SKU: YM.GTC01097796

ISBN 9784636977967.

Here comes a great jazz choir music sheet collection of famous songs that you can enjoy!
It is arranged by Tsunenori Lee Abe, an active Associate Professor for Contemporary Writing and Production department at Berklee College of Music.
For those who are new to jazz choir, the basic lecture section is featured on the opening pages to help them to get familiar with the jazz sounds and rhythms. The piano reduction (piano transcription) scores are included for some songs.

Enjoy Japanese Pop music with jazz choir with 4 or 5 voices. All 6 J-POP songs are arranged for A Capella.

SKU: HL.338044

UPC: 840126913019. 5.0x5.0x0.15 inches. Carl Lee Perkins arr. Kirby Shaw.

The Exploration Jazz Series is designed for jazz choirs just getting started. While the harmonies may be a bit simpler than more advanced charts, the style is planted firmly in the historically authentic manner that Kirby brings to all of his arrangements.

SKU: HL.262845

UPC: 888680728229. 5.0x5.0x0.12 inches.

Utilizing unison lines in an easy Beatles Groove, this is a wonderful vocal jazz setting for intermediate to early advanced vocal jazz choirs. Young scat singers will be able to feel the chord changes in this familiar song while piano players will have room to stretch out over these more standard changes.

SKU: HL.266475

UPC: 888680733049. 6.75x10.5x0.039 inches.

This classic swing tune was arranged for the Michigan All-State Vocal Jazz Ensemble. Beginning with the rubato intro just right for a soloist to stylize in their own way, it launches into a sweet swinging ensemble arrangement that is hip and contemporary and just right for an advanced vocal jazz choir.

SKU: CF.CM9634

ISBN 9781491157060. UPC: 680160915620. 6.875 x 10.5 inches. Key: G major. English, English. Traditional Christmas Spiritual.

Berg's fantastic setting of this beloved American Christmas spiritual for advanced tenor-bass choirs tells a story of hope and meaning. The various textures throughout the a cappella arrangement with solos add much variety and musical interest. A holiday programming must!.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!) The entrance at m. 8 from the upper three voices (we'll call them the trio part henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song. The trio part, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener's ear with sound and rhythm. The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song. There is enough repetition to make for easy learning, but this also means that the chords need to snap into position cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58...this only happens once). The Refrain (mm. 30-37) is the part of the song where the singers switch from the Jazz Trio role and actually become a Men's Choral Ensemble. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners! Measures 72-75 is known in the business as a vamp. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience. It is important that there be a clear signal from the conductor as to how to end the vamp and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon! Faces bright; words clean; melody clear; rhythms precise! Enjoy.
This beloved American Christmas Spiritual, like all spirituals and/or folk songs, tells a story. This is a story of hope and meaning. The introductory solo call and response (mm. 1-7) is hymnic in nature, just to get us started. (Think of it as an effective head fake!)The entrance at m. 8 from the upper three voices (we’ll call them the “trio part” henceforth) is pivotal. They set the stage for the conversation between the singers and the soloist for the rest of the song. From this point, the song is basically a Jazz Trio in vocal form. The bass singers take on the role of the cool dude in the back wearing dark glasses and a beret playing the string bass. They provide the driving force for the forward movement of the entire song.The “trio part”, basically tenors 1 & 2 and baritones, take on the role of the keyboard providing chordal structure and syncopation. Their job is to fill the listener’s ear with sound and rhythm.The soloist tells the story using the known melody and text with appropriate improv opportunities to keep the listeners focused on the message of the song.There is enough repetition to make for easy learning, but this also means that the chords need to “snap into position” cleanly every time. The Verses are easily identified (there are three) and presented with some small variations in Verse 3 (see mm. 56-58…this only happens once).The Refrain (mm. 30-37) is the part of the song where the singers switch from the “Jazz Trio” role and actually become a “Men’s Choral Ensemble”. This Refrain is repeated after Verse 3 at mm. 66-71. Between verses 2 & 3, there is not a refrain. Instead, there is a bridge repeated from the introductory material, but used this time to move us into a new key signature. This can be a very exciting moment for the singers as well as the listeners!Measures 72-75 is known in the business as a “vamp”. It can be repeated once and then move on, OR it can be repeated multiple times, depending on the comfort level of the soloist and the response of the audience.It is important that there be a clear signal from the conductor as to how to end the “vamp” and move effectively to the actual coda of the song. The ending should be sung with tight control that only looks like reckless abandon!Faces bright; words clean; melody clear; rhythms precise! Enjoy.

SKU: HL.266476

UPC: 888680733056. 5.0x5.0x0.148 inches.

This classic swing tune was arranged for the Michigan All-State Vocal Jazz Ensemble. Beginning with the rubato intro just right for a soloist to stylize in their own way, it launches into a sweet swinging ensemble arrangement that is hip and contemporary and just right for an advanced vocal jazz choir.

SKU: GI.WW1776

UPC: 785147021261. English. Text by Meka Ferdinand.

This love song is written from the perspective of a parent to a child, and likens the love of a parent to the love of God. For more advanced choirs, this work by Jason Max Ferdinand uses beautiful jazz harmonies to underscore the lovely melody. Jason Max Ferdinand Choral Series.

SKU: HL.289549

UPC: 888680916268. 6.75x10.5 inches.

Here is an arrangement in the style of the groundbreaking Singers Unlimited that is a WOW! For advanced vocal jazz ensembles but with such a high impact it will be worth the effort.

SKU: HL.1428501

UPC: 196288202677. 6.75x10.5x0.036 inches.

Ken Burton's “Swing Down, Chariot,” showcased in the Jason Max Ferdinand Choral Series, intricately weaves a tapestry of musical genres intrinsic to Black American sacred music. This arrangement harmonizes African influences, quartet styles, close harmony jazz, big band, and classical elements, delivering a vibrant and diverse sonic landscape. While its entertaining aspects shine, the piece maintains a heartfelt essence, reflecting a deep yearning for freedom. Inspired by twentieth-century gospel quartets like the Fairfield Four and Golden Gate Quartet, Burton's arrangement infuses percussive articulation and dynamic flexibility. Choirs are encouraged to explore creative articulation options, ensuring a spirited and engaging rendition. Ideal for collegiate, chamber, honor, and all-state choirs, this arrangement captivates effortlessly, resonating with its rich musical essence. Excellent choice for your advanced and professional choirs. You can never go wrong with a Ken Burton arrangement or composition.