19793412
Summertime
19793412
19793412
19793412
Copyright Material for Preview Only - Sheet Music Plus
Orchestra (Trumpet or Flugelhorn Soloist, Reed 1: Alto Saxophone, Reed 2: Flute, Reed 3: Flute, Reed 4: Flute, Piccolo, and Bass Flute, 4 Trumpets, 3 Horns in F, 4 Trombones, Tuba, Bass, Drums) - Medium
SKU: JL.JLP-8499
By Miles Davis. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Gil Evans. Swing. Score and parts. Published by Jazz Lines Publications (JL.JLP-8499).
The music for Summertime, of course, comes from Porgy and Bess, and that album is a deserved classic. Evans's arrangement centers around a repeated line or riff, which changes color and texture throughout as Davis improvises over the melody. Evans would later adapt this arrangement for an album with Helen Merrill, and that performance included a guest appearance by soprano saxophonist Steve Lacy. The arrangement for Davis has two separate introductions played one after another at the beginning. These were cut for the recording, but are included here for their historical value. Playing or not playing them in performance is of course left to the discretion of the conductor. This is a fairly straightforward setting of the classic Gershwin song.Dynamics in all of Evans's music is of prime importance. Minimal miking of the flutes is recommended so that they can be heard, but they must not be louder than the brass.
Orchestra (Trumpet or Flugelhorn Soloist, Reed 1: Alto Saxophone, Reed 2: Flute, Reed 3: Flute, Reed 4: Flute, Piccolo, and Bass Flute, 4 Trumpets, 3 Horns in F, 4 Trombones, Tuba, Bass, Drums) - Medium
SKU: JL.JLP-8499
By Miles Davis. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Gil Evans. Swing. Score and parts. Published by Jazz Lines Publications (JL.JLP-8499).
The music for Summertime, of course, comes from Porgy and Bess, and that album is a deserved classic. Evans's arrangement centers around a repeated line or riff, which changes color and texture throughout as Davis improvises over the melody. Evans would later adapt this arrangement for an album with Helen Merrill, and that performance included a guest appearance by soprano saxophonist Steve Lacy. The arrangement for Davis has two separate introductions played one after another at the beginning. These were cut for the recording, but are included here for their historical value. Playing or not playing them in performance is of course left to the discretion of the conductor. This is a fairly straightforward setting of the classic Gershwin song.Dynamics in all of Evans's music is of prime importance. Minimal miking of the flutes is recommended so that they can be heard, but they must not be louder than the brass.
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