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Originalno

Jeru. Claude Thornhill. Guitar sheet music. B-Flat Trumpet sheet music. Drums sheet music. Horn sheet music. Percussion sheet music. Piano sheet music. Trombone sheet music. Advanced.

Prevod

Jeru. Claude Thornhill. Kitara note. Trobenta notno B-Flat. Bobni note. Horn note. Tolkala note. Klavir note. Pozavna note. Napredno.

Originalno

Jeru by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For big band. 1 Clarinet, 1 Alto Saxophone, 2 Tenor Saxophones, 1 Baritone Saxophone, 3 Trumpets, 2 Horns in F. Alternate Parts included. Trumpet 4 and Trombone 4. , 3 Trombones, Guitar, Piano, Bass, Drums. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8418. Background. The period from 1948-9 was a time of experimenting and discovering for the young Gerald Mulligan. Encouraged by Gil Evans to move to New York, Mulligan not only became a mainstay at Evans 55th Street apartment, but acquired a mentor in Evans, who encouraged Mulligan by getting him work writing for the Claude Thornhill Orchestra. Mulligan was one of the group of musicians who developed and wrote for what would become the Miles Davis Nonet. Except for Venus De Milo, Mulligan not only arranged his own compositions for the small ensemble, but wrote versions of them for big bands led by Thornhill or fellow Philadelphian Elliot Lawrence. Thornhill clearly liked Mulligans music. his band was still playing it in the late 1950s. The Music. The original score for Jeru was unavailable for reference. in fact, the Mulligan estate obtained copies of the parts from a 'friend' who wanted to do Mulligan a favor. several Thornhill arrangements were loaned out for a concert and never returned. copies of these circulated underground for years. I wrote out a score from these parts that I donated to the estate. In preparing this edition, I consulted the original parts anew as if Id never prepared the earlier score. One of the key issues to be dealt with was Mulligans use of chord names. He had shared with me that he was not writing vertically during the period in question, but horizontally. When writing chord names for the rhythm instruments, he was not as clear about alterations to chords as he would be years later. Jeru is pure counterpoint, and Mulligans chord names are either simplified or substitutions that did not represent the harmony accurately. The chord names in this publication have been extensively reviewed and corrected. When Jerome Klinkowitz wrote about Jeru in his book Listen. Gerry Mulligan An Aural Narrative in Jazz. N.Y., Schirmer Books, 1991. , he criticized the form of the arrangement based on Thornhills 1953 recording for Trend Records. What he did not know was that two cuts were made for time purposes. bars 103-4. the first ending of Letter K. , and then from 107-117. As a result, his conclusions are inaccurate. This reinforces yet again the importance of seeking out first-hand sources when writing about a composers music, in this case the original score and. or parts. Alternate parts have been added so that this arrangement may be played by a standard big band with 4 trumpets and 4 trombones. 4th trumpet and trombone parts are alternates for horns 1 and 2. However, we encourage you to play this arrangement as-written without those alternate parts. Notes to the Conductor. As stated above, Mulligan was writing by line and not thinking in chordal structures and chord names in 1948-9. he certainly was not boxed in by them. I suggest that you play or sing through each instrumental line, and then play them against the other pitches to observe the shapes of the lines, and then to see how they fit in with everything else. Like Evans music from the same period, there are numerous examples of subtle dissonances or grinds which go by so fast that the listener is hardly aware of them. Mulligan was particularly concerned with the proper tempos of his pieces. The big band version of Jeru was recorded in New York while he was on the west coast, but he never objected to it as he would other performances. recordings of his music. Please do not rush the piece. let it flow easily. Please note that on the recording, there is a conga playing in the rhythm section. A part for this instrument was never written by Mulligan, and it should not be added for authenticity. Jeffrey Sultanof Note. The sound sample is courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio.

