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Stuff Like That There - Trombone
Partitions à imprimer
26 partitions trouvées
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Stuff Like That There
Chorale SSAA
Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.880136 Composed by Jay Liv…
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Choral Choir (SSAA) - Level 4 - Digital Download SKU: A0.880136 Composed by Jay Livingston and Raymond Evans. Arranged by Scott Kitzmiller. A Cappella,Broadway,Film/TV,Musical/Show,Standards. Octavo. 6 pages. Scott W. Kitzmiller #4804597. Published by Scott W. Kitzmiller (A0.880136). A cappella arrangement of the jazz standard, SSAA. As recorded by Viva! on their self-titled CD. Learning tracks are available at https://kksounds.com/learning-track/stuff-like-that-there/ My contact info is at https://scottkarrangements.com Suitable for medium ability High School female choirs and higher. Medium shuffle, duration 3:00.
$4.50
4.1 €
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Chorale SSAA
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Jay Livingston and Raymond Evans
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Scott Kitzmiller
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Stuff Like That There
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Scott W. Kitzmiller
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SheetMusicPlus
Stuff Like That There
Chorale TTBB
Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.596824 Composed by Jay Liv…
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Choral Choir (TTBB) - Level 3 - Digital Download SKU: A0.596824 Composed by Jay Livingston and Raymond Evans. Arranged by Steve Milloy. Contemporary. Octavo. 24 pages. Steve Milloy #5317109. Published by Steve Milloy (A0.596824). From the movie For the Boys, this is Bette at her best! Arranged for tenor bass chorus with a tenor or high baritone on the verse.
$2.25
2.05 €
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Chorale TTBB
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Jay Livingston and Raymond Evans
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Steve Milloy
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Stuff Like That There
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Steve Milloy
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SheetMusicPlus
Stuff Like That There - Trumpet 1
Trompette (partie séparée)
Digital Download SKU: HX.170719 Composed by Jay Livingston and Raymond Evans. Arran…
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Digital Download SKU: HX.170719 Composed by Jay Livingston and Raymond Evans. Arranged by Kirby Shaw. Concert,Jazz. Choral Instrumental Pak. 1 pages. Duration 180. Hal Leonard - Digital #105254. Published by Hal Leonard - Digital (HX.170719).
$7.00
6.37 €
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Trompette (partie séparée)
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Jay Livingston and Raymond Evans
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Kirby Shaw
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Stuff Like That There - Trumpet 1
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Hal Leonard - Digital
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SheetMusicPlus
Stuff Like That There
Chorale 3 parties
Choral Choir,Voice (SAB) - Digital Download SKU: HX.170717 Composed by Jay Livingst…
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Choral Choir,Voice (SAB) - Digital Download SKU: HX.170717 Composed by Jay Livingston and Raymond Evans. Arranged by Kirby Shaw. Choral. Concert,Jazz. Octavo. 10 pages. Duration 180. Hal Leonard - Digital #105254. Published by Hal Leonard - Digital (HX.170717).
$1.90
1.73 €
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Chorale 3 parties
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Jay Livingston and Raymond Evans
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Kirby Shaw
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Stuff Like That There
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Hal Leonard - Digital
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SheetMusicPlus
Stuff Like That There - Bass
Pack Instrumental pour Chorale
Digital Download SKU: HX.170724 Composed by Jay Livingston and Raymond Evans. Arran…
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Digital Download SKU: HX.170724 Composed by Jay Livingston and Raymond Evans. Arranged by Kirby Shaw. Concert,Jazz. Choral Instrumental Pak. 2 pages. Duration 180. Hal Leonard - Digital #105254. Published by Hal Leonard - Digital (HX.170724).
$7.00
6.37 €
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Pack Instrumental pour Chorale
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Jay Livingston and Raymond Evans
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Kirby Shaw
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Stuff Like That There - Bass
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Hal Leonard - Digital
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SheetMusicPlus
Stuff Like That There - Guitar
Pack Instrumental pour Chorale
Digital Download SKU: HX.170723 Composed by Jay Livingston and Raymond Evans. Arran…
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Digital Download SKU: HX.170723 Composed by Jay Livingston and Raymond Evans. Arranged by Kirby Shaw. Concert,Jazz. Choral Instrumental Pak. 2 pages. Duration 180. Hal Leonard - Digital #105254. Published by Hal Leonard - Digital (HX.170723).
$7.00
6.37 €
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Pack Instrumental pour Chorale
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Jay Livingston and Raymond Evans
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Kirby Shaw
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Stuff Like That There - Guitar
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Hal Leonard - Digital
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SheetMusicPlus
Stuff Like That There - Trumpet 2
Trompette (partie séparée)
Digital Download SKU: HX.170720 Composed by Jay Livingston and Raymond Evans. Arran…
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Digital Download SKU: HX.170720 Composed by Jay Livingston and Raymond Evans. Arranged by Kirby Shaw. Concert,Jazz. Choral Instrumental Pak. 1 pages. Duration 180. Hal Leonard - Digital #105254. Published by Hal Leonard - Digital (HX.170720).
$7.00
6.37 €
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Trompette (partie séparée)
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Jay Livingston and Raymond Evans
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Kirby Shaw
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Stuff Like That There - Trumpet 2
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Hal Leonard - Digital
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SheetMusicPlus
The Story Of Reuben Clamzo & His Strange Daughter
Chorale TTBB
Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. B…
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Choral Choir (TTBB) - Level 2 - Digital Download SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99
3.63 €
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Chorale TTBB
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo & His Strange Daughter
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Edition Craig Hanson
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SheetMusicPlus
Stuff Like That There by Bette Midler - Piano/Vocal/Guitar, Singer Pro
Piano, Voix et Guitare
Performed by: Bette Midler: Stuff Like That There Digital Sheetmusic - instantly downloada…
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Performed by: Bette Midler: Stuff Like That There Digital Sheetmusic - instantly downloadable sheet music plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Guitar;Singer Pro, instruments: Voice;Piano;Guitar; 7 pages -- Standards~~Traditional Pop~~Vocal Pop
$5.50
5.01 €
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Piano, Voix et Guitare
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Bette Midler
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Piano/Vocal/Guitar, Singer Pro
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Musicnotes
Joy, Joy, Everyone Is Flying - Easy Trumpet Duet
2 Trompettes (duo)
Trumpet Duet Trumpet - Level 2 - Digital Download SKU: A0.1088949 Composed by Eddie…
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Trumpet Duet Trumpet - Level 2 - Digital Download SKU: A0.1088949 Composed by Eddie Lewis. Classical,Contemporary,Instructional. Score. 4 pages. Tiger Music #693161. Published by Tiger Music (A0.1088949). Give your students something modern to work on. Joy, Joy, Everyone Is Flying trumpet duet uses a modern compositional technique. Joy, Joy Everyone Is Flying trumpet duet is actually part of my recent modern composition series. The idea was to see if I could write one of those compositions for trumpet duet with Trumpet Tyro limitations. Being composed from a nontraditional technique, Joy, Joy, Everyone Is Flying does not sound like the typical “do re mi†beginner band music. As an educational piece, it serves as a wonderful opportunity to expose the students to exotic sounds. The piece begins like a traditional imitative piece, but you soon hear a non-traditional modality. That modality is emphasized in the B section with grace notes that give it an eastern hint. Joy, Joy, Everyone Is Flying is a short duet, lasting under a minute. This is because it is written for students who were beginners only months ago. Other Duet Books I have published similar duets to this one in my two other duet books for this level. The first and most popular is Celebrations which has trumpet duets for all skill levels. The second, which has some of the Celebrations duets, is called Twenty Trumpet Tyro Duets. In the trumpet community we use duets as educational tools. They are a wonderful way to expose students to counterpoint, different harmonies and different rhythmic ideas. By including more of the modern duets in the easier duet books, the younger students have an opportunity to experience non-traditional music in what is essentially a chamber music environment. The Experimental Music Series I’ve published a number of these experimental works for trumpet and brass instrumentations. The newer ones were in response to the popularity of the fishing suites. I had gone years without writing any of these compositions and wanted to apply the techniques to trumpet trio. The fishing suites are a suite of suites, each suite being dedicated to a different composition technique. Of those three suites, Catch Suite is the one that uses the same technique as Joy, Joy, Everyone Is Flying. Other compositions utilizing this compositional technique include The Lotus Eater and Voice of the Prophets. SKILL LEVEL The skill level for Joy, Joy, Everyone Is Flying is Trumpet Tyro. Trumpet Tyro is the second of seven levels in our