Gillock - New Orleans Jazz Styles.pdf

November 16, 2017 | Author: Danny Dwi Rendrahadi | Category: Jazz, Classical And Art Music Traditions, Classical Music, Music Of The African Diaspora, American Styles Of Music
Share Embed Donate


Short Description

Download Gillock - New Orleans Jazz Styles.pdf...

Description

NEW ORLEANS

1

kL

FOREWORD One of the really significant contributions of the Twentieth Century to music

. . . and

a strictly American development

. . . is

the jazz idiom.

Although authorities are not in complete agreement, many believe that this spontaneous movement had its origin in New Orleans, in the honky-tonk aniusement section of the city, centred around Basin Street.

From there,

it spread northward up the Mississippi Valley to Memphis, St. Louis, Kansas City, Chicago, and eastward to New York. During the past fifty years American jazz in its popular forms has captured the imagination of youth Modern composers, among them Ravel and

throughout the world.

Stravinsky, have not hesitated to draw upon jazz rhythms and inflections.

While the development of its counterpart in New York and other more cosmopolitan centres of the nation has attained much sophistication and refinement, New Orleans jazz has remained simple and close to the source

- of its origin. Therefore, in these collections it is the intention of the composer to present basic examples ranging from a genuine blues treatment in "New Orleans Nightfall",

through a relaxed and humorous "Dixieland

Combo" in the spirit of the early 1920's, to an intensely rhythmic, brassy impression, "Bourbon Street Saturday Night". The ten pieces of New Orleans Jazz Styles are written for pianists of intermediate level.

The composer-teacher believes that every stu-

dent's musical education should include experiences in a variety of popular stylings, including jazz, as a serious and recurring phase of his studies. The player should also be encouraged to deviate from the written notes with his own improvisations if he desires, for spontaneity is an essential ingredient of the jazz idiom. WILLIAM GILLOCK

T o Alice

Kiewit

C o nt e n t s

.... THE CONSTANT BASS . . . . . . . MARDI GRAS . . . . . . . . . . .

2

........

8

NEW

ORLEANS NIGHTFALL .

DIXIELAND COMBO

FRANKIE AND JOHNNY (Theme and Variations)

4 6

. . . . . . 10

NEW ORLEANS NIGHTFALL S O N G STYLE; SOMEWHAT FLEXIBLY 4,

FASTER. with a beat

(J= about

(d = about 54)

WILLIAM GILLOCK

160)

4 0 MCMLXV, by T h e Willis Music Co. M. Co. 957.3 (87114) W.

5

Chappell & Co. Ltd., 50 New Bond Street, London, W.1 International Copyright Secured Printed in England

TEMPO I, but

TI,

I1

A

with a more pronounced beat

3

THE CONSTANT BASS STEADILY

(J

-

about 132)

5

W. M. C o . 9573

@ MCMLXV, by T h e Willis Music Co. Chappell & Co. Ltd.. 50 New Bond Street, London, W.1 International Copyright Secured Printed in England

WILLIAM GILLOCK

light staccato throughout

W. M. Co. 9573

MARDI GRAS FRENZIED

(A

WILLIAM GILLOCK = about

96)

no pedal

W. M.Co. 9573

@ MCMLXV, by T h e Willis Music Co. Chsppell & Co. Ltd., 50 New Bond Street, London, W . l International Copyright Secured Printed in England

I

I

I

decreasing

I

DIXIELAND COMBO WILLIAM GILLOCK UNSOPHISTICATED; in the e&ly jazz style (Jzabout 152))

\

L

I

I

I

4

1 1 '

?

w

W. M. Co. 9973

I

Chrppell

dr

I

I

1

1

I

MCMLXV. bv T h e Willis Music Co. Co. Ltd., 50 ~ e Bond w Street, London, W.l International Copyright Secured Printed in England

I

I

\4.M.Co. 957.3

'

THEME AND VARIATIONS FRANKIE AND JOHNNY

Bold and Brassy

(J= about

3

W.

M.Co. 9573

WILLIAM GILLOCK

176)

VAR. I

Q MCMLXV, by T h e Willis Music Co. Chappell & Co. Ltd., 50 New Bond Street, London, W . l International Copyright Secured Printed in England

11 VAR. I1

- - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - -VAR. 111

8va - - - - - - - - - - - - - - - - -a

'

W.

M. Co. 9573

7 loco

Printed by Lowe and Brydone (Printers) Limited, London.

cnn

n n t cd ~II. v o u ~ s An BREAK. ~ may ~k kn hand ALQNE If l hI* R I any mts WJ don't know. Imk chrm up an 8hc chart ~paac4) nnd write thcm ~n J Y , ~ play tIhe l o w r m n ~n ban 7. (I. 11 I ? 31. and 32 8%t h a l u m a n played by Ihe right h.nd

m

,

No(- t b l t h Mt bd m**n m at w d the . . . a yar *.m Mhlryrb in Ihl. bmk. yar "harld kmrn l o play this rhnhm p m p r l y r o d " C t m m l t " &Id g i n yar t k P m p l "-u.lrm" Try Pylnn l h o r words a. you play t k nm II-. " E u y on Ikm.mn'l know why. Bul 11's enrv b y m r h em.Dm', k m v why bul kt u'"

nw

.YocLr a h . * thr d u t l d rhythm stop. in l i m 7. Th. wm nh-M nry rvmly to -Inn u(rh t k "rockina" rhflhm d t k ma d t h plm

k ptayd

RITARD m m SLOW M W N s I n t h k me.l l m v d a m ~ l l y u n t l rl k n 1s a d m M u l o v M k r y w EVER WILL p k y t k IM mtc!

A n n p u hare tlvc "fel" of thr pimr, n n r e thc c u d l i n o tn thc tisht h a d . Thsr .re nlM ph~.*.n and should b m y c d in a pmup 1t IS rudolrvry to s h m m the last ~c or meh ph-. Thr n-I phn+ w l d k mn a-mbly rrattcn

THEMATICS

"KEYBOARD

A

-

mHorn

-

-

' I % b o n . a n h . l o ( d h n o n a y a r m H w d e r F l h n r We-yar mc. noh. wll yar hma h n r d t k plm mil. Them prt them In u Ik

dl t k

e r n

kn.

w.

w

-*nt~~~ckc.tthcrndcdtk~..

dm*

pttm.

m r0 T H E A C C A MARKS ~

PAY AO -N

Whik t k rmnd

to be an awful handful. a m u l l y 11 d rhleh yar . h a r ~ t+ .br to mmwb ~ I Y u. ,nu dm? p t

nry a-r

,%w foci a, fhb om, yar h . 1 Ilk Jux!

drwl,.! IWICO a war!

!$:

I n

L

-

.

I cmcmwar*

- r a

FIFTY NEW BOND STREET, LONDON, W.1 No. 3978

View more...

Comments

Copyright ©2017 KUPDF Inc.
SUPPORT KUPDF