By John Coltrane. Arranged by John Berry. Easy Jazz Combo. Book only. Size 9x12 inches. Published by Hal Leonard.

Saxophone, Tenor Saxophone - Difficulty: medium to medium-difficult

SKU: HL.673233

Soprano and Tenor Saxophone. By John Coltrane. Hal Leonard Artist Transcriptions. Jazz. Saxophone solo songbook. With chord names, saxophone notation guide, introductory text and discography. 144 pages. Published by Hal Leonard (HL.673233).

ISBN 9780793527007. UPC: 073999732337. 9x12 inches.

This collection of 26 tenor sax transcriptions features some of jazz giant John Coltane's most important solos: Blue Train * Central Part West * Giant Steps * Impressions * Lazy Bird * Moment's Notice * My Favorite Things * 'Round Midnight * and more. Includes a bio, notation guide, alternate fingerings, and discography with historical notes on the recordings.

Taught by Larry Coryell. For Guitar (Flatpicking/Plectrum). Method. Grossman-Gtr Workshop. Jazz. Level: Intermediate. DVD. Size 5.25x7.5. Duration 70 minutes. Published by Grossman's Guitar Workshop.

Performed by John Coltrane. By Mongo Santamaria. Arranged by Michael Philip Mossman. Jazz Ensemble Library. Size 9x12 inches. Published by Hal Leonard.

Orchestra Orchestra

SKU: PR.11641373S

Composed by Peter Schickele. Full score. Duration 24 minutes. Theodore Presser Company #116-41373S. Published by Theodore Presser Company (PR.11641373S).

UPC: 680160680344.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

Saxophone

SKU: UT.XXS-109

Composed by Daniele Faziani. Saddle stitching. Classical. Ut Orpheus #XXS 109. Published by Ut Orpheus (UT.XXS-109).

ISBN 9790215324220. 9 x 12 inches.

Piano

SKU: M7.AHW-3027

For the Modern Improviser. Composed by Oligario Diaz. Sheet music. 174 pages. Charles Colin Corp. #AHW 3027. Published by Charles Colin Corp. (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.

10 Great Studies in the Style and Language of Bebop. Composed by Jim Snidero. Brass - Trombone Method or Collection; Improvisation; Method/Instruction; Play- Along; Technique Musicianship. Advance Music. Jazz. Book; Digital Download. Advance Music #01- ADV14743. Published by Advance Music

By John Coltrane. Arranged by Mark Taylor. Young Jazz Classics. Size 9x12 inches. Published by Hal Leonard.

By John Coltrane. Arranged by David Bandman. Jazz Ensemble. Jazz Ensemble; Score. First Year Charts for Jazz Ensemble. Blues; Jazz. Grade 1. 16 pages. Published by Belwin Music

Composed by John Coltrane. Arranged by Alan Baylock. Jazz Ensemble. Jazz Ensemble; Score. Premier Jazz Series. Jazz. Grade 4. 20 pages. Published by Alfred Music

10 Great Studies in the Style and Language of Bebop. Composed by Jim Snidero. Brass - B-flat Cornet (Trumpet) Method or Collection; Improvisation; Method/Instruction; Play- Along; Technique Musicianship. Advance Music. Jazz. Book; Digital Download. Advance Music #01- ADV14742. Published by Advance Music

Fakebook (spiral bound) for Bb instrument. With melody, chord names, introductory text, black and white photos and lyrics (on some songs). 436 pages. Published by Sher Music Company.

A Quick, Easy Reference For All Guitarists. Guitar Educational. Soloing and Jazz. Instructional book (softcover) and examples CD. With guitar tablature, standard notation, chord names, instructional text, guitar notation legend and instructional text. 48 pages. Published by Hal Leonard

An In-Depth Look at the Styles of the Tenor Masters. Sax Instruction. Book and CD Package. Size 9x12 inches. Published by Hal Leonard.

By John Coltrane. Arranged by Craig Skeffington. Jazz Ensemble. Jazz Ensemble; Part(s); Score. Jazz Band Series. Jazz. Grade 3. 116 pages. Published by Alfred Music Publishing

By Various. The Most Useful New Real Book yet!. Motown/Pop /Jazz. Fake Book. 430 pages. Published by Sher Music Company.

Band jazz ensemble - Grade 1.5

SKU: KJ.JZB384

Composed by Jim Cifelli. Standard of Excellence Jazz Ensemble Method. Jazz. Score and set of parts. Neil A. Kjos Music Company #JZB384. Published by Neil A. Kjos Music Company (KJ.JZB384).

UPC: 8402701959.

First Impressions draws inspiration from such classic albums as Miles Davis's So What and John Coltrane's Impressions. Use this chart to introduce your students to the relaxed swing feeling of an important era of jazz history. Expert scoring enables your horns and rhythm section to achieve the dynamic balance, clarity, and bounce that are essential to the style. Flexible orchestration allows it to be played by as few as 9 players. Additionally, everyone in the ensemble has an opportunity to improvise in the open solo section, and the set includes two suggested solos and a CD with a solo practice track, to facilitate successful improvisation.

About Standard of Excellence Jazz Ensemble Method

The Standard of Excellence Jazz Ensemble Method is designed to help both you and your jazz ensemble students explore the world of jazz through easy-to-use Rhythm Studies, Improvisation Studies, Instrument Specific Exercises, and full ensemble jazz charts. The approach is non-theoretical and aurally based. Each part book comes with an accompaniment CD, so like every great jazz player throughout history, students learn to play jazz by listening!

