Write for a horn section!
In this book, you will learn how to add saxophones and brass to a rhythm section ensemble. You will learn the capabilities and characteristics of the most common instruments, and how to order them effectively. You will also learn the different roles that a horn section can serve in your ensemble. Online audio tracks demonstrate the key concepts, as exemplified in a complete score.
You will learn to:
Write for alto, tenor, and baritone saxophone, as well as trumpet and trombone
Construct common voicings, such as unisons, octave unisons, two- to five-part soli, and open voicings
Expand your harmony by using jazz chords
Use brass mutes
Compose many textures, including melodies, solis, fills, pads, comping parts, background lines, and others
Score advanced harmonic techniques characteristic of brass sections, such as chromatic approach chords, four- and five-part voicings, tension substitutions, and more
?An amazing book that opens your mind for new horn arranging techniques. Horns on steroids!?
?Hassan El Shafei, Artist/Record Producer
?Arranging for Horns is the one-stop-shop the young arranger can make to explore the techniques, applications, and context for contemporary horn arranging. Jerry Gates masterfully compiled three decades of experience?both in classroom and in professional writing?into an organized and concise 80-page text. Highly recommended!?
?Adi Yeshaya, Composer, Arranger (Prince, Aretha Franklin, The Voice)
?An insightful and valuable resource for all arrangers. Jerry?s explanations are very clear and concise. Highly recommended!?
?Mark Harrison, Keyboardist/Composer, Music Educator, and Author
?Jerry is a devoted musician and educator who has written yet another clear and concise book! This time Jerry guides the reader through a direct and useful approach to writing horn arrangements. Included are rhythm section considerations, notations, and a valuable mention about contour shaping as the blueprint for a successful arrangement. This book demystifies arranging for horns and inspires us to dive right in. There are great tools included and distilled from Jerry?s many years of experience and education. I highly recommend it for anyone who wants to get quick and positive results without excess theory to weigh the creative process down.?
?David Goldblatt, Composer, Pianist, and Music Director (for national television programs, world tours, and varied media)
?Jerry Gates? Arranging for Horns is a concise yet thorough guide to horn arranging in jazz and popular styles. The book progresses through each vital instrument, offering writing techniques for them as individuals and as a group. Arranging for Horns goes one step further than many treatments of this topic, looking at how an arrangement can vary throughout a song?changing the intensity of the music. This added consideration gives arrangers a powerful tool for adding shape and contour to their songs. Recommended for all arrangers and songwriters.?
?Ben Newhouse, Composer and Educator
/ Partitions jazzandblues / Tous instruments par tonalité / Tous instruments / BERKLEE

Morton Gould's Postscript from 'Quotations' for Double Chorus of Mixed Voices and Wind Orchestra. Piano reduction.This work was commissioned by L. Anthony Fisher for the New York Choral Society Robert DeComier conductor and first performed by them on January 28 1983 at Carnegie Hall.The composer after thinking over the possible approaches to a choral work found the ide of platitudes common sayings and poetic referenmces challanging and stimulating. As 'Quotations' evolved he found that these sayings evoked nostalgic momories of his own childhood in Richmond Hill New York where he was reared on such aphorisms as 'the earlybird catches the worm ' 'a stitch in time saves nine ' 'a bird in the hand is worth two in the bush.'After setting the scene in Richmond Hill the piece begins with Hallelujah Amen the common shout for joy and closing whisper of all religions. An antiphonal series of platitudes follows and then moves to more complex secular litanies the 'ballads ' or stories of young love and old age and the precariousness of life which have been told and retold through the ages. In the last movement the religious litany resumes with 'ashes to ashes dust to dust' echoing the earlier prosaic motif 'here today gone tomorrow ' or as Gould finally writes 'time's up!'

