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Oorspronklik

Jeru. Claude Thornhill. Guitar sheet music. B-Flat Trumpet sheet music. Drums sheet music. Horn sheet music. Percussion sheet music. Piano sheet music. Trombone sheet music. Advanced.

Vertaling

Jeru. Claude Thornhill. Guitar bladmusiek. B-Flat Trumpet bladmusiek. Dromme bladmusiek. Horn bladmusiek. Perkussie bladmusiek. Piano bladmusiek. Tromboon bladmusiek. Gevorderde.

Oorspronklik

Jeru by Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gerry Mulligan. For big band. 1 Clarinet, 1 Alto Saxophone, 2 Tenor Saxophones, 1 Baritone Saxophone, 3 Trumpets, 2 Horns in F. Alternate Parts included. Trumpet 4 and Trombone 4. , 3 Trombones, Guitar, Piano, Bass, Drums. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8418. Background. The period from 1948-9 was a time of experimenting and discovering for the young Gerald Mulligan. Encouraged by Gil Evans to move to New York, Mulligan not only became a mainstay at Evans 55th Street apartment, but acquired a mentor in Evans, who encouraged Mulligan by getting him work writing for the Claude Thornhill Orchestra. Mulligan was one of the group of musicians who developed and wrote for what would become the Miles Davis Nonet. Except for Venus De Milo, Mulligan not only arranged his own compositions for the small ensemble, but wrote versions of them for big bands led by Thornhill or fellow Philadelphian Elliot Lawrence. Thornhill clearly liked Mulligans music. his band was still playing it in the late 1950s. The Music. The original score for Jeru was unavailable for reference. in fact, the Mulligan estate obtained copies of the parts from a 'friend' who wanted to do Mulligan a favor. several Thornhill arrangements were loaned out for a concert and never returned. copies of these circulated underground for years. I wrote out a score from these parts that I donated to the estate. In preparing this edition, I consulted the original parts anew as if Id never prepared the earlier score. One of the key issues to be dealt with was Mulligans use of chord names. He had shared with me that he was not writing vertically during the period in question, but horizontally. When writing chord names for the rhythm instruments, he was not as clear about alterations to chords as he would be years later. Jeru is pure counterpoint, and Mulligans chord names are either simplified or substitutions that did not represent the harmony accurately. The chord names in this publication have been extensively reviewed and corrected. When Jerome Klinkowitz wrote about Jeru in his book Listen. Gerry Mulligan An Aural Narrative in Jazz. N.Y., Schirmer Books, 1991. , he criticized the form of the arrangement based on Thornhills 1953 recording for Trend Records. What he did not know was that two cuts were made for time purposes. bars 103-4. the first ending of Letter K. , and then from 107-117. As a result, his conclusions are inaccurate. This reinforces yet again the importance of seeking out first-hand sources when writing about a composers music, in this case the original score and. or parts. Alternate parts have been added so that this arrangement may be played by a standard big band with 4 trumpets and 4 trombones. 4th trumpet and trombone parts are alternates for horns 1 and 2. However, we encourage you to play this arrangement as-written without those alternate parts. Notes to the Conductor. As stated above, Mulligan was writing by line and not thinking in chordal structures and chord names in 1948-9. he certainly was not boxed in by them. I suggest that you play or sing through each instrumental line, and then play them against the other pitches to observe the shapes of the lines, and then to see how they fit in with everything else. Like Evans music from the same period, there are numerous examples of subtle dissonances or grinds which go by so fast that the listener is hardly aware of them. Mulligan was particularly concerned with the proper tempos of his pieces. The big band version of Jeru was recorded in New York while he was on the west coast, but he never objected to it as he would other performances. recordings of his music. Please do not rush the piece. let it flow easily. Please note that on the recording, there is a conga playing in the rhythm section. A part for this instrument was never written by Mulligan, and it should not be added for authenticity. Jeffrey Sultanof Note. The sound sample is courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio.

