![]() ![]() Amplification of the instruments may help, or the dynamics may have to be altered depending on your performance space. Proper balance between the woodwinds and strings is crucial, as the winds can be easily buried. There were instances where triple-p was written on the manuscript, which is totally impractical for live performance. Dynamics are pretty much as indicated by the arranger. The reason this arrangement makes such a good first 'chart' for orchestra is that issues such as playing behind the beat and intonation between strings and winds are minimized. Every musician must hear the rhythm section, particularly the drums so that all players can be in synchronization. Rarely do high school and college string players have opportunities to play popular music of this quality because it is simply not available, a situation that we at Jazz Lines Publications are slowly rectifying. Notes to the Conductor: This arrangement is a perfect introduction for a jazz ensemble combined with a string section. One instrumentation note: this arrangement reminds us that it was easy to get top musicians in New York when an arranger could write three reed parts that call for bass clarinet. The arrangement is a straightforward setting that works beautifully and is not terribly difficult. But there is not a saxophone besides Parker to be heard, and the bulk of the arrangement features the strings, although there are two 'written' solos played by trumpet and trombone. In New York, Marion Evans, Billy Byers, Neal Hefti, Don Costa and a few other arrangers lived within several blocks of each other in the west 70s, and it was not uncommon for one arranger to call another one to finish an arrangement while four or five copyists sat in an apartment and cranked out parts for a date that would begin twenty minutes from the arrival of the 'ghost.' Whoever wrote Autumn in New York for Parker was clearly a 'commercial' writer, and this is not meant in a negative way. No one cared about getting credits on record labels or album covers, the arrangers just wanted the work. After the war, the recording and television industries provided work for hundreds of arrangers from coast to coast, and there was more than enough activity to keep them busy. During the big band era, Horace Henderson completed arrangements for Benny Goodman that were credited to his brother Fletcher. With the amount of local and national programming broadcast every day that demanded many pages of music to be played live, staff arrangers who got into a bind made a phone call to one or several other arrangers to get the job done. Ghosting became very common among arrangers when radio networks (stations throughout the country grouped together by organizations such as the Columbia Broadcasting System and the National Broadcasting Company ) were formed in the late 1920s. So a 'ghost' was hired to write this score. Based on the amount of copy errors on the parts of 'Temptation,' it is clear that this recording date was prepared in a hurry, and obviously Lippman could not finish all four scores scheduled. The handwriting on the score is totally different from scores where Lippman's name is on the title page, and there is no name to be found on Autumn. The Music: Thanks to the rediscovery of the original scores and parts of the Bird with strings arrangements, we now know that Joe Lippman did not arrange Autumn in New York. His music has had a resurgence of interest in recent years, with many new recordings of his scores and individual songs. As Duke (a name suggested by his friend George Gershwin), he wrote many wonderful songs for shows that were not very successful. Duke led a double life as Vladimir Dukelsky, he composed concert music, including a ballet commissioned by Serge Diagalev of the Ballet Russe (The Rite of Spring was another Diagalev commission). Published by Jazz Lines Publications (JL.JLP-8016).īackground: The hit side of the January, 1952 recording date (the tape boxes are not marked), Autumn in New York, was one of the biggest hits written by composer Vernon Duke. Orchestra with strings (Solo Alto Saxophone (or vocal), 2 Flutes (both double clarinet), 2 Clarinets (both double bass clarinet), 1 Oboe (doubles clarinet), 4 Trumpets, 4 Trombones, 3 Violins, 2 Violas, 2 Celli, Harp, Guitar, Piano, Bass, Drums) - Difficult By Charlie Parker.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |