The Hip-Hop Bop Stop

SKU: KN.61305S

UPC: 822795613056.

A fun piece for advancing groups, this chart alternates between hip-hop and swing styles. Written or ad lib solos are included for alto, trumpet and guitar, and 3rd & 4th Trumpets double on flugelhorn. A guitar chart by Jim Greeson is included in each set. Duration 6:20.

SKU: BT.MUSAM1000450

ISBN 9781849385121.

This great songbook features 17 songs from the hit TV show Glee in Piano, Vocal and Guitar arrangements.

In cludes the hit single Don't Stop Believin', originally releasedbyJourney . Both the original and the Glee cast version made it into the charts in January 2010, both in the top ten, a rare occurrence in UK chart history. Also includes otherGleesingles, such as Take a Bow, originally by Rihanna, Keep Holding On, released in 2006 by Avril Lavigne and featured as the theme song for the filmEragon,Bust A Move, the 1989 hip-hop release from Young MC, Sweet Caroline, the extensively covered Neil Diamond hit and Queen's SomebodyToLove.< br/>

SKU: KJ.JZB387

UPC: 8402701963.

Spice up your repertoire with hip-hop! The initial riff-based melody is augmented with pyramid figures from the rest of the ensemble. The coiled energy that is built up in this first section of the tune is released into the kinetic motion of the B section. This leads to an extended tenor sax solo that will really allow your soloist to stretch out. A stop time low brass feature follows, which leads back into the head of the tune, where the ensemble can ride it out to the end.

About Standard of Excellence Jazz Ensemble Method

The Standard of Excellence Jazz Ensemble Method is designed to help both you and your jazz ensemble students explore the world of jazz through easy-to-use Rhythm Studies, Improvisation Studies, Instrument Specific Exercises, and full ensemble jazz charts. The approach is non-theoretical and aurally based. Each part book comes with an accompaniment CD, so like every great jazz player throughout history, students learn to play jazz by listening!

SKU: FJ.P2031

UPC: 241444407202. English.

An entertaining etude featuring down-up motions that really hop! This fun piece feels great in the hands, and features two-note slurs throughout with some scale passages... it sounds hard, but it's surprisingly easy to play. Good classical-track preparation.

SKU: HP.3022D

UPC: 763628230227. Joel Raney.

Christmas Carol This fun and boisterous arrangement includes mallets and many other stopped techniques. The lilting opening section gives way to a grandiose presentation of the melody and then returns to the swash-buckling melody of the beginning. Paired with piano, this would be a wonderful concert or Christmas selection.

SKU: HP.3022

UPC: 763628130220. Joel Raney.

Christmas Carol This fun and boisterous arrangement includes mallets and many other stopped techniques. The lilting opening section gives way to a grandiose presentation of the melody and then returns to the swash-buckling melody of the beginning. Paired with piano, this would be a wonderful concert or Christmas selection.

SKU: CL.SCM-1100-00

A great new chart of Freddie Hubbards’ great Blues For Miles that really cooks! Freddie describes this tune as Hip Hop Funk on the original CD also entitled Blues for Miles. Mike’s solid arrangement starts out with the trumpets introducing the very funky unison melody followed by a stop time chorus for the saxes. Solos follow for the soloists of your choice on slightly altered Bb blues changes and then an exciting rock flavored shout chorus takes us back to the head. Includes an optional flute part. An outstanding choice for almost any performance opportunity that your students will really enjoy playing.

SKU: CL.SCM-1100-01

A great new chart of Freddie Hubbards’ great Blues For Miles that really cooks! Freddie describes this tune as Hip Hop Funk on the original CD also entitled Blues for Miles. Mike’s solid arrangement starts out with the trumpets introducing the very funky unison melody followed by a stop time chorus for the saxes. Solos follow for the soloists of your choice on slightly altered Bb blues changes and then an exciting rock flavored shout chorus takes us back to the head. Includes an optional flute part. An outstanding choice for almost any performance opportunity that your students will really enjoy playing.

