Partiture $60.00

Originalno

That's All Right. John Fedchock. Advanced.

Prevod

To je All Right. John Fedchock. Napredno.

Originalno

That's All Right arranged by John Fedchock. For big band. Level. medium difficult. Score and parts. Published by Walrus Music Publishing. WA.55299. Though primarily Latin, the groove here also has funk roots. Even though the drummer should stress downbeats using the cross-stick figure, rhythms in the ensemble suggest a 2-3 clave that should be observed by the pianist, guitarist, and bassist in their comping. Rhythms similar to the opening, 2-bar figure could be used effectively. It is important for the rhythm section to make the most of the punctuations at the end of each opening, 8-bar phrase. mm. 12,20,28 &37. to propel the ensemble into the next section. The drummer especially needs to "catch" these without sacrificing energy or momentum. Unison lines at mm. 21 and 29 should be played at a moderate volume with relatively smooth articulation so the trombone punctuations will create a more striking contrast. Trombones must understand when their figures should be more out-front as a lead voice. mm. 12,20,28,31,36. as opposed to when they're supplying backgrounds. mm. 13,22-25. Individual efforts are necessary to make mm. 91-92 effective. In the pairings of two to three horns, the descending rhythmic unison will lose dramatic intensity without strong, accented contributions from each group. The figure itself should fit precisely with the rhythm section's punctuation. After a strong ensemble chorus, m. 204 has a dramatic subito piano, bringing the volume way down before the long, gradual build-up through m. 208 and ultimately to a very loud m. 220. The more that is made of these dynamic changes, the more effective the finish. Medium advanced.

Prevod

To je All Right dogovoru John Fedchock. Za big band. Raven. srednje težko. Rezultat in deli. Izdala mrož Music Publishing. WA.55299. Čeprav je poglavitna Latin, groove tukaj ima tudi funk korenine. Čeprav je treba poudariti, bobnar downbeats z cross-lik, ritmi v ansamblu kažejo 2-3 CLAVE ki jih je treba opazovati, pianist, kitarist in basist v svoji comping. Ritmi podobne odprtine, lahko 2-bar številka se učinkovito uporablja. Pomembno je ritem sekcija, da večina ločila na koncu vsake odprtine, 8 bar frazo. mm. 12,20,28. za poganjanje ansambel v naslednjem poglavju. Bobnar posebej mora ujeti ti brez žrtvovanja energije in gibalne. Unison linij na mm. 21 in 29, je treba igral pri zmerni glasnosti s sorazmerno gladko artikulacije, tako da bo pozavno ločila ustvariti bolj osupljiv kontrast. Pozavne mora razumeti, ko bi njihovi podatki bolj out-spredaj kot vodilni glas. mm. 12,20,28,31,36. za razliko ko oni dobavljajo ozadji. mm. 13,22-25. Posamezne si je treba prizadevati, da bi mm. 91-92 učinkovito. V parov dva do tri rogove, bo padajočo ritmično unison izgubili dramatično intenzivnost brez močnih, naglašenih prispevki iz vsake skupine. Slika sama je treba natančno ujema s ločil ritem sekcijo za. Po močnem ansambel chorus, m. 204 ima velik Subito klavir, s čimer se je glasnost pot navzdol pred dolgim, postopno vzpostavljanje prek m. 208 in na koncu zelo glasno m. 220. Več, da se iz teh dinamičnih sprememb, učinkovitejše konča. Srednje napredni.