SKU: M7.AHW-501

English.

Brown's unique contribution to the history of jazz and jazz trumpet playing is lovingly preserved in these artfully executed, meticulously edited transcriptions. The large, easy-to-read format (chord symbols are given) makes this ideal for the performing musician.

SKU: M7.AHW-2008

English.

A wide variety of common jazz rhythms, many in etude form, designed to give the performer instant recognition and accurate response when you run across them in a real playing situation.

SKU: M7.AHW-205

English.

SKU: M7.AHW-2022

English.

Progressing from intermediate to more advanced levels of difficulty, these studies take the student through long tones, lip slurs and trills, interval and flexibility exercises. Useful for players of all levels.

SKU: M7.AHW-1041

English.

Mancini's Rhythm in Technique is a set of Etudes and Caprices designed to familiarize the ambitious player with the more intricate rhythms prevalent in the modern music of today and in the medium employed by such composers as Bela Bartok, Randall Thompson, Benjamin Britten, Prokofiev, Stravinsky etc. We need material to help practice these difficult passages, and these etudes were made specifically for this purpose. They are difficult but very satisfying.

SKU: M7.AHW-412

English.

In the jazz tradition the Tuba was the bass in the rhythm section up until the mid-twenties. It was then the upright bass replaced the Tuba in many ensembles as the jazz music moved north and continued to develop. After this period the Tuba's roll, as bass in the rhythm section, was at a standstill and did not develop through Swing and Bebop. It wasn't until Cool Jazz of the 1950's when the Tuba was used by Miles Davis and Gil Evans in 'Birth of the Cool' as an ensemble horn. The Tuba, like swimming, is something you can't do any longer than you can hold your breath. In order to maintain a steady beat while playing in the rhythm section I have developed a system of breathing called Pant Breathing. Using this method, the player can maintain a steady beat within the rhythm section, without losing time while taking deep breaths.

SKU: M7.AHW-1618

English.

Develop Sight Reading complete, Volumes 1 and 2 are an established sight-reading method for all musicians. Technical in nature, it is indispensable for it stimulates, coordinates and stabilizes one's mental and physical reflexes. The studies are arranged in order of difficulty and designed to develop in the player a facility for dealing - at sight- with chromatic, intervallic, rhythmic and metric complexities. Volume 1 is on an intermediate level, while Volume 2 is advanced. Many of the studies are annotated by the author to aid the player in dealing with this musical but challenging material.

SKU: M7.AHW-309

English.

From the forward: 'Jazz Basics Volume 1: Diatonic Exercises' is the first part of a series of books focusing on the most primary elements in jazz line construction. This series emphasizes developing harmonic knowledge related to Jazz improvisation. Each volume deals with a different aspect on improvisation. By combining these aspects you should be able to construct viable jazz lines. Although this series is designed for the aspiring improviser, experienced improvisers will also benefit from the study of this material.

SKU: M7.AHW-1603

English.

'Improvisational Patterns: The Bebop Era' is a series of pattern books predicated on the belief that while certain patterns seem to transcend eras and styles, the greater body of improvisational material is of high specificity with regard to its time and place within the jazz continuum. The bebop era initiates the series since in the minds of many people, (the author included), this era is the common practice period of jazz music. While the patterns in this book are also highly specific, they enjoy a greater continuing currency than do the patterns of any other period in jazz's brief history. The many II V7, cycle and turnaround patterns are based on protracted studies of literally hundreds of solos by the jazz greats of the bebop era. Volume 1 is over 100 pages and volumes 2 and 3 are over 50 pages each, making this one of the biggest jazz improv books ever written.