活页乐谱 $75.00

原文

Joost At The Roost. Claude Thornhill. Guitar sheet music. B-Flat Trumpet sheet music. Horn sheet music. Trombone sheet music. Advanced.

译文

Joost的在称雄. 克劳德·特霍西尔. 吉他乐谱. 降B大调小号乐谱. 喇叭乐谱. 长号乐谱. 先进.

原文

Joost At The Roost by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For big band. 2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 3 Trumpets. a 4th Trumpet part is included that is an alternate for Horn 1. , 2 Horns in F. see alternates. , 2 Trombones. a 3rd Trombone part is included that is an alternate for Horn 2. , Guitar, P. Written for Claude Thornhill. Swing. Difficult. Score and parts. Published by Jazz Lines Publications. JL.JLP-8125. From the notes by Jeffrey Sultanof. Background. The period from 1948-49 was a period of tremendous growth for Gerry Mulligan. Living in New York City right in the thick of modern jazz pioneers and innovators, Mulligan was encouraged and mentored by Gil Evans, who got him work writing for Claude Thornhill. Mulligan was also writing for fellow Philadelphian Elliot Lawrence, whom he'd worked with before he joined Gene Krupa in 1946. Mulligan became one of the main architects of the Miles Davis Nonet, contributing several arrangements and compositions to the ensemble. The Music. Joost at the Roost was written for both the nonet and the Thornhill big band. The score for the nonet is lost, but all of the parts exist and were the basis for the publication of this composition in the folio of nonet music published by Hal Leonard in 2000. A newly edited and corrected version was published by Jazzlines Publications in 2010. The big band score is dated October 20, 1948. Whereas the nonet version is fairly straightforward as a vehicle for solos. although the out-chorus has some similarities with the Thornhill version. , the big band version is an ambitious composition that combines Mulligans continued exploration of contrapuntal ensemble writing and use of time-signature changes as in Jeru. But what is striking is that as early as 1948, Mulligan shows in this score that he had already formulated a concept to turn the big band into an extended small group, with linear give-and-take as in his small group with Chet Baker, and a lighter ensemble approach to orchestration. In fact, it was the only score from this era to be included in the Concert Jazz Band book twelve years later, the two French horn parts transposed to create a third trombone part. It was recorded for Verve Records in July, 1961, but was never issued and apparently rejected. the master no longer exists. Notes to the Conductor. When I was preparing the initial nonet publication of Joost at the Roost, Gerry Mulligan had already passed away, and he and I never had an opportunity to discuss this piece. Id never even heard of it before. There was no tempo listing anywhere, and I decided to contact bassist Bill Crow, who'd recorded the piece with the Concert Jazz Band. Bill came back with a tempo of quarter note 144. When the Dutch Jazz Orchestra recorded Joost on their 2008 CD Moon Dreams. Rediscovered Music of Gil Evans and Gerry Mulligan. Challenge. the tempo was a bit faster than this. Although it must be said that the tempos on this CD are faster than the Thornhill recordings, this is not meant as a criticism. These performances are excellent and offer a different view of this music. With the knowledge that Mulligan generally did not like his music played very fast, the director must decide how he. she hears this music and can then select a tempo. Between the time changes and the two-beat triplets, realizing a relaxed performance of this piece can be a challenge. Rehearsal at a slow tempo after letter H is recommended so that everything falls into place and the piece sounds spontaneous.

译文

Joost的在克劳德特霍西尔称雄. 由Jeffrey Sultanof编辑. 由格里·穆利根排列. 对于大乐队. 2中音萨克斯風，2次中音萨克斯，上低音萨克斯管，小号3. 第4个喇叭部分包含的是一个备用的号角1. ，2角F中. 看候补. ，2长号. 第三位长号一部分包含在内，它是一个替角2. ，吉他，P. 写给克劳德特霍西尔. 摇摆. 难. 得分和零件. 发布者：Jazz线出版物. JL.JLP-8125. 由杰弗里Sultanof的音符. 背景. 从1948至1949年期间为一个周期格里·穆里根巨大的增长. 住在纽约市在厚厚现代爵士乐的先驱和创新者，穆利根鼓励和指导由吉尔·埃文斯，谁得到他工作的书面克洛德·特霍西尔. 穆里根也写了老乡费城艾略特·劳伦斯，就是他会用工作之前，他加入基因克鲁帕在1946年. 穆里根成为了迈尔斯戴维斯九重的主要设计者之一，贡献几个安排和组合物合奏. 音乐. Joost的在栖息同时为九重态和特霍西尔大乐队写. 比分为九重丢失，但所有零件的存在，是依据在九重音乐由Hal伦纳德在2000年出版的对开本出版这类组合. 新近编辑和修正版本于2010年发布的Jazzlines出版物. 大乐队得分的日期为1948年10月20日. 而九重版本是相当简单的，作​​为独奏车辆. 虽然出合唱与本特霍西尔版本有一些相似之处. ，大乐队版本是结合Mulligans的持续的对位合奏写本新闻时签名的变化，并探索使用作为JERU一个雄心勃勃的组成. 但令人震惊的是，早在1948年，穆里根表示这个分数，他已经制定了一个概念，把大乐队到一个伸出小群，具有线性给予和采取在他的小团体与查特贝克，和一个打火机集成方法编排. 事实上，这是唯一的得分从这个时代被列入音乐会爵士乐队本书十二年后，这两个圆号部分调换到创建第三个部分长号. 它在1961年7月，录得活力纪录，但从未发行，显然拒绝. 主不再存在. 附注导体. 当我准备在称雄初始九重发布的Joost，格里·穆里根已经去世了，他和我从来没有机会讨论这件作品. ID甚至从来没有听说过它. 没有节拍上市的任何位置，我决定联系贝斯手比尔乌鸦，会记录在一块，在音乐会爵士乐队谁. 比尔回来了四分音符144的速度. 当荷兰爵士乐团Joost的记录在其2008年的CD月球的梦想. 吉尔埃文斯和格里·穆利根的重新发现音乐. 挑战. 速度比这个快一点. 但必须说，这CD上的节奏比特霍西尔录音速度更快，这是不是意味着作为一个批评. 这些表现都是优秀的，并提供了不同的看法这种音乐. 与穆利根一般不喜欢他的音乐演奏非常快的知识，该董事必须决定如何，他. 她听到这首音乐，然后可以选择节奏. 之间的时间变化和两拍三胞胎，实现对这个作品的轻松的表现可以是一个挑战. 在彩排字母H后慢节​​奏，建议让一切都属于地方和一块自然的声音.