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Star Eyes: Drums
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Star Eyes: Drums
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Star Eyes: Drums
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0016262_D Drums. Composed by …
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0016262_D Drums. Composed by Gene Depaul. Arranged by Dave Wolpe. Instructional. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0016262_D. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0016262_D). UPC: 038081474861.Another outstanding, swingin' chart from the expert Dave Wolpe. A great tune at 152 BPM, fat ensemble voicings, nice solis, written-out solos for trumpet 2 and piano, and optional parts to include vibes. What's not to like? (2:40) This title is available in SmartMusic.
$3.00
2.75 €
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Gene Depaul
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Dave Wolpe
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Star Eyes: Drums
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Star Eyes: Drums
Batterie (partie séparée)
Jazz Ensemble - Digital Download SKU: AX.00-PC-0018843_D Instructional. 3 pages. Al…
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Jazz Ensemble - Digital Download SKU: AX.00-PC-0018843_D Instructional. 3 pages. Alfred Music - Digital Sheet Music #00-PC-0018843_D. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0018843_D). UPC: 038081572314.
$3.00
2.75 €
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Batterie (partie séparée)
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Star Eyes: Drums
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Infant Eyes
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1509330 By Wayne S…
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Jazz Ensemble Jazz Ensemble - Level 3 - Digital Download SKU: A0.1509330 By Wayne Shorter. By Wayne Shorter. Arranged by Alberto Mandarini. 20th Century,Contemporary,Contest,Festival,Jazz,Standards. 47 pages. Alm@music #1083972. Published by Alm@music (A0.1509330). Jazz Ensemble / Big Band - Grade 3.5Instrumentation: Full Score; Alto Sax 1; Alto Sax 2; Tenor Sax 1; Tenor Sax 2; Baritone Sax; Trumpet 1; Trumpet 2; Trumpet 3; Trumpet 4; Trombone 1; Trombone 2; Trombone 3; Bass Trombone; Guitar; Piano; Bass; Drums. With the arrangement of Wayne Shorter's Infant Eves, I officially start the series dedicated to the most typical orchestral ensemble in jazz: the Big Band.The instrumentation is the traditional one: 5 saxophones, 4 trumpets, 4 trombones and rhythm section (guitar, piano, double bass and drums).After a brief introduction, in which the double bass moves freely over an orchestral accompaniment, the exposition of the initial part of theme A is entrusted to the first trombone, followed by the saxophone section and then the trumpet section (B).This all flows into the last section of the theme (C), in a robust brass ensemble to which the saxophones respond with simple counterpoint phrases.The last four bars, again entrusted to the saxophones, gradually lead us to the solo section.The latter is developed over a chorus and a half, and each of the soloists is given one of the four sections (A, B, C, A): the first is by the first trombone (the arrangement's main soloist), the second by the first alto saxophone, while the third features the orchestra in a short nine-bar special, where the three sections chase and chase each other.The final solo part is then entrusted to the second trumpet, which gives way to the orchestra for the reprise of the remaining two sections of the theme as well as the inevitable coda.Altogether, the arrangement spans three complete choruses, plus the introduction and coda, for a total duration of just under seven minutes.I hope you enjoy this arrangement and, as always, I wish youGood Music!!!am.