Prevod

Jeru Claude Thornhill. Uredil Jeffrey Sultanof. Urejene po Gerry Mulligan. Za big band. 1 klarinet, altovski saksofon 1, 2 Tenor saksofoni, 1. bariton saksofon, 3 trobente, 2 roga v F. Nadomestni deli, vključeni. Trobenta in pozavna 4 4. , 3 pozavne, kitara, klavir, bas, bobni. Swing. Težko. Polna rezultat in sklop delov. Izdala Jazz Lines publikacije. JL.JLP-8418. Ozadje. Obdobje 1948-9 je bil čas eksperimentiranje in odkrivanje za mlade Gerald Mulligan. Gil Evans spodbujati prehod v New Yorku, Mulligan je postala ne samo temelj na Evans 55. Street stanovanju, vendar pridobila mentorja v Evans, ki je spodbujal Mulliganu ga dobili mu delo pisanje za Thornhill orkestra Claude. Mulligan je bila ena skupina glasbenikov, ki so razvili in napisal, kaj bi postal Miles Davis Nonet. Razen Venus de Milo, Mulligan urejeni ne le z lastnimi skladbami za majhno zasedbo, ampak napisal različice njimi za big bandov, ki jih Thornhill ali kolegi Philadelphian Elliot Lovrenca pod vodstvom. Thornhill očitno všeč Mulligans glasbe. njegov bend je še vedno igral v poznih 1950. Glasba. Prvotni rezultat za Jeru ni bil na voljo za referenco. v resnici, Mulligan estate dobiti kopije delov iz "prijatelja", ki je želel narediti Mulligan uslugo. več ureditev Thornhill so posodil za koncert in se nikoli niso vrnili. kopije teh, ki kroži pod zemljo let. Sem napisal rezultat iz teh krajev, ki sem podaril posestvo. Pri pripravi te izdaje, sem se posvetoval originalne dele na novo, kot če Id nikoli pripravljen prejšnjo oceno. Eno od ključnih vprašanj, ki se jih obravnava je bila Mulligans uporaba tetiva imen. Imel je deliti z mano, da mu ni bilo pisno navpično v zadevnem obdobju, vendar vodoravno. Pri pisanju imen akordov za instrumente ritma, ni bil tako jasen, o spremembah, akordov, kot bi moral biti let pozneje. Jeru je čisto nasprotje, in imena tetiva Mulligans so bodisi poenostavljene ali zamenjave, ki ne predstavljajo harmonijo natančno. Imena tetiva v tej publikaciji, so bili v veliki meri pregledajo in popravijo. Ko Jerome Klinkowitz pisal o Jeru v svoji knjigi Poslušaj. Gerry Mulligan Slišna Narrative v Jazz. NY, Schirmer Books, 1991. Je kritiziral obliko ureditve, ki temelji na Thornhills 1953 snemanje za Trend Records. Kaj ni vedel, je bil, da sta bili dve kosi narejena za namene časovnih. palice 103-4. Prvi konec Letter K. , Nato pa 107-117. Kot rezultat, njegovi sklepi so netočni. To krepi še enkrat pomen iskanju prve roke vire pri pisanju o glasbi skladateljev, v tem primeru prvotna ocena in. ali dele. Nadomestni deli so dodali, da se ta dogovor lahko igral s standardno big band s 4 trobente in pozavne 4. 4. trobenta in pozavna deli so namestniki za roge 1 in 2. Vendar pa vam priporočamo, da igrajo to ureditev, kot je napisano brez teh nadomestnih delov. Pojasnila k Dirigent. Kot je navedeno zgoraj, Mulligan pisal po liniji in ne razmišljati v hordalnega struktur in imen tetiva v 1948-9. on zagotovo ni bila pakirana v, ki jih. Predlagam, da igrajo ali pojejo skozi vsako instrumentalne linije, nato pa jih igrajo proti drugim parcel za opazovanje oblike proge, nato pa videli, kako se ujema z vsem ostalim. Tako kot Evans glasbo iz istega obdobja, obstajajo številni primeri subtilne disonance ali zmelje, ki gredo tako hitro, da je poslušalec komajda zaveda njih. Mulligan je še posebej zaskrbljen s pravilnim tempom njegovih kosov. Big Band različica Jeru je bil posnet v New Yorku, ko je bil na zahodni obali, vendar nikoli ni ugovarjal, ko je bi druge prireditve. Posnetki svojo glasbo. Prosim, ne hitite kos. pustite, da teče brez težav. Prosimo, upoštevajte, da se na snemanju, je konge igranje v ritem sekcijo. Del za ta instrument ni bil nikoli napisal Mulligan, in je ni treba dodati pristnosti. Jeffrey Sultanof Note. Zvok vzorec je courtesy of Manhattan School of Music koncert Jazz Band, ki ga Justin DiCioccio izvedla.