Jazz Composition

Epitaph written for a 31-piece ensemble was the masterwork of composer/bassist Charles Mingus. The extended suite is comprised of multiple movements reflecting a wealth of compositional styles (not just jazz) thatdemonstrate Mingus' invaluable contribution to 20th-century American music. Since its last performance 15 years ago additional movements have been discovered that were originally intended to be a part of the work. This unique500-page score includes these “missing movements” along with historical and program notes. Prepared and edited under the guidance of Gunther Schuller and Sue Mingus it provides a monumental resource for study andanalysis. The first jazz composition of such magnitude ever to be published it is presented in this edition as he left it: a summary work a portrait for all time of his life in music. “I wrote it for my tombstone.”- Charles Mingus

One of the all-time favorite TV themes this is also an amazingly sophisticated and exciting Latin/Jazz composition. In the expert hands of Michael Mossman here is an authentic-sounding version that even young bands can tackle.

Par COROZINE VINCE. Designed to introduce the young intermediate-level pianist to playing the blues, Jazzin' the Blues presents fifteen original blues compositions in various keys, styles and grooves together with downloadable recordings of 40 of the 50 examples in the book. The audio tracks are presented both with and without the lead piano part, so the student can play along with a professional rhythm section which includes piano, vibraphone, alto flute, drums, and bass.Historical and performance notes are provided with each blues composition. The author enlisted the skills of jazz pianist Charlie Freeman in editing the book and providing fingering for both the treble and bass piano parts,making these pieces more accessible to novice players. If your knowledge of blues theory or terminology is lacking, this is the book for you! Author Vince Corozine thoroughly explores and demonstrates: blues and pentatonic scale theory, blue notes, grace notes, pedal-points, tremolos, trills, syncopation, anticipation, delayed beats, slash chords, boogie-woogie left-hand patterns, walking bass, stride piano style, straight eighths, swing eighths, passing tones, rolled chords, riffs, 'filler' chords, substitutions, and comping styles. This book also includes essential blues chord theory as well as tips on tasteful chord voicing presented in the context of accompanying a soloist (comping): in addition, the chord progressions represented by the written notation are carefully annotated in every example in the book. The Appendix includes helpful tips on comping, practice, and jazz soloing, plus a list of noteworthy jazz pianists, a key to chord symbols, and a glossary of jazz terms used in the book.If you are not a competent blues pianist when you first pick up this book, you will be by the time you complete it! Includes access to online audio. Designed to introduce the young intermediate-level pianist to playing the blues, Jazzin' the Blues presents fifteen original blues compositions in various keys, styles and grooves together with downloadable recordings of 40 ofthe 50 examples in the book. The audio tracks are presented both with and without the lead piano part, so the student can play along with a professional rhythm section which includes piano, vibraphone, alto flute, drums, andbass. Historical and performance notes are provided with each blues composition. The author enlisted the skills of jazz pianist Charlie Freeman in editing the book and providing fingering for both the treble and bass pianoparts, making these pieces more accessible to novice players. If your knowledge of blues theory or terminology is lacking, this is the book for you! Author Vince Corozine thoroughly explores and demonstrates: blues andpentatonic scale theory, blue notes, grace notes, pedal-points, tremolos, trills, syncopation, anticipation, delayed beats, slash chords, boogie-woogie left-hand patterns, walking bass, stride piano style, straight eighths, swingeighths, passing tones, rolled chords, riffs, 'filler' chords, substitutions, and comping styles. This book also includes essential blues chord theory as well as tips on tasteful chord voicing presented in the context ofaccompanying a soloist (comping) - in addition, the chord progressions represented by the written notation are carefully annotated in every example in the book. The Appendix includes helpful tips on comping, practice, and jazzsoloing, plus a list of noteworthy jazz pianists, a key to chord symbols, and a glossary of jazz terms used in the book. If you are not a competent blues pianist when you first pick up this book, you will be by the time youcomplete it! Includes access to online audio. / Jazz / Etude / Piano

Par MULLER RICHARD. 20 thèmes de jazz originaux de Richard Muller. Ecrits à la manière d'un real book ils peuvent être interprèter par tous instruments et toutes formations. Richard Muller a été formé dans les années 70 dans la classe de Jean Batigne au Conservatoire National de Région de Strasbourg où il se spécialise dans le vibraphone. Parallèlement à son métier de vibraphoniste dans de nombreuses formations, il s'oriente vers la composition. Par ailleurs, il enseigne l'harmonie et l'improvisation jazz dans différentes structures. / Jazz / Recueil / Jazz