$49.99
45.85 €
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Ensemble Jazz
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Wayne Shorter
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Alberto Mandarini
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Alto Sax 1
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Infant Eyes
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Alm@music
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SheetMusicPlus
Watermelon Man for Clarinet Quintet & Opt. Drumset
Quintette de Clarinettes: 5 clarinettes
By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published…
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By Herbie Hancock. Arranged by Keith Terrett. Score, Set of Parts. 22 pages. Published by Music for all Occasions
Arranged for Clarinet Quintet & optional drumset, "Watermelon Man" is a jazz standard written by Herbie Hancock, first released on his debut album, Takin' Off (1962), in a grooving hard bop version that featured improvisations by Freddie Hubbard and Dexter Gordon.<br> <br> A single of the tune reached the Top 100 of the pop charts. Cuban percussionist Mongo Santamaría released the tune as a latin pop single the next year on Battle Records, where it became a surprise hit, reaching #10 on the pop charts. Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock's first version was released as a grooving hard bop record, and featured improvisations by Freddie Hubbard and Dexter Gordon. A single reached the Top 100 of the pop chart. Cuban percussionist Mongo Santamaría released the tune as a Latin pop single and it became a surprise hit, reaching No. 10 on the pop chart.[2] Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock wrote the piece to help sell his debut album as a leader, Takin' Off (1962), on Blue Note Records; it was the first piece of music he had ever composed with a commercial goal in mind. The popularity of the piece, due primarily to Mongo Santamaría, paid Hancock's bills for five or six years. Hancock did not feel the composition was a sellout however, describing that structurally, it was one of his strongest pieces due to its almost mathematical balance.<br> <br> The form is a sixteen bar blues. Recalling the piece, Hancock said, "I remember the cry of the watermelon man making the rounds through the back streets and alleys of Chicago. The wheels of his wagon beat out the rhythm on the cobblestones." The tune, based on a bluesy piano riff, drew on elements of R&B, soul jazz and bebop, all combined into a pop hook. Hancock joined bassist Butch Warren and drummer Billy Higgins in the rhythm section, with Freddie Hubbard on trumpet and Dexter Gordon on tenor saxophone. Hancock's chordal work draws from the gospel tradition, while he builds his solo on repeated riffs and trilled figures.<br> <br> Hancock filled in for pianist Chick Corea in Mongo Santamaría's band one weekend at a nightclub in The Bronx when Corea gave notice that he was leaving. Hancock played the tune for Santamaría at friend Donald Byrd's urging. Santamaría started accompanying him on his congas, then his band joined in, and the small audience slowly got up from their tables and started dancing, laughing and having a great time. Santamaría later asked Hancock if he could record the tune. On December 17, 1962, Mongo Santamaría recorded a three-minute version, suitable for radio, where he joined timbalero Francisco "Kako" Baster in a cha-cha beat, while drummer Ray Lucas performed a backbeat. Santamaría included the track on his album Watermelon Man (1962). Santamaría's recording is sometimes considered the beginning of Latin boogaloo, a fusion of Afro-Cuban rhythms with those of R&B<br> <br> Hancock re-recorded the tune for Head Hunters (1973), combining synthesizers with a Sly Stone and James Brown funk influence, adding an eight-bar section. Hancock described his composition "Chameleon", also from Head Hunters, to Down Beat magazine in 1979: "In the popular forms of funk, which I've been trying to get into, the attention is on the rhythmic interplay between different instruments. The part the Clavinet plays has to fit with the part the drums play and the line the bass plays and the line that the guitar plays. It's almost like African drummers where seven drummers play different parts"; "Watermelon Man" shares a similar construction. A live version was released on the double LP Flood (1975), recorded in Japan.<br> <br> On the intro and outro of the tune, percussionist Bill Summers blows into beer bottles imitating hindewhu, a style of singing/whistle-playing found in Pygmy music of Central Africa. Hancock and Summers were struck by the sound, which they heard on the ethnomusicology LP, The Music of the Ba-Benzélé Pygmies (1966), by Simha Arom and Geneviève Taurelle.<br> <br> This version was often featured on The Weather Channel's Local on the 8s segments.<br> <br> The tune is a jazz standard and has been recorded over two hundred times. Hancock's recording has been sampled in "1-900-LL-Cool-J" from Walking with a Panther (1989) by LL Cool J, "Open Your Eyes" from Organized Konfusion (1991) by Organized Konfusion, "Smoke Some Kill" from Smoke Some Kill (1988) by Schoolly D, and "Pocket Full of Furl" from Uptown 4 Life (1996) by U.N.L.V. In 2003, pianist David Benoit covered the song from his album Right Here, Right Now.