活页乐谱 $75.00

原文

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.

译文

JERU. 克劳德·特霍西尔. 吉他乐谱. 降B大调小号乐谱. 鼓乐谱. 喇叭乐谱. 锣鼓乐谱. 钢琴乐谱. 长号乐谱. 先进.

原文

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.

译文

JERU由克劳德·特霍西尔. 由Jeffrey Sultanof编辑. 由格里·穆利根排列. 对于大乐队. 1单簧管，1中音萨​​克斯，2次中音萨克斯風，1低音萨克斯管，小号3，2角F中. 包括备用件. 小号4和长号4. ，3长号，吉他，钢琴，贝斯，鼓. 摇摆. 难. 全部分数和组零件. 发布者：Jazz线出版物. JL.JLP-8418. 背景. 从1948-9期间为实验，发现对于年轻的杰拉尔德·穆利根的时间. 由吉尔埃文斯鼓励搬到纽约，穆里根不仅成为中流砥柱在埃文斯第55街的公寓，但获得了导师的埃文斯，谁鼓励穆里根通过让他编写工作的克劳德·特霍西尔乐团. 穆里根是一群谁开发的音乐家之一，并写了什么将成为Miles Davis的九重. 除米罗的维纳斯，穆里根不仅安排他自己的作品为小合奏，但他们写的带领下特霍西尔或同费城艾略特劳伦斯大乐队版本. 特霍西尔显然很喜欢Mulligans的音乐. 他的乐队还在演奏它在20世纪50年代后期. 音乐. 原来的分数JERU是参考不可用. 事实上，穆里根村由一个'朋友'谁想做穆利根帮个忙获得的部分副本. 几个特霍西尔安排贷款了一场音乐会，再也没有回来. 这些流传在地下的年份. 我写了一个分数是从这些地方，我捐赠给房地产. 在准备这一版，我咨询了原来的部位重新仿佛从来没有编号的准备较早得分. 其中一个要处理的关键问题是Mulligans的使用和弦名称. 他曾与我分享他不是垂直于该段期间写的，但水平. 当写作的节奏乐器和弦的名称，他还没有那么清楚改动和弦，因为他以后会是几年. JERU是纯粹的对位，并Mulligans的和弦名称是简化或替换这并不能代表准确的和谐. 本出版物中的和弦名称已被广泛的审查和修正. 当杰罗姆Klinkowitz在他的书中写道：听关于JERU. 格里·穆里根听觉叙事爵士. N.Y.，谱出版社，1991. ，他批评的安排的基础上Thornhills 1953年录制的趋势记录的形式. 什么他不知道的是，两个切口分别为时间目的而制作. 酒吧103-4. 字母K的第一个结局. ，然后从107-117. 其结果是，他的结论是不准确的. 这进一步加强了又一次写关于一个作曲家的音乐时，寻求第一手货源的重要性，在这种情况下，原来的分数和. 或零件. 备用件已被添加，使这种安排可以通过一个标准的大乐队与4喇叭和4长号播放. 第四小号和长号部分是候补角1和2. 但是，我们鼓励你玩这个安排，编写没有那些备用零件. 附注导体. 如上所述，穆里根在写一行，而不是想着在弦结构和和弦的名称在1948-9. 他当然不是由他们在盒装. 我建议你​​玩或唱歌通过每个乐器行，然后发挥他们对其他摊位观察线的形状，然后看看他们如何配合一切. 像埃文斯乐从同一时期，也有细微的不和谐或研磨的流逝如此之快，听者很难知道他们的许多例子. 穆里根特别关心他的作品中适当的节奏. JERU的大乐队版本被记录在纽约，而他是在西海岸，但他从来没有反对过它，因为他会等演出. 他的音乐录音. 请不要急于片. 让它流容易. 请注意，录音，有一个在节奏部分康加一玩. 一部分用于这个仪器是从来没有写由穆里根，并且它不应该被用于添加真伪. 杰弗里Sultanof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.