Comprehensive Jazz Ensemble Curriculum · jazz fans as “Bird” grew up in Kansas City. As a...

Comprehensive Jazz Ensemble CurriculumBy Mike Steinel

NEW!

BOOK 1 BOOK 2

SUPPLEMENTAL MATERIALS

www.halleonard.com/eejazzFor more information, scan code at left

Essential Elements Jazz Ensemble Method

BOOK 1The Foundation: Style and Articulation

BOOK 2 Evolving Into Improvisation

• For players with 1 or 2 years experience

• Step-by-step instruction for learning swing style

• Improvisation made easy starting with a “tune based” approach and short phrases

• Learn about jazz history and important composers/performers

• 7 full band pieces paced throughout the book

• Rhythm section books contain specific additional instruction

• For players with 3 or 4 years experience

• Review of Book 1 concepts followed by rehearsal warm-ups and workouts

• Lessons cover a variety of styles and improvisation concepts

• Historical information on cities, regions and people who influenced the evolution of jazz

• 9 full band pieces that reinforce each lesson

27

PERFORMANCE SPOTLIGHT

99. “BOPPIN’ AROUND” – Full Band Arrangement CD2 Track 40

Mike Steinel

&#44 ....Œ Œ œ œ# œ œ œn œ œn œ

%œ. œb œ> ˙

Œ œ œb œn œ œ œ œ. œ œn > ˙

&# 3

œ œn œ#3œ œ œn œ œ œ œb œ œ œb œ- œ

^ Œ Œ œ œb œn œ œ œ œ œ œn œ œ- œ^ Œ

&# ....œ œ# œn œ œ œ œ œ# œ

. œ# œn > ˙ Œ œ œb œn œ œ œ

1.

œ œ œn œ^ Ó

To Codafi 2.

œœ œœ# œœnn œœ^ Ódiv.

&# .... w w w w w

w wn w# wG7{14} Solos

’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ w ww wn ww wb wn w

C7’ ’ ’ ’

&# ....wwwwww

wn w# wG7’ ’ ’ ’ ww w# ww

ww w# wD7’ ’ ’ ’ wwwww

w wn w# wG7 D.S. al Coda’ ’ ’ ’

&# Œ œ œb œn œ œ œfi CODA

œ œ œn œ^ Ó Œ œ œb œn œ œ œ œ

œ œœ œœ Ódiv.

�

100. DEMONSTRATION SOLO FOR “BOPPIN’ AROUND” CD2 Track 41

&#44 Œœ œ œn œ œ œG7 œ œb œ Ó œ œn œ

œ œn œ œ œ# œn ˙ ‰ jœ œ œ œb œC7 œ´ œb œ œn Œ ‰ Jœ

&# œn œ œ# œ œ œn œ# œG7 œ œb œ ˙ Œ œ œ œ œ œ

œD7 œ œ# œn œ œb œ œn œ œ œ jœ.œ

G7 ∑

&#œ œ œ# œ œ œ#G7 œ œn œ œ œ œ .œ

jœ œ œ^ ∑ Œ œ œ œb œ œb

C7 œ œ œb œb œb

&# jœn .œ œ ŒG7 Ó Œ ‰ Jœ

œ œ œ œ´ œ œ œnD7 jœ#

.œ œn œ œ œ .˙ ŒG7 ∑

�

Dizzy Gillespie

Charlie Parker

Charles Christopher Parker (1920–1955) who was known to

jazz fans as “Bird” grew up in Kansas City. As a young boy he

idolized Count Basie’s star tenor saxophonist, Lester Young.

“Bird” became a virtuoso performer on alto sax whose solos

displayed fire, brilliance, and a keen understanding of the

blues. Although he died before he received the recognition

he deserved, his style became widely studied and imitated.

John Birks Gillespie (1917–1993) was born in South Carolina.