<br> <br> A live and funky performance at the 1999 Montreux Jazz Festival Casino Lights '99 featured Fourplay, George Duke, Boney James and Kirk Whalum trading choruses, and Rick Braun.Arranged for Clarinet Quintet & optional drumset, "Watermelon Man" is a jazz standard written by Herbie Hancock, first released on his debut album, Takin' Off (1962), in a grooving hard bop version that featured improvisations by Freddie Hubbard and Dexter Gordon.<br> <br> A single of the tune reached the Top 100 of the pop charts. Cuban percussionist Mongo Santamaría released the tune as a latin pop single the next year on Battle Records, where it became a surprise hit, reaching #10 on the pop charts. Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock's first version was released as a grooving hard bop record, and featured improvisations by Freddie Hubbard and Dexter Gordon. A single reached the Top 100 of the pop chart. Cuban percussionist Mongo Santamaría released the tune as a Latin pop single and it became a surprise hit, reaching No. 10 on the pop chart.[2] Santamaría's recording was inducted into the Grammy Hall of Fame in 1998. Hancock radically re-worked the tune, combining elements of funk, for the album Head Hunters (1973).<br> <br> Hancock wrote the piece to help sell his debut album as a leader, Takin' Off (1962), on Blue Note Records; it was the first piece of music he had ever composed with a commercial goal in mind. The popularity of the piece, due primarily to Mongo Santamaría, paid Hancock's bills for five or six years. Hancock did not feel the composition was a sellout however, describing that structurally, it was one of his strongest pieces due to its almost mathematical balance.<br> <br> The form is a sixteen bar blues. Recalling the piece, Hancock said, "I remember the cry of the watermelon man making the rounds through the back streets and alleys of Chicago. The wheels of his wagon beat out the rhythm on the cobblestones." The tune, based on a bluesy piano riff, drew on elements of R&B, soul jazz and bebop, all combined into a pop hook. Hancock joined bassist Butch Warren and drummer Billy Higgins in the rhythm section, with Freddie Hubbard on trumpet and Dexter Gordon on tenor saxophone. Hancock's chordal work draws from the gospel tradition, while he builds his solo on repeated riffs and trilled figures.<br> <br> Hancock filled in for pianist Chick Corea in Mongo Santamaría's band one weekend at a nightclub in The Bronx when Corea gave notice that he was leaving. Hancock played the tune for Santamaría at friend Donald Byrd's urging. Santamaría started accompanying him on his congas, then his band joined in, and the small audience slowly got up from their tables and started dancing, laughing and having a great time. Santamaría later asked Hancock if he could record the tune. On December 17, 1962, Mongo Santamaría recorded a three-minute version, suitable for radio, where he joined timbalero Francisco "Kako" Baster in a cha-cha beat, while drummer Ray Lucas performed a backbeat. Santamaría included the track on his album Watermelon Man (1962). Santamaría's recording is sometimes considered the beginning of Latin boogaloo, a fusion of Afro-Cuban rhythms with those of R&B<br> <br> Hancock re-recorded the tune for Head Hunters (1973), combining synthesizers with a Sly Stone and James Brown funk influence, adding an eight-bar section. Hancock described his composition "Chameleon", also from Head Hunters, to Down Beat magazine in 1979: "In the popular forms of funk, which I've been trying to get into, the attention is on the rhythmic interplay between different instruments. The part the Clavinet plays has to fit with the part the drums play and the line the bass plays and the line that the guitar plays. It's almost like African drummers where seven drummers play different parts"; "Watermelon Man" shares a similar construction. A live version was released on the double LP Flood (1975), recorded in Japan.<br> <br> On the intro and outro of the tune, percussionist Bill Summers blows into beer bottles imitating hindewhu, a style of singing/whistle-playing found in Pygmy music of Central Africa. Hancock and Summers were struck by the sound, which they heard on the ethnomusicology LP, The Music of the Ba-Benzélé Pygmies (1966), by Simha Arom and Geneviève Taurelle.<br> <br> This version was often featured on The Weather Channel's Local on the 8s segments.<br> <br> The tune is a jazz standard and has been recorded over two hundred times. Hancock's recording has been sampled in "1-900-LL-Cool-J" from Walking with a Panther (1989) by LL Cool J, "Open Your Eyes" from Organized Konfusion (1991) by Organized Konfusion, "Smoke Some Kill" from Smoke Some Kill (1988) by Schoolly D, and "Pocket Full of Furl" from Uptown 4 Life (1996) by U.N.L.V. In 2003, pianist David Benoit covered the song from his album Right Here, Right Now.<br> <br> A live and funky performance at the 1999 Montreux Jazz Festival Casino Lights '99 featured Fourplay, George Duke, Boney James and Kirk Whalum trading choruses, and Rick Braun.
