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| Postcardware (See comments) | $0 | 07-Jun-1999 | |||||||||||||||
| Title | Street Life | ||||||||||||||||
| Composer, Performer | Joe Sample and Will Jennings, The Crusaders | ||||||||||||||||
| Arranged by | Bertho | Homepage ![[Home]](../../../images/button_home.gif) |
E-mail ![[E-mail]](../../../images/button_text.gif) |
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| Style | Rythmic | ||||||||||||||||
| Comments |
The files here should be the corrected version where I corrected some stupid
typos which were in the first version. The midi-file is also updated and is
99.99% in sync with the score (everything except one extra note afaik). This arrangement has a couple of things that are quite hard to get right. First if all, there are several jumps in key that almost come out of the blue (BTW, I did not spell the notes correctly accoring to the key, but spelled it as if they were in the old key). These changes are easy for instruments, but are difficult to get right when singing and you should pay close attention to it. Another thing is that many voices stay at or arround the same note, but are in a completely different harmonic place. This is especially true for the bariton. The bariton has also to cope with a rithmic line (rithm guitar background) where breathing is very hard to fit in. The easiest place is to leave out the first 2 of the 6 16th notes (on t-k-t-k-t-k), but that generates a gap. A better place is to leave out the first 8th (on beat 1) now and then. If you don't have a tenor that can reach Bb3, then you should swap the tenor and alto voices (measurea 56/57 and 60/61). The tenor is singing the guitar at that point and it is meant to sound like a thin but dominant voice. The soprano has the high strings in measure 57 and you can experiment to put it one octave higher if you have a soprano that can reach Bb4. If you don't have a bass that can reach as low as C1, then you can leave out the bass completely in measures 12 and 64 because he only doubles the bariton there (but it sounds great so deep). Note that you can also swap part of the baritone's voice with the bass so that he isn't required to reach all the way up to C3. This makes the line more difficult to sing, but otoh prevents the bass from becoming completely stressed. Be carefull not no speed up too much, but keep the funk feel going (the original actually speeds up quite a bit...). The intro could be even slower than I wrote (more freely), but the step into the funcky part should be distinct and at the correct tempo. Postcardware note: Instead of a postcard I would very much like a taperecording with your interpretation of the arrangement if you do this song with your group. E-mail me for my address. |
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| Voicing | SSATBB |
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