While touring with the Teddy Hill Band, he earned the name “Dizzy” because of his clowning and

horseplay. His main influence was Roy Eldridge who was perhaps the most brilliant trumpet soloist

of the swing era. In addition to being a great trumpeter, “Dizzy” was an entertaining showman.

His puffed cheeks and bent horn made him a recognizable figure the world over.

4

DAILY DRILLS, WARM-UPS AND WORKOUTS

1. BASIC SCALE AND STYLE WORKOUT #1 – Major Scale

&44œ- œ>

œ- œ>œ-œ>œ-œ>

Doo Bah Doo Bah Doo Bah Doo Bah

[S^wî^ng¥œ- œ> œ- œ

> œ- œ> œ-œ>

Doo Bah Doo Bah Doo Bah Doo Bah

˙˚œ‰ Œ

Dooit.-

&

..

œ- œ.œ>œ. œ-

œ. œ>œ.

Doo Dit Bah Dit Doo Dit Bah Dit

[lâ^tî^n^ ^rô^c^k^ ^(^s^t^râî^g^h^t^ ^8^t^h^s)¥ œ- œ. œ> œ. œ- œ. œ> œ.

Doo Dit Bah Dit Doo Dit Bah Dit

˙˚œ‰ Œ

Dooit.-

2. BASIC SCALE AND STYLE WORKOUT #2 – Major Scale

&#44

..

œ- œ>œ- œ>œ- œ> œ- œ>[S^wî^ng¥ œ- œ> œ- œ> œ- œ> œ- œ

> ˙˚œ ‰ Œ œ- œ.

œ>œ. œ- œ. œ> œ.[lâ^tî^n^ ^rô^c^k^ ^(^s^t^râî^g^h^t^ ^8^t^h^s)¥œ- œ. œ> œ. œ- œ. œ> œ. ˙

˚œ ‰ Œ

3. BASIC SCALE AND STYLE WORKOUT #3 – Mixolydian Mode

&44

..

œ- œ>œ- œ>œ- œ>œb - œ>

[S^wî^ng¥ œ- œ> œb- œ>œ- œ> œ- œ> ˙

˚œ‰ Œ œ- œ.

œ>œ. œ-œ. œb >œ.

[lâ^tî^n^ ^rô^c^k^ ^(^s^t^râî^g^h^t^ ^8^t^h^s)¥œ- œ. œb> œ. œ- œ. œ> œ. ˙

˚œ‰ Œ

4. BASIC SCALE AND STYLE WORKOUT #4 – Mixolydian Mode

&#44

..

œ- œ>œ- œ>œ- œ> œn- œ>[S^wî^ng¥ œ- œ> œn- œ> œ- œ> œ- œ

>˙˚œ ‰ Œ œ- œ.

œ>œ. œ- œ. œn > œ.[lâ^tî^n^ ^rô^c^k^ ^(^s^t^râî^g^h^t^ ^8^t^h^s)¥œ- œ. œn > œ. œ- œ. œ> œ. ˙

˚œ ‰ Œ

5. BASIC SCALE AND STYLE WORKOUT #5 – Dorian Mode

&44

..

œ- œ>œ- œ>œ- œ> œ- œ>[S^wî^ng¥ œ- œ> œ- œ> œ- œ> œ- œ> ˙

˚œ‰ Œ œ- œ.

œ>œ. œ- œ. œ> œ.[lâ^tî^n^ ^rô^c^k^ ^(^s^t^râî^g^h^t^ ^8^t^h^s)¥œ- œ. œ> œ. œ- œ. œ> œ. ˙

˚œ‰ Œ

6. BASIC SCALE AND STYLE WORKOUT #6 – Harmonic Minor

&44

..

œ- œ>œ- œ>œ- œ>œ# -œ>

[S^wî^ng¥ œ- œ>œ# - œ> œ- œ> œ- œ> ˙

˚œ‰ Œœ- œ.œ>œ. œ-œ. œ# >œ.