$14.99
13.75 €
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Quintette de Clarinettes: 5 clarinettes
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Herbie Hancock
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Keith Terrett
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Watermelon Man for Clarinet Quintet & Opt. Drumset
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Music for all Occasions
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SheetMusicPlus
Happy Place
Chorale 2 parties
Choral Choir (SA) - Level 3 - Digital Download SKU: A0.873034 Composed by Sally Whi…
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Choral Choir (SA) - Level 3 - Digital Download SKU: A0.873034 Composed by Sally Whitwell. Pop. Octavo. 11 pages. Sally Whitwell #3869017. Published by Sally Whitwell (A0.873034). Composer’s Note - Happy PlaceI’m a lesbian who came-of-age/came-out in the mid 1990s, which means I caught the tail end of those lesbian stereotypes you used to hear about. It made me feel like I’d never inherited The Lesbian Gene. I was never one of the herbal tea sipping, yoga loving, hemp textiles wearing, hippie happy clappy campers of that time. I had girlfriends who were and I tried to humour them sometimes but it was always a strain.I had this one girlfriend who made me go camping once, a gathering with her hippie pagan friends. It was all inoffensive enough, I was having a very nice time sitting in the shade reading my book. Rather stupidly, I made the mistake of letting someone rope me into a thing called D​rumming The Boundary​. They thought I’d be good at it, being a professional musician. I thought it would probably please my girlfriend if I got involved, so I agreed to go along.To my surprise, the drums they’d set up were great instruments, some really top quality djembes that you’d be paying some good money for, so I made the rash assumption that the leader of this activity actually knew what she was doing. We were instructed to start drumming a h​eartbeat​ together, whereupon I discovered that these are people who couldn’t even play a plain old crotchet beat in ensemble. But they seemed to think they were playing in time, swooning and swaying and closing their eyes to ‘feel’ the music. It was starting to make me giggle. These were presumably the same lesbians I’d seen out in Sydney nightclubs who couldn’t dance in time with an electronic beat that repeatedly hits you over the head with its obviousness?! Once I’d had that thought, I couldn’t help my giggle becoming a full-blown guffaw. The dreadlocked hempy lady in charge glared at me, telling me I needed to relax into really f​eeling the heartbeat. ​Could she not see that it was because my whole body was shaking with hysterical laughter at their arhythmic playing? Honestly...I guess I just really don’t like hippies. There, I said it out loud. I tried, I tried really hard, but I just prefer my city life. It’s my ​Happy Place.​-- Sally Whitwell
$1.99
1.83 €
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Chorale 2 parties
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Sally Whitwell
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Happy Place
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Sally Whitwell
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SheetMusicPlus
The Ride of the Valkyries. Wagner
Small Ensemble Drums,Timpani - Level 5 - Digital Download SKU: A0.883766 Composed b…
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Small Ensemble Drums,Timpani - Level 5 - Digital Download SKU: A0.883766 Composed by Richard Wagner. Arranged by Phil Lawrence. Romantic Period. Score and parts. 102 pages. Phillip Lawrence #3534823. Published by Phillip Lawrence (A0.883766). The Ride of the Valkyries Wagner.What do brass bands like, a good tune, a challenge, a good blow and technical work-out, a chance to show that a brass band can do what any other instrumental group can do including the symphony orchestra, and being able to bring the great classics to locals in their community, in the concert hall and in the band stand where the music comes to the public too? I’m sure that desires and ideals might be listed above. Besides the history of bands 180 years ago having no music and those within arranged popular tunes of the day and great classic symphonic works (often truncated), not al lots has changed apart from the fantastic influx of composed works for band over the last 60+ years, there’s also been a steady influx of orchestral works form the 1980’s as the technical facility of players has grown beyond belief, for EG. My old mentor and teacher Howard Snell working with Desford and other bands into the 90’s started to arrange orchestral works that A. Were fantastic works of musical caliber (many unknown the the BB rep) and, B. A superb challenge to the band - Daphnis and Chole Suite No 2 Ravel and Pines of Rome Respighi to name just two. In the same vein I have recently released Romeo & Juliet Tchaikovsky recently premiered in London by The Fulham Band, and today I let fly again one of the best known musical works in the world yet so far either not arranged because of over all length and technical difficulty, or just too harder work for the arranger? The Ride of the Valkyries Richard Wagner. 4 pages of full on can’t take your eyes off for a second challenge! Will your band take it on? Chop fatigue guaranteed plus and standing ovation from the audience.
