Jazz Trombone Tunes (Trombone)

SKU: AP.1-ADV14783

UPC: 805095147834. English.

Intermedia te Jazz Conception: Trombone is another addition to the popular series of etude books created by Jim Snidero, featuring some of the finest jazz musicians in the world. This Book & CD set includes 15 etudes based on standards, modal tunes, and blues, demonstrated by a soloist with the incredible rhythm section of Dave Hazeltine on piano, Peter Washington on bass, and Kenny Washington on drums. New to Intermediate Jazz Conception is an appendix dedicated to style and improvisation, including a scales syllabus, nomenclature, and over 95 lines and ideas extracted for the study of improvisation!

The recording features two separate versions of each etude; one with the soloist and rhythm section and one with the rhythm section only. Hear how the soloist performs the etudes, play with or without the soloist on the CD, and learn about both jazz style and improvisation from some of the best. Other series available by Jim Snidero include Easy Jazz Conception and Jazz Conception. English/German Edition.

SKU: AP.1-ADV14723

UPC: 805095147230. English.

Jazz Conception is an exciting way for players at all levels to learn the language of jazz! Jazz Conception: Trombone Book and CD set features 21 solo etudes based on chord changes to standards and blues. See and hear how a well-known soloist phrases, articulates, and plays along with or without the soloist on the CD. Play along with one of today's finest swinging New York rhythm sections: Mike LeDonne on piano, Dennis Irwin on bass, and Kenny Washington on drums. Start out fairly easy, then get progressively more difficult. Use the etudes as a bridge to solos of the masters that are usually more complicated and involved. Learn melodies and lines that will give you a solid jazz vocabulary and musicality. Use the book/MP3 CD sets for private lessons, for self-study, or in any combination up to a full jazz ensemble, including flute and clarinet. If you are more advanced you may want to use the book to develop your sight reading abilities, for transcribing the etudes off the CD (then check against the book), or for just having fun playing along with a great jazz rhythm section. Used as an improvisation study, learning how to construct a swinging, logical solo works especially well in combination with the Study Guide (item #01-ADV14730). Titles: Groove Blues * Amen * A Doll * Total Blues * Grease * Rose * Joe's Thing * Proxy * Father Song * Ind Line * Miles * Blue Minor * Autumn * Friends * Great Love * Two Plus Two * Lunar * Tunesia * Bird Blues * Somewhere * Passage.

SKU: BT.DHP-1084516-400

ISBN 9789043130134. 9x12 inches. English-German-French-Dut ch.

The compositions of George Gershwin have a special place in jazz music. Every professional jazz musician knows the Gershwin songs. Although composed long ago - in the first half of the previous century - they remain ever popular. Simply because of the genius of the melodies, rhythms, and texts, the Gershwin tunes have transcended their original conception and are still extremely popular. In his own characteristic manner, Rik Elings has arranged these Gershwin melodies in a contemporary and interesting fashion. Everyone - amateur musicians, students of jazz, and audiences alike - will take pleasure in Elingâ??s inspiring exploration of the Gershwin oeuvre. Enjoy!

Wer Jazz spielen will, kommt an Gershwin nicht vorbei! Für dieses Buch wählte Rik Elings die Juwelenâ?? aus dem Gershwin-Repertoire aus und bearbeitete sie in moderner Weise. Auf der CD sind sowohl komplette Demoversionen aller Titel als auch die Begleitungen zum Mitspielen enthalten.

George Gershwin occupe une place particulière dans lâ??univers du jazz. Pour réaliser ce recueil, Rik Elings a réunit onze des plus beaux joyaux du répertoire de Gershwin. Les arrangements sont originaux, modernes et motivants.

George Gerswhin occupa un posto particolare nell'universo del jazz. Per realizzare questa pubblicazione, Rik Elings ha riunito i gioielli del repertorio di Gershwin. Gli arrangiamenti sono originali, moderni e motivanti. Strumentisti e pubblico saranno coinvolti nell' esecuzione e nell'ascolto delle opere di George Gerswhin. Il CD propone una versione integrale di ogni brano, come anche una versione con il solo accompagnamento.

SKU: CF.WF231

ISBN 9781491153314. UPC: 680160910816.