[lâ^tî^n^ ^rô^c^k^ ^(^s^t^râî^g^h^t^ ^8^t^h^s)¥

œ- œ. œ# > œ. œ- œ. œ> œ. ˙˚œ‰ Œ

21LESSON #4 Call and ResponseImprovisation Concept – Call and Response is a traditional way of playing or singing melodies common in African American Church

music of the 19th and 20th centuries.All Lesson #4 exercises are played in a Swing style.105. CALL AND RESPONSE #1

&#44 œ.œ œ œb > œ.

G 13Call

œb œ œ œ> œ. œn œ> w œ Œ Ó œ.

œ œ œb > œ.C 9Call Repeated

œb œ œ œ> œ. œn œ>

& #

..w

G 13

œ Œ Ó œn .´ œ œ œb > œ^D 13

Response

œ#Äœn>œb œ> œn . œ# œ> w

G 13

∑106. CALL AND RESPONSE #2

&#44 œ œ>œ œ>œb œ^‰ ˚œ>

G 13Call

œb œn > œ œ# > œ œ> œb Ä œ>w ∑ œ œ>

œ œ>œb œ^‰ ˚œ>

C 9Call

&#

..œb œn > œ œ# > œ œ> œb Ä œ

>w

G 13∑ œ œ>

œ œb>œn œ> œ# œ>

D 13Response

œ œb > œ œ# > œn œb> œÄœ> w

G 13∑

107. CALL AND RESPONSE #3

&#44 ..‰ ˚œ>

Call

œb œ> œ œ> œ#Ä œn ^G 13

œbÄ œ^œn ‹ œ# œ> ˙

œb œ> œn œ> .˙ ‰ ˚œ

>œb œ> œ œ> œ#Ä œn ^

C 13 Call Repeated

&#

..œbÄ œ^œn ‹ œ# œ> ˙

œb œ> œn œ>

G 13

.˙ ‰ ˚œ>œb œ> œ œ# > Ôœ

.œn >D 13Response

œ#Ä œn œb > œ œ> œ œ> ˙ œn ‹>

œ# œ^G 13Ó Œ ‰ ˚œ

>

[P^lâ^y^ ^1^s^t^ ^tî^mê^ ô^n^ly±

Improvisation Concept – Improvising using Short Call and Response Riffs. Often songs and solos use two-bar phrases in a “Call and Response” style. The responses usually start in bars 3, 7, and 11 and are similar or identical.108. CALL AND RESPONSE #4 Play 3 Times – Listen, play, then improvise by changing the rhythm.

&#44 œ œ> œ œœb œ> œ œ>

G 13Call

œ- œ œ^Ó œN ^ œ

^œ œ>œ œ>

Response

.˙ Œ œ œ> œ œœb œ> œ œ>

C 9Call

œ- œ œ^Ó

& #

..œN ^ œ^œ œ>œ œ>

G 13Response

.˙ Œ œ œ>œ œb>œn œ> œ# œ>

D 13New Call

œ# œn>œb œ^Ó œn ^ œ

^œ œ>œ œ>

G 13Response

.˙ Œ109. CALL AND RESPONSE #5 Play 3 Times – Listen, play, then improvise by changing the rhythm.&#44 ..‰ ˚œ

>

Call

œb œn > œ œ# > œ œ> œn œb >G 13

œn œ> œ œ> œ

Œ œ œ œb > œn œ> œ œ>

Response

œ- œ- œ^Œ ‰ ˚œ>

Call

&# œb œn > œ œ# > œ œ> œn œ>C 9

œb œ> œ œ> œ

Œ œn ^ œ œb > œn œ> œ œ>

G 13Response

œ- œ- œ^Ó

& #

..

