstīja versijas tos bigbendu ar Thornhill vai kolēģi Philadelphian Elliot Lawrence vadīto. Thornhill skaidri patika Mulligans mūzika. viņa grupa vēl bija spēlē to vēlu 1950. Mūzika. Oriģināls lietotāju Jeru bija nepieejami atsauces. Patiesībā, Mulligan īpašums iegūts kopijas daļu no "draugs", kas vēlējās to darīt Mulligan par labu. vairāki Thornhill pasākumi tika aizdots par koncertu un nekad atpakaļ. kopijas šo izplatīto pazemē gadiem. Man izrakstīja score no šīm daļām, kas es ziedoti īpašumu. Sagatavojot šo izdevumu, es apspriedās oriģinālo detaļu no jauna, it kā Id nekad sagatavoja iepriekšējo rezultātu. Viens no galvenajiem jautājumiem, kas jārisina, bija Mulligans izmantošana akordu nosaukumus. Viņš dalījās ar mani, ka viņš nav rakstiski vertikāli laika periodā, bet horizontāli. Rakstot akordu nosaukumus no ritma instrumentu, viņš nav tik skaidrs, par to grozījumus akordiem kā viņš būtu gadiem. Jeru ir tīra kontrapunkts, un Mulligans akordu nosaukumus ir vai nu vienkāršota, vai aizstāšanu, kas nav pārstāv harmoniju precīzi. Šā akordu nosaukumus šajā publikācijā ir plaši pārskatīta un koriģēta. Kad Jerome Klinkowitz rakstīja par Jeru savā grāmatā Listen. Gerry Mulligan Aural Narrative Jazz. N.Y., Schirmer Books, 1991. Viņš kritizēja veidu vienošanās, pamatojoties uz Thornhills 1953 ierakstīšanu Trend Records. Ko viņš nezināja bija tā, ka divi samazinājumi ir veikti laika vajadzībām. bāri 103-4. pirmais beigas vēstule K. , Un pēc tam 107-117. Tā rezultātā, viņa secinājumi ir neprecīzi. Tas pastiprina atkal nozīmi, meklējot pirmās puses avotiem, rakstot par komponistu mūziku, šajā gadījumā sākotnējais rezultāts un. vai to daļas. Alternate daļas ir pievienots tā, ka šāda kārtība var spēlēt ar standarta bigbenda ar 4 trompetes un 4 tromboniem. 4th trompete un trombons daļas ir vietniekus attiecībā uz ragiem 1 un 2. Tomēr, mēs aicinām jūs spēlēt šo režīmu, kā uzrakstīts bez tiem aizstājējus daļām. Piezīmes diriģents. Kā minēts iepriekš, Mulligan rakstīja ar līniju un nevis domāt chordal struktūrās un akordu nosaukumus 1948-9. viņš, protams, nav liekami ar tiem. Es iesaku jums spēlēt vai dziedāt katrā instrumentālā līniju, un pēc tam atskaņot tos pret citiem piķi ievērot formas līnijas, un tad redzēt, kā tie saskanētu ar visu pārējo. Piemēram, Evans mūziku no tajā pašā laika posmā, ir vairāki piemēri, smalks dissonances vai grinds, kas iet tik ātri, ka klausītājs ir maz informēti par tiem. Mulligan bija īpaši saistīts ar pareizu tempos viņa gabaliem. Big Band versija Jeru tika ierakstīts Ņujorkā, kamēr viņš bija uz rietumu krastā, bet viņš nekad nav iebildis pret to, kā viņš būtu citas izrādes. ieraksti savu mūziku. Lūdzu, nav jāsteidzas gabalu. ļaujiet tai plūst viegli. Lūdzu, ņemiet vērā, ka uz ierakstu, ir Conga spēlē ritma sadaļā. Daļa par šo instrumentu nekad bija raksta Mulligan, un tas nedrīkst pievienot autentiskumu. Jeffrey Sultanof Note. Skaņa paraugs ir pieklājīgi no Manhetenas mūzikas skolā koncerts Jazz Band, Justin DiCioccio veica.