Notis $50.00

Oriģināls

Rocker. Guitar sheet music. Alto Saxophone sheet music. Cello sheet music. Drums sheet music. Harp sheet music. Oboe sheet music. Percussion sheet music. Piano sheet music. Viola sheet music. Violin sheet music. Advanced.

Tulkojums

Šūpuļzirgs. Ģitāra notis. Alta saksofons notis. Čells notis. Drums notis. Arfa notis. Oboja notis. Perkusijas notis. Klavieru notis. Viola notis. Vijole notis. Uzlabots.

Oriģināls

Rocker by Charlie Parker With Strings. Edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For studio ensemble featuring alto saxophone. Alto Saxophone, Oboe, 3 Violins, Viola, Cello, Harp, Guitar, Piano, Bass, Drums. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8011. Excerpted from the edition's notes by Jeffrey Sultanof. Background. Charlie Parker with Strings, an album arranged by Jimmy Carroll. Caruana. that Parker recorded in November, 1949 with a small string orchestra, oboe and rhythm section was a major success. A second album with arrangements by Joe Lipman was recorded in the summer of 1950, and soon after, Parker was performing these arrangements in public. Along with the arrangements recorded, additional pieces were written by Carroll, Lipman, legendary arranger Jimmy Mundy. veteran of the Goodman, Shaw, James, Basie and several other top big bands. and Gerry Mulligan. Parker first met Mulligan in Gerry's home town of Philadelphia when Mulligan was still a teen. Both participated in the same concert at the Academy of Music where Parker's group included Dizzy Gillespie and Sarah Vaughan. Mulligan was playing tenor sax at the time. Parker invited Gerry to join him at a post-concert jam session, the young musician believing that he was a guest. Parker handed Mulligan the tenor and told him to play. Scared to death, Mulligan did his best. Even though Mulligan's saxophone playing was not as developed as his arranging ability at the time, Parker was kind and encouraging. They next met at Gil Evans' 55th Street apartment, where musicians of all types were invited to crash anytime they wanted. Parker came to sleep and to listen to the concert music Evans was borrowing from the library. By that time, Mulligan was well established as a major compositional voice in the new jazz, and would be one of the main architects of the Miles Davis Nonet. By 1950, many musicians were scuffling, so the commission from Parker was most welcome. This was probably Mulligan's first experience writing for strings, oboe, harp and rhythm section. It is an adequate job given the nature of the tune, consisting of a rhythmic figure that is repeated throughout and then 'footballs'. half notes and whole notes. Mulligan was to write a second arrangement for the same ensemble, but it was never finished. The Music. Mulligan originally wrote Rock Salt in March of 1950 for the Miles Davis Nonet, scored it for Parker and strings, and for the Elliot Lawrence Orchestra. The nonet recording is well-known, coming from the last recording session of that ensemble. Lawrence recorded an album of Mulligan arrangements in 1954 that included Rock Salt when the saxophonist was on the west coast, but Mulligan was displeased with the tempo of that recording. The Parker with Strings version comes from a live performance of the ensemble at Carnegie Hall. The sources for this publication are the actual parts in Mulligan's hand, except for the bass part, which is in an unidentified hand. It is clear that these parts were copied quickly in that there were many shortcuts taken. We have included additional parts so that this arrangement can be played without strings. Here is a schedule of the alternate parts. OBOE. Guitar or Clarinet VIOLIN A. Alto Sax 2 VIOLIN B. Alto Sax 3 VIOLIN C. Tenor Sax 1 or Trumpet VIOLA. Tenor Sax 2 of Trumpet CELLO. Baritone Sax or Trombone Charlie Parker did a live performance at Carnegie Hall on September 17, 1950 with a similar group performing some of the tunes that he had previously recorded. The musicians that night included. Tommy Mace on Oboe. Ted Blume, Sam Caplan, and Stan Karpenia on violins. Dave Uchitel on Viola. unknown cello. Wallace McManus on harp. Al Haig on piano. Tommy Potter on bass. and Roy Haynes on drums. This is a great arrangement featuring interesting counterpoint and fresh-sounding harmonies clealy influenced by Tchaikovsky and Bartok. Gerry Mulligan, only 23 at the time, but already famous from his work with Claude Thornhill and Miles Davis. he did most of the arrangements for Birth of the Cool. , put together a hip-sounding string arrangement based on his original composition. We have used the original manuscript as a basis for this publication. Though, we did transcribe Charlie Parker's part and the beginning piano solo and they are presented here as-played. But, in a separate staff we also indicated what was written for him so that your alto player has a choice in what to play. We have marked this as difficult due to the demands of the alto part. assuming it is performed as Parker played it. But, other than that it is not a difficult arrangement. Chord changes have been supplied for the alto solo - the solo section is 'I Got Rhythm' changes in concert C. This publication features some of the most important bebop playing and influential arranging of the 20th century. NOTE. This is part of our Charlie Parker with Strings series of arrangements.

