Jazz Suite

Alec Wilder's Jazz Suite for horn quartet harpsichord guitar bass and drums with four movements: Horns O'Plenty Conversation Piece Serenade and Horn Belt Boogie. This suite was composed in 1951 at the instigation of Mitch Miller a longtime friend of Wilder's and then the Head of Popular Music at Columbia Records.

Early to Later Intermediate Level-Each piano suite is addictive! Austin's Jazz Suite No. 2 in B-flat Major (2001) remains hugely popular but this collection also features the charming first suite in F Major (one of her first published pieces) as well as the exciting third suite also in F major and originally composed in 2019 for clarinet cajon and piano. The outer movements of all three suites are rhythmic and melodic but it is the inner soulful movements that surprise and illuminate.

Par NORRIS JEREMY. After the Jazz Suite for Flute and Piano (ED 20922), this Jazz Suite ventures still further into the realms of jazz idiom and many passages – such as the Cadenza in Daydream and the final Allegretto section of the Variations – even resemble Bebop improvisations. The underlying formal structures, in particular ternary form and variations, are nevertheless firmly rooted in the classical tradition. An alternative clarinet part has been included as this instrument shares a similar range to the alto saxophone and is likewise equally at home in both concert halls and jazz clubs. Although the notes are fundamentally the same, the respective parts explore and exploit these instruments’ more effective and comfortable registers through octave transpositions, with the saxophone generally taking the middle range (roughly from a to f’’) whilst the clarinet rises without effort to the higher register an octave above. / Jazz / Date parution : 2014-11-20/ Répertoire / Saxophone Alto en Eb [Clarinette en Bb] et Piano

National Federation of Music Clubs 2014-2016 Selection Mid-Intermediate Level-A spectacular jazz solo in 3 movements Austin's second jazz suite is as challenging as it is satisfying.

Complete – Full Score-Epitaph written for a 31-piece ensemble was the masterwork of composer/bassist Charles Mingus. The extended suite is comprised of multiple movements reflecting a wealth of compositional styles (not just jazz) thatdemonstrate Mingus' invaluable contribution to 20th-century American music. Since its last performance 15 years ago additional movements have been discovered that were originally intended to be a part of the work. This unique500-page score includes these “missing movements” along with historical and program notes. Prepared and edited under the guidance of Gunther Schuller and Sue Mingus it provides a monumental resource for study andanalysis. The first jazz composition of such magnitude ever to be published it is presented in this edition as he left it: a summary work a portrait for all time of his life in music. “I wrote it for my tombstone.”- Charles Mingus

Countless catchy melodies come from Russian operas, ballets and symphonies and if you have heard them once, you will never forget them. For this collection of pieces, Nicolai Podgornov has produced masterful arrangements of classics from russian operas, ballets and symphonies. Compositions such as the famous waltz from Tchaikovsky's Sleeping Beauty or the main theme from his Swan Lake, the waltz from Shostakovich's Jazz Suite No. 2, Prokofiev's Montagues and Capulets from the ballet Romeo and Juliet, Khachaturian's Sabre Dance from Gayane and his Adagio from the ballet Spartacus. All of these are sure to give great pleasure to intermediate-level piano students. Nicolai Podgornov has expertly arranged these popular pieces with easy fingering so that playing them is straightforward - after all, familiar pieces are easier to master. • Easy to middle-grade arrangements of well-known themes from Russian opera and ballet for piano duet • Well-known, easy-to-play melodies from the Russian classics (’Sabre Dance’, ’Waltz No. 2’, ’Flight of the Bumblebee’ etc.) • Includes illustrations of the composers/ Recueil / Piano 4 Mains

The Italian cellist Lucio Amanti devotes himself to the crossover between classical and jazz music. His well-known 'Jazz Suite' for cello solo bridges the gap between the solo suites by Bach and the jazz music of our time.Now he attends for the first time to the subject of the étude, with suggestions from pop, jazz and improvisation. The individual études use different styles from jazz ballad to samba rhythms to funk music. / Violoncelle