Biblioteca del Conservatorio di Musica di Vicenza “Arrigo Pedrollo”

Abstract: Written by French composer Leo Delibes in 1874, 'The Maids of Cadiz' was mostly known as a vocal piece before arranger Gil Evans heavily reworked it for inclusion on his 1957 collaboration with trumpeter Miles Davis, 'Miles Ahead.' Although each piece on the album melds together as one giant suite for trumpet and jazz orchestra, the cleverness of Evans's writing allows for each movement to be easily performed on their own. The arrangement begins on a slow, almost ominous note, with some mild flamenco influences in the melody line. The bass fills during this portion of the arrangement were written out by Gil, but are meant to be treated as a solo and can be played fairly loosely. The trumpet soloist enters at measure 5, with some soft underpinning voicings from the low reeds and brass. The appogiaturas in the woodwinds at measure 12 should anticipate the downbeat rather than being played directly on it. - The overall mysterious mood should continue even when the trumpet solo hands the melody off to the French horn at measure 25. It is of utmost importance to emphasize the many dynamic swells during this section of the arrangement in order to provide a contrast from the mostly soft first half. These contrasts culminate in a subtle double time feel kicking in at measure 33. Be mindful of the gentle pulsing rhythmic figures in trumpets 1, 2, and 5, and bass trombone here. - Although the trumpet soloist has moments of improvisation, it's important to approach with a vocal-like quality as Davis does on the original - too many notes can potentially ruin the atmosphere. After a brief trumpet-bass duet at measures 45 and 46, the double time ends for the trumpet soloist's final commentary before a re-statement of the introduction. On the original recording, the portion of this arrangement that begins at measure 56 is meant to set up the transition into the next part of the suite, Evans' arrangement of Dave Brubeck's 'The Duke.' If you are not planning on continuing on, this arrangement may end on the first G in the bass in measure 56 to provide an effective conclusion. This arrangement is written for jazz studio orchestra featuring trumpet (or flugelhorn) soloist. The woodwind section features 2 clarinets and bass clarinet (along with alto saxophone), as well as 2 French horn parts and a tuba part. This arrangement has been prepared from Evans's original score - this is not a transcription. We hope you enjoy playing this arrangement as much as we enjoyed preparing it for you! (Fonte editoriale)