œ œ> œn œ> œ œb > œn œ# >D 13

New Call

œn œb > œ œ> œ œ^Œ œn ^ œ œb > œn œ

> œ œ>

G 13Response

œ- œ- œ^Œ ‰ ˚œ

[P^lâ^y^ ^1^s^t^ ^tî^mê^ ô^n^ly±

30

PERFORMANCE SPOTLIGHT Windy City

Musicians from New Orleans such as Joe “King” Oliver and Louis Armstrong brought jazz to Chicago in the 1920s and became

important influences for the local musicians. The “Windy City” quickly became an important center for jazz music and remains so

today. Some important musicians from Chicago include:

Paul Butterfield Nat King Cole Jack DeJohnette Kurt Elling Chaka Khan Benny Goodman

Lester Bowie Bud Freeman Dinah Washington Herbie Hancock Gene Krupa Ramsey Lewis

Chicago (The Band) Lou Rawls Lennie Tristano Jimmy McPartland Lil Hardin Armstrong Buddy Guy

141. RHYTHM WORKOUT

&44..‰ œ- œ>

3

Doo Bah

F

[S^wî^ng¥

wDoo

œ^‰ œ- œ>

œ. ‰ œ>œ-˚œ>

3 3 3

it. Doo Bah Dit Bah Doo Bah

w œ^Œ Œ ‰ œ- œ>

3

it.Doo Bah

.˙ ‰ œ- œ>3

Doo Doo Bah

-

-

& œ. ‰ œ- œ>œ- œ>œ- œ>

3

Dit Doo Bah Doo Bah Doo Bah

w œ^Œ Œ ‰ œ- œ>

3

it.Doo Bah

.˙ œ œ- œ>3

Doo Doo Bah

œ- œ^Œ Œ ‰ œ- œ>

3

Doo DotDoo Bah

.˙ œ œ- œ>3

Doo Doo Bah

-

&

..

œ- œ^Œ Œ ‰ œ- œ>

3

Doo Dot Doo Bah

œ œ œ- œ>œ^‰ œ- œ>

3 3

Doo Doo Bah Dot Doo Bah

œ^‰ œ- œ>

œ- œ>œ- œ>

3

Dot Doo Bah Doo Bah Doo Bah

w1.

œ^Œ Œ ‰ œ- œ>

3

it. Doo Bah

2.

œ^Œ Ó

it.

-

142. MELODY WORKOUT

&44..‰ œ- œ

>3

Doo Bah

[S^wî^ng¥w

Doo

œ ‰ œ- œ> œ. ‰ œ

>>œ-˚œ>>

3

3

3

it. Doo Bah Dot Bah Doo Bah

w œ^ Œ Œ ‰ œ- œ

>3

it.DooBah

.˙ ‰ œ- œ>3

Doo DooBah

-

-

& œ. ‰ œ- œ>

œ- œ>> œ- œ>>3

Dit Doo Bah DooBahDoo Bah

w œ^ Œ Œ ‰ œ- œ>

3

it.Doo Bah

.˙ œ œ- œ>

3

Doo Doo Bah

œ- œ^ Œ Œ ‰ œ- œ>

3

Doo Dot Doo Bah

.˙ œ œ- œ>

3

Doo Doo Bah

-

&

..

œ- œ^ Œ Œ ‰ œ- œ

>3

Doo Dot Doo Bah

œ œ œ- œ> œ ‰ œ- œ>

3

3

Doo Doo Bah Dot Doo Bah

œ^‰ œ- œ>

œ- œ>> œ- œ>>3

Dot Doo Bah Doo Bah Doo Bah

w

1.

œ^ Œ Œ ‰ œ- œ

>3

it.Doo Bah

2.

œ^ Œ Ó

it.

-

143. COUNTER MELODY WORKOUT

&44

..

Œ ‰ œ-- œ>œ œ œ- œ

>3

3Doo Bah Doo Doo Bah

[S^wî^ng¥ œ- œ Œ Ó

Doo Dot

Œ ‰ œ-- œ>œ œ œ- œ

>3

3Doo Bah Doo Doo Bah

œ- œ^ Œ Ó

Doo Dot

Order from your favorite music retailer at www.halleonard.com/eejazz

NEW!

