Beat 70 by Pat Metheny & Lyle Mays / arr. by John R. Hearnes & Edward Freytag Advanced / 5:00 / Players

Transcription

1 oremost In Marching And Concert iterature PO Box Nashville, TN AX rolocom Beat 70 y Pat Metheny yle Mays / arr y ohn R Hearnes Edard reytag Advanced / 5:00 / Players Instrumentation Bells,, phone, (2) Vies, (2) Marimas, (2), Medium Wood Block, Shaker,, Bass uitar Beat 70 y Pat Metheny yle Mays Pat Meth Music International Copyright Secured All Rights Reserved Used y Permission

2 Perormance Notes or Beat 70 or the est possile perormance o this piece, it is important or the players to ecome amiliar ith the original Pat Metheny/yle Mays tune or this arrangement, e used pieces rom the studio alum version ( etter rom Home ) and the live alum version ( The Road to You ) Also, you can listen to the recording o the percussion ensemle arrangement at rolocom This is important or learning the right eel o the piece and or ork ith the solo sections (see elo) The drum set and conga players are ree to improvise Pay close attention to the music in the mallets and look or ays to support that The drum set player should ecome amiliar ith Paul Wertico and his style o drumming Use the Internet to ind recordings and videos o his playing The ass guitar part can e douled on another marima i a player is availale The steel pan part is optional ut adds a great timre to the piece I a pan is not availale, playing the part on a synth ith a pan sound ill ork The pan player can also add some percussion hile not playing, like a simple shaker or caasa pattern The irst solo section is at letter E and eatures the Marima 1 player The player is ree to improvise over the given chord changes, or they can play the suggested solo included in the parts The suggested solo is a modiied transcription o the piano solo rom the studio alum version The Vies 2 player provides the comping patterns Suggested voicings are given in each measure The rhythms used should support the rhythms played y the soloist The second solo section is rom letter stopping at letter and eatures the Vies 1 player rom letter to measure 157, the player is ree to improvise over the given chord changes, or they can play the suggested solo included in the parts The suggested solo is a modiied transcription o the guitar solo rom the live alum version The comping patterns are provided y either the Marima 1 or 2 players (or oth) Suggested voicings are given in each measure The rhythms used should support the rhythms played y the soloist Once the players reach measure 157, all players should play hat is ritten, although the solo section continues This allos the music to uild toard the end o the solo hile including all perormers This piece can e shortened y cutting ack on the solo sections, or it can e opened up to include more players Make this piece your on! We hope you enoy perorming this piece and that your ensemle uses it as a tool or learning aout improvisation and comping We ish you the est o luck!

3 Bells Vies 1 Vies 2 Marima 1 Marima 2 h» Bright atin 2 ells Beat y Pat Metheny and yle Mays arr y ohn R Hearnes and Edard 7 8 Bass uitar hi hat ass R slap ass mtd ood lock (med ruer mallets) open R R vary groove in the style o Paul Wertico cont pattern ith variations

4 Beat 70 pg 17 Bells Repeat 3X Vies 1 SOO - improv or suggested solo Vies 2 13sus 7sus 13sus 7sus Marima 1 13sus END SOO 7sus 13sus 7sus opt comp ith Marima 2 (see perormance notes) Marima 2 COMP (see perormance notes) Bass uitar Û ill Û Û Û Û Û

5 Beat 70 pg 25 Bells 189 chimes - 3rd x only 3rd x only Vies 1 Vies 2 Marima 1 Marima 2 Bass uitar 2nd and 3rd x only 3rd x ack to time keeping; increase intensity on repeats