活页乐谱 $75.00

原文

Robbins' Nest. B-Flat Trumpet sheet music. Bass Trombone sheet music. Horn sheet music. Tuba sheet music. Advanced.

译文

罗宾斯'鸟巢. 降B大调小号乐谱. 低音长号乐谱. 喇叭乐谱. 图拔乐谱. 先进.

原文

Robbins' Nest by The Claude Thornhill Orchestra. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For big band. 2 Alto Saxophones. both double clarinet. , 2 Tenor Saxophones. tenor saxophone 2 doubles bass clarinet. , 1 Baritone Saxophone, 3 Trumpets, 2 Horns in F. alternate parts included - 4th trumpet and 3rd trombone. , 2 Trombones, 1 Tuba. or bass trombone. , Guita. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8097. Background. Some of the most well-known arrangements of modern jazz from the mid-1940s. commonly called bebop, although most of the musicians playing the music disliked the term. were written for the Claude Thornhill Orchestra by its musical director, Gil Evans. Robbins Nest, while not strictly a bebop line, nevertheless remains popular with jazz musicians, and Evans setting of it is one more classic in post-war big band music. For many years, Evans music was at the top of pretty much any band directors wish list as music they wanted their students to play and study. We are delighted to make this music available in the best possible editions. The Music. Robbins Nest was written by tenor saxophonist Illinois Jacquet and pianist Sir Charles Thompson, and they recorded the piece in May of 1947. Lyrics were added by Bob Russell, and this version is known as Just When Were Falling In Love. The piece was subsequently recorded by many artists, including the orchestras of Claude Thornhill and Count Basie. Another version was waxed by the excellent Sam Donahue Orchestra, and this record was as close to a hit as Donahue had. Donahue was still playing it on the road with his orchestra ten years later. Robbins Nest was named after the radio program of the same name hosted by well-known media personality Fred Robbins. 1919-1992. in New York City, heard on various stations over the years. Robbins was all over radio and television as a variety show and quiz show host, actor, and writer. In 1947, he was primarily known as a modern jazz DJ, and the newest records were heard on his program. Please note that this arrangement was recorded for Columbia Records and for radio transcriptions. The Columbia recording has a cut from bars 60-66 because of time. all transcriptions are complete and are easy to find on CD. Notes to the Conductor. If I were asked to name a piece where it seemed like the ensemble was going to explode but never does, I would immediately think of this arrangement. The Thornhill Orchestra was known as an ensemble that featured extreme contrasts in dynamics, from very soft to loud. Thornhill gave interviews about how he admired the Glenn Miller Orchestra for its dynamic control, and how he sought to imitate it. Although there are some sections of Robbins Nest that are moderately loud to very loud, the key to the success of this arrangement is softness. the ability to play very relaxed yet softly at the same time, which is seldom asked for in the music many big bands study and play today. This is the perfect piece to practice such an approach. Additionally, some of the voicings are highly dissonant and demand perfect intonation. Grinds of half-steps against each other. F# against G natural, Db against C, often in the same instruments. are an Evans trademark in all his music, from Thornhill to the classic Miles Davis albums Miles Ahead and Porgy and Bess. he even asks for quarter tones in the trombones in some settings. , and musicians must get used to them, even though they may have encountered them previously in the music of Maria Schneider and Bob Brookmeyer. Here they are used in a popular music vein vs. composition. I have resisted the temptation to put excessive articulation in the parts, as Ive found that in doing so, it can tend to be exaggerated in performance. Evans music must be played many times so that musicians get every last nuance he put into it, and in doing so, you and the band will find your way toward a performance that everyone will be comfortable playing and hearing. Jeffrey Sultanof -February 2010 Note. The sound sample is courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio.

译文

罗宾斯“巢由克劳德特霍西尔乐团. 由Jeffrey Sultanof编辑. 由吉尔埃文斯安排. 对于大乐队. 2中音萨克斯風. 两个双单簧管. ，2次中音萨克斯風. 中音萨克斯2倍增低音单簧管. ，1男中音萨克斯，小号3，2角F中. 备用零部件包括 - 第4小号和长号三. ，2长号，大号1. 或低音长号. ，弹唱曲集. 摇摆. 难. 全部分数和组零件. 发布者：Jazz线出版物. JL.JLP-8097. 背景. 一些现代爵士乐，从1940年代中期最知名的安排. 通常被称为波普，虽然大多数音乐家演奏的音乐不喜欢这个词. 其音乐总监，吉尔埃文斯的克劳德·特霍西尔乐团写. 罗宾斯巢，而不是严格意义上的波普线，但仍然流行与爵士乐音乐家，和它的埃文斯设置是在战后的大乐队的音乐多一个经典. 多年以来，埃文斯音乐是在相当多的音乐，他们希望自己的学生玩耍和学习的任何频段董事的愿望清单的顶部. 我们很高兴能够使这种音乐在提供最好的版本. 音乐. 罗宾斯巢被写了男高音萨克斯手伊利诺伊雅凯和钢琴家查尔斯·汤普森爵士，他们记录了1947年的作品五月. 歌词是由鲍勃·拉塞尔补充，而这个版本被称为只是当已经坠入了爱河. 这件作品后来被许多艺术家，包括克劳德·特霍西尔的乐团和贝西伯爵记录. 另一个版本是由优秀的山姆多纳休乐团打蜡，这是创纪录的接近一个打击，因为多纳休了. 多纳休还在玩它的道路上与他的乐队十年后. 罗宾斯巢被命名为同一个名字的由著名媒体人弗雷德·罗宾斯主持的电台节目后. 1919-1992. 在纽约市，听取了各站历年. 罗宾斯一切都结束了电台和电视台的综艺节目和问答节目主持人，演员和作家. 1947年，他主要是被称为现代爵士乐的DJ，和最新的记录是听到他的节目. 请注意，记录这个安排，哥伦比亚唱片公司和电台改编. 哥伦比亚记录有从酒吧60-66因为时间的切. 所有改编都是完整的，很容易找到光盘上。附注导体. 如果我被要求说出了一块地方好像合奏要爆炸，但从来不会，我马上会想到这样的安排，. 该特霍西尔乐团被称为是在动态特色极端对比的合奏，从很软到响亮. 特霍西尔采访了他如何钦佩的格伦·米勒乐团为它的动态控制，以及他如何试图模仿它. 虽然有罗宾斯巢的某些部分是适度大声很大声，关键看这个安排的成功是柔软. 在同一时间，这是很少在音乐很多大牌乐队学习和玩耍今天问打得很轻松而柔和的能力. 这是实践这一方法的完美的作品. 此外，某些声部的高度不和谐，要求完美的语调. 研的半步骤反目成仇. F# against G natural, Db against C, often in the same instruments. 是一个商标埃文斯在他所有的音乐，从特霍西尔经典Miles Davis的专辑远胜和波吉与贝丝. 他甚至要求在长号季调的一些设置. 和音乐家必须习惯他们，即使他们可能以前在玛丽亚施耐德和Bob Brookmeyer的音乐他们遇到. 在这里，他们是在一个流行音乐的静脉与使用. 组成. 我一直抗拒的诱惑，把过多的衔接部分，如香港专业教育学院发现，在这样做时，它往往能在性能被夸大. 埃文斯的音乐必须被打了很多次，让音乐家们得到他投入了每一个最后的细微差别，并在这样做，你和乐队会找到自己的方式走向表现，每个人都将是舒适的在玩和讯. 杰弗里Sultanof ​​- 2010年2月注. 声音样本是礼貌音乐的音乐会爵士乐队的曼哈顿学院，由Justin DiCioccio进行.