Le titre date de 1968, du mois de mai pour être précis. J'avais noté, à l'époque, une figure rythmique qui me semblait intéressante et puis elle était restée oubliée dans mes carnets, jusqu'au moment où, en octobre 1985 j'ai eu à écrire le répertoire du futur Orchestre National de Jazz. Cette cellule rythmique est donc devenue un des éléments récurrents de cette composition.Aux fins d'analyse, je renvoie le lecteur à l'excellent mémoire de maîtrise soutenu en Sorbonne en 1996 et consacré à cette oeuvre. J'indiquerai seulement l'une des particularités de ce morceau, qui est également l'une de ses difficultés : il s'agit du tutti d'orchestre situé de H1 à H3, conçu comme une improvisation écrite et orchestrée. D'autre part, il n'est pas interdit de voir dans la partie finale, à partir de la lettre L, un hommage au Miles Davis des années 1980.Jazz Lacrymogène a été l'un des titres du répertoire de l'ONJ 86 le plus souvent utilisé, quasiment à chaque concert. Je souhaite que le plaisir que vous aurez à le jouer soit égal à celui qui fut le nôtre. (François Jeanneau) / Big Band

From the CD Groove Shop recorded by the Clayton-Hamilton Jazz Orchestra here is John Clayton's stylish take on this masterful Billy Strayhorn composition. The rhythm section sets up the feel followed by a sax soli chorus and finally the main theme stated by tenor and muted trumpet. Sprinkled with a few twists and turns ample solo space and terrific ensemble writing throughout this is a real gem of a chart.

This exciting Afro-Cuban composition is the opening cut from the 1993 album 944 Columbus the final recording by Mario Bauza one of the most influential figures in the development of Latin Jazz. The title comes fromcombining the words “Cuban” and “Bauza” and features a bebop influence interpreted by the Afro-Cuban rhythm section. This newly edited and engraved edition is a “must have” for mature bands.(Recorded by Mario Bauza)

Enregistré par Frank Sinatra pour son album de 1960 cet air est devenu un standard enregistré par de nombreux artistes de jazz. Plutôt que d?utiliser le style de swing de l?original Mark Taylor a façonné cette version magnifique au tempo modéré de bossa nova. Bien que le duo de trompette et de saxophone alto occupe le rôle principal la composition pour le reste de l?ensemble est excellente.

One of the signature television themes of our time this instantly recognizable Mike Post composition adapts perfectly for jazz ensemble in this authentic sounding arrangement from John Berry. Includes brief solos for trumpet and alto sax.

Hypnotic Ciel Étoilé it means ?starry sky? in French uses the bass as a dark night of sound dotted with pointillist percussive sounds from the cymbals and crotales. The work is written in thirty-six bars each one a ?star? played very slowly and at varying speeds.Kaijai Saariaho is a contemporary Finnish composer living and working in Paris and considered to be part of the so-called ?French Spectralist? school of composition. Unlike many of herother works Ciel Étoilé has no electronic extensions but fully explores the multiple sonorities of the bass. She gained international renown for her first opera l?Amour du Loin and continues a prolific compositional life with awide range of international performances.

This chart swings all the way and is very playable by a young band. Arranger Vince Gassi captures the essence of this well-known Strayhorn composition made famous by Ellington.This title includes brief written solos for 1st alto sax and 1st trumpet and easy ranges with plenty of dynamics to teach. A superb chart you will play for years to come! This title is available in SmartMusic.

Laisser à Michael Mossman de combiner les deux styles latins uniques (tango et bossa nova) en composition unique ! Les saxes prennent les devants sur le thème de tango sensuelle, ponctué par le laiton, puis une trompette solo reprend lorsque le style bossa kicks à. C'est ingénieux écrit qui fonctionne vraiment ! / Scores

Utilizing a unique blend of swing styles at various tempos this marvelous composition can certainly be a focal point of any festival or contest program. The scoring is varied and impeccable and there is flexible space for solosas well as exciting full ensemble passages.

Originally recorded by the Bill Watrous big band back in the '70s John La Barbera brings us this sizzling version of his classic samba-style composition adapted for six horns. (Grade 4)

Recorded on Jack Walrath's Master of Suspense (Blue Note CDP 7 46905 2) this tonally advanced Monk tribute begins with individual lines for each player that fit together into a quirky statement of the melody. A unique composition for the mature combo.