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Original tekst

Anthropology. Claude Thornhill. Advanced.

Oversættelse

Antropologi. Claude Thornhill. Avanceret.

Original tekst

Anthropology by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For big band. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8123. Background. Before World War II, the Claude Thornhill Orchestra's popularity was as a 'sweet' band. With the integrated sound of clarinets, saxes, trumpets, French horns, trombones and rhythm section playing under the leader's virtuosic piano solos, and the arrangements of the leader, Gil Evans and some others, the band made some beautiful recordings and was fairly successful. After a short stint in the Navy, Thornhill laid low for awhile until he put his band back together in 1946. This ensemble would become legendary as composer. arranger Gil Evans' personal workshop, as Thornhill virtually gave the band to him to do as he pleased. While Evans understood that this was still an ensemble that played popular music. and Evans certainly wrote his share of dreamy, lovely ballads and medleys. , he not only gave writing opportunities to Gerry Mulligan. whom Evans mentored after the saxophonist. arranger left Gene Krupa. and George Russell. who was starting to formulate what would be his Lydian Chromatic Concept. , but Evans explored the new world of modern jazz called 'bebop. ' The results were the legendary trilogy of settings for Anthropology, Donna Lee, and Yardbird Suite. Most of the Thornhill musicians had little experience playing the new music, so Evans taught it to them. Thornhill was not pleased by these pieces and they were not played when he was on the stand, although he recorded the first two titles a few times. Thornhill and Evans parted musical company in early 1948, and later that year, Mulligan, Russell, Johnny Mandel, John Carisi and John Lewis joined with Gil to create a smaller ensemble that would sound like the Thornhill band. Thus was born the Miles Davis Nonet. The Music. Anthropology was written by Charlie Parker and Dizzy Gillespie. Evans arranged the line in 1947, and it was recorded for Columbia Records and for radio transcriptions. The instrumentation calls for 5 saxophones doubling clarinet, 3 trumpets, 2 trombones, 2 French horns, tuba, guitar, piano, bass, and drums. For this publication, the French horn and tuba parts alternately may be played by a 4th trumpet and trombones 3 and 4 as follows. French horn 1 Trumpet 4 French horn 2 Trombone 3 Tuba Trombone 4 Conductors are strongly urged not to double these parts. if you have both French horns and Tuba, do not use the trumpet and trombone parts. As with Yardbird Suite, Evans notated swing rhythms as dotted-eighth & sixteenth, not two eighths. This figure has been changed in this publication to two eighths for ease of reading. Bars 129 to 141 were later extracted and re-orchestrated for what was probably an experiment by Evans to test out different ways of scoring these bars for the Miles Davis Nonet. Though the parts have the name Anthropology written at the top, the piece is not quoted directly. These bars were later used as a theme for the two extant broadcasts of the Nonet from the Royal Roost. Notes to the Conductor. The first time I heard this treatment of the Parker. Gillespie line, I laughed because Evans used one of the trademark colors of the Thornhill ensemble. clarinets, alto saxes and cup-muted trumpets. and applied it for a modern jazz theme. This would have been the last group of instruments that most arrangers would use on such a theme, but as Miles Davis said, "That's Gil for you. " This arrangement simply doesn't work when played slower than quarter note 200, so the altos, clarinets and trumpets not only have to practice their parts to play the music smoothly, but should practice together to get the best blend possible. As you know, unisons are often problematic when instrumental color and wide melodic contours are present, and are additionally challenging given that the clarinets are in the key of A, and the alto saxes in E. From bar 105 through bar 141, the ensemble has a huge challenge. to play the figures together without dragging and to maintain accurate intonation in the concert key of G Major. Sectional rehearsals with this section played VERY slowly at first are a must. If you have any interest in performing music from any of the Davis. Evans settings for Columbia Records, this is an example of the many minefields that are present. think of Springsville from Miles Ahead. Also observe the subtle use of dynamics as indicated by Evans. As I have experienced with my students ensembles, mastery of this difficult music is cause for celebration, and the more you play it, the more relaxed it will sound. -Jeffrey Sultanof. Editor. Note. The sound sample is courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio.

