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Izvornik
Anthropology. Claude Thornhill. Advanced.
Prijevod
Antropologija. Claude Thornhill. Napredan.
Izvornik
Anthropology by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For big band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8123. Background. Before World War II, the Claude Thornhill Orchestra's popularity was as a 'sweet' band. With the integrated sound of clarinets, saxes, trumpets, French horns, trombones and rhythm section playing under the leader's virtuosic piano solos, and the arrangements of the leader, Gil Evans and some others, the band made some beautiful recordings and was fairly successful. After a short stint in the Navy, Thornhill laid low for awhile until he put his band back together in 1946. This ensemble would become legendary as composer. arranger Gil Evans' personal workshop, as Thornhill virtually gave the band to him to do as he pleased. While Evans understood that this was still an ensemble that played popular music. and Evans certainly wrote his share of dreamy, lovely ballads and medleys. , he not only gave writing opportunities to Gerry Mulligan. whom Evans mentored after the saxophonist. arranger left Gene Krupa. and George Russell. who was starting to formulate what would be his Lydian Chromatic Concept. , but Evans explored the new world of modern jazz called 'bebop. ' The results were the legendary trilogy of settings for Anthropology, Donna Lee, and Yardbird Suite. Most of the Thornhill musicians had little experience playing the new music, so Evans taught it to them. Thornhill was not pleased by these pieces and they were not played when he was on the stand, although he recorded the first two titles a few times. Thornhill and Evans parted musical company in early 1948, and later that year, Mulligan, Russell, Johnny Mandel, John Carisi and John Lewis joined with Gil to create a smaller ensemble that would sound like the Thornhill band. Thus was born the Miles Davis Nonet. The Music. Anthropology was written by Charlie Parker and Dizzy Gillespie. Evans arranged the line in 1947, and it was recorded for Columbia Records and for radio transcriptions. The instrumentation calls for 5 saxophones doubling clarinet, 3 trumpets, 2 trombones, 2 French horns, tuba, guitar, piano, bass, and drums. For this publication, the French horn and tuba parts alternately may be played by a 4th trumpet and trombones 3 and 4 as follows. French horn 1 Trumpet 4 French horn 2 Trombone 3 Tuba Trombone 4 Conductors are strongly urged not to double these parts. if you have both French horns and Tuba, do not use the trumpet and trombone parts. As with Yardbird Suite, Evans notated swing rhythms as dotted-eighth & sixteenth, not two eighths. This figure has been changed in this publication to two eighths for ease of reading. Bars 129 to 141 were later extracted and re-orchestrated for what was probably an experiment by Evans to test out different ways of scoring these bars for the Miles Davis Nonet. Though the parts have the name Anthropology written at the top, the piece is not quoted directly. These bars were later used as a theme for the two extant broadcasts of the Nonet from the Royal Roost. Notes to the Conductor. The first time I heard this treatment of the Parker. Gillespie line, I laughed because Evans used one of the trademark colors of the Thornhill ensemble. clarinets, alto saxes and cup-muted trumpets. and applied it for a modern jazz theme. This would have been the last group of instruments that most arrangers would use on such a theme, but as Miles Davis said, "That's Gil for you. " This arrangement simply doesn't work when played slower than quarter note 200, so the altos, clarinets and trumpets not only have to practice their parts to play the music smoothly, but should practice together to get the best blend possible. As you know, unisons are often problematic when instrumental color and wide melodic contours are present, and are additionally challenging given that the clarinets are in the key of A, and the alto saxes in E. From bar 105 through bar 141, the ensemble has a huge challenge. to play the figures together without dragging and to maintain accurate intonation in the concert key of G Major. Sectional rehearsals with this section played VERY slowly at first are a must. If you have any interest in performing music from any of the Davis. Evans settings for Columbia Records, this is an example of the many minefields that are present. think of Springsville from Miles Ahead. Also observe the subtle use of dynamics as indicated by Evans. As I have experienced with my students ensembles, mastery of this difficult music is cause for celebration, and the more you play it, the more relaxed it will sound. -Jeffrey Sultanof. Editor. Note. The sound sample is courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio.
