Jazz Composition

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

Roger Holmes does a nice job of capturing the essence of Dizzy's landmark Latin/jazz composition in this easy setting for jazz combo.

Par COROZINE VINCE. Designed to introduce the young intermediate-level pianist to playing the blues, Jazzin' the Blues presents fifteen original blues compositions in various keys, styles and grooves together with downloadable recordings of 40 of the 50 examples in the book. The audio tracks are presented both with and without the lead piano part, so the student can play along with a professional rhythm section which includes piano, vibraphone, alto flute, drums, and bass.Historical and performance notes are provided with each blues composition. The author enlisted the skills of jazz pianist Charlie Freeman in editing the book and providing fingering for both the treble and bass piano parts,making these pieces more accessible to novice players. If your knowledge of blues theory or terminology is lacking, this is the book for you! Author Vince Corozine thoroughly explores and demonstrates: blues and pentatonic scale theory, blue notes, grace notes, pedal-points, tremolos, trills, syncopation, anticipation, delayed beats, slash chords, boogie-woogie left-hand patterns, walking bass, stride piano style, straight eighths, swing eighths, passing tones, rolled chords, riffs, 'filler' chords, substitutions, and comping styles. This book also includes essential blues chord theory as well as tips on tasteful chord voicing presented in the context of accompanying a soloist (comping): in addition, the chord progressions represented by the written notation are carefully annotated in every example in the book. The Appendix includes helpful tips on comping, practice, and jazz soloing, plus a list of noteworthy jazz pianists, a key to chord symbols, and a glossary of jazz terms used in the book.If you are not a competent blues pianist when you first pick up this book, you will be by the time you complete it! Includes access to online audio. Designed to introduce the young intermediate-level pianist to playing the blues, Jazzin' the Blues presents fifteen original blues compositions in various keys, styles and grooves together with downloadable recordings of 40 ofthe 50 examples in the book. The audio tracks are presented both with and without the lead piano part, so the student can play along with a professional rhythm section which includes piano, vibraphone, alto flute, drums, andbass. Historical and performance notes are provided with each blues composition. The author enlisted the skills of jazz pianist Charlie Freeman in editing the book and providing fingering for both the treble and bass pianoparts, making these pieces more accessible to novice players. If your knowledge of blues theory or terminology is lacking, this is the book for you! Author Vince Corozine thoroughly explores and demonstrates: blues andpentatonic scale theory, blue notes, grace notes, pedal-points, tremolos, trills, syncopation, anticipation, delayed beats, slash chords, boogie-woogie left-hand patterns, walking bass, stride piano style, straight eighths, swingeighths, passing tones, rolled chords, riffs, 'filler' chords, substitutions, and comping styles. This book also includes essential blues chord theory as well as tips on tasteful chord voicing presented in the context ofaccompanying a soloist (comping) - in addition, the chord progressions represented by the written notation are carefully annotated in every example in the book. The Appendix includes helpful tips on comping, practice, and jazzsoloing, plus a list of noteworthy jazz pianists, a key to chord symbols, and a glossary of jazz terms used in the book. If you are not a competent blues pianist when you first pick up this book, you will be by the time youcomplete it! Includes access to online audio. / Jazz / Etude / Piano

Hypnotic Ciel Étoilé it means ?starry sky? in French uses the bass as a dark night of sound dotted with pointillist percussive sounds from the cymbals and crotales. The work is written in thirty-six bars each one a ?star? played very slowly and at varying speeds.Kaijai Saariaho is a contemporary Finnish composer living and working in Paris and considered to be part of the so-called ?French Spectralist? school of composition. Unlike many of herother works Ciel Étoilé has no electronic extensions but fully explores the multiple sonorities of the bass. She gained international renown for her first opera l?Amour du Loin and continues a prolific compositional life with awide range of international performances.

Renowned educator and writer Paris Rutherford has adapted the text he used for over 30 years in teaching university-level arranging at one of the nation's most illustrious jazz schools. For anyone wanting to enter the excitingworld of jazz arranging this book is a must-have resource! Useful as a classroom teaching tool for beginning arrangers or as a self-study book this clearly written and engaging text will get you off to a great start that willhave players and audiences alike enjoying your music! Includes Rutherford's original compositions and small group charts along with a CD that features both full performances and rhythm-section-only tracks for personal or grouppractice.

