SAMPLE. Jazz In Concert. Correlated with the STANDARD OF EXCELLENCE JAZZ ENSEMBLE METHOD STANDARD OF EXCELLENCE

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1 STANDARD O EXCELLENCE azz In Concert AZZ ENSEMBLE GRADE 2 DIRECTOR SCORE $800 Dean Sorenson Aaardvark Alley Correlated ith the STANDARD O EXCELLENCE AZZ ENSEMBLE METHOD Neil A Kos Music Company, Publisher

2 The Composer Dean Sorenson (b 1963) is the Director o azz Studies at the University o Minnesota as ell as a proliic and highly sought-ater composer, arranger, trombonist, educator, and clinician He

co-author o the highly successul Standard o Excellence azz Ensemble Method, an innovative and comprehensive method book or young azz ensembles The highly anticipated ollo-up book, The Standard o

2 2 The Composer Dean Sorenson (b 1963) is the Director o azz Studies at the University o Minnesota as ell as a proliic and highly sought-ater composer, arranger, trombonist, educator, and clinician He received his bachelor s degree in trombone perormance rom the University o Minnesota and his master s degree in azz arranging and composition rom the Eastman School o Music Mr Sorenson is the co-author o the highly successul Standard o Excellence azz Ensemble Method, an innovative and comprehensive method book or young azz ensembles The highly anticipated ollo-up book, The Standard o Excellence Advanced azz Ensemble Method, as released to rave revies and continues the solid, practical techniques introduced in the irst book He is also the author o Standard o Excellence azz Combo Session, and composer o numerous pieces or concert band and azz ensemble published by the Neil A Kos Music Company As an advocate o azz education and the expansion o the repertoire, he continues to develop creative materials and methods to help students and teachers better understand the art orm An outstanding clinician, conductor, and soloist, he is requently eatured at estivals and conventions around the country and abroad He also maintains a ull schedule o concert and recording dates as a Yamaha perorming artist Mr Sorenson has composed and arranged or numerous ensembles including the Glenn Miller Orchestra, the Airmen o Note, the United States Air orce Band, and or brass ensembles Proteus 7 and the Chestnut Brass Company He is active as a commissioned composer and arranger or azz ensemble, concert band, and chamber ensembles, and has also ritten several sacred choral pieces or more inormation please visit deansorensonmusiccom The Composition AARDVARK ALLEY is a straight-ahead unk tune Pay careul attention to the marked articulations, and make certain there is a dierence beteen long and short notes Short notes can be punched or accented or examples o this kind o articulation listen to recordings o groups like Toer o Poer To place the rhythms properly, subdivide 16 th notes hile you are playing Listen very careully to the ensemble, especially the rhythm section The ensemble unison beginning at bar 38 should be played at a moderate dynamic Be careul not to overblo As ith all Standard o Excellence azz In Concert selections, AARDVARK ALLEY is designed to be played by the ull azz ensemble The chart ill, hoever, sound ull and complete hen perormed by as e as nine players: 1st and 2nd Alto Saxophones, 1st Tenor Saxophone, 1st and 2nd Trumpets, 1st Trombone,,, and The solo section o AARDVARK ALLEY (bars 30-37) is equally lexible and can be deleted entirely or repeated as necessary to accommodate multiple soloists A CD containing a demonstration recording o the chart is attached to the AARDVARK ALLEY acket To allo as many students as possible the opportunity to experience a azz education, AARDVARK ALLEY and all other Standard o Excellence azz In Concert selections include optional supplemental parts or lute, Bb clarinet, rench horn, Baritone TC, and tuba The included parts are readily adaptable or other non-standard azz ensemble instruments (oboe, bassoon, Eb alto clarinet, Bb bass clarinet, baritoneeuphonium, violin, viola, and cello) Instrumentation List 1 1st Alto Saxophone 1 2nd Alto Saxophone 1 1st Tenor Saxophone 1 2nd Tenor Saxophone 1 ophone 1 1st Trumpet 1 2nd Trumpet 1 3rd Trumpet 1 th Trumpet 1 1st Trombone 1 2nd Trombone 1 3rd Trombone 1 th Trombone Auxiliary Percussion rench Horn 1 Baritone TC (3rd Trombone TC) 1 1 Director Score The Contributing Editor Bruce Pearson (b 192) is a orld-renoned educator, composer, author, and conductor A graduate o St Cloud State University and the University o Northern Colorado, his teaching experience spans over three decades at all levels o instruction Most recently, he served as Director o Bands and Coordinator o Instrumental Studies at Northestern College in St Paul, Minnesota Bruce is the recipient o numerous honors and aards, including the prestigious Midest Clinic Medal o Honor and the Wenger Most Outstanding in the ield o Music Education aard or the State o Minnesota A proliic composer o music or concert band, Bruce is also author o the Best in Class Comprehensive Band Method and Standard o Excellence Comprehensive Band Method, and co-author o the Standard o Excellence azz Ensemble Method As an adudicator, clinician, guest speaker, and conductor, Bruce continually shares his talents, insights, and goodill ith both teachers and students orldide in every conceivable azz ensemble and concert band setting