Prijevod
Antropologija Claude Thornhill. Uredio Jeffrey Sultanof. Raspored po Gil Evans. Za big band. Zamah. Težak. Cijeli rezultat i set dijelova. Objavljeno prema jazz Lines Publikacije. JL.JLP-8123. Pozadina. Prije Drugog svjetskog rata, Claude thornhill orkestra popularnost je kao 'slatko' bend. S integriranim zvukom klarineta, saxes, trube, francuskih rogova, trombones i ritam sekcije igra pod vođe virtuozni solo glasovir, te aranžmanima voditelja, Gil Evans i nekim drugima, bend je napravio neke lijepe snimke i bio je prilično uspješan. Nakon kratkog ograničenje u mornarici, Thornhill položili niska za neko vrijeme dok je on stavio svoj bend ponovno zajedno u 1946. Ovaj ansambl će postati legendarni kao skladatelj. aranžer Gil Evans 'osobne radionicu, kao Thornhill praktički dao bend s njim raditi što je htio. Dok Evans shvatio da je to još uvijek ansambl koji je svirao popularnu glazbu. i Evans sigurno pisao svoj udio u sanjive, lijep balade i medleys. , On ne samo da je dao pismeno mogućnosti za Gerry Mulligan. koga Evans mentorstvom nakon saksofonist. aranžer napustio Gene Krupa. i George Russell. koji je počeo formulirati što će biti njegov lidijsko kromatska Concept. , Ali Evans je istraživao novi svijet modernog jazza pod nazivom 'bebop. "Rezultati su bili legendarni trilogija postavke za antropologiju, Donna Lee, i Yardbird Suite. Većina thornhill glazbenici nisu imali iskustvo igranja na novu glazbu, pa Evans ga je učio na njih. Thornhill nije bio zadovoljan ovim komadima i oni nisu igrali kad je on bio na postolju, ali on je snimio prva dva naslova nekoliko puta. Thornhill i Evans rastali glazbeni tvrtka početkom 1948, i kasnije te godine, Mulligan, Russell, Johnny Mandel, John Carisi i John Lewis pridružili Gil stvoriti manji ansambl koji će zvučati kao thornhill bend. Tako je rođen Milesa Davisa Nonet. Glazba. Antropologija je napisao Charlie Parker i Dizzy Gillespie. Evans uređen liniju 1947, i to je bio snimljen za Columbia Records i za radio prijepisa. Instrumentacije poziva za 5 saksofona udvostručenje klarinet, 3 trube, 2 trombones, 2 francuskih rogova, tuba, gitara, klavir, bas i bubnjevi. Na ovoj publikaciji, francuski rog i Tuba dijelovi naizmjence može se igrao po četvrti trube i trombones 3 i 4, na sljedeći. Francuski rog 1 Truba 4 francuski rog 2 Trombon 3 Tuba trombon 4 Dirigenti su snažno pozvao da ne udvostruči te dijelove. Ako imate i francuskih rogova i tuba, ne koristite trubu i trombon dijelove. Kao i kod Yardbird Suite, Evans notated ljuljačka ritmove kao nižu osminu. Ova brojka je promijenjen u ovoj publikaciji se dva osmine za lakšeg čitanja. Barovi 129-141 kasnije su izvađeni i re-orkestrirane za ono što je vjerojatno bio eksperiment by Evans isprobati različite načine bodovanje tih barova za Miles Davis Nonet. Iako su dijelovi imaju ime Antropologija pisani na vrhu, komad ne kotira izravno. Ove barovi su kasnije koristiti kao temu za dva sačuvanim emisijama Nonet iz Royal Roost. Bilješke uz dirigenta. Prvi put sam čuo da je taj postupak u Parker. Gillespie linija, nasmijala sam se jer je Evans koristi jednu od boja zaštitni znak ansambla thornhill. klarineta, Alto saxes i cup-isključen trube. te ga primjenjuje za modernu jazz temu. To bi bila posljednja skupina instrumenata koji većina aranžeri će koristiti na takvoj temi, ali kao što su Miles Davis je rekao, "To je Gil za vas. "Ovaj dogovor jednostavno ne funkcionira kada je igrao sporiji od četvrtinka 200, pa su Altos, klarineta i trube ne samo da moraju vježbati svoje dijelove svirati glazbu glatko, ali treba vježbati zajedno kako bi dobili najbolju moguću mješavinu. Kao što znate, unisons često problematično kada su prisutni instrumentalne boje i široke melodijske konture, a dodatno komplicirano, s obzirom da su klarineta su u ključu A, a alto saxes u E. Od 105 bara kroz bar 141, ansambl je ogroman izazov. igrati figure zajedno bez da povučete i održavati točne intonaciju u koncertnoj ključu G-duru. Sekcijska probe s ovom dijelu igrali vrlo sporo u početku su mora. Ako imate bilo kakvih interesa u obavljanju glazbu s bilo koje od Davisa. Evans postavke za Columbia Records, ovo je primjer brojnih minskih polja koje su prisutne. sjetiti Springsville od milja ispred. Također promatrati suptilno korištenje dinamike kao što je navedeno od strane Evans. Kao što sam doživjela sa svojim studentima ansambala, vladanje ovom teškom glazbe je razlog za slavlje, a više ga igrati, opušteniji će zvuk. -Jeffrey Sultanof. Urednik. Bilješka. Zvuk Uzorak je ljubaznošću na Manhattan School of Music koncertnih Jazz Band, provedena Justin DiCioccio.
