Partitures $65.00

Original

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.

Traducció

If You Were The Only Girl. En El Mundo. Gene Krupa. Partitures de guitarra. -Si bemoll trompeta partitures. Música Drums full. Partitures de percussió. Partitures per a piano. Partitura Trombone. Avançat.

Original

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.

Traducció

If You Were The Only Girl. En El Mundo. Gene Krupa. Editat per Jeffrey Sultanof. Organitzat per Gerry Mulligan. Per big band. 2 saxofons, 2 saxofons de tenor, saxòfon baríton, 4 trompetes, 4 trombons, guitarra, piano, baix, bateria. Balada. Difícil. Publicat per Jazz Lines Publicacions. JL.JLP-8450. Fons. Gerry Mulligan era un jove músic precoç de disset anys quan va entrar en els estudis de l'emissora de ràdio WCAU a Filadèlfia i li va preguntar arranjador personal. conductor John Warrington si podia escriure arranjaments per a la gran banda de la casa. Warrington ocupat de la seva obra, va fer alguns suggeriments, i després encarregar la música de Mulligan. Gerry va passar a la banda de Tommy Tucker, i Tucker, sense deixar de reconèixer el talent que Mulligan va mostrar, li va dir que la seva música era massa avançat per al seu banda. Mulligan va tornar a Filadèlfia i va escriure els arranjaments per a la banda WCAU de nou, ara dirigit per Elliot Lawrence. La seva gran oportunitat va arribar quan, el gener de 1946, es va unir a l'Orquestra Krupa Generalitat com a saxofonista. arranjador. Ell no era un jugador tan hàbil en el moment ja que més tard es va convertir, i la banda va amenaçar amb renunciar com un grup si no va ser reemplaçat. De viatge amb el conjunt més versàtil que encara hi havia escrit per, va escriure unes vint composicions i arranjaments i de vegades va posar al corrent d'alt i tenor. Krupa comprat i jugat tota la seva música, i no obstant això, sovint va haver de regnar en el seu jove. Disk Jockey Jump va ser un gran èxit per a la banda, però alguns de la música de Mulligan va ser experimental i va coquetejar amb la balança de pagaments i l'harmonia avançada. Mulligan havia encallat amb Charlie Parker quan vivia a Filadèlfia. Mulligan va ser arrogant i obstinat, i els dos homes es van enfrontar a vegades. No obstant això, aquest va ser un molt bon partit. Mulligan tenia un mentor que respectava en moments en què Gene era considerat antiquat per molts músics joves, i Krupa animar al jove com ho faria amb el seu propi fill. Quan van veure uns als altres tres mesos abans de la mort de Krupa el 1973, es van abraçar i es va disculpar per la forma en què es tractaven. El 1958, Krupa va gravar un àlbum de dotze d'aquests arranjaments per Verve Records. Gerry estava encantat de trobar que la música de la seva joventut va resistir bastant bé, i la gran banda d'estudi de les estrelles rugeix en tot, clarament gaudint de la música. És un dels millors discos de la banda grans del seu temps, i en aquest moment, encara està disponible en CD. La Música. Si fos l'única noia al món va ser escrit el 1916 i seguia sent un vals molt popular trenta anys després. És un dels pocs acords de balades Mulligan va escriure durant el seu any amb Krupa. Mulligan converteix el vals en un fox trot lent amb gràcia i explorar harmonies modernes i counterlines. Aquesta va ser una peça audaç de la música per una orquestra del corrent principal en el moment, amb el seu motiu tritono que apareix en diverses ocasions en peces, i la suspensió del ritme subjacent de diversos bars en els moments. Aquesta és una de les poques disposicions del llibre Krupa que ha sobreviscut en la seva forma original. No incloses les arranjaments de valors publicats. Casa de Krupa es va incendiar alguns mesos abans de morir, i la seva música, premis i molt més es va perdre per sempre. "Un any de la meva vida es va convertir en fum", va ser com Mulligan va descriure la situació. Les peces utilitzades per a aquesta edició van ser descoberts en la col.lecció de trombonista. arranjador Marshall Brown. Brown, juntament amb Clem DeRosa, va ser un educador de jazz pioner a Long Island, Nova York. Brown va liderar un conjunt d'adolescents durant uns anys anomenats la Banda Juvenil de Newport, els alumnes inclosos Alan Rubin, Eddie Gómez, Mike Abene, Jimmy Owens, Ronnie Cuber i Larry Rosen. Si fos l'única noia en el món era part del llibre Banda Juvenil i com a resultat és un dels arranjaments originals només sobreviuen de la biblioteca de banda de Gene Krupa. Les parts van ser handcopied dels originals, fotocòpies encara no s'ha generalitzat el 1958. Tractament de Marky Markowitz de la melodia de la trompeta amb sordina-Harmon va ser transcrit per Brown, qui va fer algunes omissions i canvis en la música, per alguna raó desconeguda. Aquesta edició 'fixa les correccions "i és una restauració de la disposició original del Mulligan. Notes per al Conductor. Parli sobre un tractament inusual d'una vella cançó. Aquesta música podria haver estat escrit ahir, i un pot veure per què Gil Evans va ser tremendament impressionat pel jove Gerry Mulligan. Harmonies substituts són de bon gust, i Gerry ja estava mostrant el seu domini de l'escriptura lineal. El dispositiu d'enquadrament tritono anteriorment esmentat-també és molt eficaç, encara que la seva marcat uníson ha de tenir ballarins commocionats i oients. El tempo no ha d'arrossegar, però tampoc hauria d'accelerar la música cap amunt, desafiant qüestions sempre que es toca música d'aquest tempo. Fent les coses encara més difícils són les diferents seccions on no hi ha ritme jugant en absolut, i els músics han de trobar la seva pròpia manera de mantenir el ritme constant. El conductor ho desitja, pot dissenyar exercicis per a la pràctica d'aquest. Mesures amb la síncope han d'estar perfectament sincronitzats. fins i tot alguns dels músics en la gravació No clau tots ells. Les dues últimes barres estan en tempo fins al final. al final encara ha d'impactar i sorprendre. La dinàmica és particularment important en aquest context. Hi ha una diferència entre el pianissimo i mezzo piano. Si els pics de conjunt inicial pel que fa al volum, es perd l'efectivitat d'aquesta música. Amb un munt d'assaig i l'escolta atenta, la seva banda es troba la seva pròpia manera de portar aquesta música a la vida.