The Three Preludes were written in for piano. These wonderful pieces contain jazz and blues-influenced melodies, harmonies and rhythms set as European-style classical piano preludes, creating a uniquely Gershwin sound. In these arrangements, they have been orchestrated for solo alto saxophone and string quintet. It is set as an Introduction and Scherzo—a song and a dance. The Introduction is moody and blue, while the Scherzo is light-footed, with a variety of dance rhythms and styles. Gershwin composed the Cuban Overture as an orchestral work in It is a highly inventive piece, filled with a myriad of ideas and lively Latin rhythms.
Bess, You Is My Woman Now
This arrangement re-imagines the work as a solo piece for alto saxophone and string quintet. There are a variety of moods and backgrounds to accompany the soloist in homage to the classic arrangements of Nelson Riddle.
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Is it time for nontraditional casting in Gershwin’s Porgy and Bess? : skikevartudic.ga
The classically trained men of those days-even those hardy souls who were willing-were quite unable to interpret jazz scores. Jazzmen, on the other hand, were usually incapable of symphonic reading of professional calibre. Nowadays, many men have equal facility in both fields. Yet in the present decade, jazz orchestration remains more than ever a special field. Porhaps this is why it seems to find expression best, as a rule, through its own writers. In a recent conversation, Gil mentioned Miles' beautifully deliberate-controlled, yet suspenseful-rhythmic style on slow tempos, reminding me of Bill Russo's statement in The New Yearbook of Jazz Horizon that "the melodic curve, the organic structure, and the continuity of a Miles Davis solo..
Though hecan particularize with regard to the innumerable facets of orchestral writing, Gil thinks of the music in its entirety, as a painter thinks of a canvas. Indeed, when he speaks of depth or density of sound, impingement of instrumental tone, the dynamics of structure and the particular require ments of each theme, the resemblance to descriptions of pictorial art is striking.
And when one recalls Picasso's dictum that a painting is alive, the parallel is completed. Gil first met Miles when the latter was playing with Charlie Parker on 52nd Street and their respect for each other, often expressed in print, is testified to in the excellence of their collaborative efforts such as Miles Ahead "I think a movement in jazz is begin ning away from the conventional string of chords, and a return to emphasis on melodic rather than harmonic variations;' Miles told Nat Hentoff in a recent interview The Jazz Review December, He also made this interesting statement, "When Gil wrote the arrangement of "I Loves You, Porgy;' he only wrote a scale for me to play.
And that other passage with just two chords gives you a lot more freedom and space to hear things? In these days of stepped-up jazz production, the good things, like the good men, are still a rarity.
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Especially so are deeply moving performances such as these that seem infused with an inner fire that cannot be simulated. Miles' beauty and variety of tone, his versatile manipulation of horns, is put to excellent use here as he-with the orchestral projections of Gil's arrangements-produces incomparable renderings of Porgy And Bess. In speaking of certain of Miles' solo passages, Gil remarked, "Miles can be hot in the true meaning of the word?
Every piece has its own interest, orchestrally speaking, e. This is not from the score but relates to "Gone, Gone, Gone;' a beautifully harmonized spiritual, pulsed by a slow; graceful rhythm. As for the previous track, taken at a fast tempo, Gil said, "This is my improvisation of the spiritual. Provide fun and exciting small ensemble music for school events, community concerts, church ensembles, parties, and many other settings. Flute, clarinet, saxophone, and brass choirs can play jazz and popular standards along with a rhythm section of piano, guitar, bass, and drums.
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Arrangements include written-out solos with chord changesperfect for the classically trained player or the experienced jazz soloist. The written-out solos are also included in the full-performance recordings and serve as models for proper style. Free recordings are downloadable from www. The performance tracks teach jazz, rock, and ballad styles by providing a listening example, as well as the opportunity to play along with the recording. The accompaniment tracks include only piano, guitar, bass, and drums, so, if you don't have a rhythm section, you can play along with these tracks in rehearsal and performance.
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Bess You Is My Woman Now
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