Notna sveska $85.00
Izvornik
Arab Dance. Claude Thornhill. Advanced.
Prijevod
Arapska Dance. Claude Thornhill. Napredan.
Izvornik
Arab Dance by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For big band. Reed 1. Clarinet, Reed 2. Clarinet. Doubles Alto Saxophone and Soprano Saxophone. , Reed 3. Clarinet. Doubles Alto Saxophone. , Reed 4. Clarinet. Doubles Alto Saxophone. , Reed 5. Clarinet. Doubles Tenor Saxophone. , Reed 6. Bass Clarinet. Doubles Clarinet an. Swing. Advanced. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8095. Excerpted from the notes by Jeffrey Sultanof. 'Arab Dance' was copyrighted in 1941. It is credited to both Thornhill and Evans, although the manuscript is clearly in Evans hand. The melody comes from a section of Tchaikovsky's 'Nutcracker' ballet, and was long in the public domain when the setting was written. There are minor differences between this arrangement and the arrangement recorded in 1946, particularly the brass figures from bar 211. It was decided to present the arrangement exactly as written in 1941 or 1942, as it is one of the few examples of Evans from this early period. Also please note that due to time constraints, bars 19-43 were cut for the recording. The Thornhill ensemble was based on the premise of a rich ensemble sound backing the warm piano stylings of the leader, although the band played a swing number impressively as well. Evans 'Busters Last Stand' is a good idea of how this band could swing out. Thornhill was a great stickler for precision, intonation and a wide variety of dynamic levels. The bands very soft passages could scare audiences to death, particularly when they built to loud but smooth fortissimos. Even though this arrangement is a pure swing from beginning to end, these same values must be kept in mind to fully realize the challenges of this setting of a re-composition of a classical piece. Except when playing classic big band music from this era, many saxophonists does not get much opportunity to work on their clarinet chops in an ensemble setting. Where once the big band musician mastered both the clarinet and sax, today a saxophonists time is more often spent playing the flute. The Thornhill book needs strong clarinet players to make the music sound properly, so a sectional rehearsal or two is recommended not only to get the clarinets to phrase together and play in tune, but to also get a smooth blend once the ensemble changes to clarinets and saxes. particularly when clarinet 2 switches to soprano sax, one of the rare instances of this saxophone used in an ensemble during this period. The soprano sax part, this can certainly be covered by the clarinet. and in fact, it sounds like the part was played that way on the 1946 recording. This has been published directly from the original manuscript, edited by Jeffrey Sultanof. This master edition comes with complete background and performance notes. This concert arrangement is scored for 7 reeds, 3 trumpets, 2 French horns, 2 trombones, guitar, piano, bass, and drums. See below for complete instrumentation including information on reed doubling. The two French horns have been scored into trumpet 4 and trombone 3 parts, so this piece may be played without them. Approximately 4. 30 in length. Note. The sound sample is courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio.
Prijevod
Arapska Dance Claude Thornhill. Uredio Jeffrey Sultanof. Raspored po Gil Evans. Za big band. Reed 1. Klarinet, Reed 2. Klarinet. Parovi alt saksofon i sopran saksofona. , Reed 3. Klarinet. Parovi Alto Saxophone. , Reed 4. Klarinet. Parovi Alto Saxophone. , Reed 5. Klarinet. Parovi tenor saksofon. , Reed 6. Bas klarinet. Parovi Klarinet. Zamah. Napredan. Cijeli rezultat i set dijelova. Objavljeno prema jazz Lines Publikacije. JL.JLP-8095. Scene iz bilješkama Jeffrey Sultanof. 'Arab Dance "je zaštićen autorskim pravima u 1941. On je zaslužan za oba Thornhill i Evansa, iako je rukopis je očito u Evans ruci. Melodija dolazi iz dijela Čajkovskog 'Orašar' balet, a bio je dugo u javnoj domeni, kada postavka je napisano. Postoji mala razlika između ovog aranžmana i aranžmana zabilježenog u 1946, osobito mjedene figure iz bara 211. Odlučeno je da će predstaviti raspored točno kako piše u 1941 ili 1942, jer je to jedan od rijetkih primjera Evans iz tog ranog razdoblja. Također, imajte na umu da je zbog vremenskih ograničenja, barovi 19-43 su smanjiti za snimanje. Thornhill ansambl temelji na pretpostavci bogatog zvuka ansambla podlozi tople klavir stilove vođe, iako bend je svirao niz swing impresivno kao i. Evans 'Busters Last Stand' je dobra ideja o tome kako je ovaj bend mogao iskočiti. Thornhill je bio veliki pristalica za preciznost, intonaciji i raznih dinamičkih razina. Vrpce su vrlo mekane prolaza mogao preplašiti publiku na smrt, pogotovo kad su izgrađena na glasne, ali glatke fortissimos. Iako je ovaj aranžman je čista Swing od početka do kraja, te iste vrijednosti mora se imati na umu da u potpunosti realizirati izazove ove postavljanje ponovnog sastavu klasičnom komadu. Osim kada igrati klasični big band glazbe iz tog doba, mnogi saksofonisti ne dobivaju priliku za rad na svojim klarinetskim kotlete u ansamblu okruženju. Gdje je nekada veliki bend glazbenik svladao oba klarinet i saksofon, danas saksofonisti vrijeme češće proveo svira flautu. Thornhill knjiga treba jaka klarinetista kako bi glazba zvuči kako treba, tako da presjeka probe ili dva preporuča ne samo da bi dobili klarineti na pojmovno zajedno i igraju u skladu, ali da isto tako dobiti glatku smjesu jednom ansambla promjena klarineta i saxes. osobito kada klarinet 2 prebacuje na sopran saksofonu, jedan od rijetkih slučajeva u ovoj saksofon koristi u ansamblu tijekom tog razdoblja. Sopran sax dio, to svakako može biti pokriven klarinet. i zapravo, to zvuči kao dio je igrao na taj način na snimanje 1946. To je objavljeno izravno iz originalnog rukopisa, uredio Jeffrey Sultanof. Ovaj majstor izdanje dolazi s potpunom podrijetla i učinka bilješke. Ovaj koncert dogovor je postigao 7 trstike, tri trube, 2 francuskog roga, 2 trombones, gitaru, klavir, bas i bubnjevi. Pogledajte dolje za potpuni instrumentacije uključujući informacije o trske udvostručenje. Dva Francuski su rogovi zabio u trube i trombona 4 3 dijela, tako da je ovaj komad može se igrati bez njih. Oko 4. 30 u dužini. Bilješka. Zvuk Uzorak je ljubaznošću na Manhattan School of Music koncertnih Jazz Band, provedena Justin DiCioccio.
