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Scoring Technique
Piece For My Latino Friends - 5   
Parts 1 | 2 | 3 | 4 | 5 | Brazilian Walz - Toggle text and examples with Backspace and Shift+Backspace

In this final look at Wolf Kerschek’s score of Piece for my Latino Friends we examine some of the rhythm backgrounds of the piece. Example 8 is a natty bit of Salsa. Taken at speed it is enormously effective behind solos. The little phrase is repeated, with variations, behind an extended ad lib trumpet solo. Note how the various instruments come together with a bang on the last sixteenth note of each bar. This is syncopated nicely by the bass note falling on the previous eighth note.

Example 9 is a little more difficult. Folklore has it that Olaf Polziehn, the pianist in the German Youth Band, read this at sight, and in tempo, at the first rehearsal. Everyone is welcome to try it. This is one of the phrases that goes on and on, seemingly in wild abandon. Every wind instrument in the band comes in ad lib over this frantic driving rhythm, adding to the tension until the whole thing explodes once more into one of Wolf’s glorious climactic passages. The ad lib free–for–all takes on a distinctly Latino flavour, and one can almost hear the shouts of, ‘Hey Senorita!’, ‘OLE!’, ‘Hasta la Vista!’ and smell the garlic.

The three chords involved are, respectively G7(b13), Db/G, F7(b13)/G.

Example 10 is the final rhythm of the piece. Once again it starts behind a massive Latino tutti ad lib, something this band does marvellously well. The ad lib dies away leaving the rhythm section to end the number nice and peacefully. When I first heard this passage I was convinced that it had been written differently. It certainly sounds like the version I've added below the original. A lesser man would most likely have written it in that way. The passage consists of mixed major and minor thirds, and once again there is that repeated C, nagging away on top. There is a wonderful feeling of tranquility as the rich overtones of the final chord die away into absolute silence.