SKU: HP.C5082B

UPC: 763628144500. Christopher Idle. 1 Corinthians 2:28, Acts 2:34, Acts 7:55, Ephesians 1:20, Hebrews 1:3, Mark 14:62, Psalms 19:1, Psalms 24:7-10, Psalms 9:1, Revelation 1:1-11, Revelation 5:11-14, Revelation 7:11-17, Romans 3:24, Romans 5:1, Titus 3:7.

Hymn tune by C. Hubert H. Parry Based on a strong hymn tune and a paraphrase of the historic Te Deum, this choir, brass and organ arrangement by Jack Schrader is both climactic and poignantly worshipful. Based on a strong hymn tune and a paraphrase of the historic Te Deum, this choir, brass and organ arrangement by Jack Schrader is both climactic and poignantly worshipful.

SKU: PE.EP68488A

ISBN 9790300758909. English.

At the end of 1938, Jelly Roll Morton (1890-1941) returned to New York from his years in Washington, D.C. Recent publicity had made a comeback seem possible, and he hoped to recapture the prominent place in the jazz world that he had held in the 1920s. Still well known, though mainly as a New Orleans music pioneer, he understood that in order to be taken seriously as a contemporary artist, he needed to form a big band like those of his competition, such as Duke Ellington, Count Basie, Benny Goodman, and Tommy and Jimmy Dorsey. In the 1920s Morton's recordings and tours featured a ten-piece band following the first-generation big-band format. But in the late 1930s, larger groups were popular, so Morton assembled a conventional '30s band consisting of four saxophones, six brass, and four rhythm. The band was to open at the Golden Gate Ballroom in Harlem on April 17th, 1939, but on opening night Morton collapsed before going onstage. During his recuperation from the asthma and heart problems that dogged him, the band broke up, never to reassemble. Only six items written for that band's instrumentation are known to exist: Morton's arrangements of his own compositions -- Finger Breaker, GanJam, Good Old New York, Mister Joe, and Stop and Go -- and an arrangement, Mamies' Blues, by another artist. -- James Dapogny (Editor)

As an editor, Dapogny shows his customary sound musical scholarship and deep knowledge of Morton's style....The publishers are to be congratulated for bringing this fascinating work into the public domain, which throws a totally new light on 'Mister Jelly Lord.' Who knows what he would have achieved had he lived beyond his alleged 51 years? --Martin Litton, for JUST JAZZ (Feb 2011)

SKU: PE.EP68488

ISBN 9790300758893. English.

At the end of 1938, Jelly Roll Morton (1890-1941) returned to New York from his years in Washington, D.C. Recent publicity had made a comeback seem possible, and he hoped to recapture the prominent place in the jazz world that he had held in the 1920s. Still well known, though mainly as a New Orleans music pioneer, he understood that in order to be taken seriously as a contemporary artist, he needed to form a big band like those of his competition, such as Duke Ellington, Count Basie, Benny Goodman, and Tommy and Jimmy Dorsey. In the 1920s Morton's recordings and tours featured a ten-piece band following the first-generation big-band format. But in the late 1930s, larger groups were popular, so Morton assembled a conventional '30s band consisting of four saxophones, six brass, and four rhythm. The band was to open at the Golden Gate Ballroom in Harlem on April 17th, 1939, but on opening night Morton collapsed before going onstage. During his recuperation from the asthma and heart problems that dogged him, the band broke up, never to reassemble. Only six items written for that band's instrumentation are known to exist: Morton's arrangements of his own compositions -- Finger Breaker, GanJam, Good Old New York, Mister Joe, and Stop and Go -- and an arrangement, Mamies' Blues, by another artist. -- James Dapogny (Editor)

As an editor, Dapogny shows his customary sound musical scholarship and deep knowledge of Morton's style....The publishers are to be congratulated for bringing this fascinating work into the public domain, which throws a totally new light on 'Mister Jelly Lord.' Who knows what he would have achieved had he lived beyond his alleged 51 years?--Martin Litton, for JUST JAZZ (Feb 2011)