Oversættelse

Antropologi af Claude Thornhill. Redigeret af Jeffrey Sultanof. Arrangeret af Gil Evans. For big band. Swing. Svært. Fuld score og sæt dele. Udgivet af Jazz Lines Publications. JL.JLP-8123. Baggrund. Før Anden Verdenskrig, Claude Thornhill Orchestras popularitet var som en 'sød' band. Med den integrerede lyd klarinetter, saxofoner, trompeter, fransk horn, basuner og rytmegruppe spiller under lederens virtuose klaver soloer, og arrangementer af lederen, Gil Evans og nogle andre, bandet lavet nogle flotte optagelser og var temmelig vellykket. Efter en kort tørn i flåden, Thornhill lagde lavt for en stund, indtil han satte sin bandet igen i 1946. Dette ensemble ville blive legendarisk som komponist. arrangør Gil Evans 'personlige værksted, da Thornhill næsten gav bandet til ham at gøre som han ville. Mens Evans forstod, at dette var stadig et ensemble, der spillede populær musik. og Evans sikkert skrev sin andel af drømmende, dejlige ballader og medleys. , At han ikke kun gav skrive muligheder for Gerry Mulligan. hvem Evans vejledte efter saxofonisten. arrangør forlod Gene Krupa. og George Russell. der var begyndt at formulere, hvad der ville være hans Lydian Chromatic Concept. , Men Evans udforskede den nye verden af ​​moderne jazz kaldet 'bebop. »Resultaterne var den legendariske trilogi af indstillinger for Antropologi, Donna Lee, og Yardbird Suite. De fleste af de Thornhill musikere havde lidt erfaring at spille ny musik, så Evans lærte det til dem. Thornhill var ikke glad ved disse stykker, og de ikke blev spillet, da han var på standen, selv om han indspillede de to første titler et par gange. Thornhill og Evans skiltes musikalsk selskab i begyndelsen af ​​1948 og senere samme år, Mulligan, Russell, Johnny Mandel, John Carisi og John Lewis sluttede med Gil at skabe en mindre ensemble, der ville lyde som Thornhill band. Således blev født Miles Davis Nonet. The Music. Antropologi er skrevet af Charlie Parker og Dizzy Gillespie. Evans arrangeret linjen i 1947, og det blev registreret for Columbia Records, og for radio-transskriptioner. Instrumenteringen kræver 5 saxofoner fordobling klarinet, 3 trompeter, 2 basuner, 2 franske horn, tuba, guitar, klaver, bas og trommer. For denne publikation, kan de franske horn og tuba dele skiftevis spilles af en 4. trompet og basuner 3 og 4 som følger. Valdhorn 1 Trumpet 4 valdhorn 2 Basun 3 Tuba Trombone 4 Ledere opfordres kraftigt til ikke at fordoble disse dele. Hvis du både har fransk horn og tuba, må du ikke bruge trompet og trombone dele. Som med Yardbird Suite, Evans notated swing rytmer som punkteret ottendedel. Dette tal er blevet ændret i denne publikation til 2/8 til læsevenligheden. Barer 129-141 blev senere udvindes og re-orkestreret for hvad var sandsynligvis et eksperiment af Evans at afprøve forskellige måder at udføre disse stænger til Miles Davis Nonet. Selvom de dele har navnet Antropologi skrevet i toppen, er det stykke ikke citeret direkte. Disse stænger blev senere brugt som et tema for de to bevarede udsendelser af Nonet fra Royal Roost. Noter til Dirigent. Første gang jeg hørte denne behandling af Parker. Gillespie linje, jeg lo fordi Evans brugte en af ​​de varemærkerettigheder farver i Thornhill ensemble. klarinetter, alto saxes og kop-dæmpet trompeter. og anvendt det for en moderne jazz tema. Dette ville have været den sidste gruppe af instrumenter, som de fleste arrangører ville bruge på sådan et tema, men som Miles Davis sagde, "Det er Gil for dig. "Dette arrangement simpelthen ikke virker, når den afspilles langsommere end kvartnode 200, så Altos, klarinetter og trompeter ikke kun nødt til at praktisere deres dele til at afspille musikken glat, men skal øve sammen for at få den bedst mulige blanding. Som du ved, unisons er ofte problematisk, når instrumental farve og brede melodiske konturer er til stede, og er desuden en udfordring, idet de klarinetter er i tonearten A, og Alto Saxes i E. Fra bar 105 gennem bar 141 ensemblet har en enorm udfordring. at spille de tal sammen uden at trække og til at vedligeholde korrekte intonation i koncerten G-dur. Sektionsopdelte prøver med dette afsnit spillede meget langsomt i starten er et must. Hvis du har nogen interesse i at udføre musik fra nogen af ​​Davis. Evans indstillinger for Columbia Records, er dette et eksempel på de mange minefelter der er til stede. tænke på Springsville fra Miles Ahead. Også observere subtile brug af dynamik som angivet af Evans. Som jeg har oplevet med mine elever ensembler, beherskelse af denne vanskelige musik er grund til at fejre, og jo mere du spiller det, jo mere afslappet vil det lyde. -Jeffrey Sultanof. Editor. Bemærk. Lyden Prøven er høflighed af Manhattan School of Music Koncertsal Jazz Band, dirigeret af Justin DiCioccio.