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Original tekst

If You Were The Only Girl. In The World. Gene Krupa. Guitar sheet music. B-Flat Trumpet sheet music. Drums sheet music. Percussion sheet music. Piano sheet music. Trombone sheet music. Advanced.

Oversættelse

Hvis du var den eneste pige. I Verden. Gene Krupa. Guitar noder. B-Flat Trumpet noder. Drums noder. Percussion noder. Klaver Noder. Trombone noder. Avanceret.

Original tekst

If You Were The Only Girl. In The World. by Gene Krupa. Edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For big band. 2 Alto Saxophones, 2 Tenor Saxophones, Baritone Saxophone, 4 Trumpets, 4 Trombones, Guitar, Piano, Bass, Drums. Ballad. Difficult. Published by Jazz Lines Publications. JL.JLP-8450. Background. Gerry Mulligan was a precocious young musician of seventeen when he walked into the studios of radio station WCAU in Philadelphia and asked staff arranger. conductor John Warrington if he could write arrangements for the house big band. Warrington looked at his work, made some suggestions, and then commissioned music from Mulligan. Gerry moved on to the Tommy Tucker band, and Tucker, while recognizing the talent that Mulligan showed, told him that his music was too advanced for his band. Mulligan went back to Philadelphia and wrote arrangements for the WCAU band again, now led by Elliot Lawrence. His big break came when, in January of 1946, he joined the Gene Krupa Orchestra as a saxophonist. arranger. He was not as skilled a player at the time as he later became, and the band threatened to quit as a group if he was not replaced. On the road with the most versatile ensemble he'd yet written for, he wrote about twenty-four compositions and arrangements and sometimes filled in on alto and tenor. Krupa bought and played all of his music, and yet he often had to reign in his young charge. Disk Jockey Jump was a big hit for the band, but some of Mulligan's music was experimental and flirted with bop and advanced harmony. Mulligan had jammed with Charlie Parker when he was living in Philadelphia. Mulligan was cocky and opinionated, and the two men clashed at times. Yet this was a very good match. Mulligan had a mentor he respected at a time when Gene was considered old-fashioned by many young musicians, and Krupa encouraged the young man as he would his own child. When they saw each other three months before Krupa's death in 1973, they hugged and apologized for the way they treated each other. In 1958, Krupa recorded an album of twelve of these arrangements for Verve Records. Gerry was delighted to find that the music of his youth held up quite well, and the all-star studio big band roars throughout, clearly enjoying the music. It is one of the best big band albums of its time, and at this writing, is still available on CD. The Music. If You Were the Only Girl in the World was written in 1916 and was still a very popular waltz thirty years later. It is one of the few ballad arrangements Mulligan wrote during his year with Krupa. Mulligan converts the waltz into a slow fox trot gracefully while exploring modern harmonies and counterlines. This was a daring piece of music for a mainstream orchestra at the time, with its tritone motif appearing at various times in the piece, and suspension of the underlying rhythm for several bars at times. This is one of the few arrangements from the Krupa book that has survived in its original form. not including published stock arrangements. Krupa's home caught fire some months before he died, and his music, awards and much more was lost forever. "A year of my life went up in smoke," was how Mulligan described the situation. The parts used for this edition were discovered in the collection of trombonist. arranger Marshall Brown. Brown, along with Clem DeRosa, was a pioneering jazz educator in Long Island, NY. Brown led an ensemble of teenagers for a few years called the Newport Youth Band, whose alumni included Alan Rubin, Eddie Gomez, Mike Abene, Jimmy Owens, Ronnie Cuber and Larry Rosen. If You Were the Only Girl in the World was part of the Youth Band book and as a result is one of the only surviving original arrangements from the Gene Krupa band library. The parts were handcopied from the originals, photocopying not yet widespread in 1958. Marky Markowitz's treatment of the melody on harmon-muted trumpet was transcribed by Brown, who made some omissions and changes to the music for some unknown reason. This edition 'fixes the fixes' and is a restoration of Mulligan's original arrangement. Notes to the Conductor. Talk about an unusual treatment of an old song. This music could have been written yesterday, and one can see why Gil Evans was tremendously impressed by young Gerry Mulligan. Substitute harmonies are tasteful, and Gerry was already showing his mastery of linear writing. The previously-mentioned tritone framing device is also quite effective, although its stark unison must have shocked dancers and listeners. The tempo should not drag, but neither should the music speed up, challenging issues whenever music of this tempo is played. Making things even more difficult are the several sections where there is no rhythm playing at all, and the musicians must find their own way to keep the tempo steady. The conductor may want to design exercises to practice this. Measures with syncopation must be perfectly synchronized. even some of the musicians on the recording don't nail all of them. The last two bars are in tempo to the very end. the ending should still shock and surprise. Dynamics are particularly important in this setting. There is a difference between pianissimo and mezzo-piano. If the ensemble peaks early with regard to volume, the effectiveness of this music is lost. With plenty of rehearsal and careful listening, your band will find its own way to bring this music to life.

