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Izvornik

Autumn In New York. Charlie Parker. Voice sheet music. Guitar sheet music. Alto Saxophone sheet music. B-Flat Trumpet sheet music. Drums sheet music. Harp sheet music. Percussion sheet music. Piano sheet music. Trombone sheet music. Advanced.

Prijevod

Jesen u New Yorku. Charlie Parker. Glas note. Gitara note. Alt saksofon note. B-Stan Truba note. Bubnjevi note. Harp note. Udaraljke note. Piano note. Trombon note. Napredan.

Izvornik

Autumn In New York by Charlie Parker. Edited by Jeffrey Sultanof. Arranged by Unknown. For orchestra with strings. Solo Alto Saxophone. or vocal. , 2 Flutes. both double clarinet. , 2 Clarinets. both double bass clarinet. , 1 Oboe. doubles clarinet. , 4 Trumpets, 4 Trombones, 3 Violins, 2 Violas, 2 Celli, Harp, Guitar, Piano, Bass, Drums. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8016. Background. The hit side of the January, 1952 recording date. the tape boxes are not marked. , Autumn in New York, was one of the biggest hits written by composer Vernon Duke. Duke led a double life. as Vladimir Dukelsky, he composed concert music, including a ballet commissioned by Serge Diagalev of the Ballet Russe. The Rite of Spring was another Diagalev commission. As Duke. a name suggested by his friend George Gershwin. , he wrote many wonderful songs for shows that were not very successful. His music has had a resurgence of interest in recent years, with many new recordings of his scores and individual songs. The Music. Thanks to the rediscovery of the original scores and parts of the Bird with strings arrangements, we now know that Joe Lippman did not arrange Autumn in New York. The handwriting on the score is totally different from scores where Lippman's name is on the title page, and there is no name to be found on Autumn. Based on the amount of copy errors on the parts of 'Temptation,' it is clear that this recording date was prepared in a hurry, and obviously Lippman could not finish all four scores scheduled. So a 'ghost' was hired to write this score. Ghosting became very common among arrangers when radio networks. stations throughout the country grouped together by organizations such as the Columbia Broadcasting System. CBS. and the National Broadcasting Company. NBC. were formed in the late 1920s. With the amount of local and national programming broadcast every day that demanded many pages of music to be played live, staff arrangers who got into a bind made a phone call to one or several other arrangers to get the job done. During the big band era, Horace Henderson completed arrangements for Benny Goodman that were credited to his brother Fletcher. After the war, the recording and television industries provided work for hundreds of arrangers from coast to coast, and there was more than enough activity to keep them busy. No one cared about getting credits on record labels or album covers, the arrangers just wanted the work. In New York, Marion Evans, Billy Byers, Neal Hefti, Don Costa and a few other arrangers lived within several blocks of each other in the west 70s, and it was not uncommon for one arranger to call another one to finish an arrangement while four or five copyists sat in an apartment and cranked out parts for a date that would begin twenty minutes from the arrival of the 'ghost. ' Whoever wrote Autumn in New York for Parker was clearly a 'commercial' writer, and this is not meant in a negative way. But there is not a saxophone besides Parker to be heard, and the bulk of the arrangement features the strings, although there are two 'written' solos played by trumpet and trombone. The arrangement is a straightforward setting that works beautifully and is not terribly difficult. One instrumentation note. this arrangement reminds us that it was easy to get top musicians in New York when an arranger could write three reed parts that call for bass clarinet. Notes to the Conductor. This arrangement is a perfect introduction for a jazz ensemble combined with a string section. Rarely do high school and college string players have opportunities to play popular music of this quality because it is simply not available, a situation that we at Jazz Lines Publications are slowly rectifying. Every musician must hear the rhythm section, particularly the drums so that all players can be in synchronization. The reason this arrangement makes such a good first 'chart' for orchestra is that issues such as playing behind the beat and intonation between strings and winds are minimized. Dynamics are pretty much as indicated by the arranger. There were instances where triple-p was written on the manuscript, which is totally impractical for live performance. Proper balance between the woodwinds and strings is crucial, as the winds can be easily buried. Amplification of the instruments may help, or the dynamics may have to be altered depending on your performance space. This was recorded in 1952 and is presented here directly from the original manuscript. This is NOT a transcription. However, everything Parker played on this recording has been transcribed and presented here as-played, though we have also included. in a separate staff. what was originally written for him. So, this arrangement can certainly be played without the need to mimic Bird. This chart was scored for solo alto sax, 2 altos. both double flute. , 2 tenors. both double clarinet and bass clarinet. , baritone sax. doubles clarinet. , 3 trumpets, 2 trombones, 4 violins, 2 violas, 2 celli, harp, guitar, piano, bass, and drums. The brass parts have been augmented to 4 trumpets and 4 trombones. In addition, this may be used as a vocal arrangement. Key of Eb.

