SKU: AP.47513

UPC: 038081548609. English.

One of the best jazz standards arranged in a Latin groove played at 156 BPM. The melody is handled by tenor, trumpet, and guitar with written solos provided for tenor and trumpet. Lead trumpet range is to written G on top of the staff. Optional parts provided for vibraphone, flute, and clarinet. This title is available in MakeMusic Cloud. (4:48).

SKU: M7.AHW-3027

English.

This theoretical book is meant to improve contemporary jazz styles techniques for all musician players of modern jazz. We will divide this book into scale exercises, arpeggio exercises, jazz line phrases as well as contemporary chord progressions. Exercises consist of diatonic and chromatic exercises; and, line phrases, consist of jazz solos by great musicians such as Miles Davis, Bill Evans, John Coltrane, Freddy Hubbard, Woody Shaw, Wayne Shorter, Joe Henderson, Chick Corea, Herbie Hancock, Joe Farrel, Dave Liebman, Bob Berg, Michael and Randy Brecker, Jerry Bergonzi, George Garzone, Tom Harrel, Chris Potter, Brad Mehldau, Joey Calderazzo, Kenny Garrett, Branford Marsalis, Walt Weiskopf, Rich Perry, Seamus Blake, Alex Sipiagin and many other well known musicians these days. The majority of these exercises should be transposed to all twelve (12) tones, so we can achieve perfect coordination. Major chords, Minor chords and Dominant chords will be extended to their highest level, in scales, arpeggios and chromatic form. There will not be key signature centres, so we will work all exercises in accidental way. These exercises were made as an extension of my first book 'Improvise Now'. There are as well many improvisational lines transcribed from some of the previously mentioned musicians.

SKU: AP.6-217264

ISBN 9780486217260. English.

Here in their own words, such famous jazz musicians as Louis Armstrong, Fletcher Henderson, Jelly Roll Morton, Duke Ellington, Billie Holiday, and many others recall the birth, growth and changes in jazz over the years. 429 pgs. 5 3/8 x 8 1/2.

SKU: BT.AMP-421-130

English-German-French-Dutch.

British composer Philip Sparke was asked to write this arrangement of Hymn to Frei for the Norwegian Brass Band Frei Hornmusikk . Sparke had already used part of this hymn by a composer well-known in the home region of the band in The Saga of Haakon the Good. In A Norwegian Hymn, three verses of the tune can be heard: the first is performed by various soloists, followed by a quieter second verse, before the third verse brings the piece to a triumphal close. A beautiful piece, which is also excellent to use to work on musicality with bands in lower divisions.

Philip Sparke arrangeerde Hymne to Frei voor de Noorse Brass Band Frei Hornmusikk. In A Norwegian Hymn zijn ook drie verzen uit zijn eerdere werk The Saga of Haakon the Good te horen. De eerste wordt uitgevoerd door diverse solisten, gevolgd door een rustiger tweede couplet. Het derde deel brengt het werk naar een triomfantelijk einde. Een mooi werk waarmee u uitstekend kunt werken aan de muzikaliteit van orkesten in de lagere divisies.

Der britische Komponist Philip Sparke schrieb im Auftrag der Frei Hornmusikk aus Norwegen diese Bearbeitung der Hymn to Frei aus der Feder eines bekannten Komponisten aus der Heimatregion dieser Brass Band. Sparke hatte Teile dieses Kirchenlieds bereits zuvor in The Saga of Haakon the Good verwendet. Eine schönes Stück, dass sich außerdem sehr gut für Brass Bands niedrigerer Klassen eignet, die an ihrer Musikalität arbeiten wollen.

Le compositeur britannique Philip Sparke fut commandé d’écrire cet arrangement de Hymn to Frei pour la fanfare norvégienne Frei Hornmusikk. Sparke avait déj intégré une partie de ce cantique, écrit par un compositeur connu dans la région natale de cette fanfare, dans « The Saga of Haakon the Good ». On peut entendre trois couplets de la mélodie dans A Norwegian Hymn : le premier joué par plusieurs solistes, suivi par le deuxième qui est plus tranquille, avant que le troisième ne conclue la pièce d’une façon triomphante. Un morceau magnifique qui est aussi idéal pour travailler sur la musicalité des ensembles des divisions inférieures.