Piano Sheets > Jimmy Guiffre Sheet Music > Four Brothers (ver. 1) Piano Sheet

Four Brothers (ver. 1) by Jimmy Guiffre - Piano Sheets and Free Sheet Music

  
About the Song
"Four Brothers" (1947) is a jazz standard composed by Jimmy Giuffre and performed by the Woody Herman Orchestra. The song features four saxes (three tenors and one baritone) in an arrangement that gives each "brother" a solo and culminates in a hard-swinging sax section chorus. The song so typifies the sound of Woody Herman's second "Herd" that the band is also known as the Four Brothers Band. The title also refers to the four musicians that played in the original version: Stan Getz, Zoot Sims, Al Cohn, and Serge Chaloff. All four played in a light-vibrato style that was originated by Lester Young of the Count Basie Orchestra and popularized by Stan Getz. An a cappella rendition with full lyrics was recorded by Realtime as the title track of a 2004 CD. A vocal version was also released by The Manhattan Transfer on their 1978 album Pastiche. This version was based on the arrangement that.    Download this sheet!
About the Artist
James Peter Giuffre (April 26, 1921 – April 24, 2008) was an American jazz composer, arranger and saxophone and clarinet player. He is notable for his development of forms of jazz which allowed for free interplay between the musicians, anticipating forms of free improvisation. Born in Dallas, Texas, Giuffre (pronounced "Joo-fray") was a graduate of Dallas Technical High School and North Texas State Teachers College (now the University of North Texas). He first became known as an arranger for Woody Herman's big band, for which he wrote the celebrated "Four Brothers" (1947). He would continue to write creative, unusual arrangements throughout his career. He was a central figure in West coast jazz, cool jazz,[1] and was a member of Shorty Rogers's groups before going solo. Giuffre played clarinet, as well as tenor and baritone saxophones, but eventually focused on clarinet. His first trio consisted of Giuffre, guitarist Jim Hall and double bassist Ralph Pena (later replaced by Jim Atlas). They had a minor hit in 1957 when Giuffre's "The Train and the River" was featured on the television special The Sound of Jazz. This trio explored what Giuffre.
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Sheet Music - Purpose and use Sheet music can be used as a record of, a guide to, or a means to perform, a piece of music. Although it does not take the place of the sound of a performed work, sheet music can be studied to create a performance and to elucidate aspects of the music that may not be obvious from mere listening. Authoritative musical information about a piece can be gained by studying the written sketches and early versions of compositions that the composer might have retained, as well as the final autograph score and personal markings on proofs and printed scores. Comprehending sheet music requires a special form of literacy: the ability to read musical notation. Nevertheless, an ability to read or write music is not a requirement to compose music. Many composers have been capable of producing music in printed form without the capacity themselves to read or write in musical notation—as long as an amanuensis of some sort is available. Examples include the blind 18th-century composer John Stanley and the 20th-century composers and lyricists Lionel Bart, Irving Berlin and Paul McCartney. The skill of sight reading is the ability of a musician to perform an unfamiliar work of music upon viewing the sheet music for the first time. Sight reading ability is expected of professional musicians and serious amateurs who play classical music and related forms. An even more refined skill is the ability to look at a new piece of music and hear most or all of the sounds (melodies, harmonies, timbres, etc.) in one's head without having to play the piece. With the exception of solo performances, where memorization is expected, classical musicians ordinarily have the sheet music at hand when performing. In jazz music, which is mostly improvised, sheet music—called a lead sheet in this context—is used to give basic indications of melodies, chord changes, and arrangements. Handwritten or printed music is less important in other traditions of musical practice, however. Although much popular music is published in notation of some sort, it is quite common for people to learn a piece by ear. This is also the case in most forms of western folk music, where songs and dances are passed down by oral—and aural—tradition. Music of other cultures, both folk and classical, is often transmitted orally, though some non-western cultures developed their own forms of musical notation and sheet music as well. Although sheet music is often thought of as being a platform for new music and an aid to composition (i.e., the composer writes the music down), it can also serve as a visual record of music that already exists. Scholars and others have made transcriptions of western and non-western musics so as to render them in readable form for study, analysis, and re-creative performance. This has been done not only with folk or traditional music (e.g., Bartók's volumes of Magyar and Romanian folk music), but also with sound recordings of improvisations by musicians (e.g., jazz piano) and performances that may only partially be based on notation. An exhaustive example of the latter in recent times is the collection The Beatles: Complete Scores (London: Wise Publications, c1993), which seeks to transcribe into staves and tablature all the songs as recorded by the Beatles in instrumental and vocal detail. (More...)