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Original tekst

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

Oversættelse

Robbins 'Nest. B-Flat Trumpet noder. Bass Trombone noder. Horn noder. Tuba noder. Avanceret.

Original tekst

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.

Oversættelse

Robbins 'Nest af The Claude Thornhill Orchestra. Redigeret af Jeffrey Sultanof. Arrangeret af Gil Evans. For big band. 2 Alto Saxofoner. både dobbelt klarinet. , 2 Tenor Saxophones. tenor saxofon 2 fordobler basklarinet. , 1 Baryton Saxofon, 3 trompeter, 2 horn i F. alternative dele inkluderet - 4. trompet og 3. trombone. , 2 basuner, 1 tuba. eller bas trombone. , Guita. Swing. Svært. Fuld score og sæt dele. Udgivet af Jazz Lines Publications. JL.JLP-8097. Baggrund. Nogle af de mest kendte arrangementer af moderne jazz fra midten af ​​1940'erne. almindeligvis kaldet bebop, selv om de fleste af de musikere, der spiller musikken ikke lide udtrykket. er skrevet til Claude Thornhill Orchestra ved sin musikalske direktør, Gil Evans. Robbins Nest, mens ikke strengt en bebop linje, ikke desto mindre stadig populær med jazzmusikere, og Evans indstilling af det er en mere klassisk i efterkrigstidens big band musik. For mange år, Evans musik var i toppen af ​​stort set enhver band direktører ønskeseddel som musik, de ønskede deres elever til at spille og studere. Vi er glade for at gøre denne musik til rådighed på de bedst mulige udgaver. The Music. Robbins Nest blev skrevet af tenorsaxofonisten Illinois Jacquet og pianist Sir Charles Thompson, og de indspillede stykke i maj 1947. Lyrics blev tilføjet af Bob Russell, og denne version er kendt som Bare Hvornår blev Falling In Love. Stykket blev efterfølgende indspillet af mange kunstnere, herunder orkestre Claude Thornhill og Count Basie. En anden version blev voksbehandlet af den fremragende Sam Donahue Orchestra, og denne rekord var så tæt på et hit, da Donahue havde. Donahue stadig spiller den på vejen med hans orkester ti år senere. Robbins Nest blev opkaldt efter radioprogrammet af samme navn hostet af kendte medier personlighed Fred Robbins. 1919-1992. i New York, høres på forskellige stationer i årenes løb. Robbins var alle over radio og tv som en sort viser og quiz show vært, skuespiller og forfatter. I 1947 blev han først og fremmest kendt som en moderne jazz dj, og de nyeste optegnelser blev hørt på hans program. Bemærk, at denne ordning blev registreret for Columbia Records, og for radio-transskriptioner. The Columbia optagelse har et snit fra barer 60-66 på grund af tid. alle transskriptioner er komplette og er nemme at finde på cd. Noter til Dirigent. Hvis jeg blev bedt om at nævne et stykke, hvor det virkede som ensemblet skulle eksplodere, men aldrig gør, ville jeg straks tænke på dette arrangement. Den Thornhill Orchestra var kendt som et ensemble, der spillede ekstreme kontraster i dynamik, fra meget svagt til kraftigt. Thornhill gav interviews om, hvordan han beundrede Glenn Miller Orchestra for sin dynamiske kontrol, og hvordan han forsøgte at efterligne det. Selv om der er nogle dele af Robbins Nest, som er moderat højt til meget højt, nøglen til succes for dette arrangement er blødhed. evnen til at spille meget afslappet endnu sagte på samme tid, hvilket er sjældent bedt om i musikken mange bigbands studere og spille i dag. Dette er det perfekte brik til at praktisere en sådan tilgang. Derudover er nogle af de harmoniseringer er meget dissonante og kræver perfekt intonation. Kværner af halve trin mod hinanden. F# against G natural, Db against C, often in the same instruments. er en Evans varemærke i al sin musik, fra Thornhill til de klassiske Miles Davis albums Miles Ahead og Porgy og Bess. han selv beder om kvarte toner i basunen i nogle indstillinger. Og musikere skal vænne sig til dem, selvom de kan have stødt på dem tidligere i musik af Maria Schneider og Bob Brookmeyer. Her bliver de brugt i en populær musik-vene vs. sammensætning. Jeg har modstået fristelsen til at lægge overdreven artikulation i de dele, som Ive fandt, at i gør det, kan det tendens til at være overdrevet i ydelse. Evans musik skal spilles mange gange, så musikerne får hver sidste nuance han lagt i det, og ved at gøre det, vil du og bandet finde din vej mod en præstation, der alle vil være behagelig at spille og hørelse. Jeffrey Sultanof februar 2010 Note. Lyden Prøven er høflighed af Manhattan School of Music Koncertsal Jazz Band, dirigeret af Justin DiCioccio.