| Blue Shades Orchestre d'harmonie [Conducteur] Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Conductor Full Score.
Duration 10:00. Published
by Manhattan Beach Music.
Level: Grade 5.
(2)$95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Blue Shades Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for the most advanced high school bands...(+)
By Frank Ticheli. Concert
band. Suitable for the
most advanced high school
bands, community,
college, university, and
professional bands.
Level: Grade 5. Conductor
score and set of parts.
Duration 10:00. Published
by Manhattan Beach Music.
$365.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Air Mail Special Big band [Conducteur et Parties séparées] Jazz Lines Publications
By Benny Goodman. Edited by Jeffrey Sultanof. Arranged by Jimmy Mundy. For big b...(+)
By Benny Goodman. Edited
by Jeffrey Sultanof.
Arranged by Jimmy Mundy.
For big band. Swing.
Medium-difficult. Score
and parts. Published by
Jazz Lines Publications
$65.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Jazz Sonorities Calabrese Brothers Music, LLC
Clarinet & Drumset SKU: SU.21000213 For Clarinet & Drumset. Compos...(+)
Clarinet & Drumset
SKU: SU.21000213
For Clarinet &
Drumset. Composed by
Patrick Hardish.
Woodwinds, Clarinet,
Percussion, Percussion.
Accompanied by
percussion, Drum Set.
Performance Score.
Calabrese Brothers Music,
LLC #21000213. Published
by Calabrese Brothers
Music, LLC (SU.21000213).
UPC:
820821003284. Jazz
Sonorities (2002) was
composed for Esther
Lamneck at her request
and premiered by her and
Barbara Allen on drums at
the Loewe Theater of New
York University on May
30, 2002. Ms. Lamneck
asked me to compose a
piece for either solo
clarinet or clarinet and
piano. I decided on the
former to continue my
Sonorities series of
works for solo
instruments which
eventually resulted in
Sonorities VII for solo
b-flat clarinet
(2003-04). However,
shortly after getting
started with my
Sonorities VII I kept
hearing the swinging
sounds of a jazz clarinet
backed up by a jazz drum
set. Part of the reason I
kept hearing these sounds
is that I grew up
listening to the big
swing bands of such
clarinet leaders as Benny
Goodman, Artie Shaw,
Woody Herman, and Jimmy
Dorsey. These musicians
were my first exposure to
the clarinet. So I
decided to first compose
a piece for clarinet with
a jazz quality and a
swinging partly ad lib
part for the drums and to
put my solo clarinet
piece for Esther on hold
for a year. There was
also a personal reason to
use the drums in the
piece. My first ambition
in music was to be a jazz
drummer and indeed I
studied drums with a jazz
drummer and played drums
professionally in dance
bands for several years.
Ms. Lamneck's part in
this piece is almost
entiirely written out
except for a few measures
of improvisation around
the middle of the piece.
The jazz quality of her
part comes mostly in the
prasing and using bluesy
like pitch bends, slides,
and microtones. The jazz
quality of the drum set
part is in the swinging
beat that is used
throughout most of the
piece. The influence of
the famous recording of
Sing Sing Sing, with a
swing by Benny Goodman &
his orchestra in 1937
featuring Gene Krupa on
drums is heard in the
middle section when the
drummer switches to a
beat on the floor tom and
high tom for several
measures. Also, the Afro
Cuban section toward the
end of the piece was
influenced by the many
recordings of Stan Kenton
& his orchestra
particularly the 1950
Pete Rugolo arrangement
of Cole Porter's Love for
Sale. In the drum solo of
the Afro Cuban section
which is near the end can
use optional claves
and/or maracas (1-2
additional players). At
the premiere the composer
joined in this section on
maracas. The drum set
calls for a bass drum,
floor tom, snare drum,
high tom, ride cymbal,
sizzle cymbal, and
hi-hat. --Patrick
Hardish. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| On the Beaten Path Batterie [Partition + CD] Alfred Publishing
The Drummer's Guide to Musical Styles and the Legends Who Defined Them. By Rich ...(+)
The Drummer's Guide to
Musical Styles and the
Legends Who Defined Them.
By Rich Lackowski. For
Drum Set. Percussion -
Drum Set Method or
Collection. Instructional
Book and Examples CD. 244
pages. Published by
Alfred Publishing.
(1)$34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tom Paxton: The Honor Of Your Company Ligne De Mélodie, Paroles et Accords [Partition] Cherry Lane
Performed by Tom Paxton. Guitar/vocal songbook for voice and guitar. With vocal ...(+)
Performed by Tom Paxton.
Guitar/vocal songbook for
voice and guitar. With
vocal melody, lyrics,
chord names, introductory
text and black and white
photos. 142 pages.
Published by Cherry Lane
Music.
(2)$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Stop and Go Peters
Jazz Ensemble 2 Alto saxophones, 2 Tenor saxophones, 3 trumpet, 2 trombonne, pia...(+)
Jazz Ensemble 2 Alto
saxophones, 2 Tenor
saxophones, 3 trumpet, 2
trombonne, piano, guitar,
double bass, Dr SKU:
PE.EP68488A Composed
by Jelly Roll Morton.