system. This is music for trumpet students with a range up to fourth space E. The music in this level is limited to three flats or sharps. We almost bumped this piece up into the Trumpet Player level because of all the accidentals, but eventually decided to keep it in the Trumpet Tyro level. Technically, the accidentals all fall within acceptable keys for this level, so we kept it at the lower level. That said, because it is non-traditional, it will take a little longer to learn. The melodic sounds will not come as readily as the traditional “do re mi†stuff. Practice Recommendations Listening to the recording is a very important part of learning something with new sounds. You want to be able to hear those sounds. Here’s an interesting bit of trivia for you… When I am using one of these original compositional techniques, I know when I’ve made a mistake because I can hear that it sounds different. I believe this is the sign of a technique that works. If there’s a mistake, the composer should be able to hear that there’s something wrong. Well, performing music that utilizes these sorts of non-traditional techniques goes far better when the performers can also hear the music that way.
$4.99
4.54 €
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2 Trompettes (duo)
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including more of the modern duets in the easier duet books, the younger students have an opportunity to experience non-traditional music in what is essentially a chamber music environment
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Eddie Lewis
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Joy, Joy, Everyone Is Flying - Easy Trumpet Duet
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Tiger Music
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SheetMusicPlus
Stuff Like That There
Piano, Voix
By Bette Midler and Betty Hutton. For piano, voice, and guitar (chords only). Film/TV; Pop…
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By Bette Midler and Betty Hutton. For piano, voice, and guitar (chords only). Film/TV; Pop; Standards. PV. 7 pages. Published by Hal Leonard - Digital Sheet Music
$4.99
4.54 €
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Piano, Voix
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Bette Midler and Betty Hutton
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Pop
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Stuff Like That There
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Stuff Like That There
Chorale
Choral. Concert; Jazz. Choral. 10 pages. Duration 3:00. Published by Hal Leonard - Digital…
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Choral. Concert; Jazz. Choral. 10 pages. Duration 3:00. Published by Hal Leonard - Digital Sheet Music (HX.170718). - Choral - Concert; Jazz - Hal Leonard - Digital Sheet Music
$1.90
1.73 €
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Chorale
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Jazz
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Stuff Like That There
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Stuff Like That There
Chorale SATB
Composed by Jay Livingston and Raymond Evans. Arranged by Kirby Shaw. For Choral (SATB). C…
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Composed by Jay Livingston and Raymond Evans. Arranged by Kirby Shaw. For Choral (SATB). Choral. Concert; Jazz. Choral. 10 pages. Duration 3:00. Published by Hal Leonard - Digital Sheet Music
$2.65
2.41 €
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Chorale SATB
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Jay Livingston and Raymond Evans
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Kirby Shaw
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Jazz
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Stuff Like That There
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Stuff Like That There - Tenor Sax
Saxophone (partie séparée)
Composed by Jay Livingston and Raymond Evans. Arranged by Kirby Shaw. Concert; Jazz. EPak.…
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Composed by Jay Livingston and Raymond Evans. Arranged by Kirby Shaw. Concert; Jazz. EPak. 1 pages. Duration 3:00. Published by Hal Leonard - Digital Sheet Music (HX.170721). - ePak - Concert; Jazz - Hal Leonard - Digital Sheet Music
$7.00
6.37 €
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Saxophone (partie séparée)
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Jay Livingston and Raymond Evans
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Kirby Shaw
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Jazz
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Stuff Like That There - Tenor Sax
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Jay Livingston: Stuff Like That There (complete set of parts) - orchestra/band
Orchestre
Instantly printable sheet music by Kirby Shaw for orchestra/band of MEDIUM skill level. / …
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Instantly printable sheet music by Kirby Shaw for orchestra/band of MEDIUM skill level. / jazz,concert
$32.99
30.04 €
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Orchestre
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Jay Livingston
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Virtualsheetmusic
Jay Livingston: Stuff Like That There (COMPLETE) for orchestra
Orchestre
Instantly downloadable sheet music by Jay Livingston for orchestra of MEDIUM skill level.