$59.99
55.02 €
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Richard Wagner
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Phil Lawrence
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The Ride of the Valkyries. Wagner
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Phillip Lawrence
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SheetMusicPlus
The Groove Schoolbook
Batterie
Rock. Ebook and online audio. 61 pages. Mel Bay Publications - Digital Sheet Music #…
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Rock. Ebook and online audio. 61 pages. Mel Bay Publications - Digital Sheet Music #30974MEB. Published by Mel Bay Publications - Digital Sheet Music
ISBN 9781513459561. 8.75x11.75 inches.<br> <br> The Groove Schoolbook is a complete guide to the most common drum set patterns used in rock, pop, funk, and shuffle music. It is also a handy source of more than 2500 possible technical combinations that will prepare a drummer for the stylistic variety of the most common grooves in modern drumming. Written in standard drum set notation, the book can be used by students and drummers of all ages, levels, and backgrounds. It can also be used by professionals as a reference book, or by anyone preparing for a university percussion program. The books intricate and interesting patterns will help students develop ambidexterity and four-limb independence. Includes access to online audio. Hailed by Billboard Magazine as one of the best Latin-American drummers nowadays, Randolf Jimenez is a respected drummer, percussionist, composer and educator who has worked with many Grammy and Latin-Grammy award-winning artists and musicians. He is also an outstanding drum instructor in the Toronto area. Visit: www.randolfjimenez.com I love this book because it starts with a basic foundation for beginning students and advances into patterns that all drummers of different levels can use musically. Walfredo Reyes Jr.Drummer with Chicago, Santana, Traffic, Cristina Aguilera. Visit: www.walfredoreyesjr.com.ISBN 9781513459561. 8.75x11.75 inches.<br> <br> The Groove Schoolbook is a complete guide to the most common drum set patterns used in rock, pop, funk, and shuffle music. It is also a handy source of more than 2500 possible technical combinations that will prepare a drummer for the stylistic variety of the most common grooves in modern drumming. Written in standard drum set notation, the book can be used by students and drummers of all ages, levels, and backgrounds. It can also be used by professionals as a reference book, or by anyone preparing for a university percussion program. The books intricate and interesting patterns will help students develop ambidexterity and four-limb independence. Includes access to online audio. Hailed by Billboard Magazine as one of the best Latin-American drummers nowadays, Randolf Jimenez is a respected drummer, percussionist, composer and educator who has worked with many Grammy and Latin-Grammy award-winning artists and musicians. He is also an outstanding drum instructor in the Toronto area. Visit: www.randolfjimenez.com I love this book because it starts with a basic foundation for beginning students and advances into patterns that all drummers of different levels can use musically. Walfredo Reyes Jr.Drummer with Chicago, Santana, Traffic, Cristina Aguilera. Visit: www.walfredoreyesjr.com.
$14.99
13.75 €
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Batterie
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The Groove Schoolbook
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
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