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Original tekst

Autumn In New York. Charlie Parker. Voice sheet music. Guitar sheet music. Alto Saxophone sheet music. B-Flat Trumpet sheet music. Drums sheet music. Harp sheet music. Percussion sheet music. Piano sheet music. Trombone sheet music. Advanced.

Oversættelse

Autumn In New York. Charlie Parker. Voice noder. Guitar noder. Altsaxofon noder. B-Flat Trumpet noder. Drums noder. Harp noder. Percussion noder. Klaver Noder. Trombone noder. Avanceret.

Original tekst

Autumn In New York by Charlie Parker. Edited by Jeffrey Sultanof. Arranged by Unknown. For orchestra with strings. Solo Alto Saxophone. or vocal. , 2 Flutes. both double clarinet. , 2 Clarinets. both double bass clarinet. , 1 Oboe. doubles clarinet. , 4 Trumpets, 4 Trombones, 3 Violins, 2 Violas, 2 Celli, Harp, Guitar, Piano, Bass, Drums. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8016. Background. The hit side of the January, 1952 recording date. the tape boxes are not marked. , Autumn in New York, was one of the biggest hits written by composer Vernon Duke. Duke led a double life. as Vladimir Dukelsky, he composed concert music, including a ballet commissioned by Serge Diagalev of the Ballet Russe. The Rite of Spring was another Diagalev commission. As Duke. a name suggested by his friend George Gershwin. , he wrote many wonderful songs for shows that were not very successful. His music has had a resurgence of interest in recent years, with many new recordings of his scores and individual songs. The Music. Thanks to the rediscovery of the original scores and parts of the Bird with strings arrangements, we now know that Joe Lippman did not arrange Autumn in New York. The handwriting on the score is totally different from scores where Lippman's name is on the title page, and there is no name to be found on Autumn. Based on the amount of copy errors on the parts of 'Temptation,' it is clear that this recording date was prepared in a hurry, and obviously Lippman could not finish all four scores scheduled. So a 'ghost' was hired to write this score. Ghosting became very common among arrangers when radio networks. stations throughout the country grouped together by organizations such as the Columbia Broadcasting System. CBS. and the National Broadcasting Company. NBC. were formed in the late 1920s. With the amount of local and national programming broadcast every day that demanded many pages of music to be played live, staff arrangers who got into a bind made a phone call to one or several other arrangers to get the job done. During the big band era, Horace Henderson completed arrangements for Benny Goodman that were credited to his brother Fletcher. After the war, the recording and television industries provided work for hundreds of arrangers from coast to coast, and there was more than enough activity to keep them busy. No one cared about getting credits on record labels or album covers, the arrangers just wanted the work. In New York, Marion Evans, Billy Byers, Neal Hefti, Don Costa and a few other arrangers lived within several blocks of each other in the west 70s, and it was not uncommon for one arranger to call another one to finish an arrangement while four or five copyists sat in an apartment and cranked out parts for a date that would begin twenty minutes from the arrival of the 'ghost. ' Whoever wrote Autumn in New York for Parker was clearly a 'commercial' writer, and this is not meant in a negative way. But there is not a saxophone besides Parker to be heard, and the bulk of the arrangement features the strings, although there are two 'written' solos played by trumpet and trombone. The arrangement is a straightforward setting that works beautifully and is not terribly difficult. One instrumentation note. this arrangement reminds us that it was easy to get top musicians in New York when an arranger could write three reed parts that call for bass clarinet. Notes to the Conductor. This arrangement is a perfect introduction for a jazz ensemble combined with a string section. Rarely do high school and college string players have opportunities to play popular music of this quality because it is simply not available, a situation that we at Jazz Lines Publications are slowly rectifying. Every musician must hear the rhythm section, particularly the drums so that all players can be in synchronization. The reason this arrangement makes such a good first 'chart' for orchestra is that issues such as playing behind the beat and intonation between strings and winds are minimized. Dynamics are pretty much as indicated by the arranger. There were instances where triple-p was written on the manuscript, which is totally impractical for live performance. Proper balance between the woodwinds and strings is crucial, as the winds can be easily buried. Amplification of the instruments may help, or the dynamics may have to be altered depending on your performance space. This was recorded in 1952 and is presented here directly from the original manuscript. This is NOT a transcription. However, everything Parker played on this recording has been transcribed and presented here as-played, though we have also included. in a separate staff. what was originally written for him. So, this arrangement can certainly be played without the need to mimic Bird. This chart was scored for solo alto sax, 2 altos. both double flute. , 2 tenors. both double clarinet and bass clarinet. , baritone sax. doubles clarinet. , 3 trumpets, 2 trombones, 4 violins, 2 violas, 2 celli, harp, guitar, piano, bass, and drums. The brass parts have been augmented to 4 trumpets and 4 trombones. In addition, this may be used as a vocal arrangement. Key of Eb.

