Bebop Classics: Piano: Instrumental Collection

Jazz Piano Solos Series Volume 52-24 bebop favorites are included in this collection with chord names. Includes: Bohemia After Dark - Boneology - Cattin' - Disorder at the Border - Eclypso - 52nd Street Theme - Grand Central - Hallucinations - Jay Bird - Lester Leaps In - Move - Ow - Parisian Thoroughfare - Second Balcony Jump - The Serpent's Tooth - Steeplechase - Witches Pit - and more.

Jazz Play-Along Volume 48-Take your playing back in time to the early days of Bebop Jazz and discover the sounds and styles that made stars of Dizzy Gillespie Charlie Parker and countless others. The Bebop pioneers stretched the limits of Jazz improvisation introducing new tonalities an ever-increasing harmonic vocabulary and opportunities for groundbreaking virtuosity. Bud Powell Thelonius Monk and others began to take the chord sequences of swingtime favourites and us them as a basis for extended improvisations freeing the performer from the restrictions of the big band.This set contains a versatile Play-along CD for improvisation study and performance and with a choice of backingtracks (A split track with melody removable bass and piano parts and a full stereo rhythm section) and easy to read authentic and accurate lead sheets players of all instruments will enjoy these terrific pieces.

Jazz Hands is a series of original jazz pieces for Piano by Mark Tanner which covers all standards from grade one through to red hot. Although the player may feel free to indulge in a spot of improvisation in response to the printed music there is no expectation to do so in any of the books. Nor are there any chord symbols or other bespoke abbreviations the like of which presuppose a degree of familiarity with the genre which may not actually be the case. Rather the idea is that the player will become gradually more confident and adept at playing in a jazz style as he/she works through the books. It may well be that a classically-trainedpianist has reached say grade 5 but feels currently at a more modest stage when tackling jazz. This is absolutely not a problem and indeed is all the more reason for the 'straight' player to extend their jazz skills to match.The title of this series 'Jazz Hands' derives from the familiar exuberant gesturing seen in music theatre fingers spread and extended with palms facing upwards an effect frequently amplified by a convulsive shivering of the hands. Cheerleaders have tended to make widespread use of jazz hands while the concept has also found its way into revues Broadway shows and films as well as contemporary dance. In the current context I am of course referring to the jazz pianist's hands which in only the most ambitiously spaced Art Tatum chord would require the player to stretch the digits to such an extent as in the aforementioned theatrical sense. The term 'jazz' has been adopted and adapted in a multiplicity of ways (not unlike 'classical' indeed) so that it no longer tells us very much about the music itself. Aficionados immediately recognise the better-known subgenres such as 'bebop' or 'New Orleans' styles and may even be able to distinguish 'smooth' from 'groove' or 'fusion/crossover' from 'postmodern'. And yet these are just labels not music. In an understandable bid to define all that we hear

Jazz Hands is a series of original jazz pieces for Piano by Mark Tanner which covers all standards from grade one through to red hot. Although the player may feel free to indulge in a spot of improvisation in response to the printed music there is no expectation to do so in any of the books. Nor are there any chord symbols or other bespoke abbreviations the like of which presuppose a degree of familiarity with the genre which may not actually be the case. Rather the idea is that the player will become gradually more confident and adept at playing in a jazz style as he/she works through the books. It may well be that a classically-trainedpianist has reached say grade 5 but feels currently at a more modest stage when tackling jazz. This is absolutely not a problem and indeed is all the more reason for the 'straight' player to extend their jazz skills to match.The title of this series 'Jazz Hands' derives from the familiar exuberant gesturing seen in music theatre fingers spread and extended with palms facing upwards an effect frequently amplified by a convulsive shivering of the hands. Cheerleaders have tended to make widespread use of jazz hands while the concept has also found its way into revues Broadway shows and films as well as contemporary dance. In the current context I am of course referring to the jazz pianist's hands which in only the most ambitiously spaced Art Tatum chord would require the player to stretch the digits to such an extent as in the aforementioned theatrical sense. The term 'jazz' has been adopted and adapted in a multiplicity of ways (not unlike 'classical' indeed) so that it no longer tells us very much about the music itself. Aficionados immediately recognise the better-known subgenres such as 'bebop' or 'New Orleans' styles and may even be able to distinguish 'smooth' from 'groove' or 'fusion/crossover' from 'postmodern'. And yet these are just labels not music. In an understandable bid to define all that we hear

The fifth book from Jim Ferguson All Intros & Endings features dozens of hip intros and endings that you can use not only for gigs but also as a staring point for developing your own ideas. There are chord progressions voice-led ending chords vamps (bebop swing Latin and ballads) extended ideas classic intros and many concepts which are designed to provide the player with the material to fuel his or her own creativity. It includessections on the major #11 and minor-major 7th chords and symmetrical devices. Notation and tablature with a 44-track CD.

Artist Transciptions for Piano-16 note-for-note jazz piano transcriptions as played by classic jazz artists including Sonny Clark (“All of You”) McCoy Tyner (“Autumn Leaves”) Red Garland (“A Foggy Day – In London Town”) Jaki Byard (“Lullaby of Birdland”) Thelonious Monk (“Sweet and Lovely”) Bud Powell (“Un Poco Loco”) Wynton Kelly (“Whisper Not”) Hank Jones (“We're All Together”) and more.

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