3 3 Rhythm Section Notation Rhythm section parts in azz ensemble charts traditionally call or a great deal o playing ad lib or a student to develop the skills necessary to ill in this missing music, he or she must be exposed to appropriate, clearly notated models Such models are provided throughout AARDVARK ALLEY Suggested chord voicings or every chord used in the chart are provided in the guitar part and ully ritten-out piano and bass parts are provided belo chord symbols Players may alter the parts as long as the alterations ollo the chord changes and are stylistically compatible ith the groove established by the rest o the rhythm section The marking as is is used to indicate music that should be played exactly as ritten The drum part is notated on a ive-line sta ith spaces representing dierent drum kit suraces: Crash Cymbal, Ride Cymbal, or Hi-Hat (ith hand) Snare Drum Large Tom ============ =========== (kick) Drum Hi-Hat (ith oot) All grooves are completely ritten out The drummer may alter a groove as long as the alterations are stylistically compatible ith the groove established by the rest o the rhythm section Auxiliary Percussion and The auxiliary percussion part is completely ritten out, though it may be altered as long as the alterations are stylistically compatible ith the groove established by the rest o the rhythm section Traditionally, the vibes hold a dual unction in a azz ensemble setting Sometimes, vibes unction as a melody-playing instrument ith the saxes, trumpets, and trombones Other times, they unction as a chord-playing instrument, helping to establish the groove ith the rest o the rhythm section In AARDVARK ALLEY, the vibes unction exclusively as a melody-playing instrument No chord symbols appear in the vibes part except during the SUGGESTED SOLOS and the open solo section o the chart; in those cases, the symbols should be used to guide players in the creation o single-note improvisations Rhythm Studies and Suggested Solos To better assist students and directors in understanding and perorming azz, all Standard o Excellence azz In Concert selections include RHYTHM STUDIES and SUGGESTED SOLOS These exercises are based on similar studies that are included ith the Standard o Excellence azz Ensemble Method and the Standard o Excellence Advanced azz Ensemble Method, both published by the Neil A Kos Music Company The RHYTHM STUDIES combine vocalization (using a rhythmic syllable system) and instrumental perormance to help develop a better understanding o the rhythms, phrasings, and articulations used in the chart The RHYTHM STUDIES are included on a photocopyable page (score page ) that can be passed out to the entire ensemble or more inormation on the syllable system used in the RHYTHM STUDIES or or suggestions and inormation on the notation and teaching o rock rhythms, see the Standard o Excellence azz Ensemble Method Director Score (Neil A Kos Music Company edition number W31) Singing (or vocalizing) rhythms is an excellent ay to internalize the eel o the rhythm hile avoiding the technical problems o the instrument It also is very helpul in saving the chops Have the students sing each rhythm study until they are comortable ith it, then have them play it on their instruments The RHYTHM STUDIES are ritten using X noteheads on the student study sheet, hich allos you to assign hatever pitch you ould like or them to play Generally, this ill be a tonic pitch in a middle register Each student part includes to SUGGESTED SOLOS, hich can be perormed during the solo section o AARDVARK ALLEY (bars 30-37) SOLO PRACTICE TRACKS are also provided on the CD included ith the Director Score These tracks provide recorded rhythm section accompaniment to the solo section o AARDVARK ALLEY, alloing students to practice improvising solos in preparation or perormance Encourage students to improvise their solos using the SUGGESTED SOLOS as models, or by using the pitches o the scale notated in the grey box above the SUGGESTED SOLOS on the student parts SUGGESTED SOLOS are notated in concert pitch in the Director Score All instruments except lute and tuba generally sound in the octaves shon in the score, though occasional octave adustments occur Hands Combined eet Combined

