How To Play Lead Trumpet In A Big Band

I wrote The Nonantum Bulgar in response to a request for a klezmer-style piece for middle school band. Since my local middle school (F. A. Day) is located in close proximity to Nonantum the oldest area of Newton MA I decided to imagine the dedication of the Adams St. Shul our city's oldest synagogue which took place around a hundred years ago (December 15 1912). According to the Yiddish and English poster announcing the dedication the event featured the a prominent Boston cantor and choir and a klezmer orchestra leading a 'Grand March' down Adams St. The piece tries to re-create what the klezmer band might have played on that occasion. A Bulgar is a Romanian Jewish Dance thatwas very popular among Jewish immigrants at the beginning of the twentieth century. The trumpet solo that opens the piece is a typical rubato prelude with the trumpet playing 'cantorial-style' Jewish ornaments and phrasing in the manner of Eastern-European Jewish prayer leaders. Once the dance starts the piece is underscored with a Romanian Jewish 'Bulgaresca' rhythm heard in the trombone snare drum and tympani. The 'bulgar' section of the piece begins with a typical klezmer band orchestration of the time featuring solo clarinet (played with a somewhat nasal tone) trumpet (or even more ideally cornet) trombone saxophone tuba and percussion. The percussion section is prominently featured in the third strain. In the final round of the opening melody the band slows down in the manner of a Russian 'Grand March ' bringing the piece to a proud and majestic conclusion. --Hankus Netsky

Par RICKER RAMON. 'Suspended Animation' is a contemporary straight-eighth feel with sections that can be opened up for any player to solo. The entire composition is built on only two suspended chords, and is written in a manner that makes it easy for young bands to quickly get into the piece. With only two chords to worry about, much of the anxiety of wrong notes is eliminated and the student can immediately concentrate on making music. Professionals will also have fun with the chart when it is opened up for extended solos. The piece was inspired by an improvised solo and chord progression that is found in Volume 1 of the Ramon Ricker Improvisation Series. Beginning improvisers will find the brief Notes on the Improvised Sections helpful. But, a more thorough discussion can be found in Volume 1 of the Ramon Ricker Improvisation Series. Medium Easy Advance Music is proud to present our new Groovin' Easy Series. We've taken 10 tunes from two popular Advance Music publications (Reading Key Jazz Rhythms and The Ramon Ricker Improvisation Series) and asked our writers to give us creative and musically challenging charts that are also playable by young bands. To the normal big band instrumentation of 5 saxes, 3 trumpets, 3 trombones and rhythm section we've added optional parts for flute, clarinet, French horn, guitar and auxiliary percussion. In addition, each chart is written to sound full with a reduced instrumentation of only 3 saxes, 2 trumpets, 1 trombone and rhythm section. The brass ranges are reasonable with the lead trumpet never going above a written C and the rhythm section parts are carefully notated and thought out./ Répertoire / Big Band

Music Minus One Trumpet-This volume 3 of the Signature Series will lean towards a jazzier concept than the previous volumes and to set that tone I chose Lullaby of Birdland as the first song! And who better to place in that #1 position than Mel Torme as the singer associated with George Shearing's jazz classic! I had the pleasure of playing with the Velvet Fog in a very memorable jazzy setting. It was in the 1960s and Mel did a two week engagement at NYC's Basin Street East with the Marty Paich Dektette Band. Let's go forward to the 21st century to my play-along version and a few guidelines on how to approach it. There are actually three approaches. First as the trumpet soloist then playing the unisonline with the horns and finally as a lead player on top of the little big band. Our next song When I Fall in Love was one of Nat Cole's many huge hits. It's a song I play often on my jazz gigs. Here's a very lush arrangement for you to explore the low and high register of the hrons meaning flugelhorn for the first chorus and trumpet for the out chorus. Notice that I hug the melody only adding ornaments here and there and a modest amount of embellishments. Please focus on the subtleties and nuances in phrasing which can't be complete captured with notation. Listening with the intention of acquiring these skills is the proper mind-set. -Bob Zottola. This edition includes: a high-quality engraved printed edition of the transcribed note-for-note trumpet solo part printed on easy-to-read paper a compact disc containing the complete perofrmance of each piece in digital stereo followed by a second digital stereo version minus the soloist. Songs include: Days of Wine and Roses Ev'ry Time We Say Goodbye God Bless the Child Lullaby of Birdland Steppin' Out with My Baby When I Fall in Love Why Don't You Do Right? You Don't Know Me.

Take the lead is an integrated series for alto saxophone, clarinet, flute, piano, tenor saxophone, trumpet and violin. In each edition all of the songs are in the same key at concert pitch, allowing the different instruments to play together. Chord symbols are included at concert pitch for use by piano or guitar. 'Take the Lead Classical Collection' features idiomatic arrangements of well known classical pieces. These pieces encourage technical progression and beginner instrumentalists will really enjoy learning and performing them. Students have a choice of playing along with CD, Piano or Guitar and all pieces are fully integrated with arrangements for other instruments in the series, making this the ideal resource for school bands and small ensembles. Used as a solo book these pieces will encourage technical progression and confidence in playing. Ideal pieces for performance, or just for fun.

Contrasting colors and varied orchestration techniques make this majestic setting of OH LITTLE TOWN OF BETHLEHEM come alive for Christmas. Of the three different tunes that are commonly associated with the original carol text this arrangement uses the melody that?s best known in England. ENGLISH CAROL FANTASY remains entirely accessible to bands at this level and plenty of cueing makes sure it?s useful for ensembles of all shapes and sizes. Feature your deserving young trumpet section leader on the easy solo or let the entire first trumpet section play it soli. The low woodwinds and brass also get some ?well doubled? exposure so playing this one will be fun for all.Try it!

To celebrate the 350th anniversary of the Stadtmusikkapelle Wilten in Innsbruck Philip Sparke composed Wilten Festival Overture. A bold fanfare led by the horns forms the opening of the work from which an expressive theme unfolds until the full band reaches a climax. Short solo statements from saxophone horn and trumpet lead to a recapitulation of this theme which melts into a rhythmic Vivo. A robust melody is is then played by the clarinets and taken up by the whole band before a legato figure leads to a cantabile theme again presented by the clarinets. The original Vivo melody reappears before the opening fanfare is briefly heard and the work comes to an end with ashort Coda. A great experience for the whole band!

Par GORDON ANDREW D.. With the continued worldwide success of the book series Ultra Smooth Jazz Grooves that I co-authored with sax player Frank Villafranca based on compositions that we wrote for our band The Super Groovers, I have now authored this series of Smooth Jazz books for the following instruments: Piano/Keyboards, Guitar/Bass, Flute, Clarinet, Violin, Tenor and Alto Saxes, Trumpet and Trombone. Smooth Jazz covers a wide variety of different styles and I have combined elements of Jazz, Rock, Pop, Blues, Latin, GospeL Funk and R

The Hanover Wind Symphony New Jersey USA was founded in 1984 by its conductor Peter Boor. He commissioned HANOVER FESTIVAL to celebrate the band’s 15th Birthday and the first performance took place on October 27th 1999. The piece starts with a solemn brass fanfare. Woodwinds join in and the music subsides into an expressive chorale. A climax is reached and the fanfare returns. Trumpets introduce an explosive vivo section characterised by an energetic theme from the horns and low clarinets. A bridge passage with strong brass chords leads to a playful section that introduces a legato central theme under woodwind figures. This is taken up by the full band the playfulmusic returns and the original horn tune is reintroduced. Finally the opening fanfare returns this time accompanied by music from the vivo section until a fast and furious coda closes the work.