Afro Blue Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Performed by John Coltrane. By Mongo Santamaria. Arranged by Michael Philip Moss...(+)
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 s...(+)
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.
Piano SKU: M7.AHW-3027 For the Modern Improviser. Composed by Olig...(+)
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. ...(+)
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 David Bandman. Jazz Ensemble. Jazz Ensemble; Score...(+)
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
Moment's Notice Ensemble Jazz - Intermédiaire/avancé Alfred Publishing
Composed by John Coltrane. Arranged by Alan Baylock. Jazz Ensemble. Jazz Ensembl...(+)
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. ...(+)
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, introductor...(+)
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...(+)
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
Naima Ensemble Jazz [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By John Coltrane. Arranged by Craig Skeffington. Jazz Ensemble. Jazz Ensemble; P...(+)
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
Band jazz ensemble - Grade 1.5 SKU: KJ.JZB384 Composed by Jim Cifelli. St...(+)
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. Wood...(+)
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!.
Once Around Ensemble Jazz - Avancé Kendor Music Inc.
Jazz Ensemble standard jazz ensemble - Grade 5 SKU: KN.64065 Composed by ...(+)
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. ...(+)
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
Lazy Bird Ensemble Jazz [Conducteur et Parties séparées] - Débutant Alfred Publishing
By John Coltrane. Arranged by Michael Story and Mike Story. Jazz Ensemble. Jazz ...(+)
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
Orchestra Orchestra SKU: PR.11641373L Composed by Peter Schickele. Large ...(+)
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.
10 Great Studies in the Style and Language of Bebop. Composed by Jim Snidero. ...(+)
10 Great Studies in the
Style and Language of
Bebop.
Composed by Jim Snidero.
Improvisation;
Method/Instruction; Play-
Along; Technique
Musicianship; Woodwind -
Tenor Saxophone Method or
Collection. Advance
Music.
Jazz. Book; Digital
Download. Advance Music
#01-
ADV14741. Published by
Advance Music
Chorea Luna Marimba - Intermédiaire/avancé Tapspace Publications
For solo marimba. Composed by Max Marsillo. Solos: Marimba and Xylophone. Prin...(+)
For solo marimba.
Composed by
Max Marsillo. Solos:
Marimba
and Xylophone. Printed
Folio.
Tapspace Publications
#TSPCS17-003. Published
by
Tapspace Publications
Jazz Band - Grade 4 SKU: XC.ZJE2401 Based on #3 from 10 Easy Piano Pie...(+)
Jazz Band - Grade 4
SKU: XC.ZJE2401
Based on #3 from 10
Easy Piano Pieces.
Composed by Kris Berg.
Set. Jazz Zenith Series
Grade 4 and Up. Fast
Swing. Excelcia Music
Publishing #ZJE2401.
Published by Excelcia
Music Publishing
(XC.ZJE2401).
Somehow the
creative mind of Kris
Berg merged a Bartók
Piano piece with the
well-known Mister PC by
John Coltrane. As it
turns out, this is a
merger where everybody
wins! You must check out
the amazing Saxophone
soli that starts at
measure 113...it's
brilliant!