Instrumentation Key: Saxes/Tpts/Bones/Guitar/Piano/Bass/Drums/Aux - Mongo Sanatmaria / arr. Mossman (Hal Leonard) Grade 4 Afro BlueInstrumentation: 5/4/4/G/P/B/D/A LATIN CHARTS Style: Afro-Cuban (6/8 feel) Tempo: qn = 196 Key: G minor Brass Ranges: Trumpets- B; Bones- F Baja- Gregory Yasinitsky (Kendor) Grade 2 Rhythm: Instrumentation: 5/4/4/G/P/B/D Guitar- Mix of notated melodic lines and chord changes w/ rhythmic cues Style: Samba w/ a little funk Tempo: qn = 184 Key: Bb Piano- Notated w/ chord changes Brass Ranges: Trumpets- G; Bones- Eb Bass- Notated w/ chord changes Rhythm: Drums- Groove notated at beginning of each section Guitar- Slashes/Changes w/ occasional notated lines Aux- Congas, Bongos, and Shekere parts notated Piano- Notated w/ chord changes Solos: Tenor 1 & Tpt 2 (Chord changes w/ suggested scales) Bass- Notated w/ chord changes Concepts represented: Afro-Cuban bell pattern; playing & improvising in Drums- Slashes w/ band hits (samba groove must be sup’d) triple meter; improvising in minor key (introduce dorian mode); break down Solos: Alto 1 & Tpt 2 (Written solo w/ chord changes) roles of each Latin percussion instrument; INTRODUCE Tito Puente, John Concepts represented: Samba rhythms/articulations; stylistic nuances; Coltrane. Key centering using 2-5-1 progression (solo sections are almost entirely 2-5’s) Recordings: Tito Puente: “Live at the Playboy Jazz Festival” aux. Parts could easily be added (tumbao pattern on congas, etc) John Coltrane: “Live at Birdland” McCoy Tyner: “..and the Latin All-Stars” Afro Blue- Mongo Santamaria / arr. Sweeney (Hal Leonard) Grade 2 Samba ti Kaye- Mark Taylor (Hal Leonard) Grade 4 Instrumentation: 5/4/4/G/P/B/D/A Style: Afro-Cuban (written in 3/4) Tempo: qn=160 Key: G minor Instrumentation: 5/4/4/G/P/B/D/A Brass Ranges: Trumpets- G; Bones- F Style: Samba Tempo: hn = 112 Key: D minor Brass RangesRhythm: : Trumpets- C#; Bones- G Guitar- Notated lines & chord changes w/ slashes and rhythmic hits Rhythm: Piano- Notated w/ chord changes Guitar- Mix of notated melodic lines and chord changes w/ slashes Notated w/ chord changes Bass- Piano- Notated w/ chord changes Drums- Notated Bass- Notated w/ chord changes Aux- Conga and Shekere patterns notated Drums- Groove notated at beginning of each section Solos: Sample sheets provided for all instruments (Only 2 chords used) Aux- Shaker and vibes parts notated Concepts represented: Afro-Cuban bell pattern; playing & improvising in Solos: Alto 1 & Tpt 2 (Written solo w/ chord changes) triple meter; improvising in minor key (introduce dorian mode); break down Concepts represented: Samba rhythms/articulations; stylistic nuances; roles of each Latin percussion instrument; INTRODUCE Tito Puente, John Improvising in minor key; break down roles of each Latin percussion Coltrane. instrument. Recordings: Tito Puente: “Live at the Playboy Jazz Festival” John Coltrane: “Live at Birdland” McCoy Tyner: “..and the Latin All-Stars” BALLADS
But Beautiful- Jimmy Van Heusen/arr. Frank Mantooth (FJH) Grade 2-3 Instrumentation: 5/4/4/G/P/B/D Scott Free- Mike Tomaro (Kendor) Grade 2-3 Style: Ballad Tempo: qn = 66-69 Key: F & Ab Instrumentation: 5/4/4/G/P/B/D Brass Ranges: Trumpets- A (opt. Bb); Bones- G Style: Samba Tempo: hn = 92 Key: Bb Rhythm: Brass Ranges: Trumpets- G (opt. Bb); Bones- F Guitar- Mix of notated lines and changes/slashes. Chord guide provided Rhythm: Piano- Notated w/ chord changes Guitar- Mix of notated melodic lines and notated chords Bass- Notated w/ chord changes Piano- Notated w/ chord changes Drums- Slashes and ensemble cues Bass- Notated w/ chord changes Solos: Piano (written solo w/ chord changes) Drums- Groove