SKU: M7.AHW-1612
English.
Chesky wrote two great books of Jazz & Rock rhythms for trumpet, but calling them rhythm books does them a bit of a disservice. These are fully fledged contemporary jazz/rock etudes that get you grooving and present you with a different challenge. Compared to Chesky's book 'Contemporary Jazz/Rock Rhythms' these are much more difficult, with harder keys, increased range and flexibility requirements, and much more taxing endurance wise.
SKU: FJ.JE4156S
Capture the infectious energy of Bill Chase with this aggressive holiday arrangement of Angels We Have Heard on High. Based on the same driving rock beat and cascading trumpet figures that won Chase a legion of fans, this fantastic arrangement will bring down the house!
About FJH Advanced Jazz Ensemble
Ranges and rhythms are expanded to work with accomplished high school, college, and professional ensembles. Written solos are usually provided along with suggested parts for rhythm section and drum set. Guitar chord guide included. Grades 4 - 5
SKU: FJ.JE4156
UPC: 674398233427. English.
SKU: CL.032-4748-00
Apocalypse is a hard-hitting, up-tempo rock tune with the feel of a cataclysmic event, and when combined with the composer’s signature driving rock feel, makes for a winning combination! Written solidly at the medium easy level, this tune features repetitive rhythms and patterns that guarantee you will be performance ready with a minimum of rehearsal time. Scored for limited instrumentation, with careful attention to instrument ranges, and written out solos over easy changes, Apocalypse will be accessible to the smallest and youngest ensembles, as well as a lot of fun for more advanced groups. Loaded with student and audience appeal, this tune is an ideal contest/concert selection. Guaranteed to rock every time you play it!
SKU: CL.032-4748-01
SKU: CY.CC3028
ISBN 9790530110034. 8.5 x 11 in inches.
Us, composed by Thad Jones in 1970 and originally recorded that same year, is one of the pieces which defined the new sound of the Thad Jones/Mel Lewis Jazz Orchestra. While being one of the most successful, early melding of big band instrumentation with rock rhythms and rhythm section instruments, it also includes an a cappella chorus for the 'band' (for this version, read: trombones) and intricate saxophone lines which are challenging but very rewardingly playable. David Fletcher has done a magnificent job of translating the richness of Thad's voicings and the exuberance and spirit of this piece to the Trombone quintet plus rhythm section instrumentation of the University of Illinois Jazz Trombone Ensemble, who have performed it at both American Trombone Workshops and International Trombone Festivals. David Fletcher, a member of the award winning University of Illinois Jazz Trombone Ensemble under the direction of Jim Pugh arranged this great chart for Trombone Quintet and rhythm section. It is about 4 minutes in length and includes improvised jazz solos for Trombone 2 and Electric Guitar.
SKU: CL.032-4853-00
This is up-tempo setting of the classic spiritual is a guaranteed winner! After a short and solemn introduction, featuring an alto sax solo, Down to the River kicks into high gear, with the composer’s signature driving rock feel. Written solidly at the medium easy level, this tune features repetitive rhythms and patterns that will help you get performance ready with a minimum of rehearsal time. Playable with limited instrumentation, with careful attention to instrument ranges, and written out solos over easy changes, Down to the River is accessible to the smallest and youngest ensembles, as well as a lot of fun for more advanced groups. Loaded with lots of appeal, this tune is an ideal contest/concert selection. Don’t miss this one!
SKU: CL.032-4557-01
This up-tempo chart is guaranteed to rock every time you play it! Turbo-Charged! kicks in with a catchy hook in the first measure and never lets up. Written solidly at the medium easy level, this tune features repetitive rhythms and patterns that guarantee your band will be performance ready with a minimum of rehearsal time. Scored for limited instrumentation, with careful attention to instrument ranges, and written out solos over super easy changes, Turbo-Charged! will be accessible to the smallest and youngest ensembles, as well as a lot of fun for more advanced groups. Loaded with student and audience appeal, this chart is an ideal contest/concert selection.
SKU: CL.032-4956-00
This up-tempo setting of the classic spiritual is fire! From start to finish, Wayfaring Stranger is high octane all the way, featuring Larry Barton’s signature driving rock feel. Written solidly at the medium easy level, this chart features repetitive rhythms and patterns that will help you get performance ready with a minimum of rehearsal time. Playable with limited instrumentation or full big band, with careful attention to instrument ranges, and written out solos over easy changes, Wayfaring Stranger will be accessible to the smallest and youngest ensembles, as well as a lot of fun for more advanced groups. Loaded with performer and audience appeal, this tune is an ideal contest/concert selection. Don’t miss this one!
SKU: CL.032-4956-01
SKU: CL.032-4853-01
SKU: KN.61650
UPC: 822795616507.
This funky rock tune includes conservative ranges, fully written-out rhythm section parts, and repetitive rhythms which makes it playable by advancing groups through professionals. The piano has a solo, and then is followed by the solo section that includes chord changes in all parts. Scoring calls for 5 trumpets, optional vibes, and SATTB saxophones, however an optional alto part is provided for the soprano part. A guitar chord charts is included in each set. Duration 3:50.
SKU: FJ.JE4153S
This energetic Latin Jazz take on the classic Watermelon Man will be a welcome addition to any band's library. Based on a 16-bar blues form with a bridge, the arrangement features a Salsa interlude showing off the ensemble. Solo in tenor 1 and drums.