Vertaling

Jeru deur Claude Thornhill. Geredigeer deur Jeffrey Sultanof. Gereël deur Gerry Mulligan. Vir big band. 1 klarinet, saxofoon 1, 2 Tenor saxofoons, 1 bariton saxofoon, 3 blaas, 2 Horings in F. Alternatiewe dele ingesluit. Basuin 4 en Trombone 4. , 3 trombone, Kitaar, Klavier, bas, tromme. Swing. Moeilik. Volle telling en stel dele. Gepubliseer deur Jazz Lines Publications. JL.JLP-8418. Agtergrond. Die tydperk 1948-9 was 'n tyd van eksperimenteer en ontdek vir die jong Gerald Mulligan. Bemoedig deur Gil Evans te skuif na New York, Mulligan nie net 'n staatmaker by Evans 55 Street woonstel geword het, maar het 'n mentor in Evans, wat Mulligan aangemoedig deur om hom te werk skryf vir die Claude Thornhill Orkes. Mulligan was een van die groep musikante wat ontwikkel en geskryf vir wat sou geword het van die Miles Davis nonet. Behalwe vir Venus De Milo, Mulligan nie net sy eie komposisies vir die klein ensemble gereël, maar het weergawes van hulle vir die groot bands gelei deur Thornhill of mede Filadelfiese Elliot Lawrence. Thornhill duidelik graag Mulligans musiek. sy band is nog steeds speel in die laat 1950's. Die Musiek. Die oorspronklike telling vir Jeru was nie beskikbaar vir verwysing. Trouens, die Mulligan boedel verkry afskrifte van die dele van 'n "vriend" wat wou doen Mulligan 'n guns. verskeie Thornhill reëlings is geleen uit vir 'n konsert en nooit weer teruggekeer. afskrifte van hierdie gesirkuleer ondergrondse vir die jaar. Ek het uit 'n telling van hierdie dele wat ek geskenk aan die boedel. In die voorbereiding van hierdie uitgawe, ek geraadpleeg die oorspronklike dele opnuut asof id nooit die vorige telling voorberei. Een van die belangrike kwessies te hanteer was Mulligans gebruik van koord name. Hy het met my gedeel dat hy nie gedurende die tydperk in die vraag vertikaal skryf nie, maar horisontaal. By die skryf van koord name vir die ritme instrumente, hy was nie so duidelik oor veranderings aan akkoorde soos hy jare later sou wees. Jeru is pure kontrapunt, en Mulligans koord name is óf oorweeg of plaasvervangers wat nie die harmonie akkuraat verteenwoordig het. Die koord name in hierdie publikasie is uitvoerig hersien en gekorrigeer. Wanneer Jerome Klinkowitz geskryf oor Jeru in sy boek Luister. Gerry Mulligan 'n Gehooropleiding verhaal in Jazz. N.Y., Schirmer Books, 1991. Hy het kritiek op die vorm van die reëling wat gebaseer is op Thornhills 1953 opname vir die tendens Records. Wat hy nie geweet het nie was dat twee snitte is gemaak vir die tyd doeleindes. bars 103-4. die eerste einde van Brief K. , En dan 107-117. As gevolg hiervan, het sy gevolgtrekkings is verkeerd. Dit versterk weer die belangrikheid van die soeke na die eerste hand bronne by die skryf van 'n komponiste musiek, in hierdie geval die oorspronklike telling en. of dele. Alternatiewe dele is bygevoeg sodat hierdie reëling mag deur 'n standaard big band gespeel word met 4 trompette en trombone 4. 4 trompet en trombone dele is plaasvervangers vir horings 1 en 2. Maar, ons moedig u hierdie reëling te speel as geskryf sonder daardie alternatiewe dele. Aantekeninge tot die dirigent. Soos hierbo genoem, is Mulligan skryf deur die lyn en nie te dink in akkoordbasis strukture en koord name in 1948-9. Hy was beslis nie in die doos in deur hulle. Ek stel voor dat jy speel of sing deur elke instrumentele lyn, en dan speel hulle teen die ander plekke op die vorms van die lyne in ag te neem, en dan te sien hoe hulle inpas by alles. Soos Evans musiek uit dieselfde tydperk, is daar talle voorbeelde van subtiele dissonante of kners wat gaan deur so vinnig dat die luisteraar is skaars bewus van hulle. Mulligan was veral betrokke by die behoorlike tempo van sy stukke. Die big band weergawe van Jeru is aangeteken in New York, terwyl hy aan die weskus, maar hy het nooit beswaar gemaak teen dit as hy wou ander optredes. opnames van sy musiek. Moet asseblief nie jaag die stuk. laat dit maklik vloei. Neem asseblief kennis dat op die opname, is daar 'n conga speel in die ritme afdeling. 'N Deel van hierdie instrument was nooit geskryf deur Mulligan, en dit moet nie bygevoeg word nie na egtheid. Jeffrey Sultanof Nota. Die klank voorbeeld is met vergunning van die Manhattan School of Music se Concert Jazz Band, wat deur Justin DiCioccio.