notated at beginning, followed by slashes & band hits thConcepts represented: Ensemble balance/blend; straight-8 feel with brushes Solos: Tpt 1 (Written solo, suggested scales, and chord changes) on snare; translating lyrics to instrument; INTRODUCE Frank Mantooth. Concepts represented: Samba rhythms/articulations; stylistic nuances; Recordings: Bill Evans and Stan Getz: “But Beautiful” improvising over chromatically descending chord progression; aux. Parts Nancy Wilson: “But Beautiful” could easily be added (tumbao pattern on congas, etc) Angel Eyes (Bone Feat.) - Matt Dennis & Earl Brent / arr. Allan Horney El Burrito Picante and the Chamber of Doom- Mike Dana (Matrix) Grade 3 (Matrix) Grade 3 Instrumentation: 5/4/4/G/P/B/D Instrumentation: 5/3/3/G/P/B/D/A Style: Swing Ballad Tempo: qn = 88 Key: F minor Style: Samba-ish Latin Tempo: hn = 92 Key: Bb Brass Ranges: Trumpets- Bb; Bones- G (solo part) Brass Ranges: Trumpets- A; Bones- F Rhythm: Rhythm: Guitar- Chord changes w/ slashes Guitar- Chord changes w/ rhythmic notation Piano- Notated w/ chord changes and suggested voicings Piano- Notated w/ chord changes Bass- Notated Bass- Notated Drums- Groove notated at beginning, followed by slashes & band cues Drums- Groove notated at beginning of each section Solos: Bone 1 (feature)- Notated w/ chord shanges Aux- Conga, cowbell, and shaker parts notated Alto 1 (short written solo with chord changes) Solos: Alto 1, Tenor 1, Tpt 1 (Chords & sample solo provided) & Drums Concepts represented: Phrasing of the melody (Sinatra is the king of Concepts represented: Latin rhythms/articulations; stylistic nuances. phrasing); making the written melody more personal; swinging at a much slower tempo. Recordings: Count Basie and Frank Sinatra: “Live at the Sands” John Fedchock: “On the Edge”
You Left This (Piano Feat.)- Bob Washut (Heritage) Grade 4 Meetin’ Time (cont’d) Instrumentation: 5/5/4/G/P/B/D Drums- Groove notated at beginning of each section Style: Ballad Tempo: qn = 69 Key: Eb & F Solos: Tpt. 2 (written w/ plunger), Tenor 1 (written w/ chord changes) Brass Ranges: Trumpets- C; Bones- High B Trombone soli throughout on melody Rhythm: Concepts represented- Slower swing style in Basie tradition; INTRODUCE Guitar- Notated lines & a couple of measures with chords/slashes Count Basie, Benny Carter; incorporate plunger techniques; “laying it back” Piano- 2 parts: 1 with written solo/changes; 1 with chord changes/slashes at a slower tempo, being patient. Bass- Notated w/ chord changes Recording: Count Basie Orchestra: “Kansas City Suite” Drums- Slashes & ensemble cues Solos: Piano (feature)- see above thConcepts represented: Ensemble balance/blend; straight-8 feel with brushes Blues of a Different Color- Doug Beach and George Shutack Kendor) on snare; balancing wind parts under piano solo. Grade 3 Instrumentation: 5/4/4/G/P/B/D Style: Medium Swing Tempo: qn = 120 Key: D minor Brass Ranges: Trumpets- G; Bones- F SWING CHARTS Rhythm: Guitar- Mix of notated lines and changes/slashes. Piano- Notated w/ chord changes One for Oliver- Mike Tomaro (Kendor) Grade 2 Bass- Notated w/ chord changes Instrumentation: 5/4/4/G/P/B/D (may be played w/ reduced instrumentation) Drums- Slashes & ensemble cues Style: Medium Swing Tempo: qn = 120 Key: C minor Solos: Tpt 2 (Written solo w/ chord changes) Brass Ranges: Trumpets- F; Bones- E Concepts represented- Swing nuances and articulations; Improvising in a Rhythm: minor blues form. Guitar- Notated w/ chord changes & suggested voicings in solo section Piano- Notated w/ chord changes & suggested voicings in solo section Bass- Notated w/ chord changes Blues March- Benny Golson / arr. Dave Mills (Matrix) Grade 3 Drums- Notated Solos: Chord changes in all parts Instrumentation: 5/4/4/G/P/B/D Concepts represented- Swing style nuances, articulations; Improvising in Style: Medium Swing Tempo: qn = 126 Key: Bb minor blues form; INTRODUCE Oliver Nelson and “Stolen Moments” (the Brass Ranges: Trumpets- G; Bones- Ab inspiration of this tune); balance and blend with close harmonies. Rhythm: Recordings: Oliver Nelson: “Blues and the Abstract Truth”Guitar- Guitar- Chord changes and slashes Piano- Notated w/ chord changes & suggested voicings in solo section Bass- Notated w/ chord changes Drums- Notated Groovin’ Hard- Don Menza / arr. Peter Blair (Heritage) Grade 2 Solos: Alto 1, Tenor 1, Tpt 3, Bone 1 (Chord changes) Instrumentation: 5/4/4/G/P/B/D Concepts represented- Swing style nuances, articulations; Improvising in Style: Hard Swing Tempo: qn = 112 Key: C minor blues form; INTRODUCE Benny Golson, Art Blakey, and original “Blues Brass Ranges: Trumpets- G; Bones- Eb March”; Mixing straight marching figures with swing feel. Rhythm: Recordings: Art Blakey and the Jazz Messengers: “Blues March” Guitar- Mix of notated lines and changes/slashes Art Farmer/Benny Golson: “Meet the Jazztet” Piano- Notated w/ chord changes Bass- Notated w/ chord changes Drums- Groove notated at beginning of each section Groove Blues- Don Menza / arr. Peter Blair (Heritage) Grade 3 Solos: Saxophone SOLI (no solos) Concepts represented- Swing style nuances, articulations; INTRODUCE Instrumentation: 5/4/4/G/P/B/D Buddy Rich and his big band; Hard-driving swing. Style: Hard Swing Tempo: qn = 112 Key: Bb Recordings: Buddy Rich: Keep the Customer Satisfied” Brass Ranges: Trumpets- A (one); Bones- F Rhythm: Guitar- Chord changes & slashes Piano- Notated w/ chord changes and suggested voicings West Valley- Gregory Yasinitsky (Kendor) Grade 2-3 Bass- Notated w/ chord changes Instrumentation: 5/4/4/G/P/B/D Drums- Groove notated at beginning of each section Style: Medium Shuffle Tempo: qn = 138 Key: F Solos: Tpts 1 & 2 (written solo w/ chord changes) Brass Ranges: Trumpets- G; Bones- Eb Saxophone SOLI Rhythm: Concepts represented- Swing style nuances, articulations; INTRODUCE Guitar- Mix of notated lines and changes/slashes. Chord guide provided Louie Bellson and his big band; Hard-driving blues tune. Piano- Notated w/ chord changes Recordings: Louie Bellson: “Explosion” Bass- Notated w/ chord changes Don Menza: “First Flight” Drums- Slashes & ensemble cues Solos: Tpt 2 (Written solo w/ chord changes) Concepts represented- Shuffle groove, maybe INTRODUCE Art Blakey or One O’Clock Jump- Count Basie / arr. Mark Taylor (Hal Leonard) Mel Lewis; Improvising in a blues-ish form; swing stylistic nuances, articulations Grade 3 Instrumentation: 5/4/4/G/P/B/D Style: Swing Tempo: qn = 152 Key: Eb Brass Ranges: Trumpets- G; Bones- Gb Meetin’ Time- Benny Carter (Sierra) Grade 3 thRhythm: Instrumentation: 5/4/3/G/P/B/D (Opt. 4 bone part incl.) Guitar- Chord changes & slashes Style: Medium Slow Swing Tempo: qn = 102 Key: C Piano- Notated w/ chord changes and suggested voicings Brass Ranges: Trumpets- A; Bones- E Bass- Notated w/ chord changes Rhythm: Drums- Slashes & ensemble cues Guitar- Chord changes & slashes Solos: Tenor 1, Alto 1, Tpt 2, Bass (written solos w/ chord changes) Piano- Chord changes & slashes Saxophone SOLI Bass- Notated
