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Jazz Lines Publications Summertime - Gershwin/Heyward/Evans - Jazz Ensemble - Gr. Medium
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Recorded by Miles Davis
Composers: George & Ira Gershwin, Dubose & Dorothy Heyward
Arranger: Gil Evans
Editors: Rob DuBoff and Jeffrey Sultanof
Format: Score and Parts
Instrumentation: Jazz Ensemble
Style: Swing
Level: Medium
The music for Summertime, of course, comes from Porgy and Bess, and that album is a deserved classic. Evans's arrangement centres around a repeated line or riff, which changes colour 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.
For this publication optional C flute parts as alternates for the two alto flutes are provided.
Composers: George & Ira Gershwin, Dubose & Dorothy Heyward
Arranger: Gil Evans
Editors: Rob DuBoff and Jeffrey Sultanof
Format: Score and Parts
Instrumentation: Jazz Ensemble
Style: Swing
Level: Medium
The music for Summertime, of course, comes from Porgy and Bess, and that album is a deserved classic. Evans's arrangement centres around a repeated line or riff, which changes colour 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.
For this publication optional C flute parts as alternates for the two alto flutes are provided.
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