Tulkojums

Rocker ar Charlie Parker ar saitītēm. Edited by Jeffrey Sultanof. Organizēja Gerry Mulligan. Par studijas ansamblis attēloti alta saksofonam. Alta saksofons, oboja, 3 vijoles, alts, čells, Arfa, ģitāra, klavieres, bass, bungas. Šūpoles. Grūti. Pilna partitūra un komplekts daļām. Publicējusi Jazz Lines publikāciju. JL.JLP-8011. Fragments no izdevuma instrukcijā Jeffrey Sultanof. Fons. Charlie Parker ar stīgām, albuma organizētajā Jimmy Carroll. Caruana. ka Parker reģistrēta novembrī, 1949 ar nelielu stīgu orķestrim, obojai un ritma sekcija bija liels panākums. Otrais albums ar pasākumiem, ko Joe Lipmans bija vērojams vasarā 1950, un drīz pēc tam, Parker bija Veicot šos pasākumus, valsts. Kopā ar noteiktajai kārtībai, papildu darbiem tika rakstīti ar Carroll, Lipman, leģendārā aranžētājs Jimmy Mundy. veterāns Goodman, Shaw, James, Basie un vairākas citas augstas bigbendu. un Gerry Mulligan. Parker pirmo reizi tikās Mulligan ar Gerry mītnes pilsētā Philadelphia kad Mulligan vēl bija teen. Gan piedalījās vienā koncertā Mūzikas akadēmijā, kur Parker grupā iekļauto Dizzy Gillespie Sarah Vaughan. Mulligan spēlēja tenors saksofons laikā. Parker aicināti Gerry pievienoties viņam pie post-koncerta jam session, jaunais mūziķis ticēt, ka viņš bija viesi. Parker pasniedza Mulligan tenors, un teica, lai viņš spēlētu. Nobijies līdz nāvei, Mulligan bija viņa labākais. Pat ja Mulligan ir saksofona spēlē nebija tik attīstīta kā viņa organizē spēju laikā, Parker bija laipna un uzmundrinoši. Tie nākamā tikās Gil Evans "55 Street dzīvoklī, kur mūziķi visu veidu tika aicināti crash jebkurā laikā viņi gribēja. Parker nāca gulēt un klausīties koncertu mūzikas Evans bija aizņēmumi no bibliotēkas. Līdz tam laikam, Mulligan ir labi izveidota kā galveno kompozīcijas balss jaunā džeza, un tas būs viens no galvenajiem arhitektiem Miles Davis nonets. Līdz 1950, daudzi mūziķi tika scuffling, tāpēc komisija no Parker bija ļoti apsveicami. Tas bija iespējams, Mulligan pirmā pieredze rakstiski virknes, obojai, arfai un ritma sadaļu. Tas ir pietiekams darbs, ņemot vērā raksturu melodija, kas sastāv no ritmiskajai skaitlis, kas tiek atkārtots visu, un pēc tam "futbols". half piezīmes un veselas piezīmes. Mulligan bija uzrakstīt otru vienošanos par to pašu ansambli, bet tā arī netika pabeigta. Mūzika. Mulligan sākotnēji rakstīja Rock Sāls martā 1950 par Miles Davis nonets, ieguva to Parker un stīgām, kā arī par Elliot Lawrence orķestri. Nonets ieraksts ir labi zināms, kas nāk no pēdējo ierakstu sesiju šī ansambļa. Lawrence ieraksta albumu Mulligan vienošanos 1954, kas ietver akmens sāls, kad saksofonists bija uz rietumu krastā, bet Mulligan bija neapmierināts ar tempu šī ieraksta. Parker ar stīgām versija nāk no dzīvās performances ansambļa pie Carnegie Hall. Par šīs publikācijas avoti ir faktiskās detaļas Mulligan roku, izņemot bass puses, kas ir neidentificēti rokā. Ir skaidrs, ka šīs detaļas tika kopētas ātri, ka tur bija daudz īsceļus veiktie. Mēs esam iekļauti papildu elementi, lai šī vienošanās var spēlēt bez stīgām. Šeit ir grafiks aizstājēju daļām. OBOE. Ģitāra vai Klarnete VIOLIN. Alto Sax 2 VIOLIN B. Alto Sax 3 VIOLIN C. Tenor Sax 1 vai Trumpet VIOLA. Tenor Sax 2 Trumpet čellu. Baritons Sax vai trombonu Charlie Parker bija dzīvot sniegumu Carnegie Hall 17.septembrī 1950.gadā ar līdzīgu grupu, kas veic kādu no melodijas, ka viņš iepriekš bija reģistrētas. Mūziķi, ka nakts iekļauti. Tommy Mace par obojai. Ted Blume, Sam Caplan, un Stan Karpenia uz vijoles. Dave Uchitel par Viola. nezināms čells. Wallace McManus uz arfas. Al Haig pie klavierēm. Tommy Potter basģitāra. un Roy Haynes pie bungām. Šī ir lieliska vienošanās attēloti interesantu kontrapunkts un svaigu skan harmonijas clealy ko ietekmē Čaikovska un Bartoka. Gerry Mulligan, tikai 23 tajā laikā, bet jau slavens no viņa darbu ar Claude Thornhill un Miles Davis. viņš lielāko daļu no pasākumiem, lai Piedzimšanas Cool. , Kopā ar hip-skan stīgu vienošanos, pamatojoties uz savu sākotnējo sastāvu. Mēs izmantojām oriģinālo manuskriptu par pamatu šīs publikācijas. Lai gan mēs neesam pārveidot Charlie Parker daļu un sākās klavieru solo, un tie ir šeit, jo spēlēja. Bet atsevišķā personāla, mēs arī norādīja, kas bija rakstīts par viņu, lai jūsu alta spēlētājs var izvēlēties, ko spēlēt. Esam atzīmējuši to kā grūti, jo ar prasībām alta daļas. pieņemot, ka tas tiek veikts kā Parker spēlēja tā. , Bet, izņemot, ka tas nav grūti veidojums. Tie ir piegādāti akordu izmaiņas par alta solo - solo sadaļa ir "I Got Rhythm" izmaiņas koncerts C. Šī publikācija ietver dažus no svarīgākajiem bebop spēļu un ietekmīgu organizē 20.gs.. PIEZĪME. Tā ir daļa no mūsu Charlie Parker ar stīgām virkni vienošanos.