Play and Sing Songs in the Music Class with Step-by-Step Projectable Lesson Slides. Par GROSS MARTY / HAINES SALLY. Get on board! Using ukuleles in an elementary general music class can open new experiences for your students. These fun, accessible instruments encourage singing while promoting confidence and musical independence. Ukuleles also provide an additional way for you to observe student progress and assess musical understanding. UKULELES ON BOARD is a collection of sequential lessons that illustrate how teachers can use ukuleles along with other common classroom resources to create engaging, robust musical activities for students. Examples are provided for using ukuleles together with Orff instruments, recorders, a variety of percussion and even jug band instruments. Each unitincludes digital access to step-by-step projectable lesson slides so you can project all the visual cues your students will need. In addition to being easy to learn and fun, the folk songs used throughout the book provide students with cultural and historical connections. The activities and concepts found in UKULELES ON BOARD are based on the National Standards for Music Education. The material has been field-tested in grades 2-4, but is also appropriate for fifth grade students new to the ukulele. This is a valuable guide to using ukuleles to support and enhance the music curriculum in your school. Songs include: Are You Sleeping? (Frere Jacques!), Michael Finnegan, Buffalo Gals, Joe Turner Blues, Shalom Chaverim, I Love the Mountains, Little 'Liza Jane, Hambone, One Bottle of Pop, Pay Me My Money Down, Let Us Chase the Squirrel, Go Tell Aunt Rhody, Old Joe Clark. Suggested for grades 2-5. Get on board! Using ukuleles in an elementary general music class can open new experiences for your students. These fun, accessible instruments encourage singing while promoting confidence and musical independence. Ukuleles also provide an additional way for you to observe student progress and assess musical understanding. Ukuleles On Board! is a collection of sequential lessons that illustrate how teachers can use Ukuleles along with other common classroom resources to create engaging, robust musical activities for students. Examples are provided for using Ukuleles together with Orff instruments, Recorders, a variety of Percussion and even Jug Bandinstruments. Each unit includes digital access to step-by-step projectable lesson slides so you can project all the visual cues your students will need. In addition to being easy to learn and fun, the folk songs used throughout the book provide students with cultural and historical connections. The activities and concepts found in Ukuleles On Board! are based on the National Standards for Music Education. The material has been field-tested in grades 2-4, but is also appropriate for fifth grade students new to the Ukulele. This is a valuable guide to using Ukuleles to support and enhance the music curriculum in your school. Songs include: 'Are You Sleeping? (Frere Jacques!)', 'Michael Finnegan', 'Buffalo Gals', 'Joe Turner Blues', 'Shalom Chaverim', 'I Love the Mountains', 'Little 'Liza Jane', 'Hambone', 'One Bottle of Pop', 'Pay Me My Money Down', 'Let Us Chase the Squirrel', 'Go Tell Aunt Rhody', 'Old Joe Clark and rdquo - . Suggested for grades 2-5. / Etudes et exercices / Date parution : 2018-05-04/ Recueil / Ukulélé

Though conceived as four separate movements my second string quartet has a single motif which is common to them all. This is the three-note 'Muss es sein?' from Beethoven's last quartet Op. 135. But whereas Beethoven's theme is notated G E A flat thus giving it an F minor connotation I have sued an alternative spelling - G E G sharp - which suggests an ambiguous E minor-major. This ambiguity in fact becomes the tonal basis of the whole work only to be resolved at the end of the final movement.Each movement begins with a variant of the basic motif on the cello. The first has the original form of the theme while the second has a 'majorised' version which is alsoexpressed as a chord. The third movement with its 'scherzoid' middle section reverts to the major-minor ambiguity of the first and the finale begins with the 'majorised' version as an ostinato accompaniment on pizzicato cello.The slow movement is sub-titled 'In memoriam DSCH' and concludes with a quotation of Shostakovich's motto - D E flat C B - which is basically the same as Beethoven's with the addition of one note.This is not to imply that the work contains no other thematic material. One important theme a rising fifth and a second is also common to three of the movements and is ultimately derived from my first quartet Op. 1 of 27 years earlier to which this second contribution to the form is in many ways like a sequel. Like the earlier work too this quartet is dedicated to my wife.