Styli stic Etudes for Trombone was written for intermediateto advanced level trombonists, seeking to meet thedemands of the modern marketplace for performers. AsI often tell my students, it’s simply not enough to mastera single style and fake the rest. To make a living as aperformer, trombonists are expected to play many, manydifferent styles authentically. Classical performers studyhard and devote themselves to mastering the stylisticnuances of various eras, various composers, variousforms; jazz musicians seek to accurately reflect the stylesof everything from bar-room burlesque to Coltrane; hornbands in the funk, rock, ska and hip-hop idioms mustreflect attention to the details of their influences even asthey create new paths through popular music.This etude collection is an attempt to help studentsand their teachers work on the details associated withmastering each of these various styles.In order to perform with the correct feel, articulationand sound, trombonists must first get these concepts intheir head through diligent listening and then disciplinedpractice playing in every single style. The same wayorchestral players study the symphonic literature andexcerpts, or the way a professional jazz musician mightwork on chord changes in excruciating detail, a wellroundedtrombone player must master styles by listeningto and playing with great recordings. Most of the etudesin this book are based on styles from specific orchestralliterature, jazz standards and other styles such as NewOrleans’ funk music (Meters) or the music of JamesBrown and Tower of Power.One final note: some of these are hard. On purpose. Theseare not warm-ups that you can play through mindlesslyto get your face going. These are “study pieces” in the oldfashionedsense. They are designed to challenge you asa player, to make you a little uncomfortable. Some aretougher than others, of course, but none of them are easy.If you can play through each of these well, with greatmusicianship and impeccable technique, you will be anincredibly versatile instrumentalist and be able to secureperformance opportunities that are outside the comfortzone of many trombonists.Thanks for buying this book. I hope you enjoy workingthrough these, whether you’re a teacher, student,performer, or weekend warrior. I learned a lot by puttingthese together and I hope you find them useful and helpful.
Stylistic Etudes for Trombone was written for intermediate to advanced level trombonists, seeking to meet the demands of the modern marketplace for performers. As I often tell my students, it’s simply not enough to master a single style and fake the rest. To make a living as a performer, trombonists are expected to play many, many different styles authentically. Classical performers study hard and devote themselves to mastering the stylistic nuances of various eras, various composers, various forms; jazz musicians seek to accurately reflect the styles of everything from bar-room burlesque to Coltrane; horn bands in the funk, rock, ska and hip-hop idioms must reflect attention to the details of their influences even as they create new paths through popular music.This etude collection is an attempt to help students and their teachers work on the details associated with mastering each of these various styles.In order to perform with the correct feel, articulation and sound, trombonists must first get these concepts in their head through diligent listening and then disciplined practice playing in every single style. The same way orchestral players study the symphonic literature and excerpts, or the way a professional jazz musician might work on chord changes in excruciating detail, a well-rounded trombone player must master styles by listening to and playing with great recordings. Most of the etudes in this book are based on styles from specific orchestral literature, jazz standards and other styles such as New Orleans’ funk music (Meters) or the music of James Brown and Tower of Power.How these etudes were conceived, composed and transcribed: The style or concept of the etude was thought out in my head and ear. I then improvised in that style and concept on my trombone, recording my efforts until I was satisfied with the etude. All along, my goal was to play the range of the instrument while emphasizing certain articulations, rhythms, range and, fundamentally, the intended style of the etude. The resulting etude was then transcribed by a terrific graduate student named Zach Bornheimer, who also works with many other classical and jazz composers as a copyist/arranger.Tips for working on the etudes: Seek out professional recordings that match the style of each etude to get a good idea of what the etude should sound like musically. My recording of each of these etudes is available for download and can be purchased online for a modest fee. Search for “Brantley Etudes” at either iTunes or CDBaby. Practice each etude very slowly and in segments as needed, using a metronome. Record yourself and listen for good technique, musicianship and authenticity of style with your sound, feel and articulations. Compare your own efforts to the sounds you’ve heard on recordings. Would you fit in that ensemble or band? If range is an issue, take certain notes or passages down or up an octave. Work on your fundamentals every day, including the techniques and skills needed for these etudes. Be patient! Small improvements every day result in big success over time. Always play with a wide dynamic range. Always play with line and direction. Always play with impeccable time as well as rhythm. Use a metronome to help with this. Always play in tune. You can work on this with a tuner as well as with drones. Play these for teachers, friends, peers and colleagues not only for their feedback but also for the experience of informal performance. An audience changes everything. Make music, listen to music, record yourself, play in public and have fun!One final note: some of these are hard. On purpose. These are not warm-ups that you can play through mindlessly to get your face going. These are “study pieces” in the old-fashioned sense. They are designed to challenge you as a player, to make you a little uncomfortable. Some are tougher than others, of course, but none of them are easy. If you can play through each of these well, with great musicianship and impeccable technique, you will be an incredibly versatile instrumentalist and be able to secure performance opportunities that are outside the comfort zone of many trombonists.Thanks for buying this book. I hope you enjoy working through these, whether you’re a teacher, student, performer, or weekend warrior. I learned a lot by putting these together and I hope you find them useful and helpful.Best wishes,—Tom Brantley.