One O’Clock Jump (cont’d) Concepts represented- Basie “four on the floor” swing style nuances, articulations; INTRODUCE Count Basie, Freddie Green (and his “chunk- chunk style); Historical Tune!!! Recordings: Count Basie: “One O’Clock Jump” There Is No Greater Love (Tenor Feat.)- Symes & Jones arr. Tim Clarke (Matix) Grade 4 Instrumentation: 5/4/4/P/B/D Style: Med. FastSwing Tempo: qn = 164 Key: Bb Brass Ranges: Trumpets- C; Bones- Ab Rhythm: Piano- Mix of notated lines and changes/slashes Bass- Half notated w/ chord changes, half changes only Drums- Slashes & ensemble cues Solos: Tenor 1 (Written melody, chord changes/slashes in solo section) Concepts represented- Different treatment of well-known standard; swing style, nuances and articulations; INTRODUCE Sonny Rollins, Chet Baker, or Stanley Turrentine. Recordings: Sonny Rollins: “Way Out West” Chet Baker: “Chet for Lovers” Stanley Turrentine: “Complete Blue Hour Sessions” Vine Street Rumble- Benny Carter (Sierra) Grade 4 th Instrumentation: 5/4/3/G/P/B/D (Opt. 4 bone part incl.) Style: Medium-Up Shuffle Tempo: qn = 140 Key: F Brass Ranges: Trumpets- D; Bones- High C Rhythm: Guitar- Chord changes & slashes Piano- Mix of written solos, chord changes and slashes Bass- Notated with chord changes Drums- Groove notated in each section, ensemble cues Solos: Tenor 1 (chord changes / slashes) Piano (transcribed Basie solo w/ chord changes provided) Concepts represented: Basie “four on the floor” swing style nuances, articulations; INTRODUCE Count Basie, Benny Carter Recording: Count Basie Orchestra: “Kansas City Suite” FUNK / FUSION CHARTS
Zach Attack!- Fred Sturm (Heritage) Grade 2 Instrumentation: 5/4/4/G/P/B/D/A Style: Rock Tempo: qn = 188 Key: F minor Brass Ranges: Trumpets- G; Bones- Eb Rhythm: Guitar- Notated Piano- Notated Bass- Notated Drums- Groove notated at beginning of each section Aux- Tambourine, Woodblock, Shaker, Cowbell parts notated Solos: Chord changes and suggested scales on all parts Concepts represented- Rock style nuances, articulations; improvising using natural minor scales.
The Longest Hour- Bill Liston (Kendor) Grade 3-4 Instrumentation: 5/4/4/G/P/B/D Style: Funk Tempo: qn = 110 Key: C minor Brass Ranges: Trumpets- Bb; Bones- F Rhythm: Guitar- Notated w/ chord changes. Chord guide provided Piano- Notated w/ chord changes and suggested voicings Bass- Notated Drums- Groove notated at beginning of each section Solos: Alto 1, Tpt 4 (Chord changes / slashes) thConcepts represented- Funk style nuances, articulations; 16-note subdivision; Improvising in a minor key Recordings: Tower of Power or Bob Mintzer Big Band
International Association of Jazz Educators
New Jazz Band Music Reading Session
Saturday, November 20, 2004
IMEA Convention
3:00 pm
Mike McMann, IAJE President-Elect
Tune List:
Baja- Gregory Yasinitsky West Valley- Gregory Yasinitsky
Afro Blue- arr. Michael Sweeney Meetin’ Time- Benny Carter
Scott Free- Mike Tomaro Blues of a Different Color- Beach and Shutack
El Burrito Picante and the Chamber of Doom- Mike Dana Blues March- arr. Dave Mills
Afro Blue- arr. Michael Philip Mossman Groove Blues- arr. Peter Blair
Samba Ti Kaye- Mark Taylor One O’Clock Jump- arr. Mark Taylor
But Beautiful- arr. Frank Mantooth There Is No Greater Love- arr. Tim Clarke
Angel Eyes- arr. Allan Horney Vine Street Rumble- Benny Carter
You Left This- Bob Washut Zach Attack- Fred Sturm
One for Oliver- Mike Tomaro The Longest Hour- Bill Liston
Groovin’ Hard- arr. Peter Blair
The Band:
Reeds Trumpets
Jim Romain Al Naylor
Jim Gosnell Rene Bernard
Lynn Hart Drew Anderson
David Kunz Kyle Engelhardt
Casey Kingdon
Rhythm
Bones Steve Shanley, Piano
Myron Peterson Steve Citta, Bass
Aaron Nuss Matt Bernemann, Set
Mike Short
Charles Vetter
Thanks to:
Lance Lehmberg, Bill Pringle, Iowa State University, IMEA, West Music, members of the IAJE Board,
North Scott band students (who helped sort music and stuff folders), and all
band-director-musician-types who donated their time to play in the band today.