Order from your favorite music retailer at www.halleonard.com/eejazz

ESSENTIAL ELEMENTS JAZZ PLAYALONGGREAT RESOURCES FOR: Teaching improvisation • Combo performance • Supplementary study

• The perfect introduction to some of the best-known works for jazz

• Hints for improvising included for every tune

• Jazz articulation guide

• Scale/chord chart

• Sample solos for study or performance

• Bios of key jazz figures include insights into jazz history

• CD includes two full-length recordings of each tune (full performance or rhythm only)

• Tempo adjustment software – students can start at their own pace and gradually “ramp it up”!

JAZZ STANDARDSINCLUDES:Now’s the Time • Killer Joe • Blue Bossa • C-Jam Blues • Footprints • Song for My Father • Autumn Leaves • Freddie Freeloader • St. Thomas • Blue Train

THE BLUESINCLUDES:All Blues • Bags’ Groove • Blue ‘n’ Boogie • Blue Monk • Blues in Frankie’s Flat • Blues in the Closet • Cold Duck Time • St. Louis Blues • Straight No Chaser • Tenor Madness

39

& 44

F

œ

pick-ups3œœœ œ œ

œ œ# œnŒ Œ

œ œb

dmi7

.œ

Jœ œ.œ

^g 9

œ. œ

^

˙

cma7

Ó Œ ‰

Tenor8vajœ

fma7

& œœ œ œ# œn œ œ œ

bmi7 (∫ 5)

jœ.œ# œn œ

e 7

œŒ Ó

ami7

Ó œ œ œ œ

& œ

^

œœ ˙

dmi7

Ó œ œ œ œ

g 9

œ

^

œœjœ- œ

^jœ

^

cma7

Ó Œœ œ#

fma7

& œn. œ

^

œ. œ œ

bmi7 (∫ 5)

œ

Œ

œ œ œ#œ

e 7

œ-œœ# œ-œ- œ

^

ami7

Ó Œ ‰ jœ

& œ-œœ œ-œœ

e 7

œ-œ œ# ˙ Œ œ

œ# œ-œœ

ami7

œ- œ

œ ˙

& ‰jœ œœ œ-œœ

dmi7

œ œ œ œœ- œ œ

g 9

.œjœ

^

Ó

cma7

Ó ‰ jœ œ œ

fma7

& œ- œ

œ œ œ œ

bmi7 (∫ 5)

œ œœ œ œ

-œœ

e 7

œ œœ ˙#

cma7

œ- œn œb ˙n

fma7

& ‰

tenor loco

.œb œ œœ œ

bmi7 (∫ 5)

œ œ œ# œjœ.œ

e 7

.œjœœ-œœ

^

ami7

∑

Autumn Leavessample soloB∫ Version

HINTS FOR IMPROVISATION A unique feature of this seemingly complex chord progression is that the notes found in the concert Bb scale can be used throughout!

In the solo section, chord tones are shown for each chord. While you improvise using the concert Bb scale, focus on these chord

tones at key moments in your solo, 3rds and 7ths are the most important chord tones. You can improve the sound of your improvised

solo if you use these chord tones on the strong beats, or at the beginnings and ends of your melodic riffs.

50

& #44 ..Œ ‰ Ôœ>

[B^R^I^G^H^T^ ^S^W^I^N^G^!^ ^ ^å^=^ ^1^64] ˇ

f‰ Ôœ>‰ Ôœ- œ. ‰ Ô

œb >G 7%‰ Ôœ>‰ Ôœ- œ. ‰ Ô

œn >C 7

‰ Ôœ>‰ Ôœœ œ œ œ

G 7œ œ œ œ> Œ ‰ Ô

œb >

& # ‰ Ôœ>‰ Ôœ- œ. ‰ Ô

œb >C 7

‰ Ôœ>‰ Ôœ- œ. ‰ Ô

œn >C #é7


G 7

œ œ œ œ> Œ ‰ Ôœ>

& #

..‰ Ôœ> ‰ Ôœ œ# œ œ œ

Amiœn œ œn œ# > Œ ‰ Ô

œ>Ami7 D 7


G 7 E +7To Coda fi

1.

