| Jazz Hero Ensemble Jazz [Conducteur et Parties séparées] - Débutant Alfred Publishing
By George Vincent. Jazz Ensemble. Jazz Ensemble; Part(s); Score. Jazz Beginnings...(+)
By George Vincent. Jazz
Ensemble. Jazz Ensemble;
Part(s); Score. Jazz
Beginnings Series. Jazz.
Grade 1. 90 pages.
Published by Alfred Music
Publishing
$40.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jazz Hero Ensemble Jazz [Conducteur] - Débutant Belwin
Jazz Ensemble - Grade 1 SKU: AP.33323S Composed by George Vincent. Jazz E...(+)
Jazz Ensemble - Grade 1
SKU: AP.33323S
Composed by George
Vincent. Jazz Ensemble;
Performance Music
Ensemble; Single Titles.
Jazz Beginnings Series.
Jazz. Score. 16 pages.
Belwin Music #00-33323S.
Published by Belwin Music
(AP.33323S). UPC:
038081380568.
English. Jazz Hero
is a level 1 Jazz
Beginnings series piece
designed for very
beginning jazz ensembles
using limited ranges and
rhythms. Instrumentation
includes 2 alto
saxophones, 2 tenor
saxophones, 2 trumpets, 2
trombones, piano, bass,
and drumset. This is
playable by a reduced
instrumentation which
include 2 saxophones, 1
trumpet,1 trombone,
piano, bass, and drumset.
Optional parts call for 2
flutes, 2 B-flat
clarinets, a baritone
saxophone, a tuba, a horn
in F, baritone T.C./
tenor sax, and guitar.
Solos are written out
with chord changes and
the rhythm section parts
are fully notated with
guitar chord frames. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tricky Sticks Ensemble Jazz [Conducteur et Parties séparées] Kendor Music Inc.
Composed by Greg Yasinitsky. For jazz ensemble (9-17 players) with optional flut...(+)
Composed by Greg
Yasinitsky. For jazz
ensemble (9-17 players)
with optional flute,
clarinet, F horn, tuba
and vibes. Kendor
Konvertible. Jazz Gateway
Series. Swing. Easy.
Score and set of parts.
Duration 4 minutes, 50
seconds. Published by
Kendor Music Inc
$48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tricky Sticks (Full Score) Ensemble Jazz - Facile Kendor Music Inc.
Jazz Ensemble standard Jazz ensemble (Kendor Konvertible for 9-17 players) with ...(+)
Jazz Ensemble standard
Jazz ensemble (Kendor
Konvertible for 9-17
players) with opt. flute,
clarinet, F horn, tuba
and vibes - Grade 2
SKU: KN.60830S
Composed by Greg
Yasinitsky. Jazz Gateway.
Kendor Music Inc #60830S.
Published by Kendor Music
Inc (KN.60830S). UPC:
822795608304. Here
is a fun chart that
provides the perfect
vehicle to spotlight the
unsung hero of the big
band - the drummer.
Mindful of the traditions
established by such
legends as Mel Lewis,
Louis Bellson, Sonny
Payne, Buddy Rich, and
Harold Jones, great
learning material is
presented for developing
groups by including a
variety of textures and
making effective use of
softer dynamics, roaring
ensemble work, and
saxophone soli passages.
Each set includes a
guitar chord chart by Jim
Greeson. Duration 4:50.
Available in
SmartMusic. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jazz Dream Theodore Presser Co.
Chamber Music Flute(s) SKU: PR.144407290 Composed by Ali Ryerson. Perform...(+)
Chamber Music Flute(s)
SKU: PR.144407290
Composed by Ali Ryerson.
Performance Score. 4
pages. Duration 4
minutes. Theodore Presser
Company #144-40729.