Another wonderful sacred composition by the gifted choral composer Tarik O'Regan. A complete original nmusical setting of the Corpus Christi Service and the Celebration of Holy Communion as laid out in Order One of Common Worship: Services and Prayers for the Church of England. As liturgical flexibility is one of the key issues of Common Worship O’Regan has attempted to provide as many and as varied permutations as possible and that the Minister might choose the most appropriate. This item is the Service Score and features Vocal Score Organ accompaniment and is also available as a Congregation Part (10 Pack) NOV200321-1.

This method presents the famous CAGED system that allows you to find by simple deduction the most common Guitar chords upon the fingerboard. After reviewing the five main forms of open chords (C A G E D) which are also the ones often used by lead guitarists you will learn simple arrangements to play. This method presents the famous CAGED system that allows you to find by simple deduction the most common Guitar chords upon the fingerboard.After reviewing the five main forms of open chords (C A G E D) which are also the ones often used by lead guitarists you will learn simple arrangements to play.

Anne Fuzeau Classique vous propose tous les textes théoriques, méthodes, traités, articles, partitions de musique classique concernant la flûte à bec.Ces méthodes anciennes sont reproduites en fac-similé et regroupés en - quatre volumes.Volume 1 (réf. 5809) : Martin AGRICOLA - ANONYME - Silvestro, dal Fontego GANASSI - Philibert JAMBE DE FER - Marin MERSENNE - Michael PRAETORIUS - Pierre TRICHET - Sebastian VIRDUNG - Aurelio VIRGILIANOVolume 2 (réf. 5810) : Bartelomeo BISMANTOVA - John CARR - John HUDGEBUT - Etienne LOULIE - Humphrey SALTER - Jacob VAN EYCKVolume 3 (réf. 5811) : 4 Anonymes - Sébastien de BROSSARD - Encyclopédie méthodique - Johann Philipp EISEL - Louis-Joseph, le neveu FRANCOEUR - Jean-Pierre FREILLON PONCEIN - François-Alexandre-Pierre de GARSAULT - Jacques-Martin HOTTETERRE-le-Romain - - Jean-Benjamin de LABORDE - Joseph Friederich Bernard Caspar MAJER - Pierre PRELLEUR - Jean-Chrestien SCHICKHARDT - William TANS'UR - Johann-Christoph WEIGELVolume 4 (réf. 5984) : Anonyme (1 à 6) - Filippo BONANNI - - Klaas DOUWES - - Jean-Pierre FREILLON-PONCEIN - - Jacques-Martin HOTTETERRE-LE-ROMAIN - - Sir John HAWKINS - Pablo MINGUET Y YROL - - John SADLER - - Thomas STANESBY - - William Senior TANS'UR - - Joos VERSCHUERE REIJNVAEN - - Johann Gottfried WALTHER - - Daniel WRIGHTTable des matières : Volume 1 : Anonyme : Manuscrit sans titre - (s.d.)Virdung Sebastian : Musica Getutscht - 1511Ganassi dal Fontego Silvestro : Opera intitulata Fontegara - 1535Agricola Martin : Musica instrumentalis Deutsch - 1545Jambe de Fer Philibert : Epitome musical - 1556Virgiliano Aurelio : Il Dolcimelo - 1600 (ca)Praetorius Michael : De Organographia - 1619Mersenne Marin : Harmonie universelle - 1636Trichet Pierre : Traité des instruments - 1640Volume 2 : Van Eyck Jacob : Der Fluyten Lust-hof - 1646Bismontova Bartolomeo : Compendio musicale - 1677Hudgebut John : A vade mecum for the lovers - 1679Salter Humphrey : The genteel companion - 1683Carr John : The delightful companion - 1686Loulié Etienne : Méthode pour apprendre à jouer de la flûte douce - 1694 (ca)Anonyme : The compleat flute-master - 1695Volume 3 : Freillon-Poncein Jean-Pierre : La véritable manière - 1700Brossard Sébastien de : Dictionnaire de musique - 1703Anonyme : The fifth book of the new flute master - 1706Hotteterre-le-Romain Jacques-Martin : Principes de la flûte traversière - 1707Hotteterre-le-Romain Jacques-Martin : L'Art de préluder - 1719Schickhardt Jean-Chrestien : Principes de la flûte - 1720Anonyme : The complete Musik-Master - 1722Weigel Johann-Christoph : Musicum Theatrum - c. 1722Prelleur Pierre : The modern musick master - 1730Majer Joseph Friederich Bernard Caspar : Museum musicum theoretico praticum - 1732Eisel Johann Philipp : Musicus autodidactos - 1738Tans'ur William : A new musical grammar - 1746Anonyme : The compleate tutor for the flute - 1750Garsault François-Alexandre-Pierre de : Notionnaire ou Mémorial raisonné - 1761Francoeur le neveu Louis Joseph : Diapason général de tous les instruments à vent - 1772Anonyme : Compleate instructions for the common flute - 1780Laborde Jean Benjamin de : Essai sur la musique - 1780Encyclopédie méthodique : Edition de Panckouke - 1788Volume 4 : Douwes Klass : Grondig ondersoek van de toonen der musijk - 1699Freillon-Poncein Jean-Pierre : La véritable manière - 1700Hotteterre-le-Romain Jacques-Martin : L'art de préluder sur la flûte traversière - 1707Anonyme : The bird fancyer's delight - c. 1730Walther Johann Gottfried : Musicalisches Lexicon - 1732Stanesby Thomas : A new system of the flute à bec - c. 1732Wright Daniel : The compleat tutor for y flute - c. 1735Anonyme : The compleat tutor for the flute - c. 1750Sadler John : The muses delight - 1754Tans'ur William Senior : The elements of Musick - 1772Minguet Y Yrol Pablo : Reglas, y advertencias generales - 1774Anonyme : The compleat tutor, for the common flute - c. 1775Hawkins Sir John : General history of the science - 1776Bonanni Filippo : Descrizione degl'istromenti - 1776Verschuere Reijnvaen Joos : Catechismus der musijk - 1787Anonyme : New and complete instructions - c. 1790Anonyme : Directions for playing on the flute - s.d.Anonyme : The complete flute master containing - s.d.Téléchargez le catalogue Anne Fuzeau Classique / Flûte A Bec / 1085 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