œ œ œ œ> Œ ‰ Ôœ>

Ami7 C/D G 7 2.

œ œ œ œ> ÓAmi7 C/D

& # .. ˙ œ ˙ œ ˙ œ ˙n ˙G 7Solos (3 Choruses)

*˙ œ ˙ œn ˙ œ ˙b ˙C 7

˙ œ ˙ œ ˙ œ ˙n ˙G 7

’ ’ ’ ’& # ˙ œ ˙ œn ˙ œ ˙b

˙C 7

˙# œ ˙ œn ˙ œ# ˙# œC #é7

˙ œ ˙ œ ˙ œ ˙n ˙G 7

˙ œ œ ˙# œb ˙ ˙ ˙E +7

& # ˙ œ ˙ œ ˙ œ ˙ ˙Ami7

˙ œ œn ˙# œb ˙b ˙ ˙D +7

˙ œ ˙ œ ˙ œ ˙n ˙ ˙ œ ˙# œb ˙ ˙ ˙G 7

E +7

& # ..

1-2.

˙ œ ˙ œ ˙ œ ˙ ˙ ˙ œ ˙ œ# ˙# ˙ ˙Ami7 D +7 3.

˙ œ ˙ œ ˙ œ ˙ ˙ ˙ ˙ ˙#˙‰ Ôœ>Ami7 D +7 G 7

D.S. al Coda(take Repeat)

f& #œ œ œ œ> Œ ‰ Ô

œ>C/DF 7 F #7 G 7fi Coda

& # ‰ Ôœ>‰ Ôœ- œ. ‰ Ô

œ>Ami7/D

‰ Ôœ>‰ Ôœ- œ. ‰ Ô

œ>‰ Ôœ>‰ Ôœœ œ œ œ œ œ œ œ> Œ Œ

UF 7 F #7 G 7 C 7

TENOR MADNESS

By Sonny rollins

Copyright © 1956, 1980 Prestige MusicCopyright RenewedInternational Copyright Secured All Rights Reserved

CD3 FULL PERFORMANCE4 RHYTHM SECTION ONLY

Eb Version

* OPen noteheads = chord tones

& ## ˙ ˙n ˙ ˙# ˙˙n ˙D BLues SCAlE

& #˙ ˙b ˙ ˙# ˙ ˙n ˙G BLues SCAlE

& ˙ ˙b ˙ ˙# ˙˙b ˙C BLues SCAlE

& ####˙ ˙n ˙ ˙# ˙ ˙n ˙E BLues SCAlE

& ## ˙ ˙n ˙ ˙# ˙˙n ˙D blues scale

w w wn w# w w wD major blues scale

& w w wb wn w wwC major blues scale

& # w w wb wn w w wG major blues scale

& ####˙ ˙n ˙ ˙# ˙ ˙n ˙E blues scale

w w wn w# w w wE major blues scale

& # ˙ ˙b ˙ ˙# ˙ ˙n ˙G blues scale

w w wb wn w w wG major blues scale

For more information, scan code at right

90008616

Complete Order Information

BOOK 100841357 Conductor ��$39�9900841347 Eb Alto Saxophone ��$13�9900841348 Bb Tenor Saxophone ��$13�9900841349 Eb Baritone Saxophone ��$13�9900841350 Bb Trumpet ��$13�9900841351 Trombone ��$13�9900841352 Guitar��$16�9900841353 Piano ��$16�9900841354 Bass��$16�9900841355 Drums ��$16�9900841356 C Treble/Vibes ��$13�99

Also Available:00841620 Flute ��$13�9900841621 Clarinet��$13�9900841622 F Horn ��$13�9900841623 Tuba��$13�99