Instantly downloadable sheet music by Jay Livingston for orchestra of MEDIUM skill level.
$64.99
59.18 €
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Orchestre
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Jay Livingston
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Virtualsheetmusic
Jay Livingston: Stuff Like That There for choir and piano (SSA)
Chorale 3 parties
Instantly printable sheet music by Jay Livingston for choir (SSA: soprano, alto) of MEDIUM…
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Instantly printable sheet music by Jay Livingston for choir (SSA: soprano, alto) of MEDIUM skill level. / jazz,concert
$5.88
5.35 €
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Chorale 3 parties
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Jay Livingston
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Virtualsheetmusic
Jay Livingston: Stuff Like That There for choir and piano (SAB)
Chorale
Instantly printable sheet music by Jay Livingston for choir (SAB: soprano, alto, bass) of …
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Instantly printable sheet music by Jay Livingston for choir (SAB: soprano, alto, bass) of MEDIUM skill level. / jazz,concert
$5.88
5.35 €
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Chorale
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Jay Livingston
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Virtualsheetmusic
Jay Livingston: Stuff Like That There for choir and piano (SATB)
Chorale SATB
Instantly printable sheet music by Jay Livingston for choir (SATB: soprano, alto, tenor, b…
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Instantly printable sheet music by Jay Livingston for choir (SATB: soprano, alto, tenor, bass) of MEDIUM skill level. / jazz,concert
$6.63
6.04 €
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Chorale SATB
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Jay Livingston
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Virtualsheetmusic
Ray Evans: Stuff Like That There for voice & piano
Piano, Voix
Instantly printable sheet music by Bette Midler for voice & piano of MEDIUM skill leve…
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Instantly printable sheet music by Bette Midler for voice & piano of MEDIUM skill level. / film/tv,pop,standards,movies
$7.97
7.26 €
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Piano, Voix
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Ray Evans
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Virtualsheetmusic
Stuff Like That There - Drums
Batterie (partie séparée)
Composed by Jay Livingston and Raymond Evans. Arranged by Kirby Shaw. Concert; Jazz. EPak.…
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Composed by Jay Livingston and Raymond Evans. Arranged by Kirby Shaw. Concert; Jazz. EPak. 1 pages. Duration 3:00. Published by Hal Leonard - Digital Sheet Music (HX.170693). - ePak - Concert; Jazz - Hal Leonard - Digital Sheet Music
$7.00
6.37 €
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Batterie (partie séparée)
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Jay Livingston and Raymond Evans
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Kirby Shaw
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Jazz
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Stuff Like That There - Drums
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
Edwin Culver: a bridge a-way, exits within (for solo guitar)
Guitare
Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. …
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Solo Guitar - Level 3 - Digital Download SKU: A0.1032084 Composed by Edwin Culver. 20th Century,Contemporary. Individual part. 4 pages. Edwin Culver #4347575. Published by Edwin Culver (A0.1032084). Classical Guitar Solo - IntermediateComposed by Edwin Culver (1992-) 4 Pages. Duration 7'30Composer's note: Have you ever felt stuck? Trapped by something you can’t fully understand no matter how hard you try? Perhaps it’s something from our past that we never invited...or something we’ve missed in our closest relationships, maybe it’s just the dread we’ve felt waking up early in the morning to repeat the daily grind. We work hard to try and propel ourselves out of this nightmare, but we never seem to get totally free, in fact sometimes it feels like we’re just making ourselves feel worse by failing to overcome it yet again. This piece, ...a bridge a-way, exits within, represents that feedback loop, that stuckness. The piece came to me when I felt stuck in life by several things - old scars, old habits, crippling emotions. I had been wanting to write something in a minimalist style for the guitar for quite some time and the repetition found in so much minimalist music seemed like the obvious way for expressing this stuckness. There’s constant motion in the piece, just like when we