Bladmusiek $65.00

Oorspronklik

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.

Vertaling

As jy was die enigste meisie. In die wêreld. Gene Krupa. Guitar bladmusiek. B-Flat Trumpet bladmusiek. Dromme bladmusiek. Perkussie bladmusiek. Piano bladmusiek. Tromboon bladmusiek. Gevorderde.

Oorspronklik

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.

Vertaling

As jy was die enigste meisie. In die wêreld. deur Gene Krupa. Geredigeer deur Jeffrey Sultanof. Gereël deur Gerry Mulligan. Vir big band. 2 Alto saxofoons, 2 Tenor saxofoons bariton saxofoon, 4 blaas, 4 Trombones, Kitaar, Klavier, bas, tromme. Ballade. Moeilik. Gepubliseer deur Jazz Lines Publications. JL.JLP-8450. Agtergrond. Gerry Mulligan was 'n vroegrype jong musikant van sewentien toe hy in die ateljees van radiostasie WCAU in Philadelphia gestap en gevra personeel verwerker. dirigent John Warrington as hy reëlings vir die huis big band kon skryf. Warrington kyk na sy werk, het 'n paar voorstelle, en dan opdrag musiek van Mulligan. Gerry verskuif na die Tommy Tucker-band, en Tucker, terwyl die erkenning van die talent wat Mulligan het, het vir hom gesê dat sy musiek was te gevorderd vir sy orkes. Mulligan gaan terug na Philadelphia en het reëlings vir die WCAU groep weer, nou onder leiding van Elliot Lawrence. Sy groot deurbraak het gekom toe, in Januarie van 1946, het hy by die Gene Krupa Orkes as 'n saksofoonspeler. verwerker. Hy was nie so vaardig 'n speler in die tyd toe hy later geword het, en die band gedreig om op te hou as 'n groep as hy nie vervang. Op die pad met die mees veelsydige ensemble hy nog vir skriftelike, het hy geskryf het oor 24 komposisies en verwerkings en soms ingevul op alt en tenoor. Krupa gekoop en gespeel al sy musiek, en tog het hy dikwels moes regeer in sy jong aanklag. Skyf Jockey Jump was 'n groot treffer vir die band, maar sommige van Mulligan se musiek was eksperimentele en flankeer met bop en gevorderde harmonie. Mulligan met Charlie Parker vasgesteek het toe hy in Philadelphia. Mulligan was verwaand en uitgesproke, en die twee mans gebots by tye. Tog was dit 'n baie goeie wedstryd. Mulligan het 'n mentor hy gerespekteer op 'n tyd wanneer gene was beskou outydse deur baie jong musikante, en Krupa aangemoedig om die jong man as hy sy eie kind. Toe hulle mekaar drie maande voor Krupa se dood in 1973, het hulle omhels en om verskoning gevra vir die manier waarop hulle behandel mekaar. In 1958, Krupa 'n album opgeneem van twaalf van hierdie reëlings vir Verve Records. Gerry was verheug om te vind dat die musiek van sy jeug gehou baie goed, en die all-star studio big band brul regdeur duidelik die musiek geniet. Dit is een van die beste big band albums van sy tyd, en op hierdie skrywe, is nog beskikbaar op CD. Die Musiek. As jy was die enigste meisie in die wêreld is in 1916 geskryf en was nog steeds 'n baie gewilde wals dertig jaar later. Dit is een van die min ballade reëlings Mulligan tydens sy jaar met Krupa geskryf. Mulligan vat die wals in 'n stadige jakkals draf grasieus terwyl die ondersoek van die moderne harmonieë en counterlines. Dit was 'n gewaagde stukkie musiek vir 'n hoofstroom-orkes op die oomblik, met sy tritone motief verskyn op verskillende tye in die stuk, en opskorting van die onderliggende ritme vir 'n paar bars by tye. Dit is een van die min reëlings van die Krupa boek wat oorleef het in sy oorspronklike vorm. nie ingesluit nie gepubliseer voorraad reëlings. Krupa se huis aan die brand geslaan n paar maande voor sy dood en sy musiek, toekennings en nog baie meer is vir ewig verlore. "'N jaar van my lewe in rook opgegaan," was hoe Mulligan beskryf die situasie. Die dele wat gebruik word vir hierdie uitgawe is in die versameling van die tromboonspeler ontdek. verwerker Marshall Brown. Brown, saam met Clem DeRosa, was 'n baanbreker jazz opvoeder in Long Island, New York. Brown het 'n ensemble van tieners vir 'n paar jaar het die Newport Youth Band, wie se alumni ingesluit Alan Rubin, Eddie Gomez, Mike Abene, Jimmy Owens, Ronnie Cuber en Larry Rosen. As jy was die enigste meisie in die wêreld was deel van die Jeug Band boek en as 'n resultaat is een van die enigste oorlewende oorspronklike reëlings van die gene Krupa orkes biblioteek. Die dele is handcopied van die oorspronklike, nog nie wydverspreid fotokopiëring in 1958. Marky Markowitz se behandeling van die melodie op Harmon-gedemp trompet was deur Brown, wat 'n paar weglatings en veranderings aan die musiek vir 'n paar onbekende rede het. Hierdie uitgawe 'bepaal die dosisse en is 'n herstel van Mulligan se oorspronklike reëling. Aantekeninge tot die dirigent. Praat oor 'n ongewone behandeling van 'n ou lied. Hierdie musiek kon geskryf het gister, en 'n mens kan sien waarom Gil Evans is geweldig beïndruk deur jong Gerry Mulligan. Plaasvervanger harmonieë is smaakvol, en Gerry is toon reeds sy bemeestering van lineêre skriftelik. Die voorheen genoemde tritone raamwerk gebruik is ook baie effektief, hoewel sy skrille harmonie geskok dansers en luisteraars moet. Die tempo moet nie sleep nie, maar ook nie moet die musiek bespoedig, uitdagende kwessies wanneer die musiek van hierdie tempo gespeel. Maak dinge nog moeiliker is die verskillende afdelings waar daar geen ritme speel nie, en die musikante moet hul eie manier te vind om die tempo te hou bestendige. Die dirigent wil dalk oefeninge te ontwerp om dit te oefen. Maatreëls met sinkopasie moet perfek gesinchroniseer word. selfs 'n paar van die musikante op die opname almal van hulle spyker nie. Die laaste twee bars in tempo aan die einde. die einde moet nog skok en verras. Dynamics is veral belangrik in hierdie instelling. Daar is 'n verskil tussen pianissimo en mezzo-klavier. As die ensemble pieke vroeg met betrekking tot volume, die doeltreffendheid van hierdie musiek is verlore. Met baie van die repetisie en versigtig luister, sal jou band sy eie manier om hierdie musiek te lewe te bring vind.