Download Blues for Pablo by Gil Evans PDF

TitleBlues for Pablo by Gil Evans
TagsConducting Trombone Trumpet Double Bass Saxophone
File Size313.1 KB
Total Pages7
Document Text Contents
Page 1

Jazz Lines Publications
Presents

the jeffrey sultanof master edition

blues for pablo
As recorded by the miles davis/gil evans orchestra

Arranged by gil evans
edited by jeffrey sultanof

full score
from the original manuscript

jlp-8109

Music by Gil Evans

Copyright © 1956 BOPPER SPOCK SUNS MUSIC
All Rights Reserved Used By Permission

Layout, Design, and Logos © 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM

This arrangement has been published with the authorization of The Estate of Gil Evans.

Jazz Lines Publications
PO Box 1236

Saratoga Springs NY 12866 USA

Page 2

Background:
Miles Davis signed with Columbia Records thanks to producer George Avakian, who heard him in performance at the 1955 Newport
Jazz Festival. By then, Miles had kicked his drug habit and was getting himself together. There was one problem: Prestige Records still had
him under contract for another year and a half and recorded him extensively during that time. But Avakian began planning Miles’
recording activities the moment Davis signed his contract. It was the beginning of an association that would last over twenty years, long
after other jazz artists left Columbia.

Very early on, producer and artist discussed an album with a big band, and Avakian asked Davis to choose between Gunther Schuller
and Gil Evans to arrange and conduct. Miles chose Evans immediately. When the album Miles Ahead was released, it made musical history.
A mix of adaptations of classical music, an original by Miles and Evans, and current jazz pieces by Dave Brubeck, John Carisi and Ahmad
Jamal arranged as one long suite, it helped to re-launch Evans’ career as well as Davis’ own. At around this time, eleven of the Miles Davis
Nonet sides were reissued, and most listeners heard Boplicity and Moon Dreams for the first time. An album for Prestige called Big Stuff
further solidified Evans’ standing in the jazz world.

The Music:
Blues for Pablo was originally written for Hal McKusick for inclusion on his Jazz Workshop LP recorded in 1956 for RCA Victor Records
(this album also included Jambangle, which was later re-orchestrated and expanded for Evans’ Big Stuff LP for Prestige Records). Evans
mixes an idea in minor that has two influences (a theme from Falla’s ballet El Sombrero de Tres Picos and a Mexican folk song1) with a blues
in major, and the effect is pure Gil Evans. His treatment of this piece for Davis’ album is identical in form to the McKusick version, but
is in a different key, and of course is set for a larger ensemble. Despite a large brass ensemble of five trumpets, four trombones
(including a bass trombone) and tuba, he used four reeds, of which only one was a saxophone. The other reeds are flutes and bass
clarinet. Please note that there is no piano part for this arrangement, and none should be added.

There have been two previous editions of this music available. The first was prepared by Joe Muccioli for various performances he
conducted that is available from the Gil Evans estate, the second an edited and partially transcribed edition made by Steve Lajoie and
published in a folio by Advance Music. This Jazzlines publication is a newly edited performance edition prepared from a copy of the score
used by the American Jazz Orchestra. The original score was discovered in 1995, part of three boxes of music belonging to Miles that
were in storage for several years.

This edition hues closely to what Evans originally wrote; the corrections consist of adding clear articulation (which is often non-
existent or misleading in Evans’ music) and fixing wrong notes. Don’t let anyone tell you that maestro Evans did not make mistakes in
his manuscripts; he most certainly did. So an editor must look carefully to make sure that what is finally published is in fact what the
composer wanted. This is made easier because Evans’ voicings are based on instrumental doublings, so checking say, the bass clarinet
and bass trombone against each other usually solves any note questions, as well as listening to the recording. Obviously, consultation of
the original parts would be helpful to aid in this pursuit. However, they are currently unavailable.

Notes to the Conductor:Notes to the Conductor:Notes to the Conductor:Notes to the Conductor:Notes to the Conductor:
Editing a Gil Evans score from the Miles Davis sessions is a challenging exercise. Despite his usage of large King Brand score paper,
Evans’ handwriting is often not very clear, and flats and naturals sometimes look alike. Evans often uses unusual rhythmic notation as
well, and despite mailing copies of the parts to the musicians before the sessions (and as can be seen on discographies, the musicians
on these recording dates were the best in the New York music world), they had a tough time playing this music. The sessions for this
album went overtime, and performances had to be spliced together.

I once heard a conductor of this music insist that these pieces play themselves. This of course is absolute nonsense; if any music needs
lots of tender loving care from the conductor to come alive, it is this. The advantage of being able to purchase this music is the luxury
of time for the conductor to study these scores carefully, and have adequate rehearsal time to fully explore the many layers of sound
this music has deep within the notes. Listening to both the McKusick and Davis performances is a great help as well to hear how the
music needs to breathe to sound right.

A key issue is the treatment of the flutes in live performance; obviously an alto flute is easily buried by all of those brass instruments,
and a bit of subtle amplification should be considered so the flutes sound as the coloristic enhancement to the ensemble that Evans
clearly wanted. Please do not have them louder than the trumpets; they need to be equal in sound to the section.