try to take constant action in our lives to improve our circumstances. But all this motion never seems to get us anywhere new. We’re spinning our wheels…But one of the interesting things about great minimalist music is that it’s not merely about repetition. I don’t believe the greatest minimalists were concerned with having less stuff in their music for the sake of having less. Instead, what I think they more often aimed for was producing the biggest emotional impact that they could through the tiniest of changes. And if in your mind’s eye you zoom out from one of these minimalist masterworks and perceive it on a grand scale, you realize that despite all the seemingly redundant repetition in the moment the piece actually covers a huge distance because all those tiny changes add up.Likewise, in ...a bridge a-way, exits within, it seems like the performer can’t free himself from the territory of the first position on the guitar for the longest time. Even when he does venture higher up the instrument he’s always inextricably pulled back to the starting point. But small changes can have a profound impact.It doesn’t feel like we’re making headway whenever we’re having to crawl out of our skin - until, suddenly, when it’s all over. And you hear this towards the end of the piece, when there’s a sudden magnetic force that pulls the music from a low A to a high E-natural. From A to E, a bridge to exits eternal. The bridge has been found within, in the One I’ve put my trust in, because I can’t reach my eternal destiny on my own. This is ...a bridge a-way, exits within.
$11.99
10.92 €
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Guitare
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Edwin Culver
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Edwin Culver: a bridge a-way, exits within
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Edwin Culver
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SheetMusicPlus
Hop Off
Ensemble Jazz
Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.1130066 By Fletche…
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Jazz Ensemble Jazz Ensemble - Level 5 - Digital Download SKU: A0.1130066 By Fletcher Henderson And His Orchestra. By Clarence Williams. Arranged by Peter Stöve. 20th Century,Jazz. Score and parts. 84 pages. Peter Stove #730446. Published by Peter Stove (A0.1130066). Peter Stöve ‘What If Benny Goodman…’ series, Vol. 3! (A take-off on events that could have happened with the Benny Goodman Orchestra’s book of arrangements if things in jazz history had taken another turn). As jazz history books like Gunther Schuller’s tell us, Benny Goodman’s rendition of Jelly Roll Morton’s ‘King Porter Stomp’ in the arrangement of Fletcher Henderson ‘ushered in the Swing Era’. That this tune already had a long and venerable career was obvious to every jazz lover: starting with Morton’s own recording from 1923, it was revived on a regular basis by Fletcher Henderson for his orchestras of the ‘twenties and ‘thirties. He then adapted the tune for the Benny Goodman Orchestra, which made it a hit in 1935. And from that moment on, the tune stayed popular: in 1975 it was recorded by the Gil Evans Orchestra for the album ‘There Comes A Time’. But during the ‘twenties, Henderson picked up more ‘jazz and stomp’-tunes (as opposed to the Tin Pan Alley/Broadway fare) and had them arranged for his orchestra. One such example is a tune credited to pianist/bandleader/businessman Clarence Williams (although other sources state that it was actually written by Joseph Joe Jordan, one of the early ragtime ‘professors’). That is the composition ‘Hop Off’, a very swinging, hard-driving multi-strain tune. Henderson recorded it in 1927. However, unlike ‘King Porter Stomp’, Henderson never chose to ‘adapt’ this tune for his ‘thirties swing-style orchestra, and so it never became a part of the Goodman Orchestra’s band book. What if Henderson had done so, and in 1935 had handed over the tune to Goodman as an addition for his ‘Let’s Dance’-library? ‘Hop Off’ is presented here as a piece that could have been a cornerstone of the Goodman band library. Based on the 1927 Henderson arrangement, it juxtaposes the two main strains of the original composition for maximum variety. Plenty of breaks, stoptime-sections and other ‘hot’ stuff. Scored for the line-up of the Benny Goodman Orchestra of 1935: solo clt/2 as/2 ts/3 tpt/2 trb/rhy. Tpt 1 to Eb3. Solo’s for clarinet, tenor sax 1, tpt 2, trb 1 and a brief four-bar spot for the drummer at the end. If your band is able to play ‘King Porter Stomp’, this tune should cause no problems. The only exception is the presence of a solo clt part. The clarinet soloist must be a first-class ‘BG-wannabe’: fluent soloist, comfortable in the upper register. Must be able to be heard over a shouting ensemble chorus. If your band has such a player: have fun!