Published by Theodore
Presser Company
(PR.144407290). ISBN
9781491135150. UPC:
680160687008. Jazz
luminary Ali Ryerson
traces a unique and
personal artistic path in
this solo work. With an
engaging form reminiscent
of jazz charts (a dreamy
introduction, a catchy,
swinging head, and
improvisatory-feeling
12-bar choruses),
Ryerson’s music
pays deeply-felt homage
to Charlie Parker and
other jazz greats, while
maintaining an organic
connection to the lineage
of unaccompanied woodwind
music in the classical
tradition. Classical
players will gain insight
into jazz harmony,
rhythm, and expression as
they learn this knockout
recital piece, while
Ryerson fans in the jazz
world gain an image of
her musical mind in this
fully-notated
composition. Jazz
Dream, a jazz-inspired
solo flute piece, was
commissioned by Claudia
Anderson for her Glass
Ceilings project. Claudia
once told me that playing
jazz flute has been one
of her musical ambitions.
I daresay her performance
of JD could very well
break a glass ceiling of
her own!Moved by the
events of 2020, composing
Jazz Dream became my way
of honoring my musical
heroes from the Black
community, namely the
jazz musicians who
created this music and
truly broke glass
ceilings. As jazz shares
its origins with the
blues, both genres having
originated in the
African-American
community, I decided on a
12-bar blues form as the
framework for the
piece.The opening theme
gently draws us into a
dream-like state, with a
melody in slow motion and
lines that linger. When
the REM cycle kicks into
gear, there’s an
abrupt rhythmic shift
that leads straight into
a swingin’ blues.
Idiomatic jazz rhythms
abound, with blue notes
galore – the
tension notes that
virtually define the
sound of both the blues
and jazz (i.e. the
flatted third, fifth, and
seventh notes of a scale
in place of the expected
major intervals).After
several groovin’
choruses of a 12-bar
blues in B(, often played
as if the soloist is
improvising, the blues
modulates to the key of
E(, and as a tribute to
the great Charlie Parker
(AKA Bird), I
harmonically suggest the
more complex set of bebop
changes that Parker
introduced in his
composition, Blues for
Alice. Often referred to
as Bird Changes or Bird
Blues, instead of the
basic I - IV – V
chord progression
commonly used in the
blues, Parker used a
series of sequential ii-V
progressions (and
secondary ii-V
progressions). With the
addition of some tritone
substitutions, a
chromatically descending
bass line deftly replaces
the original I-IV-V root
movement. This is the
harmonic background I was
hearing as I wrote this
particular chorus.After
my 12-bar nod to
Bird’s changes,
the introductory dream
theme returns, now in
tempo and with a
straight-ahead swing
feel. Variations on this
theme follow, again to be
played as if improvising,
with the soloist once
again bringing their own
personality into the
performance. This section
builds to a climax, the
music pauses, then
modulates to C, with a
return to the original
blues theme. The energy
and groove increase
through the final
flourish, where a blues
line ends on the
idiomatic flatted
fifth. $9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Void of Day Potenza Music
Flute trio SKU: P2.10022 Composed by Cornelius Boots. Chamber music, 20th...(+)
Flute trio SKU:
P2.10022 Composed by
Cornelius Boots. Chamber
music, 20th century.
Published by Potenza
Music (P2.10022).
The third part
of the Chthonic Flute
Suite commissioned by
Areon Flutes in 2012.
This suite has two main
inspirations:
ideologically it draws
guidance from the book
The Dream and the
Underworld (1979)by James
Hillman (1926-2011) and
musically it explores the
textural possibilities of
a flute ensemble within
the context of the heavy
chamber music style I
have developed with
Edmund Welles: the bass
clarinet quartet since
1996. This style draws
virtuosic precision from
the classical realm;
innovation and texture
from jazz; and power,
rhythm and overall
perspective from rock and
metal. The term chthonic
[thon-ik] generally means
underworld. However,
Hillman thoroughly
elaborates that its true
meaning extends below the
earth and beyond it into
invisible, non-physical
and far distant psychic
realms: the deeper
mysteries of the
invisible. The trio is
divided into three
sections: The Way We
Descend--Reflection of
Narcissus--Below Nature.