Jeffrey SultanofJeffrey SultanofJeffrey SultanofJeffrey SultanofJeffrey Sultanof
-April 2010

Footnote: 1In his liner notes for Miles Davis/Gil Evans – The Complete Columbia Recordings, Bill Kirchner cites an article by Max Harrison
with this information.

blues for pablo - notes

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

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













































Solo Trumpet

Alto Sax. 1

Flute 2

Alto Flute 3

Bass Clarinet 4

Trumpet 1

Trumpet 2

Trumpet 3

Trumpet 4

Trumpet 5

Horn in F 1

Horn in F 2

Trombone 1

Trombone 2

Trombone 3

Bass Trombone 4

Tuba

Bass

Drum Set

   3















































1

æ̇


ad lib tempo (rubato)

mp

mp

mp

{In` ``H`a`t``}

{In` ``H`a`t``}

{In` ``H`a`t``}

{In` ``H`a`t``}

{A`r`c`o`}

{T`a```m``b`o`u`r```i``n`e`````}

Very Soft Tremelo

{S`o`l`o`}On Cue

{T`o` ``E``x`t`e`n`d`e`d` ``H`a`r`m`o`n` `M`u`t`e`}

{O`p`e`n``}

mp

mp

mp

mp

mp

mp

mp

{O`p`e`n``}

{O`p`e`n``}

{O`p`e`n``}

f

    3





 

 


























2

æ̇

[A]     



































3

æ̇





































4

æ̇

(3)

(3)

   3















































5

æ̇




























Jazz lines PubLicationsjLp-8109

bLues for pabLo Music by Gil Evans
Arranged By Gil Evans

Edited by Jeffrey Sultanof

Copyright © 1956 BOPPER SPOCK SUNS MUSIC
All Rights Reserved Used By Permission

Layout, Design, and Logos © 2010 HERO ENTERPRISES INC. DBA JAZZ LINES PUBLICATIONS AND EJAZZLINES.COM

This arrangement has been published with the authorization of The Estate of Gil Evans.

Score

(recorded by miles davis)

the jeffrey sultanof master edition

Page 4





































ã



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











Solo Tpt.

A. Sx. 1

Fl. 2

A. Fl. 3

Bs. Cl. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tpt. 4

Tpt. 5

Hn. 1

Hn. 2

Tbn. 1

Tbn. 2

Tbn. 3

Bs. Tbn. 4

Tuba

Bass

D. S.

      3





 

 



























6

æ̇

On Cue    

 


  





  

 










 û


 û


 û


 

û



 


 


 

  


 



 


 




 




 



7

æ̇


æ̇
{T`o` ``D``r`u`m` `S`e`t```}

On Cue

mfp

mf

mf

mfp

mfp

mfp

mf

mf

mf

mf

mf

mf

mf





           
3 3 3 3

           3 3 3 3











           
3 3 3 3















    
3

8


œ œ


œ  œ 

a tempo  = 60

{P`i`z`z`}

(Tom-Tom)

On Cue

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

 



           3 3 3 3

           3 3 3 3











           
3 3 3 3















    
3

9



Accel. Rit.

Accel. Rit.

Accel. Rit.




















bLues for pabLo
Score - Page 3

Jazz lines PubLications jLp-8109

Page 5





































ã























Solo Tpt.

A. Sx. 1

Fl. 2

A. Fl. 3

Bs. Cl. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tpt. 4

Tpt. 5

Hn. 1

Hn. 2

Tbn. 1

Tbn. 2

Tbn. 3

Bs. Tbn. 4

Tuba

Bass

D. S.

   
































    
3

10


œ œ


œ  œ 

[B]

mp

Subtone

mp

mp

mp

mp

mp

mp

mp

mp

    


































11



    3


































12



 



 




 
  

  

  

  
  

 

 

  

  

  

  

 



13



{In` ``H`a`t``}
No Vib

{In` ``H`a`t``} No Vib

{In` ``H`a`t``}
No Vib

{In` ``H`a`t``} No Vib

No Vib

{In` ``H`a`t``}
No Vib

{In` ``H`a`t``}
No Vib

{In` ``H`a`t``} No Vib

(4)

(4)

mp

mp

mp

mp

mp

mp

mp

mp

{In` ``H`a`t``} No Vib

mp

mp

{In` ``H`a`t``}

bLues for pabLo
Score - Page 4

Jazz lines PubLicationsjLp-8109

Page 6





































ã























Solo Tpt.

A. Sx. 1

Fl. 2

A. Fl. 3

Bs. Cl. 4

Tpt. 1

Tpt. 2

Tpt. 3

Tpt. 4

Tpt. 5

Hn. 1

Hn. 2

Tbn. 1

Tbn. 2

Tbn. 3

Bs. Tbn. 4

Tuba

Bass

D. S.




 

 

    

 

 

 

 

 

 

 

 

 

 

    

    

      

14



{T`o` `C`u`p` `M`u`t`e``} 



   

   








 





 
3

   

    

  




  




   

    

   

   

    

  
 



  

3

  
 









3

  
 









3

      
3

15


(6)

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f





 

 

 

 

 

 

 







 

 



 

 

 

16

œ œ œ œœ  œ 
Straight Rhythm



     
3



 

 









 

      
3

 

     
3



 

 

 

 

17



{T`o` `C`u`p` `M``u`t`e````}

{T`o` `C`u`p` `M``u`t`e````}

{T`o` `C`u`p` `M``u`t`e````}

{T`o` `C`u`p` `M``u`t`e````}

{T`o` `C`u`p` `M``u`t`e````}

bLues for pabLo
Score - Page 5

Jazz lines PubLications jLp-8109

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