4 RHYTHM STUDIES Rhythm Studies Aardvark Alley u The RHYTHM STUDIES combine vocalization (using a rhythmic syllable system) and instrumental perormance to help develop a better understanding o the rhythms, phrasings, and articulations used in the chart u Begin by singing the rhythm on a unison pitch, paying close attention to the articulations Try to internalize the rhythm, and listen to those around you to ensure that it is phrased consistently across the entire ensemble u Play the rhythm on a unison pitch that your director ill give to you Strive to match the eel and phrasing o the rhythm ithin your section, and ithin the entire ensemble unk q = DA DA da dut DAH - 3 DA DUT DAH DA du DUT da da da DA da da da - da dut DA da da da da DA DUT Copyright 2008 Neil A Kos Music Company This page authorized or duplication

5 SUGGESTED SOLOS 5 Suggested Solos Aardvark Alley All parts except, Aux Percussion NATURAL MINOR SCALE The solo section or AARDVARK ALLEY is based on the Natural Minor Scale, sometimes called the Aeolian Scale Eb Instruments: Natural Minor Scale (Concert A Natural Minor) hole steps: Bb Instruments: B Natural Minor Scale (Concert A Natural Minor) hole steps: C Instruments: A Natural Minor Scale hole steps: C Instruments: A Natural Minor Scale hole steps: Instruments: E Natural Minor Scale (Concert A Natural Minor) hole steps:

6 6 SUGGESTED SOLO 1 Aardvark Alley Suggested Solo 1 Alto Sax Tenor Sax Trumpet Baritone TC (8va) Trombone (8vb) Alto Sax Tenor Sax Trumpet Baritone TC (8va) Trombone (8vb) {30} unk q = 88-9 È EÈ 3 È EÈ Dÿ 32 Dÿ Neil A Kos Music Company, 382 utland Drive, San Diego, Caliornia International copyright secured All rights reserved Printed in the USA Warning! The contents o this publication are protected by copyright la To copy or reproduce them by any method is an inringement o the copyright la Anyone ho reproduces copyrighted matter is subect to substantial penalties and assessments or each inringement

7 SUGGESTED SOLO 2 7 Aardvark Alley Suggested Solo 2 Alto Sax Tenor Sax Trumpet Baritone TC (8va) Trombone (8vb) Alto Sax Tenor Sax Trumpet Baritone TC (8va) Trombone (8vb) {30} 3 unk q = 88-9 È EÈ È EÈ Dÿ 32 Dÿ

