活页乐谱 $50.00

原文

Rocker. Guitar sheet music. Alto Saxophone sheet music. Cello sheet music. Drums sheet music. Harp sheet music. Oboe sheet music. Percussion sheet music. Piano sheet music. Viola sheet music. Violin sheet music. Advanced.

译文

摇杆. 吉他乐谱. 中音萨克斯乐谱. 大提琴乐谱. 鼓乐谱. 竖琴乐谱. 双簧管乐谱. 锣鼓乐谱. 钢琴乐谱. 中提琴乐谱. 小提琴乐谱. 先进.

原文

Rocker by Charlie Parker With Strings. Edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For studio ensemble featuring alto saxophone. Alto Saxophone, Oboe, 3 Violins, Viola, Cello, Harp, Guitar, Piano, Bass, Drums. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8011. Excerpted from the edition's notes by Jeffrey Sultanof. Background. Charlie Parker with Strings, an album arranged by Jimmy Carroll. Caruana. that Parker recorded in November, 1949 with a small string orchestra, oboe and rhythm section was a major success. A second album with arrangements by Joe Lipman was recorded in the summer of 1950, and soon after, Parker was performing these arrangements in public. Along with the arrangements recorded, additional pieces were written by Carroll, Lipman, legendary arranger Jimmy Mundy. veteran of the Goodman, Shaw, James, Basie and several other top big bands. and Gerry Mulligan. Parker first met Mulligan in Gerry's home town of Philadelphia when Mulligan was still a teen. Both participated in the same concert at the Academy of Music where Parker's group included Dizzy Gillespie and Sarah Vaughan. Mulligan was playing tenor sax at the time. Parker invited Gerry to join him at a post-concert jam session, the young musician believing that he was a guest. Parker handed Mulligan the tenor and told him to play. Scared to death, Mulligan did his best. Even though Mulligan's saxophone playing was not as developed as his arranging ability at the time, Parker was kind and encouraging. They next met at Gil Evans' 55th Street apartment, where musicians of all types were invited to crash anytime they wanted. Parker came to sleep and to listen to the concert music Evans was borrowing from the library. By that time, Mulligan was well established as a major compositional voice in the new jazz, and would be one of the main architects of the Miles Davis Nonet. By 1950, many musicians were scuffling, so the commission from Parker was most welcome. This was probably Mulligan's first experience writing for strings, oboe, harp and rhythm section. It is an adequate job given the nature of the tune, consisting of a rhythmic figure that is repeated throughout and then 'footballs'. half notes and whole notes. Mulligan was to write a second arrangement for the same ensemble, but it was never finished. The Music. Mulligan originally wrote Rock Salt in March of 1950 for the Miles Davis Nonet, scored it for Parker and strings, and for the Elliot Lawrence Orchestra. The nonet recording is well-known, coming from the last recording session of that ensemble. Lawrence recorded an album of Mulligan arrangements in 1954 that included Rock Salt when the saxophonist was on the west coast, but Mulligan was displeased with the tempo of that recording. The Parker with Strings version comes from a live performance of the ensemble at Carnegie Hall. The sources for this publication are the actual parts in Mulligan's hand, except for the bass part, which is in an unidentified hand. It is clear that these parts were copied quickly in that there were many shortcuts taken. We have included additional parts so that this arrangement can be played without strings. Here is a schedule of the alternate parts. OBOE. Guitar or Clarinet VIOLIN A. Alto Sax 2 VIOLIN B. Alto Sax 3 VIOLIN C. Tenor Sax 1 or Trumpet VIOLA. Tenor Sax 2 of Trumpet CELLO. Baritone Sax or Trombone Charlie Parker did a live performance at Carnegie Hall on September 17, 1950 with a similar group performing some of the tunes that he had previously recorded. The musicians that night included. Tommy Mace on Oboe. Ted Blume, Sam Caplan, and Stan Karpenia on violins. Dave Uchitel on Viola. unknown cello. Wallace McManus on harp. Al Haig on piano. Tommy Potter on bass. and Roy Haynes on drums. This is a great arrangement featuring interesting counterpoint and fresh-sounding harmonies clealy influenced by Tchaikovsky and Bartok. Gerry Mulligan, only 23 at the time, but already famous from his work with Claude Thornhill and Miles Davis. he did most of the arrangements for Birth of the Cool. , put together a hip-sounding string arrangement based on his original composition. We have used the original manuscript as a basis for this publication. Though, we did transcribe Charlie Parker's part and the beginning piano solo and they are presented here as-played. But, in a separate staff we also indicated what was written for him so that your alto player has a choice in what to play. We have marked this as difficult due to the demands of the alto part. assuming it is performed as Parker played it. But, other than that it is not a difficult arrangement. Chord changes have been supplied for the alto solo - the solo section is 'I Got Rhythm' changes in concert C. This publication features some of the most important bebop playing and influential arranging of the 20th century. NOTE. This is part of our Charlie Parker with Strings series of arrangements.

