SAMPLE. Jazz In Concert. Correlated with the STANDARD OF EXCELLENCE JAZZ ENSEMBLE METHOD JAZZ ENSEMBLE GRADE 1 DIRECTOR SCORE JZB405F $8.

Transcription

1 STANDARD O EXCELLENCE azz In Concert AZZ ENSEMBLE GRADE 1 DIRECTOR SCORE ZB405 $800 red Sturm Que Pasa, Kielasa Correlated ith the STANDARD O EXCELLENCE AZZ ENSEMBLE METHOD Neil A Kos Music Comany, Pulisher

2 The Comoser red Sturm ( 1951) is Director o azz and Imrovisational Music at the Larence University Conservatory o Music and guest conductor o roessional azz ensemles and radio orchestras in Germany, Italy, Denmark, Seden, and Noray He reviously served as Proessor o azz Studies and azz EnsemleStudio Orchestra Director at the Eastman School o Music rom 1991 to 00 His orks have een een eatured y Boy Mcerrin, Wynton Marsalis, Clark Terry, and Phil Woods; erormed y azz, orchestral, ind, choral, and chamer ensemles orldide; rinted y nine international ulishers; and issued on our CD laels He s the author o Changes Over Time: The Evolution o azz Arranging, Maria Schneider: Evanescence, and Kenny Wheeler: Collected Works on ECM He received the 003 ASCAPIAE Commission in Honor o Quincy ones, a 1997 Grammy nomination, and Doneat Magazine has cited his collegiate ensemles as America s est nine times He studied at Larence, Eastman, and the University o North Texas The Comosition QUE PASA, KIELBASA is a unk rock tune dedicated to Larence University tromone roessor Nick Keelan There are 5 tyes o articulations eatured in this chart: Slurs, tenuto marks (ull length doo articulations), accents, staccatos, and caed ( rooto ) accents The style o the chart requires strong contrasts eteen these markings When sections o the and are itted against one another at ar 63, dynamic alance eteen them must e equal The shout chorus at ar 79 requires smooth ensemle hrasing and accenting o the crested or eak notes in each hrase Maintaining erect rhythmic time through the numerous stos and starts in the chart is crucial As ith all Standard o Excellence azz In Concert selections, QUE PASA, KIELBASA is designed to e layed y the ull azz ensemle The chart ill, hoever, sound ull and comlete hen erormed y as e as nine layers: 1st and nd Alto Saxohones, 1st Tenor Saxohone, 1st and nd Trumets, 1st Tromone,,, and The solo sections o QUE PASA, KIELBASA (ars or saxes and 51 6 or rass) are equally lexile and can e deleted entirely or reeated as necessary to accommodate multile soloists A CD containing a demonstration recording o the chart is attached to the QUE PASA, KIELBASA acket To allo as many students as ossile the oortunity to exerience a azz education, QUE PASA, KIELBASA and all other Standard o Excellence azz In Concert selections include otional sulemental arts or lute, B clarinet, rench horn, Baritone TC, and tua The included arts are readily adatale or other nonstandard azz ensemle instruments (ooe, assoon, E alto clarinet, B ass clarinet, aritoneeuhonium, violin, viola, and cello) Instrumentation List 1 1st Alto Saxohone 1 nd Alto Saxohone 1 1st Tenor Saxohone 1 nd Tenor Saxohone 1 ohone 1 1st Trumet 1 nd Trumet 1 3rd Trumet 1 4th Trumet 1 1st Tromone 1 nd Tromone 1 3rd Tromone 1 4th Tromone Vies The Contriuting Editor 1 lute 1 1 rench Horn 1 Baritone TC (Tromone 3 TC) 1 Tua 1 Director Score Dean Sorenson ( 1963) is the Director o azz Studies at the University o Minnesota as ell as a roliic and highly soughtater comoser, arranger, tromonist, educator, and clinician Mr Sorenson is the coauthor o the highly successul Standard o Excellence azz Ensemle Method, an innovative and comrehensive method ook or young azz ensemles The highly anticiated ollou ook, The Standard o Excellence Advanced azz Ensemle Method, as released to rave revies and continues the solid, ractical techniques introduced in the irst ook He is also the author o Standard o Excellence azz Como Session, and comoser o numerous ieces or concert and and azz ensemle ulished y the Neil A Kos Music Comany As an advocate o azz education and the exansion o the reertoire, he continues to develo creative materials and methods to hel students and teachers etter understand the art orm An outstanding clinician, conductor, and soloist, he is requently eatured at estivals and conventions around the country and aroad He also maintains a ull schedule o concert and recording dates as a Yamaha erorming artist or more inormation lease visit deansorensonmusiccom ZB405