Oversættelse

Autumn In New York af Charlie Parker. Redigeret af Jeffrey Sultanof. Arrangeret af Unknown. For orkester med strygere. Solo Altsaxofon. eller vokal. , 2 fløjter. både dobbelt klarinet. , 2 klarinetter. både dobbelt basklarinet. , 1 Obo. doubler klarinet. , 4 trompeter, 4 basuner, 3 violiner, 2 violaer, 2 Celli, Harpe, Guitar, Klaver, bas, trommer. Swing. Svært. Fuld score og sæt dele. Udgivet af Jazz Lines Publications. JL.JLP-8016. Baggrund. Hittet side af januar 1952 optagelsesdato. tape kasser er ikke markeret. , Efterår i New York, var en af ​​de største hits skrevet af komponisten Vernon Duke. Duke levede et dobbeltliv. som Vladimir Dukelsky, komponerede han koncert musik, herunder en ballet bestilt af Serge Diagalev af Ballet Russe. The Rite of Spring var en anden Diagalev kommission. Som Duke. et navn foreslået af hans ven George Gershwin. , Skrev han mange vidunderlige sange til shows, der var ikke meget vellykket. Hans musik har haft en genopblussen af ​​interesse i de senere år, med mange nye optagelser af hans scoringer og enkelte sange. The Music. Takket være genopdagelsen af ​​den originale score og dele af fugl med strygere arrangementer, vi nu ved, at Joe Lippman ikke arrangere Efterår i New York. Skriften på scoren er helt forskellig fra scoringer hvor Lippman navn er på titelbladet, og der er intet navn findes på efteråret. Baseret på mængden af ​​kopi fejl på de dele af 'Temptation' det er klart, at denne optagelse dato er udarbejdet i en fart, og naturligvis Lippman kunne ikke afslutte alle fire scoringer planlagte. Så en "spøgelse" blev hyret til at skrive denne score. Ghosting blev meget udbredt blandt arrangører når radionetværk. stationer i hele landet grupperet sammen af ​​organisationer såsom Columbia Broadcasting System. CBS. og National Broadcasting Company. NBC. blev dannet i slutningen af ​​1920'erne. Med mængden af ​​lokale og nationale programmering udsendelse hver dag, der krævede mange sider af musik til at blive spillet live, personale arrangører, der kom ind i en binde foretaget et telefonopkald til en eller flere andre arrangører at få arbejdet gjort. Under den big band æra, Horace Henderson afsluttede ordninger for Benny Goodman, der blev krediteret til sin bror Fletcher. Efter krigen, optagelsen og tv-industri, forudsat arbejde for hundreder af arrangører fra kyst til kyst, og der var mere end nok aktivitet for at holde dem travlt. Ingen brød sig om at få kreditter til pladeselskaber eller albumcovers, arrangørerne ville bare arbejdet. I New York, Marion Evans, Billy Byers, Neal Hefti, Don Costa og et par andre arrangører boede inden for flere blokke af hinanden i vest 70'erne, og det var ikke ualmindeligt, at en arrangør til at kalde en anden for at afslutte et arrangement, mens fire eller fem kopister sad i en lejlighed og forkrøppet ud dele til en dato, der ville begynde 20 minutter fra ankomsten af ​​det "spøgelse. "Hvem skrev Efterår i New York for Parker var klart en" kommercielle "forfatter, og det er ikke ment på en negativ måde. Men der er ikke en saxofon udover Parker at blive hørt, og hovedparten af ​​arrangementet har strengene, selvom der er to skriftlige 'soloer med trompet og trombone spilles. Arrangementet er en enkel indstilling, der fungerer smukt og er ikke frygteligt svært. Én instrumentering notat. dette arrangement minder os om, at det var let at få top musikere i New York, da en arrangør kunne skrive tre reed dele, der kræver basklarinet. Noter til Dirigent. Dette arrangement er en perfekt introduktion til en jazz ensemble kombineret med en streng sektion. Sjældent high school og college strygere har muligheder for at spille populær musik af denne kvalitet, fordi det simpelthen ikke er til rådighed, en situation, som vi på Jazz Lines Publikationer langsomt afhjælpe. Hver musiker skal høre rytmesektion, især trommerne, så alle spillere kan være i synkronisering. Grunden til dette arrangement gør sådan en god første "diagram" for orkester er, at spørgsmål som spiller bag rytmen og intonation mellem strygere og blæsere minimeres. Dynamics er temmelig meget, som angivet af arrangøren. Der var tilfælde, hvor triple-p blev skrevet på manuskriptet, som er helt upraktisk for live performance. Korrekt balance mellem træblæsere og strygere er afgørende, da vindene kan nemt begravet. Forstærkning af instrumenterne kan hjælpe, eller den dynamik skal muligvis ændres, afhængigt af din præstation plads. Det blev indspillet i 1952 og præsenteres her direkte fra det oprindelige manuskript. Dette er IKKE en transskription. Imidlertid har alt Parker afspilles på denne indspilning er blevet transkriberet og præsenteres her som spillede, selv om vi også har medtaget. i en særskilt personale. hvad der oprindeligt blev skrevet til ham. Så kan dette arrangement bestemt afspilles uden behov for at efterligne Bird. Dette diagram blev scoret til solo altsax, 2 altos. både dobbelt fløjte. , 2 tenorer. både dobbelt klarinet og basklarinet. , Baryton sax. doubler klarinet. , 3 trompeter, 2 basuner, 4 violiner, 2 violaer, 2 Celli, harpe, guitar, klaver, bas og trommer. Messingdelene er blevet udvidet til 4 trompeter og 4 basuner. Desuden kan de anvendes som en vokal arrangement. Nøglen til Eb.