Partiture $55.00
Originalno
Red With Blue Accents. Bert Ligon. Trombone sheet music. Trumpet sheet music.
Prevod
Red Z Modri naglasi. Bert Ligon. Pozavna note. Trobenta note.
Originalno
Red With Blue Accents composed by Bert Ligon. For jazz ensemble. solos for trombone and trumpet. This edition. Trumpet range to D6. Blues, Waltz, Latin, Jazz, Swing, Medium. Level 5. Score and set of parts. Published by UNC Jazz Press. NC.700. Level V. This is what you get when you mix blues with a Latin feel. The fast waltz begins and ends in 4. 4, yet feels just right. Trombone and trumpet play the line in octaves. Two choruses of ensemble build to a rhythmically exciting kick off to the trombone solo. The ensemble returns as a transition to the trumpet solo. The band metrically modulates to a slower 4. 4 as a change of pace from the fast 3. 4 and shifts back to the fast waltz in the middle of the trumpet solo. Then, the band overlaps the last trumpet solo and returns to the original theme. The two soloists trade eights at the end before a climax in 4. A final chord is like an afterglow, hangover heat remaining after the burning chart. 8 Brass.
Prevod
Red in Blue Poudarki sestavljene Bert Ligon. Za jazz ansambel. solo za pozavno in trobento. Ta izdaja. Trobenta območje za D6. Blues, Waltz, Latin, Jazz, swing, Medium. Stopnja 5. Rezultat in nastavite delov. Izdala UNC Jazz Press. NC.700. V. stopnja. To je tisto, kar dobiš, ko mix blues z latinskim občutek. Hitri valček se začne in konča v 4. 4, ki še čuti ravno prav. Pozavna in trobenta igrajo črto v oktavah. Dva zbora iz ansambla graditi na ritmično razburljivo pravkar začela s pozavno solo. Ansambel vrača kot prehod na trobento solo. Skupina metrično modulira na počasnejši 4. 4 kot spremembo hitrosti od hitro 3. 4 in preklopi nazaj na hitro valčka sredi trobento solo. Nato trak prekriva zadnjo trobento solo in se vrne na prvotno temo. Dva solista trgovino osmice na koncu pred vrhuncem v 4. Končni tetiva je kot svetloba že, mačka toplote, ki ostane po gorečega grafikonu. 8 Brass.
