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Charleston for Big Band by composer Antonio Eros Negri available in PDF score format.
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This composition is for one of the more usual Big Band ensembles: five saxophone parts (two altos, two tenors, and baritone), four trumpet parts and four trombone parts (three tenors and bass); the rhythm section, written in full in the double bass and piano parts, can also include percussion instruments ad libitum. The Big Blues and the Big Charleston are a tribute to two musical genres that coexisted for a couple of decades in the first half of the 20th century; when the Charleston went out of fashion, the blues continued to exist and evolve in various directions, also influencing other musical genres not directly related to it. Both pieces reconcile the melodic and harmonic vocabulary as well as the traditional rhythmic structure of the idioms of reference with compositional techniques typical of 'cultured music'. The use of free, imitative or canonical contrapuntal techniques and orchestration attitudes borrowed from symphonic writing favour an interpenetration between the styles and attitudes of 'serious music' and musical aspects of the 'other 20th century'. Both the Big Blues and the Big Charleston, one inspired by the evolutions for large instrumental ensemble of the jazz-blues of the 1960s and the other by the popular dance of the 1920s, can contain sections dedicated to improvisation; in this case, these sections should be used as tropes (moments inserted within the piece) and not as substitutions of parts written in full in the score.
Antonio Eros Negri