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Miles Davis - Birth of the Cool: Scores from the Original Parts (Transcribed Score) Paperback – July 1, 2002
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Top Customer Reviews
I esp loved the wealth and accurate info in the linear notes, that credit was given where due and the obvious respect, care and detail given to
this " Classic" groundbreaking material. Bravo - Team Jeff and Hal Leonard- Joy Archer
RE : One star review. about Transposed score - A couple of points- . This is for score / orchestration study, presented in concert key.serves the purpose of the book and is common practice in this genre. The classic score /orchestration books - Mancini, Russo, Wheeler, Nestico ect.
are all in concert key-
Popular Music Composers and conductors ,of course can read transposed scores. Some prefer them others prefer concert scores- Some compose in concert - others can think and compose transposed. However - The purpose of the book is for educational score study.
Presenting the material in Concert Key makes it universally accessible for any instrumentalist or composer.- Student or Pro.
2nd point - you can not just go photocopy pages from any score and perform copyrighted materials w/ getting performance rights.
Regardless, you still would have to make individual parts to play this material anyways.
giving a player an 18pg score photocopy as a performance / rehearsal part well good luck.
The mental exercise of making the transposed parts is part of learning from these giants.
If you wish to play the material - Please be ethical and legal- BUY the score and parts separately.
Then at least the composers' / estates get a few pennies for their tremendous contributions to the art form.
I do not mean to sound rude- or dish you personally - perhaps you misunderstood the purpose of this book.
This is a fantastic resource and the one star rating was not really fair. I hope you can take the material presented here and discover the joy of learning from these jazz giants.
All of the original parts known to exist of this legendary music were utilized to create corrected, clear, edited scores in concert. There are several pages of notes, including bios, a history of the music and the ensemble, and information on the restoration of this music. Also included is a composition that was never recorded.
Both the estates of Miles Davis and Gerry Mulligan made this music available to me to prepare this folio, and Keith Mardak, CEO of Hal Leonard, deserves credit for making this music available.
For me, this was a challenge and a labor of love. A more detailed article on the editing process will be published by the Journal of the Institute of Jazz Studies in the near future.