译文

跷查理帕克字符串. 由Jeffrey Sultanof编辑. 由格里·穆利根排列. 对于工作室合奏为特色中音萨克斯. 中音萨克斯，双簧管，小提琴3，中提琴，大提琴，竖琴，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-8011. 由Jeffrey Sultanof从版的笔记摘录. 背景. 查理帕克与弦乐，安排由吉米·卡罗尔专辑. 卡鲁阿纳. 帕克十一月份，1949年的小弦乐团，双簧管和节奏部分是一大成功. 第二张专辑与安排由乔·李普曼被记录在1950年夏天，不久之后，帕克在公共执行这些安排. 随着记录的安排，额外的块被写了卡罗尔，李普曼，传说中的编曲吉米·芒迪. 古德曼，肖，詹姆斯，贝西伯爵和其他几个顶级大牌乐队的老将. 和Gerry穆里根. 帕克第一次见到穆里根在格里的家乡费城的时候穆利根还是一个十几岁. 既参加了同一个音乐会在音乐学院，其中帕克的研究小组包括吉莱斯皮和萨拉·沃恩. 穆里根在玩高音萨克斯的时候. 帕克邀请格里加入他在音乐会后即兴演奏，年轻的音乐家相信他是一个客人. 帕克交给穆里根的男高音，并告诉他打. 吓死了，穆利根做了他最好. 尽管Mulligan的萨克斯演奏并不如发展为他当时的安排能力，帕克是善意和鼓励的. 他们第二次见面在吉尔埃文斯的第55街的公寓，所有类型的音乐家被邀请随时崩溃，他们希望. 帕克来到睡觉，听音乐会音乐埃文斯从图书馆借. 到那个时候，穆利根被确立为新的爵士乐的主要成分的声音，将是迈尔斯戴维斯九重的主要架构师之一. 到了1950年，许多音乐人都在混战，所以从帕克的佣金是最值得欢迎. 这可能是Mulligan的初体验写作的字符串，双簧管，竖琴和节奏部分. 它被赋予乐曲的性质的适当工作，包括重复的各处，然后'足球'有节奏的身影. 上半年票据及全音符. 穆里根是写在同一乐团第二次的安排，但它永远不会结束. 音乐. 穆里根最初写岩盐在1950年三月的迈尔斯戴维斯九重，其得分为帕克和字符串，并为埃利奥特劳伦斯乐团. 该九重记录是众所周知的，从该乐团的最后记录会话来. 劳伦斯录得穆利根安排在1954年的专辑，其中包括岩盐当萨克斯手是在西海岸，但穆里根是恼怒那记录的速度. 帕克与弦乐的版本来自于乐团在卡内基音乐厅的现场表演. 来源本出版物是实际的零部件在Mulligan的手，除了低音部分，这是一个身份不明的手. 很显然，这些部件是在迅速复制有采取了很多的快捷键. 这里已包括额外的部分，使这种安排可以不用串播放. 这里是备用零件的时间表. OBOE. 吉他或单簧管小提琴. 中音萨克斯2小提琴乙. 中音萨克斯3小提琴ç. 次中音萨克斯1或小号VIOLA. 小号大提琴次中音萨克斯2. 上低音萨克斯或长号查理帕克做了现场表演在卡内基音乐厅于1950年9月17日与执行一些他以前记录的曲调类似组. 包括当晚的音乐家. 汤米锤上双簧管. 特德·布鲁姆，山姆卡普兰和斯坦Karpenia的小提琴. 戴夫乌奇捷利的中提琴. 未知的大提琴. 华莱士麦克马纳斯在竖琴. 铝上海格钢琴. 汤米·波特在低音. 和罗伊·海恩斯在鼓. 这是一个伟大的安排有趣的特色和对位新鲜动听的和声，柴可夫斯基和巴托克clealy影响. 格里·穆里根，只有23的时候，但是从他的工作与克劳德·桑希尔和迈尔斯戴维斯已经成名. 他做了大多数的安排，酷派的诞生. ，放在一起根据他原来的组成髋关节的冠冕堂皇的字符串安排. 我们已经使用了原稿作为本出版物的基础. 不过，我们并抄写查理帕克的一部分，并开始钢琴独奏，他们这里作为播放的. 但是，在一个单独的工作人员，我们也表示什么对他是这么写的你的中音球员有一个选择在玩什么. 我们已经标明这是困难的，由于中音部分的要求. 假设它执行帕克发挥它. 但是，除此之外它不是一个困难的安排. 和弦变化已提供的女低音独唱 - 独奏部分是“我得到了节奏”变化音乐会C.本刊物的一些特点最重要波普的演奏和有影响力的20世纪的安排. 注. 这是我们的查理·帕克与弦乐系列安排的一部分.