Prijevod

Jesen u New Yorku Charlie Parker. Uredio Jeffrey Sultanof. Raspored po Nepoznato. Za orkestar s nizovima. Solo Alto Saxophone. ili vokal. , 2 flaute. i dvaput klarinet. , 2 klarineta. i kontrabas klarinet. , 1 obou. parovi klarinet. , 4 Trube, 4 trombona, 3 violine, 2 viole, 2 Celli, harfa, gitara, klavir, bas, bubnjevi. Zamah. Težak. Cijeli rezultat i set dijelova. Objavljeno prema jazz Lines Publikacije. JL.JLP-8016. Pozadina. Strana hit od siječnja 1952 datum snimanja. magnetskih polja nisu označene. , Jesen u New Yorku, bio je jedan od najvećih hitova koje je napisao skladatelj Vernon Duke. Duke je vodio dvostruki život. kao Vladimir Dukelsky, skladao je koncertnu glazbu, uključujući balet naručio Serge Diagalev Baleta Russe. Posvećenje proljeća bio je još jedan Diagalev povjerenstvo. Kao Duke. Ime je predložio njegov prijatelj George Gershwin. , Napisao je mnogo prekrasnih pjesama za pokazuje da nisu bili vrlo uspješni. Njegova glazba je imao oživljavanja interesa u posljednjih nekoliko godina, s mnogim novim snimkama njegovih partitura i pojedine pjesme. Glazba. Zahvaljujući ponovnom otkrivanju izvorniku i dijelovima Bird uz određene dogovore, sada znamo da je Joe Lippman nije sredila Jesen u New Yorku. Rukopis na rezultat je potpuno drugačiji od zabija gdje Lippman ime je na naslovnoj stranici, a nema ime koje se nalaze na jesen. Na temelju iznosa od kopiranja pogreške na dijelove "Temptation", jasno je da je ovaj datum snimanja pripremljen je u žurbi, i očito Lippman nije mogla završiti sve četiri zgoditka na rasporedu. Dakle, 'duh' je angažirao da napiše ovu ocjenu. Ghosting postala vrlo uobičajena među aranžeri kada radijskih mreža. postajama diljem zemlje grupirane po organizacijama poput Columbia Broadcasting System. CBS. i National Broadcasting Company. Nacionalna komunikaciona mreža. formirali su se u kasnim 1920-ih. Uz iznos od lokalnog i nacionalnog programiranja emisiji svaki dan koji je zahtijevao mnoge stranice glazbu koja svira uživo, osoblje aranžeri koji je dobio u svezati Na telefonski poziv na jedan ili nekoliko drugih aranžera da biste dobili posao ispunjavanja. Tijekom big band ere, Horace Henderson završio aranžmane za Benny Goodman koja su pripisana bratom Fletcher. Nakon rata, snimanje i televizijske industrije osigurao posao za stotine aranžeri od obale do obale, a bilo je i više nego dovoljno aktivnosti kako bi ih zauzet. Nitko nije mario za dobivanje kredita na izdavačkih kuća ili naslovnice albuma, aranžeri su samo htjeli raditi. U New Yorku, Marion Evans, Billy Byers, Neal Hefti, Don Costa i nekoliko drugih aranžeri živio u roku nekoliko blokova međusobno u zapadnim 70-ih, i to nije neuobičajeno za jednog aranžera nazvati još jednom završiti dogovor dok je četvero ili pet prepisivači sjedio u stanu i savijene iz dijelova za datum koji će početi dvadeset minuta od dolaska na 'duha. 'Tko je napisao Jesen u New Yorku za Parker je očito' komercijalna 'pisca, a to se ne misli na negativan način. No, tu nije saksofon osim Parkera da se čuje, i većina aranžmana ima konce, iako postoje dvije 'pisani' solo glumi trube i trombona. Aranžman je jednostavan postavka koja lijepo radi i nije strašno teško. Jedan instrumentacije note. ovaj aranžman nas podsjeća da je lako dobiti vrhunske glazbenike u New Yorku kada je aranžer mogla napisati tri Reed dijelove koji zahtijevaju bas klarinet. Bilješke uz dirigenta. Ovaj dogovor je savršen uvod za jazz ansambl u kombinaciji s gudački. Rijetko srednju školu i koledž gudači imati prilike igrati popularnu glazbu ove kvalitete, jer to jednostavno nije dostupna, situacija da smo na jazz Lines Publikacije polako ispravljati. Svaki glazbenik mora čuti ritam sekcija, posebno bubnjeve, tako da svi igrači mogu biti u sinkronizaciji. Razlog ovaj aranžman čini tako dobar prvi 'shema' za orkestar je da su pitanja kao što svira iza tukao i intonacije između žice i vjetrova minimiziran. Dinamika su prilično mnogo na što ukazuju i aranžera. Bilo je slučajeva gdje je triple-p je pisana na rukopisu, koji je potpuno nepraktično za nastup. Odgovarajuća ravnoteža između puhačke instrumente i gudače je presudno, jer su vjetrovi mogu lako biti pokopan. Pojačanje od instrumenata može pomoći, odnosno dinamike možda će se morati mijenjati, ovisno o vašem izvedbenog prostora. To je zabilježeno u 1952 i ovdje predstavljena izravno iz izvornog rukopisa. Ovo nije transkripcija. Međutim, sve što je Parker igrao na ovom snimanju je prepisao i predstavio ovdje igrao, ali mi također imaju uključene. u zasebnom osoblja. ono što je izvorno napisan za njega. Dakle, ovaj aranžman sigurno mogu igrati bez potrebe za oponašati ptica. Ova karta je zabio za solo alt saksofon, 2 Altos. i dvostruka flauta. , 2 tenora. i dvaput klarinet i bas klarinet. , Bariton saksofon. parovi klarinet. , 3 trube, dva trombona, 4 violine, viole 2, 2 Celli, harfa, gitara, klavir, bas i bubnjevi. U mjedeni dijelovi su uvećane za 4 trube i 4 trombones. Osim toga, to se može koristiti kao vokalnim raspored. Ključ Eb.