SKU: FJ.JE4153
UPC: 674398233489. English.
SKU: CF.WF231
ISBN 9781491153314. UPC: 680160910816.
Stylistic Etudes for Trombone was written for intermediateto advanced level trombonists, seeking to meet thedemands of the modern marketplace for performers. AsI often tell my students, it’s simply not enough to mastera single style and fake the rest. To make a living as aperformer, trombonists are expected to play many, manydifferent styles authentically. Classical performers studyhard and devote themselves to mastering the stylisticnuances of various eras, various composers, variousforms; jazz musicians seek to accurately reflect the stylesof everything from bar-room burlesque to Coltrane; hornbands in the funk, rock, ska and hip-hop idioms mustreflect attention to the details of their influences even asthey create new paths through popular music.This etude collection is an attempt to help studentsand their teachers work on the details associated withmastering each of these various styles.In order to perform with the correct feel, articulationand sound, trombonists must first get these concepts intheir head through diligent listening and then disciplinedpractice playing in every single style. The same wayorchestral players study the symphonic literature andexcerpts, or the way a professional jazz musician mightwork on chord changes in excruciating detail, a wellroundedtrombone player must master styles by listeningto and playing with great recordings. Most of the etudesin this book are based on styles from specific orchestralliterature, jazz standards and other styles such as NewOrleans’ funk music (Meters) or the music of JamesBrown and Tower of Power.One final note: some of these are hard. On purpose. Theseare not warm-ups that you can play through mindlesslyto get your face going. These are “study pieces” in the oldfashionedsense. They are designed to challenge you asa player, to make you a little uncomfortable. Some aretougher than others, of course, but none of them are easy.If you can play through each of these well, with greatmusicianship and impeccable technique, you will be anincredibly versatile instrumentalist and be able to secureperformance opportunities that are outside the comfortzone of many trombonists.Thanks for buying this book. I hope you enjoy workingthrough these, whether you’re a teacher, student,performer, or weekend warrior. I learned a lot by puttingthese together and I hope you find them useful and helpful.Stylistic Etudes for Trombone was written for intermediate to advanced level trombonists, seeking to meet the demands of the modern marketplace for performers. As I often tell my students, it’s simply not enough to master a single style and fake the rest. To make a living as a performer, trombonists are expected to play many, many different styles authentically. Classical performers study hard and devote themselves to mastering the stylistic nuances of various eras, various composers, various forms; jazz musicians seek to accurately reflect the styles of everything from bar-room burlesque to Coltrane; horn bands in the funk, rock, ska and hip-hop idioms must reflect attention to the details of their influences even as they create new paths through popular music.This etude collection is an attempt to help students and their teachers work on the details associated with mastering each of these various styles.In order to perform with the correct feel, articulation and sound, trombonists must first get these concepts in their head through diligent listening and then disciplined practice playing in every single style. The same way orchestral players study the symphonic literature and excerpts, or the way a professional jazz musician might work on chord changes in excruciating detail, a well-rounded trombone player must master styles by listening to and playing with great recordings. Most of the etudes in this book are based on styles from specific orchestral literature, jazz standards and other styles such as New Orleans’ funk music (Meters) or the music of James Brown and Tower of Power.How these etudes were conceived, composed and transcribed: The style or concept of the etude was thought out in my head and ear. I then improvised in that style and concept on my trombone, recording my efforts until I was satisfied with the etude. All along, my goal was to play the range of the instrument while emphasizing certain articulations, rhythms, range and, fundamentally, the intended style of the etude. The resulting etude was then transcribed by a terrific graduate student named Zach Bornheimer, who also works with many other classical and jazz composers as a copyist/arranger.Tips for working on the etudes: Seek out professional recordings that match the style of each etude to get a good idea of what the etude should sound like musically. My recording of each of these etudes is available for download and can be purchased online for a modest fee. Search for “Brantley Etudes” at either iTunes or CDBaby. Practice each etude very slowly and in segments as needed, using a metronome. Record yourself and listen for good technique, musicianship and authenticity of style with your sound, feel and articulations. Compare your own efforts to the sounds you’ve heard on recordings. Would you fit in that ensemble or band? If range is an issue, take certain notes or passages down or up an octave. Work on your fundamentals every day, including the techniques and skills needed for these etudes. Be patient! Small improvements every day result in big success over time. Always play with a wide dynamic range. Always play with line and direction. Always play with impeccable time as well as rhythm. Use a metronome to help with this. Always play in tune. You can work on this with a tuner as well as with drones. Play these for teachers, friends, peers and colleagues not only for their feedback but also for the experience of informal performance. An audience changes everything. Make music, listen to music, record yourself, play in public and have fun!One final note: some of these are hard. On purpose. These are not warm-ups that you can play through mindlessly to get your face going. These are “study pieces” in the old-fashioned sense. They are designed to challenge you as a player, to make you a little uncomfortable. Some are tougher than others, of course, but none of them are easy. If you can play through each of these well, with great musicianship and impeccable technique, you will be an incredibly versatile instrumentalist and be able to secure performance opportunities that are outside the comfort zone of many trombonists.Thanks for buying this book. I hope you enjoy working through these, whether you’re a teacher, student, performer, or weekend warrior. I learned a lot by putting these together and I hope you find them useful and helpful.Best wishes,—Tom Brantley.