$49.99
45.52 €
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Ensemble Jazz
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Fletcher Henderson And His Orchestra
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Peter Stöve
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Hop Off
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Peter Stove
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SheetMusicPlus
James Bond Theme
Quatuor de cuivres: 4 cors
French Horn Quartet Horn - Level 4 - Digital Download SKU: A0.1252433 Composed by M…
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French Horn Quartet Horn - Level 4 - Digital Download SKU: A0.1252433 Composed by Monty Norman. Arranged by Peter Clark. 20th Century,Film/TV,Jazz. 8 pages. Petey C. #846404. Published by Petey C. (A0.1252433). Hey Friends!As always, I have a couple public domain arrangements on my website, peteyc.com. Check them out, they're cheaper and support me more than what little percentage I get from here.This arrangement is one of my most viewed on my YouTube channel. I made it several years ago and it's been very popular to play live as well. It's an iconic theme that's been around since the 1960's. If you play in a horn quartet, this is the arrangement to get. There are no drums in the arrangement like there are in my recording, but you can get a great idea of how it sounds by the YouTube link here.Like all of my arrangements, I like to pass around melodic stuff so none of the parts are boring. This arrangement has some pretty extreme range and some fluttertongue in one of the parts. It's not extremely difficult but it can be challenging. Not for beginners. Intermediate to advanced. Thanks for checking it out!
$12.99
11.83 €
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Quatuor de cuivres: 4 cors
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Monty Norman
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Peter Clark
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James Bond Theme
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Petey C.
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SheetMusicPlus
Mandolin Chord Melody System
Mandoline
Composed by Aaron Weinstein. Jazz, Improvising. Ebook. 53 pages. Published by Mel Bay Pub…
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Composed by Aaron Weinstein. Jazz, Improvising. Ebook. 53 pages. Published by Mel Bay Publications - Digital Sheet Music (M0.30502EB). - Ebook - Jazz, Improvising - Mel Bay Publications - Digital Sheet Music
ISBN 9781619115453. 8.75 x 11.75 inches. If you've heard jazz guitarists like Joe Pass play chord melody, you may think that the style requires an encyclopedic knowledge of music theory, musical super-powers, or making a deal with the devil. But fear not! This book will show you how to create your own satisfying chord melody arrangements on the mandolin...and will do so in a practical, applicable, non stroke-inducing way. "Aaron Weinstein has many musical accomplishments. I am very proud to have played a small part with some of them. When he was only 12 he made his first recordings and asked me to play mandolin on them. I was knocked out to encounter someone that young that was conversant in both old-time or contest fiddling and Joe Venuti style jazz. Not long after that Aaron became interested in the mandolin and chords and he came by every so often to play and discuss voicings, improvisation and the like. I showed him some of the Jethro Burns chord melody arrangements that Jethro showed me. I've been teaching those for decades in hopes of one day playing them smoothly myself! Fast forward a few more years and Aaron has a Berklee degree, traveled the world playing hot violin music and is hobnobbing with the greatest NYC jazz stars. And oh yeah, one other thing: he took the art of chord-melody mandolin style to an entirely new level! The rich harmonies of the standard jazz and show tune repertoire, the swinging bass lines and connecting chords and independent voice movements (doing more than one thing at a time) are all present in Aaron's style, thanks to his great ear, open mind and gift at locating things on the fretboard. And now Aaron has documented, explained and shared his discoveries and approach with all of us in this book. Thank you Aaron! This is truly a step-by-step method that you will enjoy. You'll find yourself saying 'oh, of course!' as the author gets you playing and understanding things that sound very detailed and complex. The first section I would call the mandolinistic stuff: the how-to on getting things moving and connected on the fretboard. This part is laid out in a very logical manner with clear explanations and fun activities. After working through these etudes you will know the fretboard better and be a better mandolin playing musician regardless of what style of music is your favorite. As I looked this part over I recalled the parable about 'give someone a fish and he will have a meal. Teach him to fish and he'll eat the