Jazz Ensembles. Edition
Peters. Part(s). 60
pages. Edition Peters
#98-EP68488A. Published
by Edition Peters
(PE.EP68488A). ISBN
9790300758909.
English. At the
end of 1938, Jelly Roll
Morton (1890-1941)
returned to New York from
his years in Washington,
D.C. Recent publicity had
made a comeback seem
possible, and he hoped to
recapture the prominent
place in the jazz world
that he had held in the
1920s. Still well known,
though mainly as a New
Orleans music pioneer, he
understood that in order
to be taken seriously as
a contemporary artist, he
needed to form a big band
like those of his
competition, such as Duke
Ellington, Count Basie,
Benny Goodman, and Tommy
and Jimmy Dorsey. In the
1920s Morton's recordings
and tours featured a
ten-piece band following
the first-generation
big-band format. But in
the late 1930s, larger
groups were popular, so
Morton assembled a
conventional '30s band
consisting of four
saxophones, six brass,
and four rhythm. The band
was to open at the Golden
Gate Ballroom in Harlem
on April 17th, 1939, but
on opening night Morton
collapsed before going
onstage. During his
recuperation from the
asthma and heart problems
that dogged him, the band
broke up, never to
reassemble. Only six
items written for that
band's instrumentation
are known to exist:
Morton's arrangements of
his own compositions --
Finger Breaker, GanJam,
Good Old New York, Mister
Joe, and Stop and Go --
and an arrangement,
Mamies' Blues, by another
artist. -- James Dapogny
(Editor) As an
editor, Dapogny shows his
customary sound musical
scholarship and deep
knowledge of Morton's
style....The publishers
are to be congratulated
for bringing this
fascinating work into the
public domain, which
throws a totally new
light on 'Mister Jelly
Lord.' Who knows what he
would have achieved had
he lived beyond his
alleged 51 years?
--Martin Litton, for JUST
JAZZ (Feb 2011) $39.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Stop and Go Peters
Jazz Ensemble 2 Alto saxophones, 2 Tenor saxophones, 3 trumpet, 2 trombonne, pia...(+)
Jazz Ensemble 2 Alto
saxophones, 2 Tenor
saxophones, 3 trumpet, 2
trombonne, piano, guitar,
double bass, Dr SKU:
PE.EP68488 Composed
by Jelly Roll Morton.
Jazz Ensembles. Edition
Peters. Score. 36 pages.
Edition Peters
#98-EP68488. Published by
Edition Peters
(PE.EP68488). ISBN
9790300758893.
English. At the
end of 1938, Jelly Roll
Morton (1890-1941)
returned to New York from
his years in Washington,
D.C. Recent publicity had
made a comeback seem
possible, and he hoped to
recapture the prominent
place in the jazz world
that he had held in the
1920s. Still well known,
though mainly as a New
Orleans music pioneer, he
understood that in order
to be taken seriously as
a contemporary artist, he
needed to form a big band
like those of his
competition, such as Duke
Ellington, Count Basie,
Benny Goodman, and Tommy
and Jimmy Dorsey. In the
1920s Morton's recordings
and tours featured a
ten-piece band following
the first-generation
big-band format. But in
the late 1930s, larger
groups were popular, so
Morton assembled a
conventional '30s band
consisting of four
saxophones, six brass,
and four rhythm. The band
was to open at the Golden
Gate Ballroom in Harlem
on April 17th, 1939, but
on opening night Morton
collapsed before going
onstage. During his
recuperation from the
asthma and heart problems
that dogged him, the band
broke up, never to
reassemble. Only six
items written for that
band's instrumentation
are known to exist:
Morton's arrangements of
his own compositions --
Finger Breaker, GanJam,
Good Old New York, Mister
Joe, and Stop and Go --
and an arrangement,
Mamies' Blues, by another
artist. -- James Dapogny
(Editor) As an
editor, Dapogny shows his
customary sound musical
scholarship and deep
knowledge of Morton's
style....The publishers
are to be congratulated
for bringing this
fascinating work into the
public domain, which
throws a totally new
light on 'Mister Jelly
Lord.' Who knows what he
would have achieved had
he lived beyond his
alleged 51 years?--Martin
Litton, for JUST JAZZ
(Feb 2011) $18.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| GanJam Ensemble Jazz [Set de Parties séparées] Peters
By Ferdinand Jelly Roll Morton. Edited by James Dapogny. For 2 Alto Saxophones...(+)
By Ferdinand Jelly Roll
Morton. Edited by James
Dapogny. For 2 Alto
Saxophones, 2 Tenor
Saxophones, 3 Trumpets, 2
Trombones, Piano, Guitar,
Doublebass, Drum. Modern,
Jazz, Orchestral. Set of
Parts. Duration circa 4-7
minutes. Published by
Edition Peters
$56.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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