BOOK 200877502 Conductor ��$45�9900877503 Eb Alto Saxophone ��$15�9900877504 Bb Tenor Saxophone ��$15�9900877505 Eb Baritone Saxophone ��$15�9900877506 Bb Trumpet ��$15�9900877507 Trombone ��$15�9900877508 Guitar��$18�9900877509 Piano ��$18�9900877510 Bass��$18�9900877511 Drums ��$18�9900877512 C Treble/Vibes ��$13�99

Also Available:00877513 Flute ��$15�9900877514 Clarinet��$15�9900877515 F Horn ��$15�9900877516 Tuba��$15�99

ESSENTIAL ELEMENTS JAZZ ENSEMBLE METHOD

Jazz Standards00841987 Bb, Eb & C Instruments ��$15�9900841988 Flute, F Horn, Tuba ��$15�9900841989 Rhythm Section ��$15�99

Blues00842360 Bb, Eb & C Instruments ��$15�9900842361 Flute, F Horn, Tuba ��$15�9900842362 Rhythm Section ��$15�99

ESSENTIAL ELEMENTS JAZZ PLAY-ALONG

CORRELATED ARRANGEMENTSGrade 1.5

07011159 All of Me (Sweeney) ��$40�0007010955 Ballad for a Blue Horn (Steinel) ��$40�0007010951 Basin Street Blues (Sweeney) ��$40�0007010836 Blues for a New Day (Steinel) ��$40�0007011457 Bossa de Cancun (Steinel) ��$40�0007011055 Bubbert Goes Retro (Steinel) ��$40�0007010834 Bubbert Goes Undercover (Steinel) ��$40�0007011293 Bubbert Goes West (Steinel) ��$40�0007011459 Bubbert in Love (Steinel) ��$40�0007010953 Bubbert Kicks Back (Steinel) ��$40�0007010748 Bubbert’s Groove (Steinel) ��$40�0007011161 Bubbert Takes the Train (Steinel) ��$40�00

07011057 Comin’ Home Baby (Sweeney) ��$40�0007010832 Ja-Da (Sweeney) ��$40�0007011061 Mister Cool (Steinel)��$40�0007010838 On Broadway (Sweeney)��$40�0007011165 Perfidia (Sweeney) ��$40�0007011163 Riffology (Steinel) ��$40�0007010740 Satin Doll (Sweeney) ��$40�0007011059 So There! (Sweeney) ��$40�0007010742 So What (Sweeney)��$40�0007011295 Song for San Miguel (Steinel) ��$40�0007010746 Sunday Afternoon (Steinel) ��$40�00

07011461 Conductor ��$24�9907011462 Alto Sax 1 ��$6�9907011463 Alto Sax 2 ��$6�9907011464 Tenor Sax 1 ��$6�9907011465 Tenor Sax 2 ��$6�9907011466 Baritone Sax ��$6�9907011467 Trumpet 1 ��$6�9907011468 Trumpet 2 ��$6�99

07011469 Trumpet 3 ��$6�9907011470 Trombone 1 ��$6�9907011471 Trombone 2 ��$6�9907011472 Trombone 3 ��$6�9907011473 Guitar��$6�9907011474 Piano ��$11�9907011475 Bass��$6�9907011476 Drums ��$6�99

07011477 C Treble/Vibes ��$6�9907011478 Flute ��$6�9907011479 Clarinet��$6�9907011480 F Horn ��$6�9907011481 Tuba��$6�9907011482 CD ��$14�9907011516 Value Pak (16 part books,

conductor score and CD) ��$139�99

THE BEST OF ESSENTIAL ELEMENTS FOR JAZZ ENSEMBLE

Comprehensive Jazz Ensemble Curriculum · jazz fans as “Bird” grew up in Kansas City. As a...

Documents

Transcript of Comprehensive Jazz Ensemble Curriculum · jazz fans as “Bird” grew up in Kansas City. As a...