Waltz for Debby, arr. Sebesky, Isolated Horns by Paul Morelli скачать в хорошем качестве

Waltz for Debby, arr. Sebesky, Isolated Horns by Paul Morelli

I always enjoy exploring pieces in the jazz orchestra idiom with unusual instrumentation, and this one definitely qualifies. Flugelhorns are used throughout instead of trumpets (not that uncommon) and euphoniums used throughout instead of trombones (VERY uncommon), with euph 4 doubling on tuba for the introduction. There's one F horn in the brass section (played here on mellophonium) and clarinet and bass clarinet in the reed section. And there is a guitar part but no piano part. The result is a jazz orchestra horn section with all smooth, warm, round sounds and no sharp edges. The orchestration takes advantage of this sound with lots of close, dense cluster voicings and surprising harmonic substitutions. It's not just the instrumentation that is unusual: Don Sebesky treats the horn section in a way that is not at all traditional. The whole horn section plays throughout a lot of this piece, with parts frequently doubled up within a section or between sections, and loads of countermelodies and cascading lines that spill up or down scales leaving a chord behind. With everyone playing at once most of the way, the instrumentation is all about color rather than hearing individual instruments: it's not easy to hear that there's a clarinet, F horn, and bass clarinet in this because they rarely play outside the whole pile, but their sounds contribute to the unique ensemble blend. As I usually do, I've made a few edits. The beginning of the faster tempo is shortened since the written version only makes sense with the rhythm section present. Also, there are two solos that are just soloist and rhythm section, both of which were cut. (They are now the send-off chord followed by the 4-bar lead-in to the next phrase.) The flugelhorn solo, though, has horn backgrounds so it was kept to showcase the writing. Composer: Bill Evans Arranger: Don Sebesky Performer: Paul Morelli Instrumentation: Clarinet Alto sax Tenor sax 1 Tenor sax 2 Bass clarinet Flugelhorn 1 Flugelhorn 2 Flugelhorn 3 (solo) Flugelhorn 4 F horn (played on a mellophonium) Euphonium 1 Euphonium 2 Euphonium 3 Euphonium 4 / tuba Bass (played on bass saxophone) ...And I played the few important written-out guitar parts on a keyboard. Other notes: Oddly enough, the flugelhorn section is written like an orchestral F horn section, with the 3rd voiced above the 2nd when they're in 4-part harmony and the 1st and 3rd doubled together and 2nd and 4th doubled together lower when in 2-part harmony. This isn't something you normally see for a whole jazz orchestra piece. The last chord is G minor 13th. I don't know if other composers / arrangers think this way, but I tend to see chord types as shapes and textures. Not like a true synesthete, but still there. Minor 7th chords and their usual extensions are, to me, rounded and smooth like a lozenge or pencil eraser. No obvious tritones (yes, I'm aware of the one between 3rd and 13th, but they're not usually voiced in the same octave), no augmented triads within, no major 7th above the root, no minor 9ths, just warm and lush and smooth even when extended all the way to the 13th. It's not dissonant, but not really stable either since it's not usually used as a tonic chord. It exactly compliments the round, smooth tone color of the ensemble.