rest of his life..' The second part puts your new-found chops to work playing some great solo chord melody tunes Weinstein style. Again the author walks us gently into the material by providing two versions of each piece, the basic structure followed by a more developed version. In the history of mandolin playing there have been many examples of techniques, arrangements and music that might be thought of as 'chord-melody' style. Consider works by Raffaele Calace, or 'Duo' style from the early twentieth century American stylists and then again as modernized by Evan Marshall in the current era. Bach on the mandolin, as played by virtuosi such as Caterina Lichtenberg, Mike Marshall, Carlo Aonzo, Chris Thile and others also illustrates harmony and melody simultaneously. And of course Jethro Burns did so much in the way of bringing jazz and standards to life with chord-melody mandolin that it is often referred to as 'Jethro Style'. The book you have in your hand presents a unique and accessible route to these types of techniques and sounds. Bravo, Aaron! And thank you, my friend." Don Stiernberg.ISBN 9781619115453. 8.75 x 11.75 inches. If you've heard jazz guitarists like Joe Pass play chord melody, you may think that the style requires an encyclopedic knowledge of music theory, musical super-powers, or making a deal with the devil. But fear not! This book will show you how to create your own satisfying chord melody arrangements on the mandolin...and will do so in a practical, applicable, non stroke-inducing way. "Aaron Weinstein has many musical accomplishments. I am very proud to have played a small part with some of them. When he was only 12 he made his first recordings and asked me to play mandolin on them. I was knocked out to encounter someone that young that was conversant in both old-time or contest fiddling and Joe Venuti style jazz. Not long after that Aaron became interested in the mandolin and chords and he came by every so often to play and discuss voicings, improvisation and the like. I showed him some of the Jethro Burns chord melody arrangements that Jethro showed me. I've been teaching those for decades in hopes of one day playing them smoothly myself! Fast forward a few more years and Aaron has a Berklee degree, traveled the world playing hot violin music and is hobnobbing with the greatest NYC jazz stars. And oh yeah, one other thing: he took the art of chord-melody mandolin style to an entirely new level! The rich harmonies of the standard jazz and show tune repertoire, the swinging bass lines and connecting chords and independent voice movements (doing more than one thing at a time) are all present in Aaron's style, thanks to his great ear, open mind and gift at locating things on the fretboard. And now Aaron has documented, explained and shared his discoveries and approach with all of us in this book. Thank you Aaron! This is truly a step-by-step method that you will enjoy. You'll find yourself saying 'oh, of course!' as the author gets you playing and understanding things that sound very detailed and complex. The first section I would call the mandolinistic stuff: the how-to on getting things moving and connected on the fretboard. This part is laid out in a very logical manner with clear explanations and fun activities. After working through these etudes you will know the fretboard better and be a better mandolin playing musician regardless of what style of music is your favorite. As I looked this part over I recalled the parable about 'give someone a fish and he will have a meal. Teach him to fish and he'll eat the rest of his life..' The second part puts your new-found chops to work playing some great solo chord melody tunes Weinstein style. Again the author walks us gently into the material by providing two versions of each piece, the basic structure followed by a more developed version. In the history of mandolin playing there have been many examples of techniques, arrangements and music that might be thought of as 'chord-melody' style. Consider works by Raffaele Calace, or 'Duo' style from the early twentieth century American stylists and then again as modernized by Evan Marshall in the current era. Bach on the mandolin, as played by virtuosi such as Caterina Lichtenberg, Mike Marshall, Carlo Aonzo, Chris Thile and others also illustrates harmony and melody simultaneously. And of course Jethro Burns did so much in the way of bringing jazz and standards to life with chord-melody mandolin that it is often referred to as 'Jethro Style'. The book you have in your hand presents a unique and accessible route to these types of techniques and sounds. Bravo, Aaron! And thank you, my friend." Don Stiernberg.
$14.99
13.65 €
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Mandoline
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Aaron Weinstein
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Mandolin Chord Melody System
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
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