Oversættelse

Hvis du var den eneste pige. I Verden. af Gene Krupa. Redigeret af Jeffrey Sultanof. Arrangeret af Gerry Mulligan. For big band. 2 Alto saxofoner, 2 Tenor Saxophones, Baryton Saxofon, 4 trompeter, 4 basuner, guitar, klaver, bas, trommer. Ballad. Svært. Udgivet af Jazz Lines Publications. JL.JLP-8450. Baggrund. Gerry Mulligan var en fremmelig ung musiker på sytten, da han gik ind i studierne af radiostationen WCAU i Philadelphia og spurgte personale arrangør. dirigent John Warrington hvis han kunne skrive arrangementer til huset big band. Warrington kiggede på hans arbejde, lavet nogle forslag, og derefter bestilt musik fra Mulligan. Gerry flyttede til Tommy Tucker bandet, og Tucker, men erkender samtidig, det talent, Mulligan viste, fortalte ham, at hans musik var for avanceret for hans band. Mulligan gik tilbage til Philadelphia og skrev ordninger for WCAU bandet igen, nu ledet af Elliot Lawrence. Hans store gennembrud kom, da, i januar 1946 sluttede han sig til Gene Krupa Orchestra som en saxofonist. arrangør. Han var ikke så dygtig en spiller på det tidspunkt, da han blev senere, og bandet truede med at holde op som en gruppe, hvis han ikke blev erstattet. På vej med den mest alsidige ensemble han endnu havde skrevet for, skrev han omkring fireogtyve kompositioner og arrangementer, og nogle gange udfyldt på alt og tenor. Krupa købte og spillede alle hans musik, og alligevel er han ofte måtte herske i hans unge afgift. Disk Jockey Jump var et stort hit for bandet, men nogle af Mulligan musik var eksperimenterende og flirtede med bop og avanceret harmoni. Mulligan havde fastklemt med Charlie Parker, da han boede i Philadelphia. Mulligan var kæphøj og påståelig, og de to mænd stødte sammen på tidspunkter. Men det var en meget god kamp. Mulligan havde en mentor han respekterede på et tidspunkt, hvor Gene blev anset gammeldags af mange unge musikere, og Krupa tilskyndede den unge mand, da han ville hans eget barn. Da de så hinanden tre måneder før Krupa død i 1973, de krammede og undskyldte for den måde, de behandlede hinanden. I 1958 indspillede Krupa et album med tolv af disse ordninger for Verve Records. Gerry var glad for at finde, at musikken i hans ungdom holdt op ganske godt, og all-star studie big band brager igennem, klart nyder musikken. Det er en af ​​de bedste bigband albums for sin tid, og på dette skrives, er stadig tilgængelig på cd. The Music. Hvis du var den eneste pige i verden blev skrevet i 1916 og var stadig en meget populær vals 30 år senere. Det er en af ​​de få ballade arrangementer Mulligan skrev under hans år med Krupa. Mulligan konverterer vals i en langsom foxtrot yndefuldt, mens du udforsker moderne harmonier og counterlines. Det var en dristig stykke musik for en mainstream orkester dengang, med sin tritonus motiv optræder på forskellige tidspunkter i det stykke, og suspension af den underliggende rytme for flere barer på tidspunkter. Dette er en af ​​de få arrangementer fra Krupa bog, der har overlevet i sin oprindelige form. ikke inklusive offentliggjorte lager arrangementer. Krupa hjem brød i brand nogle måneder før han døde, og hans musik, priser og meget mere var tabt for evigt. "Et år af mit liv gik op i røg," var, hvordan Mulligan beskrev situationen. De dele, der anvendes til denne udgave blev opdaget i indsamlingen af ​​basunist. arrangør Marshall Brown. Brown, sammen med Clem DeRosa, var en banebrydende jazz pædagog i Long Island, NY. Brown førte et ensemble af teenagere for et par år kaldes Newport Youth Band, hvis alumner inkluderet Alan Rubin, Eddie Gomez, Mike Abene, Jimmy Owens, Ronnie Cuber og Larry Rosen. Hvis du var den eneste pige i verden var en del af Youth Band bog og som et resultat er et af de eneste overlevende originale arrangementer fra Gene Krupa band bibliotek. Delene blev handcopied fra originalerne, fotokopiering endnu ikke udbredt i 1958. Marky Markowitz behandling af melodien på harmonise-dæmpet trompet blev transskriberet af Brown, som gjorde nogle udeladelser og ændringer til musikken til nogle ukendt årsag. Denne udgave 'løser de rettelser', og er en genoprettelse af Mulligan oprindelige arrangement. Noter til Dirigent. Tal om en usædvanlig behandling af en gammel sang. Denne musik kunne have været skrevet i går, og man kan se, hvorfor Gil Evans blev voldsomt imponeret af unge Gerry Mulligan. Stedfortræder harmonier er smagfuld, og Gerry blev allerede viser hans beherskelse af lineær skrivning. Den tidligere nævnte tritonus indramning enhed er også ganske effektiv, selv om dens skarp unisont skal have chokerede dansere og lyttere. Tempoet må ikke trække, men hverken bør musikken fremskynde, udfordrende spørgsmål, når musik af denne tempo spilles. Gøre tingene endnu sværere er de flere sektioner, hvor der ikke rytme spiller overhovedet, og musikerne skal finde deres egen måde at holde tempoet støt. Dirigenten kan ønsker at designe øvelser til at praktisere denne. Foranstaltninger med Syncopation skal være perfekt synkroniseret. selv nogle af de musikere på optagelsen ikke nagle dem alle. De sidste to barer er i tempo til den bitre ende. slutningen skal stadig chokere og overraske. Dynamics er særligt vigtige i denne indstilling. Der er en forskel mellem pianissimo og mezzo-piano. Hvis ensemblet toppe tidligt med hensyn til omfanget, effektiviteten af ​​denne musik er tabt. Med masser af generalprøve og omhyggelig lytning, vil dit band finde sin egen måde at bringe denne musik til livet.