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Honk—Jeff Jarvis. Ever since the widespread
popularity of the Jeff Jarvis funk original Critical
Mass, requests for a sequel have been pouring
in. At last, Jeff has composed and arranged
Honk, with all the characteristics that made its
predecessor such a hit with jazz ensembles,
only at a slightly more accessible level. Like
Critical Mass, Honk begins with a cool sax
section introduction, clearly placing your baritone
saxophonist in the limelight, but without excessive
technical demands. Everyone has interesting
and challenging parts to play throughout and the
modulation near the end gives it an extra, added
lift. The solos are open and the backgrounds can
be varied by instrumentation. This one is hot from
beginning to end! Very highly recommended!
2702672 Jazz Ensemble. . . . . . . . . . . . . 55.00
10010356 Additional Score. . . . . . . . . . . . 10.00
In the Stone—arr. Paul Murtha. With no solos
required and only a driving rhythmic groove, here's
an authentic-sounding version of this Earth, Wind
& Fire classic. The trombones are featured on the
melody and all the signature riffs from the original
are beautifully captured. Guaranteed fun!
10033677 Jazz Ensemble. . . . . . . . . . . . . 55.00
10051241 Additional Score. . . . . . . . . . . . . 7.50
Moanin'—Charles Mingus/arr. Andrew Homzy.
Here's a playable yet very effective arrangement
of this signature Mingus composition. The familiar
baritone sax riff is handled by three saxes, and
there is also a substantial soli for the entire
saxophone section. Optional parts are included
for flute, clarinet and French horn. A terrific
introduction to the genius of Mingus!
10041748 Jazz Ensemble. . . . . . . . . . . . . 60.00
10053811 Additional Score. . . . . . . . . . . . . 7.50
Out of the Doghouse—Erik Morales. Arranger/
composer Erik Morales delivers! This outstanding
shuffle chart sounds like a big old freight train
coming down the tracks, and it just builds and
builds! There's a wonderful section after the
optional solos that features a powerful sax soli
without the rhythm section, and there are great
breaks for piano and drums throughout. There
are also some independent bari sax lines and
optional written solos for alto, tenor and guitar.
The lead trumpet range is to written A above
the staff and there's an optional ending with lead
trumpet notes up to C. This is a hot chart! Our
highest recommendation! Optional expanded
instrumentation.
10068803 Jazz Ensemble. . . . . . . . . . . . . 55.00
10084691 Additional Score. . . . . . . . . . . . 11.00
Pick Up the Pieces—arr. Victor Lopez. It's
funk-rock... you know it, you love it! The tune is
infectious, the arrangement is right on target
with no individual solos but plenty of section and
ensemble work. The sax soli is crazy hot and the
lead trumpet range is to written A above the staff.
Lots of unison lines, some fun bari sax licks and
a very hip stop-time interlude that really cooks.
This arrangement really works for this tune!
Consider this chart a winner! Optional expanded
instrumentation.
10068806 Jazz Ensemble. . . . . . . . . . . . . 55.00
10084288 Additional Score. . . . . . . . . . . . 11.00
Sabor de Cuba (Taste of Cuba)—Victor Lopez.
Looking for a hot Latin chart? This Victor Lopez
original is very hot indeed. It's an Afro-Cuban
show-stopper that's jam-packed with lines that
bounce section to section, then a suggested tenor
sax solo with backgrounds. The lead trumpet
range is to written A above the staff with an
optional high D. There are two auxiliary percussion
parts included that really make this chart come
alive, plus optional flute and vibraphone parts.
You'll want to play this highly recommended chart!
10593777 Jazz Ensemble. . . . . . . . . . . . . 55.00
10593778 Additional Score. . . . . . . . . . . . 11.00
IMPROVISATIONAL
RESOURCES
Help develop improvisation skills that can let your ensemble feel the music!
Free Jazz, Harmolodics, and Ornette Coleman—Stephen Rush.
Ornette Coleman's musical philosophy of "harmolodics" is an improvisational system deeply
inspired by the civil rights movement. Falling under the guise of free jazz, harmolodics can be
difficult to understand, even for seasoned musicians and musicologists – yet this book offers a
clear and thorough approach to these complex methods, outlining Coleman's position as the
developer of a logical and historically significant system of jazz improvisation.
10841478 Paperback Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49.95
Jazz Harmony: A Practical Approach—Frank Sikora.
