Format : Sheet music
SKU: KJ.W75TC
ISBN 9780849771156.
First Place for Jazz is a comprehensive jazz curriculum built from the ground up - essential for implementing the jazz ensemble curriculum. The book is divided into three sections by key: Concert Bb, F, and Eb. Within each section the major, Mixolydian, Dorian, and blues scales and correlated chords of that key are introduced through Jazz Starters, Rhythm Section Spotlights, and Rhythm Sectionals. These enrichments prepare students to play each of the 12 original grade 1-2 Jazz Ensemble Charts and Lead Sheets. Suitable for group or individual instruction, this unique organization, combined with a host of innovative features including Kjos Interactive Practice Studio and availability in SmartMusic, will provide bands with the tools it will need.
About First Place for Jazz
All First Place for Jazz selections feature moderate ranges, notated rhythm section parts, and open solo sections.
SKU: CF.YPS38
ISBN 9780825852152. UPC: 798408052157. 9 X 12 inches. Key: Eb major. Text: Al Stillman. Al Stillman.
The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal. The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a hymn-style section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program. -LARRY CLARK New York, NY 2003.The classic holiday favorite by Al Stillman and Robert Allen is presented here in a playable arrangement for concert band. It is my hope that this arrangement will be equally satisfying for the young band with ample rehearsal time or for the more mature band that wants a holiday favorite they can perform with limited rehearsal.The piece is presented first in a lush chorale format with the use of extended jazz harmonies. Special care should be given to balancing and tuning the inner voices for the most pleasant sound. After the lush opening on the famous refrain the arrangement moves to the bridge in an up-tempo swing. In this section the percussion is written to imitate a drum set, but if a set is available it may be preferable to use it in order to get the right feel. Following the bridge is another statement of the refrain followed by a “hymn-style†section by the reeds with jazz interjections by the brass straight out of the famous Perry Como rendition. This is followed by a D.S. to the bridge, one more refrain and then a short coda It has been my pleasure to have the opportunity to write this arrangement. I hope you and your students enjoy it and find it useful for your program.-LARRY CLARKNew York, NY 2003.
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.
SKU: HL.4008056
ISBN 9781705184523. UPC: 196288115953.
Fascinated by the beauty of Chicago, Franco Cesarini has translated his emotions into music: this is how Symphony No. 3 “Urban Landscapes†Op. 55, was born, a musical portrait of this metropolis overlooking Lake Michigan. The composition is divided into three movements: The Wrigley Building from Dawn to Noon, Blue Silhouette and Cloud Gates, which by sharing the same thematic material arranged in cyclical form, strengthen the overall cohesion of the piece. The first movement, preceded by a short slow introduction in which the main theme is presented in an almost dreamlike form, metaphorically represents the city at dawn. The sudden change of time symbolizes the start of activities with all its noises and sounds: you can hear the bell that announces the closing of the subway doors, the sound of cars speeding by, the siren of a patrol car. If the first movement represents the day, the second introduces a nocturnal environment: a melancholic melody played by the English horn anticipates a more animated tempo depicting melodies coming from jazz clubs. Powerful fanfares that take up the second theme of the first movement introduce the third movement. In this finale, the role of the two themes is reversed compared to the first movement and one takes the place of the other in a kind of games of mirrors. Symphony No. 3 “Urban Landscapes” Op. 55: a sumptuous musical portrait of the “Windy City”.
SKU: HL.4007482
UPC: 196288058069.
