Love Me Do - Penny Lane - Ob-La-Di Ob-La-Da. The term Beatlemania was coined as the extreme enthusiasm exhibited by fans of the English rock band The Beatles in the 1960s. Norah Green compiled three of their 60s hits in an arrangement for quartet: Love Me Do, Penny Lane and Ob-La-Di, Ob-La-Da.

Dolphin Dance The tenor saxophone and piano are featured soloists in this jazz classic. Professionals as well as school bands will have fun with this medium swing chart. These arrangements for saxophones and rhythm section, written for the Eastman School of Music's award winning jazz ensemble, Saxology, showcase the saxophone section in unique and interesting ways. Though originally written for saxophones most of the arrangements include optional horn parts (flugelhorn/trumpet and trombone) and work equally well with a mixed instrumentation Nombre de pages :62

El Bororo Mambo Funk This mambo-inspired piece of music is dedicated with great affection to Juan Carlos Ledón aka El Bororo, an outstanding Cuban saxophonist, who presently works as a teacher at Belén Jesuit Preparatory School in Miami / USA. The genre and musical style known as mambo was created by the Cuban musician Dámaso Pérez Prado (1917 - 1989). However, it was in Mexico, the country this well-known composer emigrated to, where his interpretations first became famous. This novel style contributed a new form of expression to the already existing rhythmic concepts characterizing Cuban music. The accentuation of the strong beats by employing the cowbell, or cencerro, as the defining instrument, in combination with syncopated figures being executed by saxophones and brass instruments generated a rhythmic performance hitherto unknown in Cuban music. According to Pérez Prado himself, mambo is a syncopated combination of a rhythmic pattern being performed by the saxophones to which any melody can be added. This is exactly what happens in part A of this composition, where the first alto sax plays the melody while the others perform the off-beats. It is primarily the baritone that plays a syncopated rhythm in addition to the rhythmic-harmonic basis of the instrumentation. The correct execution of the notated accents on the strong beats played by the brass and saxophone sections reinforces the clear definition of this style, as is the case with such classic themes like Mambo No. 5 and Qué rico el mambo, which are both compositions by the originator of this genre. Non-musical tools that became integral parts of mambo, such as the characteristic scream let out to end an 8-bar melody, are also made use of in this composition (example: measures 44 through 51). The influence of jazz standards makes itself heavily felt in the piece. El Bororo. This does not only become obvious in the solo performed by the saxophones in part C but also in the riff-like effect, which is a common feature of jazz themes. In this piece, the just mentioned effect can be heard in measures 19 through 26, the only difference being that this riff is here being accompanied by the bass drum executing the first and third beats while the cowbell, or cencerro, is strictly keeping time. The influence of jazz also becomes evident during the improvised solos; they may be executed ad libitum and finally close with a piano solo, which is accompanied by a riff played by the saxophones, executing the second and fourth in order to resume the initial theme to finally conclude the piece. As is the case with any music based on a particular musical style, the actual interpretation of El Bororo should be preceded by the study of representative recordings. With regard to this composition, I recommend listening to the original music created by the King of Mambo.

Easy Jazz Conception for the Saxophone Section or Combo 15 solo etudes for jazz phrasing, interpretation and improvisation 8 complete arrangements for AATTB saxophone section or mixed jazz combo. Substitute parts are included for the first alto (trumpet or flugelhorn) and for the second tenor (trombone). Piano, bass, and drum parts are completely written out, including piano voicings and rhythms, bass lines, and drum transcriptions. A carefully written, optional guitar part - which is not recorded on the enclosed CD - is also included. The CD features 8 complete tracks, featuring Jim Snidero and Mike Titlebaum, alto; Tom Christensen and Ken Hitchcock, tenor; Scott Robinson, baritone; Mike LeDonne, piano; Peter Washington, bass; and Kenny Washington, drums. Also included are 8 play-along tracks which feature the rhythm section without the horns. The arrangements can be performed with or without rhythm section. Easy - medium Basie's Blues - So Long Birdie - Rock On - Shufflin' in F - Bossa at Night - Mist and Grits - Prince Charming - Us Nombre de pages :224

Jones Medium tempo straight eighth-note feel with a today jazz sound. The tune features the tenor and piano and was inspired by Elvin Jones and its chord progression is a sophisticated re-harmonization of Have You Met Miss Jones hence its name. Medium advanced These arrangements for saxophones and rhythm section, written for the Eastman School of Music's award winning jazz ensemble, Saxology, showcase the saxophone section in unique and interesting ways. Though originally written for saxophones most of the arrangements include optional horn parts (flugelhorn/trumpet and trombone) and work equally well with a mixed instrumentation.