The theory bestseller now in English! Beginners and advanced learners can deepen their
knowledge of jazz harmony with this comprehensive textbook. With numerous practical
exercises and examples, audio tracks, and a solution section.
11197190 Paperback Book with Online Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39.99
Jazz Improvisation (Practical Approaches to Grading)—
Antonio J. Garcia. If grading music students in any creative course for credit is a challenge, how
much more difficult is it to grade something as personal and nebulous as jazz improvisation?
Should students be evaluated on their creativity in soloing or simply on technical skills such as
chords and scales? What are the objectives in an improv course, and how can they be graded?
The instructors whose responses are presented in this book represent over 700 years of
combined experience teaching jazz improvisation with over 400 of those years for credit.
10679797 Paperback Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19.95
Pathways to Parker (The Improvisational Patterns of Charlie Parker)—
Dr. W. Terry Rowlyk. This book was created to catalog the melodic pattern material performed
by Charlie Parker for over sixty of his transcribed solos. It also comes with an app called
Pathways to Parker. The app mirrors the book to make it convenient for students to download
onto electronic devices. The patterns are organized by the key and chord type they were
originally performed in. The performer may use the patterns at their discretion - in the original
key, or transpose them as needed. The teacher may use these patterns in a number of creative
ways: as instrumental sight-reading material; composition ideas; for examples of what musical
ideas will work over an existing chord change; as starting points for students to creatively
connect the patterns in order to expand their music vocabulary; as starting points for the
development of written solos within the developing jazz band; analysis of the most widely used
key and chord centers in Parker's repertoire; abstraction and insertion of Parker's vocabulary
into existing solos to create new ones; and providing new source material for the professional
musician who would like to expand their jazz vocabulary. All patterns are one measure in length.
Patterns may be joined together as the improviser sees fit; however, proper voice leading and
chaining of patterns will produce more musical ideas.
11413971 Book- Treble Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-M 39.00
11518787 Book- Bass Clef . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-M 39.00
Ready, Aim, Improvise! Book 1 (Exploring the Basics of Jazz Improvisation)—
Hal Crook. Explore the critical areas involved in learning how to improvise, including music
theory, jazz harmony, ear training, jazz execution, jazz vocabulary, practicing, self-critiquing,
career planning, and much more. This book is filled with musical examples, exercises, and
practice routines that help make the learning process easy and enjoyable. The online audio
features modal, key-area, and modulating chord progressions performed at a slow, manageable
tempo. This is a clear, comprehensive study of the most important steps in a jazz musician's
education. Don't be surprised if it gets you practicing more and playing better in no time at all!
11335682 Paperback Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63.95
Ready, Aim, Improvise! Book 2
(Exploring the Basics of Jazz Improvisation)—Hal Crook. This second book in the
series continues the exploration of the critical areas involved in learning how to improvise,
including music theory, jazz harmony, ear training, jazz execution, jazz vocabulary, practicing,
self-critiquing, career planning, and much more. It's filled with musical examples, exercises,
and practice routines that help make the learning process easy and enjoyable. The online audio
features modal, key-area, and modulating chord progressions performed at a slow, manageable
tempo. This is a clear, comprehensive study of the most important steps in a jazz musician's
education. Don't be surprised if it gets you practicing more and playing better in no time at all!
11335793 Paperback Book. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34.95
The Rhythm Changes Guide—Lukas Gabric.
A comprehensive guide to rhythm changes, offering a wealth of information for beginners and
professionals alike. Written in the language of the working musician and clearly laid out, it takes
the reader from the absolute essentials to advanced improvisational concepts, all supplemented
with examples from legendary players. It includes 20 etudes in all transpositions, with backing
tracks by a live New York rhythm section, exploring the rich tradition of rhythm changes
and their harmonic possibilities; 70 pages of tradition-derived improvisation concepts and
exercises, with dozens of examples from legendary players like John Coltrane, Sonny Rollins,
Hank Mobley, Don Byas, Michael Brecker, and many others; strategies for both diatonic and
chromatic improvisation; unexplored concepts for improvisation such as Schenkerian theory;
and 77 harmonic variations used by legendary players. This book is essential for beginners,
intermediate-level performers, professionals, and musicians interested in diverse styles such as
bebop, hardbop, modern contemporary, and more.
11335993 Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18.00
