Anthropology
PDF
ansehen
Anthropology
- Besetzung Big Band
- Bearbeiter Gil Evans
-
Schwierigkeit
- Ausgabe Partitur und Stimmen
- Verlag Jazz Lines Publications
- Bestell-Nr. JLP-8123
Lieferzeit 2-4 Wochen
Beschreibung:
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)
- 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)