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原文

Anthropology. Claude Thornhill. Advanced.

译文

人类学. 克劳德·特霍西尔. 先进.

原文

Anthropology by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For big band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8123. Background. Before World War II, the Claude Thornhill Orchestra's popularity was as a 'sweet' band. With the integrated sound of clarinets, saxes, trumpets, French horns, trombones and rhythm section playing under the leader's virtuosic piano solos, and the arrangements of the leader, Gil Evans and some others, the band made some beautiful recordings and was fairly successful. After a short stint in the Navy, Thornhill laid low for awhile until he put his band back together in 1946. This ensemble would become legendary as composer. arranger Gil Evans' personal workshop, as Thornhill virtually gave the band to him to do as he pleased. While Evans understood that this was still an ensemble that played popular music. and Evans certainly wrote his share of dreamy, lovely ballads and medleys. , he not only gave writing opportunities to Gerry Mulligan. whom Evans mentored after the saxophonist. arranger left Gene Krupa. and George Russell. who was starting to formulate what would be his Lydian Chromatic Concept. , but Evans explored the new world of modern jazz called 'bebop. ' The results were the legendary trilogy of settings for Anthropology, Donna Lee, and Yardbird Suite. Most of the Thornhill musicians had little experience playing the new music, so Evans taught it to them. Thornhill was not pleased by these pieces and they were not played when he was on the stand, although he recorded the first two titles a few times. Thornhill and Evans parted musical company in early 1948, and later that year, Mulligan, Russell, Johnny Mandel, John Carisi and John Lewis joined with Gil to create a smaller ensemble that would sound like the Thornhill band. Thus was born the Miles Davis Nonet. The Music. Anthropology was written by Charlie Parker and Dizzy Gillespie. Evans arranged the line in 1947, and it was recorded for Columbia Records and for radio transcriptions. The instrumentation calls for 5 saxophones doubling clarinet, 3 trumpets, 2 trombones, 2 French horns, tuba, guitar, piano, bass, and drums. For this publication, the French horn and tuba parts alternately may be played by a 4th trumpet and trombones 3 and 4 as follows. French horn 1 Trumpet 4 French horn 2 Trombone 3 Tuba Trombone 4 Conductors are strongly urged not to double these parts. if you have both French horns and Tuba, do not use the trumpet and trombone parts. As with Yardbird Suite, Evans notated swing rhythms as dotted-eighth & sixteenth, not two eighths. This figure has been changed in this publication to two eighths for ease of reading. Bars 129 to 141 were later extracted and re-orchestrated for what was probably an experiment by Evans to test out different ways of scoring these bars for the Miles Davis Nonet. Though the parts have the name Anthropology written at the top, the piece is not quoted directly. These bars were later used as a theme for the two extant broadcasts of the Nonet from the Royal Roost. Notes to the Conductor. The first time I heard this treatment of the Parker. Gillespie line, I laughed because Evans used one of the trademark colors of the Thornhill ensemble. clarinets, alto saxes and cup-muted trumpets. and applied it for a modern jazz theme. This would have been the last group of instruments that most arrangers would use on such a theme, but as Miles Davis said, "That's Gil for you. " This arrangement simply doesn't work when played slower than quarter note 200, so the altos, clarinets and trumpets not only have to practice their parts to play the music smoothly, but should practice together to get the best blend possible. As you know, unisons are often problematic when instrumental color and wide melodic contours are present, and are additionally challenging given that the clarinets are in the key of A, and the alto saxes in E. From bar 105 through bar 141, the ensemble has a huge challenge. to play the figures together without dragging and to maintain accurate intonation in the concert key of G Major. Sectional rehearsals with this section played VERY slowly at first are a must. If you have any interest in performing music from any of the Davis. Evans settings for Columbia Records, this is an example of the many minefields that are present. think of Springsville from Miles Ahead. Also observe the subtle use of dynamics as indicated by Evans. As I have experienced with my students ensembles, mastery of this difficult music is cause for celebration, and the more you play it, the more relaxed it will sound. -Jeffrey Sultanof. Editor. Note. The sound sample is courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio.