Cross-Curricular Music Fun for the Classroom Book/Listening CD-Rockin' with arithmetic is what it's all about! Reinforce basic math concepts that support Common Core State Standards and promote higher level learning while rockin' to the beat. From Hal Leonard's popular Rock 'n' Learn series this study for Grades 3-5 explores the 4 basic operations (add subtract multiply divide) computing the area of basic shapes the metric system fractions and decimal equivalents estimating and much more - all put to music for learning that lasts! Perfect for Music class or Math class the Teacher Book includes reproducible melody sheets with chord symbols and simple choreography and worksheet activities that incorporate Common Core State Standards in Math! For performance options a script is also included that introduces each of the eight original songs. Groove along with the singer recordings on the enclosed Listening CD! Also available is an Enhanced P/A CD with performance and accompaniment-only song tracks and PDFs of the piano/vocal arrangements with choreography lyrics and worksheets for lots of performance and projection options! For additional value receive all components in the Classroom Kit. Suggested for Grades 3-5.

Aucune répétition. Aucun a priori sur la façon, l'esthétique musicale. Ne pas parler mais jouer. Tout enregistrer. Ne compter que sur le mélange de la créativité et du savoir-faire de chacun.

At the origin of this project, the common desire for a simple meeting, for the space of a session, just `to see`. A cappella. To let the soul speak through the human voice. If the instruments entered the playing very quickly, the initial spirit remained, without artifice, unexpectedly. Thus, three voices that are equal, three singular careers, three quite distinct universes with one thing in common, like a nutritive sun, more or less distant : Africa.

This is a strong and spirited selection for your small younger-voiced or middle school choir as an opener or theme song for your musical performance. “We have a common purpose we have a common theme. Let's celebrate withmusic all our hopes and all our dreams.” Lyrics are uplifting and challenge the singer and listener to make a difference in our world. Use the StudioTrax CD add some simple movement and you have a stunning contemporarynumber for your concert or festival. Available separately: 3-part mixed opt. baritone; 2-part; StudioTrax CD.

