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Instrumentation Key SaxesTptsBonesGuitarPianoBassDrumsAux

By Linda Wilson,2014-08-29 16:52
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Instrumentation Key SaxesTptsBonesGuitarPianoBassDrumsAux

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