8 8 ull azz Ensemble Chart DIRECTOR: u Bars o AARDVARK ALLEY are open or solos Students soloing may use the SUGGESTED SOLOS, or create their on solos based on licks they kno, or ne ideas derived rom the RHYTHM STUDIES or the AARDVARK ALLEY chart itsel I desired, the open solo section may be omitted entirely u Woodind, backgrounds (solo accompaniment igures) begin at bar 30 and brass backgrounds begin at bar 33 Backgrounds may be cued at the beginning o any solo chorus When more than one soloist plays, it is suggested that the backgrounds be used to accompany alternating solo choruses, or the last chorus only The rhythm section should accompany every chorus Players should overlook background igures ritten in their parts hile soloing u In azz, pianists requently comp to accompany and complement the parts played by the other members o the ensemble Comping involves creating a rhythmically appropriate part that ollos the chord changes o the music The ritten AARDVARK ALLEY part is an example o a comped part Advanced pianists should be encouraged to comp ad lib, using the ritten part as a model u ists requently comp hen playing unk style music There are suggested comping rhythms in the part or AARDVARK ALLEY Advanced guitarists should be encouraged to comp ad lib, using the ritten part as a model or more inormation, reer guitarists to the page OR GUITAR ONLY exercises in the Standard o Excellence azz Ensemble Method student book u or AARDVARK ALLEY, electric bass is recommended Either acoustic or electric piano is appropriate Acoustic piano ill typically require ampliication to ensure proper balance ith the rest o the azz ensemble or more inormation, see the Standard o Excellence azz Ensemble Method Director Score u The ritten Aux Percussion part is meant to serve only as a guide Percussionists should eel ree to play the part ad lib ithin the musical context o AARDVARK ALLEY REHEARSAL SUGGESTIONS: u Begin the rehearsal in a ay that prepares players minds, muscles, and instruments See page 1 o the Standard o Excellence azz Ensemble Method Director Score or speciic suggestions u Throughout the rehearsal, ocus attention on achieving a good ensemble sound The irst step to achieving this sound is establishment o the proper relative balance beteen instruments In general, loer-pitched oodinds and brass should play at a louder dynamic level than higher-pitched oodinds and brass This pyramid o sound concept applies to both harmonic and melodic passages in charts An appropriate balance must also be established ithin the rhythm section, and beteen the rhythm section and the rest o the ensemble Use the recording attached to the AARDVARK ALLEY acket as a model o appropriate balances or rock-style music u The oodinds and the rhythm section should play a very clean and short quarter note on the donbeat o bar 2 u The rhythm section groove begins at bar 5 Rehearse the rhythm section separately to establish a solid groove beore adding the inds Pay particular attention to the bass drum and the bass u Exaggerate the dynamics as marked in bar 12 u Woodinds take over the melody at bar 13, and the brass should adust their dynamic accordingly u Make certain they breaks in the rhythm section beginning at bar 38 are played very cleanly should not allo any cymbals to ring past beat 2 u Winds playing the unison line beginning at bar 38 should be careul not to overblo and should listen careully to the ensemble A unison line ill carry better i played at a more relaxed volume ith a good blend u Play the inal note in bar 3 short and at ACTIVITIES OR EXCELLENCE u Students can practice rhythmic subdivision by clapping their hands in 16 th notes In order to maintain a steady 16 th note rhythm, the tempo ill likely need to be sloer than perormance tempo Once a steady 16 th note rhythm is established, have students sing their parts in bars 1- Concentrate on accuracy in rhythm and articulation u Have the rhythm section vamp the solo section accompaniment groove beginning at bar 30 hile the inds improvise collectively using pitches rom the concert A natural minor scale

9 ull azz Ensemble Chart 9 Director Score Approx Perormance Time - 3:15 Trumpet Trombone Baritone TC Aux Percussion 1 unk q = 88-9 unk q = 88-9 As Is As Is Crash Cymbal n b - - Cobell Bongos or Congas - 2 a n n n n b b b b b n b b Aardvark Alley 3 Û Û Ride Cymbal EZ Û Û Û - Û Û R - ~5} ~5} Û Û Û Û ÛÛ Û Û Dean Sorenson 2008 Neil A Kos Music Company, 382 utland Drive, San Diego, Caliornia International copyright secured All rights reserved Printed in the USA Warning! The contents o this publication are protected by copyright la To copy or reproduce them by any method is an inringement o the copyright la Anyone ho reproduces copyrighted matter is subect to substantial penalties and assessments or each inringement -

10 10 ull azz Ensemble Chart Trumpet Trombone Baritone TC Û Û Û Û Û Û Û Û () G Û Û Û Û Û Û Û Û G G Û Û Û Û Û Û Û Û EZ Û Û Û Û Û Û Û Û Û Û Û Û - Û Û Û Û Û Û EZ ill Aux Percussion () (8) - - -