Builds on the material covered in Lessons 1 and 2. Learn some common left hand techniques and add them to your songs. Learn three common left hand techniques -hammer ons pull offs and slides - and how to incorporate them intoyour right hand patterns. Learn valuable drills for coordinating movements of the left and right hands. Learn how to add these left hand techniques to the roll arrangements we learned in Lesson 2. Also includes the tab readingand string changing chapters from Lesson 1.

Double Choir with Double Brass Choir-This 6-minute sacred motet by John Harbison was premiered in January 2004 at the Vatican. Featuring a text from Psalm 17 it was composed to strengthen the ties between the Jews Christians and Muslims and depicts Abraham asfather of many nations - in Harbison's words: a bridge a mode of communication and a point of commonality. An accessible work for both concert and worship.

A Manual of Techniques and Possibilities for the Adventurous Improvising Musician. Par KANE DAVID. Sure - everybody has an opinion on how to play ?outside?. But until now, no one has made an in-depth exploration of the commonalities and differences in how the greatest jazz players on the planet have incorporated their inspiring, harmony defying techniques. With Playing Outside the Chord, David Kane invokes a thoughtfully curated selection of transcribed phrases that take the reader beyond the simple mechanics of what is being played and offer revelatory insights into what the players are (or might be) thinking when they play it. It?s a daunting, seemingly impossible objective; yet here it is, beautifully examined, notated, and explained in an accessible way that every musician can understand. 'This book is a treasure trove, full of important information on chromaticism and its usage. From Bach to Schoenberg, Dave covers a lot of ground and the book is very well organized. He specifically addresses the melodic aspect of improvisation, including lines and phrases, rather than the usual emphasis on harmony. What's special is that he explores the ?feeling? and overall effect of the lines on the listener. This book is all you need as a working guide towards understanding the implications of 20th century jazz and classical music.? -David Liebman LEVEL-UP!!! If you?re feeling uninspired, stuck, or limited by your current play, this is the perfect book to help you break those chains, stimulate your creativity, and take your playing and composing in compelling new directions. Enthusiastically endorsed by modern jazz luminaries such as David Liebman and Richie Beirach, Playing Outside the Chord is devoted to melodic phrasing that transcends conventional chord/scale relationships. This exciting technique incorporating the theory and practice of horizontal playing and extended tonality pioneered by jazz titans such as Michael Brecker, Cory Henry, John Scofield, Brad Meldhau, and Jacob Collier is a vital component of the modern jazz performance and improvisation toolbox. Featuring over 200 musical examples gleaned from classic solos, plus 15 extensive transcriptions of legendary performances, this book is skillfully designed to clue you in on the theoretical basis of ?outside? play as practiced by these trail-blazing musicians. It systematically describes each type of technique used, including timing and source considerations, and by doing so unlocks a wealth of modern ideas that offer rich possibilities for the creative improviser. Kane?s insightful treatise on outside playing represents an important expansion of the ideas available to the dedicated student of improvisation. / Date parution : 2022-04-01/ Etude / Tout Instrument

This book is for you if you want to Start drum circles in your school corporation community music store band or even your home!Share your musical talent with others in a way that reaches beyond performing or inspire people of all ages races and abilities to discover their commonality through musical expression.The online audio features over 45 minutes of play-along grooves to jump-start your drum circle as well as a practice tool to develop your person percussion repertoire.

Over 800 Common Chords, Plus Helpful Music Theory Sections. More than just a catalog of chords, this book is designed to help any player find, play and properly use chords. It will quickly become a powerful tool and an important aid to your musical development. The book functions in three different ways: 1) As a chord dictionary – look up any unfamiliar chords you encounter: 2) As a chord substition guide – learn about how chord substitutions work, when to use them and which chords may be substituted for others: 3) As a harmonic reference – find out how chord progressions are commonly built and how to choose the exact chords you want to create your own progressions. If you've been confused by chord dictionaries that overwhelm you with shapes and forms but don't tell you what to do with them, this is the book you've been looking for!/ Méthode / Guitare