Russell Robinson BriLee Music · Jazz Talkin’ is a fun, jazz piece that explores and “talks...

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BL895 JAZZ TALKIN’ *M/ TWO-PART

JAZZ TALKIN’

Two-Part Treble Voices with Piano

Russell Robinson

Ranges:

Language: English Use: General/Festival Time: Approx. 2:48 *Diffi culty: Moderate

For promotional use only

unlawful to copy or print

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BL895

Note from the Composer

Jazz Talkin’ is a fun, jazz piece that explores and “talks about” the stylistic jazz vocal idiom. The form is a basic 12-bar blues and allows for the choir to sing together (beginning and end), have “call-and-response” (m. 29) and “scat” solos with the rest of the choir singing background vocals (m. 41) either as written or improvised. It also allows for repeats of these sections to allow more singers to participate. After the singers are comfortable with the style, some may feel comfortable improvising, and that’s a lot of fun and engaging for the singers and the audience.

Here is a call-and-response that can be used on the second time through m. 29.

Here is another scat solo that can be used on the second time through m. 41.

Again, feel free to improvise any or all of these sections. In addition, if there is a bass guitar and trap set (or just a snare drum using brushes) that can play along, it will add to the feel. Make sure eighth notes swing as indicated and enjoy this fun, jazzy piece!

Russell Robinson

About the Composer

Dr. Russell L. Robinson is a prolific composer, arranger, and author with over 250 publications including choral music, DVD’s and books. He is Professor of Music and Area Head for Music Education at the University of Florida, where he has been on the faculty since 1984. He holds a Ph.D. and Masters degrees in music from the University of Miami and a Bachelor of music degree from Drury University in Springfield, Missouri. He is frequently in demand, has been a clinician, adjudicator, and conductor for workshops, all-state choirs, honor choirs, and festivals throughout the United States, Canada, Europe, Africa, Australia and the Far East.

Performance NotesJazz Talkin’, a fun, vocal jazz piece, “talks about” the stylistic jazz vocal idiom. This SABchoral arrangement, based on the “12 bar blues” form, offers variety and flexibility to singtogether as background vocals (measure 41), and to learn “call and response” (measure 29)and “scat” solos (measure 41). The repeated sections allow additional flexibility inselecting the number of solo singers desired.It is my hope that after the singers become more comfortable with the jazz style, they willexplore improvisation, an important characteristic of jazz music.Optional “Call and response” for the measure 29 repeat

Optional “scat” solo for the measure 41 repeat

When comfortable, singers should feel free to improvise any or all of these sections(measures 29-40 and measures 41-52). In addition, a bass guitar and trap set (or just a snaredrum using brushes) will add to the jazz “feel.” Finally, make sure eighth notes “swing” asindicated and enjoy this fun, jazzy piece!Russell Robinson

BL749

29 solo all sing solo all sing

solo33 all sing solo all sing


Doot dot doo dot Doot dot doo dot Doot’n doo ba doo dot Doot’n doo ba doo dot

Dwee ba doo ba doo bop Dwee ba doo ba doo bop Dweedoowee ah doo bop Dweedoowee ah doo bop

Doot dot do dot Doot dot do dot Doot’n doo ba doo dot Doot’n doo ba doo dot

solo41 45

49

Ba doo ba doo ba doo ba dop Ba doo ba doo ba doo ba dop


Doo bop doo bop doo bop doo bop doo dot Doo ba doo ba doo ba doo ba doot da ba doo ba dot

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Performance NotesJazz Talkin’, a fun, vocal jazz piece, “talks about” the stylistic jazz vocal idiom. This SABchoral arrangement, based on the “12 bar blues” form, offers variety and flexibility to singtogether as background vocals (measure 41), and to learn “call and response” (measure 29)and “scat” solos (measure 41). The repeated sections allow additional flexibility inselecting the number of solo singers desired.It is my hope that after the singers become more comfortable with the jazz style, they willexplore improvisation, an important characteristic of jazz music.Optional “Call and response” for the measure 29 repeat

Optional “scat” solo for the measure 41 repeat

When comfortable, singers should feel free to improvise any or all of these sections(measures 29-40 and measures 41-52). In addition, a bass guitar and trap set (or just a snaredrum using brushes) will add to the jazz “feel.” Finally, make sure eighth notes “swing” asindicated and enjoy this fun, jazzy piece!Russell Robinson

BL749

29 solo all sing solo all sing



Doot dot doo dot Doot dot doo dot Doot’n doo ba doo dot Doot’n doo ba doo dot

Dwee ba doo ba doo bop Dwee ba doo ba doo bop Dweedoowee ah doo bop Dweedoowee ah doo bop

Doot dot do dot Doot dot do dot Doot’n doo ba doo dot Doot’n doo ba doo dot

solo41 45

49



Doo bop doo bop doo bop doo bop doo dot Doo ba doo ba doo ba doo ba doot da ba doo ba dot

2



* Also available for SAB Voices (BL749) and Jazz Warm-Ups (BL748).

Jazzy! q = 148

for Two-Part Treble Voices with Piano*Jazz Talkin’

qaa z=[qp ]eRUSSELL ROBINSON

Piano

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Copyright © 2016 BLP Choral Music (ASCAP)International Copyright Secured.

All rights reserved, including performance rights.Printed in the U.S.A.

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BriLee Music, founded by the late Brian Busch in 1997, is the leader in publishing choral music written specifically for the developing middle school and junior high singer. With writing guidelines carefully developed by Brian, teachers who buy from the BriLee catalog know they will always find the following in music written by BriLee composers:

Range appropriate – specifically for the adolescent changing voice Moderate in length Interesting, appealing and varied texts Accessible accompaniments

Writers for BriLee are among the most outstanding and respected in their field. The music is written, arranged and edited to meet a wide range of performance needs. The standard of musical excellence we present in each choral work is designed to meet the challenges faced by teachers and conductors all over the world who wish to offer quality, accessible repertoire to their ensembles.

Part-by-Part resources were created to allow you, the busy choral director, more time to do the things you need to do to be successful in rehearsal and performance.

Download the following FREE resources and use them to help you TEACH your singers.

• Part-dominantrecordingsallowyoursingerstosingalong with their part while hearing the other voices in the background.

• Fullchorusrecordingsallowyoursingerstoseeandhear the music at the same time for greater insight.

• Professionalaccompanimentscanbeusedforrehearsal or performance.

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Russell Robinson BriLee Music · Jazz Talkin’ is a fun, jazz piece that explores and “talks...

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