Morning Star Uptempo, straight eighth, ECM style soprano feature. These arrangements for saxophones and rhythm section, written for the Eastman School of Music's award winning jazz ensemble, Saxology, showcase the saxophone section in unique and interesting ways. Though originally written for saxophones most of the arrangements include optional horn parts (flugelhorn/trumpet and trombone) and work equally well with a mixed instrumentation. Nombre de pages :60

72 a St The Guaracha combines the Son with rhythmical elements of the Rumba complex. It represents traditional Cuban dance music that can either be performed with vocals or interpreted instrumentally, as is done in this case. The Guaracha is a cheerful rhythm that is played very fast. When performing this rhythm, it is of utmost importance - especially to the harmonic rhythm section - to maintain the tempo and the groove ( or marcha as the Cubans say). The saxophone section should pay special attention to the accents and to playing the syncopations, or offbeats, short. (Further information on this technical aspect can be found in the book Saxoneando - the Saxophone in Popular Cuban Music, also published by Advance Music.). The Mambo (comparable to a riff in jazz) can be repeated several times with a number of soloists relieving one another at performing this part. Thus, more variety is added to the theme. The bandleader finally decides when to go into D.C. to finish the theme. If desired, it is also possible to perform the Mambo one final time after the last solo and then go into D.C. Nombre de pages :60

Di Sudut Bibirmu In 2007, the Goethe Institute invited me on a trip to Indonesia where I was supposed to record a CD. I was taking along a whole series of big band arrangements of Indonesian folk songs. Di Sudut Bibirmu, an ancient Molukkan love song - the title of which might be translated as The Smile of Your Lips - was one of the tunes I had written an arrangement for. Since it had originally been arranged for vocalist and big band, it seemed an excellent choice to turn it into a soulful version for saxophone and rhythm section featuring the lead alto. Nombre de pages :24

Shenanigans A unique feature for your tenor saxophone soloist. In typical McNeely style the writing in this chart grows and develops in an organic, natural manner. The interaction between the band and the soloist and the through composed character of the piece makes this chart a standout. These arrangements for saxophones and rhythm section, written for the Eastman School of Music's award winning jazz ensemble, Saxology, showcase the saxophone section in unique and interesting ways. Though originally written for saxophones most of the arrangements include optional horn parts (flugelhorn/trumpet and trombone) and work equally well with a mixed instrumentation. Nombre de pages :88

Passion Flower Relaxed Jazz Waltz A tuneful jazz waltz. It begins with a tenor and baritone duet, but as the other instruments enter the tenor remains the lead voice and the featured instrument for the majority of the chart. These arrangements for saxophones and rhythm section, written for the Eastman School of Music's award winning jazz ensemble, Saxology, showcase the saxophone section in unique and interesting ways. Though originally written for saxophones most of the arrangements include optional horn parts (flugelhorn/trumpet and trombone) and work equally well with a mixed instrumentation. Nombre de pages :80

Echo from the Past What is initially just a cloud of mysterious sounds turns into a contemplative melody played by the soprano. But then the five saxophones start swinging, the baritone begins walking and, finally, all of them launch into a soli section. This piece tells a personal story, like the great jazz ballads of the past. Advanced players will find it a challenge to intonation and rhythmic feel. The alto solo begins at medium intensity and proceeds to a roaring level in a bluesy section that ends abruptly with a return to the sedate piano.In addition to the usual chord symbols, voicings are also given to aid the less experienced player. This is a great change of pace chart. MediumThese arrangements for saxophones and rhythm section, written for the Eastman School of Music's award winning jazz ensemble, Saxology, showcase the saxophone section in unique and interesting ways. Though originally written for saxophones most of the arrangements include optional horn parts (flugelhorn/trumpet and trombone) and work equally well with a mixed instrumentation. Nombre de pages :26

Deep Phat Deep Phat, composed especially for the Saxology series, is a slow, soulful blues, scored for a cappella jazz saxophone quintet (SATTB). The piece features a funky 12/8 rhythmic feel, richly scored tutti and soli passages, imaginative counterpoint and a short, improvised solo for tenor saxophone. Dirty, low down blues - Double-time swing Nombre de pages :24