Notna sveska $60.00
Izvornik
That's All Right. John Fedchock. Advanced.
Prijevod
To je u redu. John Fedchock. Napredan.
Izvornik
That's All Right arranged by John Fedchock. For big band. Level. medium difficult. Score and parts. Published by Walrus Music Publishing. WA.55299. Though primarily Latin, the groove here also has funk roots. Even though the drummer should stress downbeats using the cross-stick figure, rhythms in the ensemble suggest a 2-3 clave that should be observed by the pianist, guitarist, and bassist in their comping. Rhythms similar to the opening, 2-bar figure could be used effectively. It is important for the rhythm section to make the most of the punctuations at the end of each opening, 8-bar phrase. mm. 12,20,28 &37. to propel the ensemble into the next section. The drummer especially needs to "catch" these without sacrificing energy or momentum. Unison lines at mm. 21 and 29 should be played at a moderate volume with relatively smooth articulation so the trombone punctuations will create a more striking contrast. Trombones must understand when their figures should be more out-front as a lead voice. mm. 12,20,28,31,36. as opposed to when they're supplying backgrounds. mm. 13,22-25. Individual efforts are necessary to make mm. 91-92 effective. In the pairings of two to three horns, the descending rhythmic unison will lose dramatic intensity without strong, accented contributions from each group. The figure itself should fit precisely with the rhythm section's punctuation. After a strong ensemble chorus, m. 204 has a dramatic subito piano, bringing the volume way down before the long, gradual build-up through m. 208 and ultimately to a very loud m. 220. The more that is made of these dynamic changes, the more effective the finish. Medium advanced.
Prijevod
To je u redu uređen John Fedchock. Za big band. Nivo. srednje teško. Rezultat i dijelovi. Objavio morž Music Publishing. WA.55299. Iako primarno latinski, utor ovdje ima funk korijene. Iako bubnjar treba naglasiti downbeats pomoću cross-stick lik, ritmovi u ansamblu predložiti 2-3 clave koje treba promatrati po pijanist, gitarist i basist u svom Comping. Ritmovi slične otvaranje, 2-bar brojka mogla biti učinkovito koristiti. To je važno za ritam sekcija da bi većina interpunkcije na kraju svakog otvaranja, 8-bar frazu. mm. 12,20,28. tjerati ansambl u sljedećem poglavlju. Bubnjar posebno treba uhvatiti to bez žrtvovanja energije ili zamah. Jednoglasje linije u mm. 21 i 29 bi trebao biti predstavljen na umjerenoj glasnoći s relativno glatkom artikulacije pa trombon točkasta će stvoriti više upečatljiv kontrast. Trombones mora razumjeti kada njihovi likovi trebali biti out-front kao vodeći glas. mm. 12,20,28,31,36. za razliku od kada su opskrbljuju podrijetla. mm. 13,22-25. Pojedinačni napori su potrebni da bi mm. 91-92 snazi. U uparivanja od dva do tri roga, spušta ritmičke Jednoglasje će izgubiti dramatičan intenzitet bez jakih, s naglaskom doprinosa iz svake skupine. Sama brojka trebala stati upravo u ritmu sekciji je interpunkcija. Nakon snažnog ansambl zbor, m. 204 ima dramatičan subito klavir, čime je volumen put prije nego dugi, postupnog nagomilavanja putem M. 208 i na kraju se vrlo glasno m. 220. Više da je od tih dinamičnih promjena, učinkovitiji finiš. Srednja napredovao.
