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Izvornik

Joost At The Roost. Claude Thornhill. Guitar sheet music. B-Flat Trumpet sheet music. Horn sheet music. Trombone sheet music. Advanced.

Prijevod

Joost Na rukovoditi. Claude Thornhill. Gitara note. B-Stan Truba note. Horn note. Trombon note. Napredan.

Izvornik

Joost At The Roost by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For big band. 2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 3 Trumpets. a 4th Trumpet part is included that is an alternate for Horn 1. , 2 Horns in F. see alternates. , 2 Trombones. a 3rd Trombone part is included that is an alternate for Horn 2. , Guitar, P. Written for Claude Thornhill. Swing. Difficult. Score and parts. Published by Jazz Lines Publications. JL.JLP-8125. From the notes by Jeffrey Sultanof. Background. The period from 1948-49 was a period of tremendous growth for Gerry Mulligan. Living in New York City right in the thick of modern jazz pioneers and innovators, Mulligan was encouraged and mentored by Gil Evans, who got him work writing for Claude Thornhill. Mulligan was also writing for fellow Philadelphian Elliot Lawrence, whom he'd worked with before he joined Gene Krupa in 1946. Mulligan became one of the main architects of the Miles Davis Nonet, contributing several arrangements and compositions to the ensemble. The Music. Joost at the Roost was written for both the nonet and the Thornhill big band. The score for the nonet is lost, but all of the parts exist and were the basis for the publication of this composition in the folio of nonet music published by Hal Leonard in 2000. A newly edited and corrected version was published by Jazzlines Publications in 2010. The big band score is dated October 20, 1948. Whereas the nonet version is fairly straightforward as a vehicle for solos. although the out-chorus has some similarities with the Thornhill version. , the big band version is an ambitious composition that combines Mulligans continued exploration of contrapuntal ensemble writing and use of time-signature changes as in Jeru. But what is striking is that as early as 1948, Mulligan shows in this score that he had already formulated a concept to turn the big band into an extended small group, with linear give-and-take as in his small group with Chet Baker, and a lighter ensemble approach to orchestration. In fact, it was the only score from this era to be included in the Concert Jazz Band book twelve years later, the two French horn parts transposed to create a third trombone part. It was recorded for Verve Records in July, 1961, but was never issued and apparently rejected. the master no longer exists. Notes to the Conductor. When I was preparing the initial nonet publication of Joost at the Roost, Gerry Mulligan had already passed away, and he and I never had an opportunity to discuss this piece. Id never even heard of it before. There was no tempo listing anywhere, and I decided to contact bassist Bill Crow, who'd recorded the piece with the Concert Jazz Band. Bill came back with a tempo of quarter note 144. When the Dutch Jazz Orchestra recorded Joost on their 2008 CD Moon Dreams. Rediscovered Music of Gil Evans and Gerry Mulligan. Challenge. the tempo was a bit faster than this. Although it must be said that the tempos on this CD are faster than the Thornhill recordings, this is not meant as a criticism. These performances are excellent and offer a different view of this music. With the knowledge that Mulligan generally did not like his music played very fast, the director must decide how he. she hears this music and can then select a tempo. Between the time changes and the two-beat triplets, realizing a relaxed performance of this piece can be a challenge. Rehearsal at a slow tempo after letter H is recommended so that everything falls into place and the piece sounds spontaneous.

Prijevod

Joost Na rukovoditi Claude Thornhill. Uredio Jeffrey Sultanof. Raspored po Gerry Mulligan. Za big band. 2 Alto saksofona, 2 Tenor saksofoni, bariton saksofon, 3 Trube. 4. Truba dio je uključena da se izmjenjuju za Horn 1. , 2 rogovi u F. vidi izmjenjujete. , 2 trombona. 3. Trombon dio je uključena da se izmjenjuju za Horn 2.. , Gitara, P. Napisao za Claude Thornhill. Zamah. Težak. Rezultat i dijelovi. Objavljeno prema jazz Lines Publikacije. JL.JLP-8125. Iz bilješki Jeffrey Sultanof. Pozadina. Razdoblje 1948-49 je razdoblje golemog rasta za Gerry Mulligan. Živjeti u New Yorku pravo u središtu suvremenih jazz pionira i inovatora, Mulligan je ohrabrio i mentorstvom Gil Evans, koji je dobio ga je napisati za Claude Thornhill. Mulligan također pisao za kolege Philadelphian Elliot Lovre, kojemu je radio prije nego što je sa pridružio Gene Krupa 1946. Mulligan je postao jedan od glavnih arhitekata Miles Davis Nonet, pridonoseći nekoliko aranžmane i skladbe s ansamblom. Glazba. Joost na Roost je napisana i za noneta i thornhill big band. Ocjenu za noneta je izgubila, ali svi dijelovi postoje i bili osnova za objavu ovog sastava u portfelju od Nonet glazbe objavio Hal Leonard 2000. Nedavno uredio i ispravljena verzija je objavio Jazzlines Publikacije u 2010. Big band rezultat se od 20. listopada 1948. Dok nonet verzija je prilično jednostavan kao sredstvo za solo. Iako izvan zbor ima neke sličnosti s thornhill verziji. , Big band verzija je ambiciozan sastav koji kombinira Mulligans nastavio istraživanje kontrapunktskih ansambla pisanja i korištenja promjene vremena potpisa kao u Jeru. No, ono što je začuđujuće je kako je od 1948 Mulligan pokazuje u ovom ocjenom da je već formulirao koncept za uključivanje veliki orkestar u produženom maloj skupini, s linearno dati-i-uzeti kao u svojoj maloj skupini s Chet Baker, i lakši ansambl pristup orkestracije. U stvari, to je bio jedini rezultat iz tog doba koji će biti uključeni u Koncertnoj Jazz Band knjige dvanaest godina poslije, dva francuski rog dijelovi prenesena stvoriti treću trombon dio. To je bio snimljen za Verve Records u srpnju 1961, ali nikada nije bio izdan i očito odbačena. majstor više ne postoji. Bilješke uz dirigenta. Kad sam se pripremao početni Nonet objavljivanje Joost na kokošinjac, Gerry Mulligan već preminuo, a on i ja nikada nisam imao priliku razgovarati o ovaj komad. Id nikada nije ni čuo za njega prije. Nije bilo tempo pjesama nigdje, i odlučio sam se obratiti basist Bill Crow, koji ga je snimio komad s koncertom Jazz Band. Bill se vratio s tempom četvrtinka 144. Kad je nizozemski Jazz orkestar snimio Joost na svojim 2008 CD Moon Dreams. Ponovno otkriti Glazba Gil Evans i Gerry Mulligan. Izazov. Tempo je bio malo brži od ovoga. Iako treba reći da se tempo na ovom CD-u su brže od Thornhill snimke, to nije značilo kao kritika. Ti nastupi su izvrsni i ponuditi drugačiji pogled na tu vrstu glazbe. Sa znanjem da Mulligan općenito ne voli njegova glazba igrao vrlo brzo, ravnatelj mora odlučiti koliko je. čuje tu glazbu, a zatim možete odabrati tempo. Između vremenskih promjena i dva pobijediti trojke, shvativši opuštenu izvedbu ovog djela može biti izazov. Proba na sporim tempom nakon slovom H preporuča da sve padne na svoje mjesto i komad zvuči spontano.