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Jazz Professional
TECHNICAL
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Scoring Technique
Piece For My Latino Friends - 3 
Parts 1 | 2
| 3 | 4 | 5
| Brazilian Walz - Toggle
text and examples with Backspace and Shift+Backspace
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| Continuing with Wolf Kerschek’s score: the melody has already
been stated by a single trumpet, with a driving Salsa rhythm underneath
(bars 9 to 36 in the previous issue). Now the wind instruments repeat the
melody, and they do so in a highly unusual way. In Example
3 the rhythm section plays on, with the same Salsa background as before.
The brass and saxes are now conducted
in a very slow, heavy, lazy rubato, way back across the beat. When the wind
ensemble reaches the end of bar 38 the rhythm has managed to repeat its
two–bar phrase about five times. Listening to it gives the impression of
standing beside one roaring Salsa band and hearing another band play a dirge
somewhere else in the room. The result is absolutely stunning. The rubato
of the wind ensemble continues through bars 37 to 44. By the time its eight
bar passage is over the rhythm has played all of twenty-six bars at speed.
In Example 4 bar
45 begins a repeat of bars 25 to 36 in the section of the score I showed
you in the previous issue. This time the whole band plays the theme, but
here again the composer has pulled a surprise out of the bag. The melody
in the first two bars is formed between trumpets and saxes, with the trumpets
only punching the accents. This is a device much used in classical composing,
but very rarely (if ever) seen in jazz music. Bass trombone and baritone
play the low Fs with the rest of the rhythm section. Third trombone holds
an F for two bars, while the upper two trombones play thirds in contrary
motion to the melody. The trombones lay down a background curtain for the
gymnastics elsewhere, only to explode with the rest of them on bar 47.
Part 4 >>>
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