Par MULLER RICHARD. 20 thèmes de jazz originaux de Richard Muller. Ecrits à la manière d'un real book ils peuvent être interprèter par tous instruments et toutes formations. Richard Muller a été formé dans les années 70 dans la classe de Jean Batigne au Conservatoire National de Région de Strasbourg où il se spécialise dans le vibraphone. Parallèlement à son métier de vibraphoniste dans de nombreuses formations, il s'oriente vers la composition. Par ailleurs, il enseigne l'harmonie et l'improvisation jazz dans différentes structures. / Jazz / Recueil / Jazz

Celebrating the achievements of a true jazz innovator this excellent medley by Mark Taylor embraces some of the greatest compositions by the legendary Miles Davis. Includes: So What All Blues Seven Steps to Heaven andMilestones. Featured are solos for trumpet and drums.

(Tenor Sax Feature)-One of Carlos Santana's more memorable compositions is this instrumental hit from 1976. Along with Santana's own recording the version by saxophonist Gato Barbieri also became a hit that same year. The haunting melody and sensual style of the original is authentically recreated in this version for full jazz ensemble that features a tenor sax soloist.

Jazz Ensemble Library – Grade 4One of the highlights from Miles Davis' landmark recording “Birth of the Cool” is this medium swing composition by Gerry Mulligan. Skillfully adapted for full jazz ensemblefrom the original this arrangement features solos for trumpet and baritone sax (opt. tenor) as well as stellar ensemble writing. A classic!

Jazz trumpeter Randy Brecker's funky Brazilian samba has been brilliantly arranged by Mike Crotty. This clever tune will stick in your mind for weeks! Randy has recorded and performed his original composition worldwide with rave reviews, and with the first play through and you'll know why -- it is a captivating melody. Mike Crotty, former arranger for the USAF Airmen of Note, has creatively scored The Sleaze Factor for experienced jazz ensembles to feature trumpet and alto saxophone with melody/solos. A nice ensemble section after the solos and the recurring measure of 5/4 will keep the band on its toes. If you desire a distinctive samba groove, then this contagious chart is exactly what you need!

Le titre date de 1968, du mois de mai pour être précis. J'avais noté, à l'époque, une figure rythmique qui me semblait intéressante et puis elle était restée oubliée dans mes carnets, jusqu'au moment où, en octobre 1985 j'ai eu à écrire le répertoire du futur Orchestre National de Jazz. Cette cellule rythmique est donc devenue un des éléments récurrents de cette composition.Aux fins d'analyse, je renvoie le lecteur à l'excellent mémoire de maîtrise soutenu en Sorbonne en 1996 et consacré à cette oeuvre. J'indiquerai seulement l'une des particularités de ce morceau, qui est également l'une de ses difficultés : il s'agit du tutti d'orchestre situé de H1 à H3, conçu comme une improvisation écrite et orchestrée. D'autre part, il n'est pas interdit de voir dans la partie finale, à partir de la lettre L, un hommage au Miles Davis des années 1980.Jazz Lacrymogène a été l'un des titres du répertoire de l'ONJ 86 le plus souvent utilisé, quasiment à chaque concert. Je souhaite que le plaisir que vous aurez à le jouer soit égal à celui qui fut le nôtre. (François Jeanneau) / Big Band

A wonderful collection of some of his most well-known compositions presented in full quintet score form.

This lesser-known Bud Powell composition features an upbeat melody and happy-go-lucky style that works great for jazz ensemble. Arranged here as a small group within a big band it includes solos for tenor and trumpet. A marvelous swingin' chart!

This exciting Afro-Cuban composition is the opening cut from the 1993 album 944 Columbus the final recording by Mario Bauza one of the most influential figures in the development of Latin Jazz. The title comes fromcombining the words “Cuban” and “Bauza” and features a bebop influence interpreted by the Afro-Cuban rhythm section. This newly edited and engraved edition is a “must have” for mature bands.(Recorded by Mario Bauza)