Taking a break from Greek
myth-nerd terms, this
movement introduces
chthonic-flavored phrases
that elaborate on our
descent into the
underworld, specifically
through dreams. The realm
of the underworld can be
such a shock to our
dayworld, limited, egoic
consciousness that it can
seem like a violation as
Hillman points out,
referencing the Greeks:
This style of the
underworld experience is
overwhelming, it comes as
violation, dragging one
out of life and into the
Kingdom that the Orphic
Hymn to Pluto describes
as 'void of day.' So it
often says on Greek
epitaphs that entering
Hades is 'leaving the
sweet sunlight.' (p.49)
He elaborates on the
differences between
dayworld and underworld
perspectives: The dream
is not compensation but
initiation. It does not
complete
ego-consciousness, but
voids it. So it matters
very much the way we
descend. (p.112) He goes
on to describe the
various modes in which
mythical figures have
descended: Ulysses and
Aenas to learn; Hercules
to take and to test, for
example. To act like
Hercules, like the hero,
in the underworld is to
miss the point and cause
more problems, the
villain in the underworld
is the heroic ego, not
Hades. (p.113). $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Enantiodromia Potenza Music
Flute duo SKU: P2.10021 Composed by Cornelius Boots. Chamber music, 20th ...(+)
Flute duo SKU:
P2.10021 Composed by
Cornelius Boots. Chamber
music, 20th century.
Published by Potenza
Music (P2.10021).
The second part
of the Chthonic Flute
Suite commissioned by
Areon Flutes in 2012.
This suite has two main
inspirations:
ideologically it draws
guidance from the book
The Dream and the
Underworld (1979) by
James Hillman (1926-2011)
and musically it explores
the textural
possibilities of a flute
ensemble within the
context of the heavy
chamber music style I
have developed with
Edmund Welles: the bass
clarinet quartet since
1996. This style draws
virtuosic precision from
the classical realm;
innovation and texture
from jazz; and power,
rhythm and overall
perspective from rock and
metal. The term chthonic
[thon-ik] generally means
underworld. However,
Hillman thoroughly
elaborates that its true
meaning extends below the
earth and beyond it into
invisible, non-physical
and far distant psychic
realms: the deeper
mysteries of the
invisible. The duo is
divided into two
sections: Nekyia and
Hypnoia. Each of these is
a Greek myth-nerd term
for some key aspect of an
archetypal descent into
the underworld. In fact,
nekyia is a term that
specifically means
archetypal descent as one
finds in myths across the
ages from Dante to the
Greeks and beyond.
Hillman sees a lack of
sufficient nekyia myths
in our modern culture,
yet our popular heroes in
films and music are shady
underworld characters.
Dante's underworld was
our culture's last, and
it was imagined even
before the Renaissance
had properly begun. Our
ethnic roots reach back
to great underworld
configurations: the
Celtic Dagda or Cerunos,
the Germanic Hel, and the
Biblical Sheol. All have
faded... (p.64) Hyponoia
is a more subtle term
used by Plato that refers
to an undersense or a
deeper meaning. The
search for undersense is
what we express in common
speech as the desire to
understand. We want to
get below what is going
on and see its basis, its
fundamentals, how and
where it is grounded. (p.
137) This deeper
understanding is one of
the motivations and
constant characteristics
of the underworld
descent: but the
discoveries made and
experiences experienced
are not always as they
seem to be. Hillman
recommends over and over
that we see and see into
each thing for what it
is, and not force a
dayworld perspective onto
dream images and
occurrences. As a duo
movement, the term
enantiodromia (counter
enantio, and running
dromia) is particularly
appropriate as it is a
grounding principle by
which Jung understands
the regulative function
of opposites. As Hillman
tends to turn things on
their metaphorical heads,
he fleshes out dualism
and oppositionalism in
such a way that in the
underworld this actually
becomes a unifying
principle: If you go far
enough with any one
movement, a
countermovement will set
in...The way up and the
way down are one and the
same: the manifestation
of one power by opposite
forces. (p. 76) This
implies a union of the
two opposites, a
conjunction as contrasted
with an opposition. There
are two voices but they
are both flutes; there
are two contrasting
halves to the piece, yet
they balance each other
even in their
differences. $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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