译文

人类学由克劳德·特霍西尔. 由Jeffrey Sultanof编辑. 由吉尔埃文斯安排. 对于大乐队. 摇摆. 难. 全部分数和组零件. 发布者：Jazz线出版物. JL.JLP-8123. 背景. 二战之前，克劳德特霍西尔乐团的受欢迎程度是作为一个'甜蜜'乐队. 随着单簧管，萨克斯，小号，法国号，长号和节奏部分下领导者的炫技钢琴独奏演奏和领导者，吉尔埃文斯和一些其他的安排的集成声卡，带做一些漂亮的录音，是相当成功的. 经过短暂的进站海军，特霍西尔低打下了一段时间，直到他把他带回来一起在1946年. 该乐团将成为传说中的那样作曲家. 编曲吉尔埃文斯的个人工作室，作为特霍西尔无形中给了带他去做他高兴. 虽然埃文斯了解，这仍是扮演流行音乐合奏. 和埃文斯肯定写了他的份额梦幻，可爱的歌谣和混合泳. ，他不仅写了机会，格里·穆利根. 其中埃文斯的萨克斯手后辅导. 编曲左基因克鲁帕. 和乔治·罗素. 谁已开始制定这将是他的吕底亚色概念. ，但埃文斯探索新的世界现代爵士乐的所谓的“比波普. “结果是设置为人类学，唐娜·李和YARDBIRD套房传奇三部曲. 大多数特霍西尔音乐家没有什么经验打新音乐，所以埃文斯教给他们. 特霍西尔没有被这些作品高兴，他们都没有打过，当他在支架上，虽然他首次录得两个冠军了几次. 特霍西尔和埃文斯分手的音乐公司在1948年初，和那年晚些时候，穆利根，罗素，约翰尼·曼德尔，约翰Carisi和约翰·刘易斯加入与吉尔创建一个较小的合奏会听起来像特霍西尔带. 于是诞生了Miles Davis的九重. 音乐. 人类学是写的查理帕克和吉莱斯皮. 埃文斯安排在1947年就行了，它被记录为哥伦比亚唱片公司和电台改编. 该仪器要求5翻一番萨克斯单簧管，小号3，2长号，2法国号，大号，吉他，钢琴，贝斯和鼓. 本出版物，圆号和大号交替部分可能是由一个4小号和长号3和4如下出场. 圆号小号1 4圆号2 3长号大号长号4条导线都强烈要求不要双击这些部件. 如果您同时拥有法国号和大号，不使用小号和长号部分. 正如YARDBIRD套房，埃文斯记谱摇摆节奏作为点缀十八. 这个数字已经本出版物中被更改为八分之二为了便于阅读. 酒吧129到141以后被提取并重新策划什么可能是一个实验，埃文斯测试出的得分这些酒吧的迈尔斯戴维斯九重不同的方式. 虽然有部分的名称人类学写在上面，一块不直接引. 这条后来被用来作为一个主题，九重两个现存广播皇家称雄. 附注导体. 我第一次听说这种治疗的帕克. 吉莱斯皮行了，我笑了，因为埃文斯使用的特霍西尔合奏的商标颜色之一. 单簧管，中音萨克斯和杯静音小号. 并将其应用为一体的现代化爵士乐主题. 这本来是最编曲这样的主题会使用工具的最后一组，但迈尔斯·戴维斯说，“这是吉尔为您. “打得比四分音符200慢时，这种安排根本不起作用，所以女低音，单簧管和小号不仅要练习自己的部分流畅地播放音乐，但应该一起练习，以获得最佳可能的交融. 如你所知，unisons往往是有问题的，当仪器的色彩和宽旋律轮廓都存在，并且还具有挑战性鉴于单簧管在A的关键，而中音萨克斯在电子商务. 从酒吧105至141吧，乐团有一个巨大的挑战. 玩数字放在一起不拖，以保持准确的语调G大调的演唱关键. 部分排练本节一开始打的很慢是必须的. 如果您有任何戴维斯的演奏音乐的任何权益. 为哥伦比亚唱片埃文斯设置，这是许多雷区，是目前的一个例子. 想Springsville从远胜. 还观察巧妙运用动力学埃文斯所示. 正如我经历了我的学生乐团，这个困难音乐的掌握是值得庆祝的，并且你越玩越轻松，会发出声音. - 杰弗里Sultanof. 编辑. 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.