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Original tekst

That's All Right. John Fedchock. Advanced.

Oversættelse

Det er All Right. John Fedchock. Avanceret.

Original tekst

That's All Right arranged by John Fedchock. For big band. Level. medium difficult. Score and parts. Published by Walrus Music Publishing. WA.55299. Though primarily Latin, the groove here also has funk roots. Even though the drummer should stress downbeats using the cross-stick figure, rhythms in the ensemble suggest a 2-3 clave that should be observed by the pianist, guitarist, and bassist in their comping. Rhythms similar to the opening, 2-bar figure could be used effectively. It is important for the rhythm section to make the most of the punctuations at the end of each opening, 8-bar phrase. mm. 12,20,28 &37. to propel the ensemble into the next section. The drummer especially needs to "catch" these without sacrificing energy or momentum. Unison lines at mm. 21 and 29 should be played at a moderate volume with relatively smooth articulation so the trombone punctuations will create a more striking contrast. Trombones must understand when their figures should be more out-front as a lead voice. mm. 12,20,28,31,36. as opposed to when they're supplying backgrounds. mm. 13,22-25. Individual efforts are necessary to make mm. 91-92 effective. In the pairings of two to three horns, the descending rhythmic unison will lose dramatic intensity without strong, accented contributions from each group. The figure itself should fit precisely with the rhythm section's punctuation. After a strong ensemble chorus, m. 204 has a dramatic subito piano, bringing the volume way down before the long, gradual build-up through m. 208 and ultimately to a very loud m. 220. The more that is made of these dynamic changes, the more effective the finish. Medium advanced.

Oversættelse

Det er i orden arrangeret af John Fedchock. For big band. Level. medium vanskeligt. Partitur og stemmer. Udgivet af Hvalros Music Publishing. WA.55299. Selvom primært latin, rillen her har også funk rødder. Selvom trommeslageren bør understrege nedslag ved hjælp af cross-tændstikmand, rytmer i ensemblet foreslå en 2-3 Clave, der bør overholdes af pianisten, guitarist og bassist i deres akkompagnement. Rhythms svarende til åbningen, kunne 2-bar figur anvendes effektivt. Det er vigtigt for rytmesektionen at få mest ud af de skilletegn ved slutningen af ​​hver åbning, 8-bar sætning. mm. 12,20,28. at fremdrive ensemblet i næste afsnit. Trommeslageren især behov for at fange disse uden at ofre energi eller momentum. Unison linjer ved mm. 21 og 29, bør spilles ved moderat lydstyrke med forholdsvis glat artikulation så trombone skilletegn vil skabe et mere slående kontrast. Basuner skal forstå, når deres tal bør være mere ude-front som en ledende stemme. mm. 12,20,28,31,36. i modsætning til, når de leverer baggrunde. mm. 13,22-25. Individuelle indsats er nødvendig for at gøre mm. 91-92 effektiv. I fodboldmesterskaber på to til tre horn, vil det faldende rytmisk kor miste dramatiske intensitet uden stærke, accent bidrag fra hver gruppe. Tallet selv skal passe præcist med rytmen sektionens tegnsætning. Efter en stærk ensemble kor, m. 204 har en dramatisk subito klaver, hvilket bringer volumen vejen ned før den lange, gradvis opbygning gennem m. 208 og til sidst til et meget højt m. 220. Jo mere der er lavet af disse dynamiske ændringer, jo mere effektiv finish. Medium avancerede.