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Original

Anthropology. Claude Thornhill. Advanced.

Traducció

Antropologia. Claude Thornhill. Avançat.

Original

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.

Traducció

Antropologia de Claude Thornhill. Editat per Jeffrey Sultanof. Arreglat per Gil Evans. Per big band. Gronxador. Difícil. Partitura general i conjunt de peces. Publicat per Jazz Lines Publicacions. JL.JLP-8123. Fons. Abans de la Segona Guerra Mundial, la popularitat de l'orquestra de Claude Thornhill era com una banda 'dolça'. Amb el so integrat de clarinets, saxòfons, trompetes, trompes francesos, trombons i secció rítmica jugant sota piano sols virtuosos del líder, i els arranjaments del líder, Gil Evans i altres, la banda va fer alguns enregistraments boniques i va tenir força èxit. Després d'un breu pas per la Marina, Thornhill abatut per una estona fins que ell va posar la seva banda de nou en 1946. Aquest conjunt es convertiria en el llegendari compositor. arranjador Gil Evans taller personal ", com Thornhill pràcticament va donar a la banda a ell per fer el que volgués. Mentre Evans entès que això era encara un conjunt que juga la música popular. i Evans certament va escriure la seva part, balades i popurris somiadora encantadora. , Que no només li va donar l'oportunitat d'escriure a Gerry Mulligan. qui va ser mentor d'Evans després del saxofonista. arranjador va deixar Gene Krupa. i George Russell. que estava començant a formular el que seria el seu brego cromàtic Concept. , Però Evans explora el nou món del jazz modern anomenat 'bebop. "Els resultats van ser la llegendària trilogia d'ajustos d'Antropologia, Donna Lee, i Yardbird suite. La majoria dels músics de Thornhill tenien poca experiència jugant la nova música, així que Evans va ensenyar a ells. Thornhill no estava satisfet amb aquestes peces i no es van jugar quan estava a l'estrada, encara que va gravar els dos primers títols d'un parell de vegades. Thornhill i Evans es van separar musical a principis de 1948, i aquest mateix any, Mulligan, Russell, Johnny Mandel, John Carisi i John Lewis es van unir a Gil per crear un conjunt més petit de sonar com la banda de Thornhill. Així va néixer el Miles Davis Nonet. La Música. Antropologia va ser escrit per Charlie Parker i Dizzy Gillespie. Evans va organitzar la línia en 1947, i va ser gravat per Columbia Records i per transcripcions de ràdio. La instrumentació exigeix ​​maig saxofons duplicant clarinet, 3 trompetes, 2 trombons, 2 corns francesos, tuba, guitarra, piano, baix i bateria. Per a aquesta publicació, la banya i tuba parts franceses alternativament poden ser reproduïts per una cambra trompeta i trombons 3 i 4 de la manera. Corn francès 1 Trumpet 4 trompa 2 març Trombone Tuba Trombó 4 conductors s'insta encaridament no duplicar aquestes parts. si té dues banyes francesos i Tuba, no utilitzi la trompeta i trombó parts. Igual que amb Yardbird Suite, Evans notated ritmes de swing com a vuitè puntejat. Aquesta xifra s'ha canviat en aquesta publicació a dues octaves per facilitar la lectura. Bars 129-141 tard es van extreure i es re-orquestrada pel que probablement va ser un experiment realitzat per Evans per provar diferents maneres d'anotar aquestes barres per al Miles Davis Nonet. Tot i que les parts tenen el nom d'Antropologia escrita a la part superior, la peça no se cita directament. Aquestes barres van ser utilitzades més endavant com un tema per a les dues transmissions existents del Nonet del Royal Roost. Notes per al Conductor. La primera vegada que vaig sentir parlar d'aquest tractament de la Parker. Line Gillespie, vaig riure perquè Evans utilitza un dels colors de marca del conjunt Thornhill. clarinets, saxòfons de contralt i trompetes de copa silenciat. i ho va aplicar per a un tema de jazz modern. Això hauria estat l'últim grup d'instruments que la majoria dels arranjadors usarien en un tema tal, sinó com Miles Davis, va dir: "Això és Gil per a vostè. "Aquest acord simplement no funciona quan es juga més lent que el quart de nota 200, de manera que els Alts, clarinets i trompetes no només han de practicar les seves parts a reproduir la música sense problemes, però s'ha de practicar en conjunt per obtenir la millor combinació possible. Com vostès saben, unísons solen ser problemàtiques quan el color instrumental i contorns melòdics d'ample són presents, i són, a més, un repte atès que els clarinets són a la clau d'A, i els saxos Alt a E. Des de la barra de 105 a través de la barra 141, el conjunt té un gran repte. per reproduir les figures juntes sense arrossegar i mantenir l'entonació precisa en la clau concert del Sol Major. Assaigs seccionals amb aquesta secció va jugar molt lentament al principi són una necessitat. Si vostè té algun interès en la realització de la música de qualsevol dels Davis. Ajustaments Evans per Columbia Records, aquest és un exemple dels molts camps de mines que estan presents. pensar en Springsville de Miles Ahead. Tingueu també en compte l'ús subtil de la dinàmica del que indica per Evans. Com he viscut amb els meus estudiants conjunts, el domini d'aquesta música tan difícil és motiu de celebració, i com més jugui, més relaxat sonarà. -Jeffrey Sultanof. Editor. Nota. La mostra de gravació és cortesia de la Manhattan School of Concert Jazz Band Music, dirigida per Justin DiCioccio.