SKU: HL.50605225

For Oboe and Piano. Composed by David Heath. Woodwind. Softcover. Duration 360 seconds. Chester Music #CH88226. Published by Chester Music (HL.50605225).

ISBN 9781705168837. UPC: 196288081883. 9.0x12.0 inches.

This short piece for oboe and piano was inspired by the music of Miles Davis and John Coltrane. Lasting around six minutes, a laid-back blues-infected introduction gives way to a more rhythmic central section before a reprise of the opening music. The composer writes Out of the Cool was written to be enjoyed, so have fun with it!.

Composed by Dan Greenblatt. Instructional book. Published by Sher Music Company

Jazz Ensemble standard jazz ensemble - Grade 5

SKU: KN.64065

Composed by Thad Jones. Vanguard Jazz Orchestra Signature Edition. Fast Swing. Score and Parts. Kendor Music Inc #64065. Published by Kendor Music Inc (KN.64065).

UPC: 822795640656. 9 x 12 inches.

Our 4th offering in the Vanguard Jazz Orchestra Signature Editions, is Once Around. This fast swing advanced level chart was among the first charts Thad Jones wrote for the new band in 1966, as a more modern contrast to the Basie-oriented arrangements that were in the band's early repertoire. Early 1960's forays into more open, modal jazz forms by Miles Davis and John Coltrane had turned the jazz world upside down in just a few years, prompting many artists to expand from bebop-oriented ii-V-I chord structures. This arrangement was one of Thad Jones' responses to that trend. This piece is a wide-open vehicle for improvisation. There are multiple open solo sections, each with extended improvisation opportunities. Duration 3:00.

10 Great Studies in the Style and Language of Bebop. Composed by Jim Snidero. Improvisation; Method/Instruction; Play- Along; Technique Musicianship; Woodwind - Clarinet Method or Collection. Advance Music. Jazz. Book; Digital Download. Advance Music #01- ADV14115. Published by Advance Music

Bk4. 5 Late Intermediate to Early Advanced Piano Duets That Celebrate American Jazz. Composed by Wynn-Anne Rossi. Duet or Duo; Piano Duet (1 Piano, 4 Hands); Solo Small Ensembles. Jazzin' Americana. Jazz. Book. 28 pages. Alfred Music #00-46914. Published by Alfred Music

By John Coltrane. Arranged by Michael Story and Mike Story. Jazz Ensemble. Jazz Ensemble; Part(s); Score. First Year Charts for Jazz Ensemble. Jazz. Grade 1. 40 pages. Published by Alfred Music Publishing

Taught by Larry Coryell. For Guitar (Flatpicking/Plectrum). Method. Grossman-Gtr Workshop. Jazz. Level: Intermediate. DVD. Size 5.25x7.5. Duration 83 minutes. Published by Grossman's Guitar Workshop.

Orchestra Orchestra

SKU: PR.11641373L

Composed by Peter Schickele. Large Score. Duration 24 minutes. Theodore Presser Company #116-41373L. Published by Theodore Presser Company (PR.11641373L).

UPC: 680160680337.

The concerto has always seemed an especially attractive medium to me, not necessarily because of its expectations of virtuosity (although flaunting it when you've got it certainly has its place), and emphatically not because of the perception of a concerto as a contest, but because so much of what I write feels song-like; I'm very much at home with the age-old texture of melody and accompaniment. I hope, before I move on, to have the opportunity to write concertos for all the major instruments, and perhaps some of the rarer ones as well. The oboe is not only one of the major instruments, it is one of my favorite instruments. I've always loved its sound, but since moving to New York I have gotten to hear and, in some cases, know some extremely fine oboists who broadened my appreciation of the instrument's possibilities. I especially remember a concert, probably in the late 1960's, in which Humbert Lucarelli played a Handel concerto, filling out large melodic leaps with cascading scale passages in a way that raised the hair on the back of your neck, somewhat in the way that John Coltrane's sheets of sound did. The sweeping scales in the second movement of my concerto were definitely inspired by Bert Lucarelli's performance. The first, third and fifth movements of the Concerto for Oboe and Orchestra are song-like, whereas the second and fourth have strong scherzo and dance qualities, including a couple of sections that sound like out-and-out pirate dances to me. The hymn-like tune at the beginning of the middle movement was originally begun as a vocal piece to be sung by my wife, son and daughter at my brother's wedding, but I couldn't come up with good works for it, so it ended up as an instrumental chant. The opening and closing of the concerto make use of the oboe's uniquely soulful singing. I had not heard Pamela Woods Pecha's solo playing in person when she approached me about writing a concerto, but I had heard her fine recording of chamber music for oboe and strings by the three B's (English, that is: Bliss, Bax and Britten) with the Audubon Quartet. I actually already had some oboe concerto ideas in my sketchbooks; although I didn't end up using any of those earlier ideas, it's interesting that most of them tended to share the general feeling and tonality of the eventual opening of the concerto. The work was completed on October 13, 1994. I hate the compromises involved in making piano reductions -- perhaps I would feel differently if I were a more accomplished pianist -- so I often decide to make piano reductions for four hands rather than two. My good friend Jon Kimura Parker is a terrific sight-reader, and I roped him into coming over to my place on February 17, 1995, to help me accompany Pamela on the first read-through of the piece. The first performance of the work took place on July 21, 1995, at the American Music Festival in Duncan, Oklahoma, with Mark Parker conducting the Festival Orchestra.

Arranged by Steven Kirby. Berklee Guide. Improvisation, Jazz. Softcover Audio Online. Published by Berklee Press