11 ull azz Ensemble Chart 11 Trumpet Trombone Baritone TC {13} {13} DÈ G7 Û Û Û Û Û Û Û Û DÈ G7 DÈ G Û Û Û Û Û Û Û Û N BÌ Eï DÈ G7 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û 15 BÌ Eï BÌ Eï () DÈ G7 DÈ G Û Û Û Û Û Û Û Û Aux Percussion ()

12 12 ull azz Ensemble Chart Trumpet Trombone Baritone TC Aux Percussion Û Û As Is Û As Is C Cym {21} {21} EZ Û Û Û - Û Û Û Û Û Û Û Û Û Û R Cym ill Û Û Û Û Û Û Û Û () () G Û Û Û Û Û Û Û Û G G

13 ull azz Ensemble Chart 13 Trumpet Trombone Baritone TC Aux Percussion Û Û Û Û Û Û Û Û (8) EZ Û Û Û Û Û Û Û Û EZ EZ ill 28 C Cym n b n n n n b b b b b n b ill b

14 1 ull azz Ensemble Chart Trumpet Trombone Baritone TC Aux Percussion Open or Solos {30} È È Pla y ir st T ime Only {30} EÈ Open or Solos Û Û Û Û Û Û Û Û Ba ckg rou nds on Cue Dÿ Dÿ Û Û Û Û Û Û Û Û 33 () () Ba ckg rou nds on Cue

15 ull azz Ensemble Chart 15 3 È Dÿ 37 Trumpet Trombone Baritone TC È EÈ Û Û Û Û Û Û Û Û Dÿ Û Û Û Û Û Û Û Û (8) Aux Percussion (8) - -

16 16 ull azz Ensemble Chart Trumpet Trombone Baritone TC Aux Percussion {38} {38} As Is As Is Hi-Hat - - Ḟ - Ḟ - Ḟ - - Ḟ - Ḟ - Ḟ - Ḟ - Ḟ - Ḟ Ḟ - - Ḟ - Ḟ - - Ḟ - o + - Ḟ () () () () () ()

17 ull azz Ensemble Chart {6} 7 - Trumpet Trombone Baritone TC C Cym ill {6} DÈ G7 Û Û Û Û Û Û Û Û DÈ G7 DÈ G7 R Cym Û Û Û Û Û Û Û Û Aux Percussion

18 18 ull azz Ensemble Chart Trumpet Trombone Baritone TC BÌ Eï Û Û Û Û Û Û Û Û BÌ Eï BÌ Eï 9 N Û Û Û Û Û Û Û Û () 50 - DÈ G7 DÈ G DÈ G7 Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û Û As Is As Is Û C Cym Aux Percussion () (8)

19 ull azz Ensemble Chart 19 Trumpet Trombone Baritone TC Aux Percussion EZ Û Û Û - Û Û ill - {5} {5} Û Û Û Û Û Û Û Û R Cym Û Û Û Û Û Û Û Û () () G Û Û Û Û Û Û Û Û G G

20 20 ull azz Ensemble Chart Trumpet Trombone Baritone TC Aux Percussion Û Û Û Û Û Û Û Û EZ ÛÛÛÛ ÛÛÛ Û EZ EZ ill C Cym n b n n n n b b b b b n b b 63

SAMPLE. Jazz In Concert. Correlated with the STANDARD OF EXCELLENCE JAZZ ENSEMBLE METHOD JAZZ ENSEMBLE GRADE 2 DIRECTOR SCORE JZB412F $8.

SAMPLE. Jazz In Concert. Correlated with the STANDARD OF EXCELLENCE JAZZ ENSEMBLE METHOD JAZZ ENSEMBLE GRADE 2 DIRECTOR SCORE JZB412F $8. STANDARD O EXCELLENCE azz In Concert AZZ ENSEMBLE GRADE 2 DIRECTOR SCORE $800 im Cielli Straight Up Correlated ith the STANDARD O EXCELLENCE AZZ ENSEMBLE METHOD Neil A Kos Music Company, Pulisher 2 The