3 Rhythm Section Notation Rhythm section arts in azz ensemle charts traditionally call or a great deal o laying ad li or a student to develo the skills necessary to ill in this missing music, he or she must e exosed to aroriate, clearly notated models Such models are rovided throughout QUE PASA, KIELBASA Suggested chord voicings or every chord used in the chart are rovided in the guitar art and ully rittenout iano and ass arts are rovided elo chord symols ers may alter the arts as long as the alterations ollo the chord changes and are stylistically comatile ith the groove estalished y the rest o the rhythm section The marking as is is used to indicate music that should e layed exactly as ritten The drum art is notated on a iveline sta ith saces reresenting dierent drum kit suraces: Ride Cymal or HiHat (ith Stick) Crash Cymal Snare Drum (Kick) Drum HiHat (ith oot) All grooves are comletely ritten out The drummer may alter a groove as long as the alterations are stylistically comatile ith the groove estalished y the rest o the rhythm section Vies Traditionally, the vies hold a dual unction in a azz ensemle setting Sometimes, vies unction as a melodylaying instrument ith the saxes, trumets, and tromones Other times, they unction as a chordlaying instrument, heling to estalish the groove ith the rest o the rhythm section In QUE PASA, KIELBASA, the vies unction exclusively as a melodylaying instrument No chord symols aear in the vies art excet during the SUGGESTED SOLOS and the oen solo section o the chart; in those cases, the symols should e used to guide layers in the creation o singlenote imrovisations Rhythm Studies and Suggested Solos To etter assist students and directors in understanding and erorming azz, all Standard o Excellence azz In Concert selections include RHYTHM STUDIES and SUGGESTED SOLOS These exercises are ased on similar studies that are included ith the Standard o Excellence azz Ensemle Method and the Standard o Excellence Advanced azz Ensemle Method, oth ulished y the Neil A Kos Music Comany The RHYTHM STUDIES comine vocalization (using a rhythmic syllale system) and instrumental erormance to hel develo a etter understanding o the rhythms, hrasings, and articulations used in the chart The RHYTHM STUDIES are included on a hotocoyale age (score age 4) that can e assed out to the entire ensemle or more inormation on the syllale 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 Ensemle Method Director Score (Neil A Kos Music Comany edition numer W31) Singing (or vocalizing) rhythms is an excellent ay to internalize the eel o the rhythm hile avoiding the technical rolems o the instrument It also is very helul in saving the chos Have the students sing each rhythm study until they are comortale ith it, then have them lay it on their instruments The RHYTHM STUDIES are ritten using X noteheads on the student study sheet, hich allos you to assign hatever itch you ould like or them to lay Generally, this ill e a tonic itch in a middle register Each student art includes to SUGGESTED SOLOS, hich can e erormed during the solo sections o QUE PASA, KIELBASA (ars 3950 or saxes and 516 or rass) SOLO PRACTICE TRACKS are also rovided on the CD included ith the Director Score These tracks rovide recorded rhythm section accomaniment to the solo section o QUE PASA, KIELBASA, alloing students to ractice imrovising solos in rearation or erormance Encourage students to imrovise their solos using the SUGGESTED SOLOS as models, or y using the itches o the scale notated in the grey ox aove the SUGGESTED SOLOS on the student arts Hands Comined eet Comined SUGGESTED SOLOS are notated in concert itch in the Director Score All instruments excet lute and tua generally sound in the octaves shon in the score, though occasional octave adustments occur 3 ZB405

4 4 RHYTHM STUDIES Rhythm Studies Que Pasa, Kielasa u The RHYTHM STUDIES comine vocalization (using a rhythmic syllale system) and instrumental erormance to hel develo a etter understanding o the rhythms, hrasings, and articulations used in the chart u Begin y singing the rhythm on a unison itch, aying close attention to the articulations Try to internalize the rhythm, and listen to those around you to ensure that it is hrased consistently across the entire ensemle u the rhythm on a unison itch that your director ill give to you Strive to match the eel and hrasing o the rhythm ithin your section, and ithin the entire ensemle unky Rock q = DA dut dut dut dut dut DA dut 4 3 DUT DUT DAH 4 4 dut dut DA dut DA 4 DA dut da DA da dut DUT dut 009 La olla Music Comany, Neil A Kos Music Comany This age authorized or dulication ZB405

5 SUGGESTED SOLOS 5 SUGGESTED SOLOS Que Pasa, Kielasa All excet : BLUES SCALE The solo section or QUE PASA, KIELBASA is ased on the Blues Scale E Instruments: D Blues Scale (Concert Blues) n n hole stes: B Instruments: G Blues Scale (Concert Blues) hole stes: C Instruments: Blues Scale hole stes: Instruments: C Blues Scale (Concert Blues) hole stes: n n ZB405

6 6 SUGGESTED SOLOS Que Pasa, Kielasa Suggested Solo 1 Alto Sax Tenor Sax Trumet Baritone TC Horn lute (8va) Vies Tromone Tua (8v) unky Rock q = 136 {39} or {51} Alto Sax Tenor Sax Trumet Baritone TC Horn lute (8va) Vies Tromone Tua (8v) n n n n n n N n n N n N A A n n A7 n N n n n n n n N N B 7 A B 7 A n n n n B 7 B 7 n n n n n n 009 La olla Music Comany, Neil A Kos Music Comany, Distriutor, 438 utland Drive, San Diego, Caliornia 9117 International coyright secured All rights reserved Printed in USA WARNING! The contents o this ulication are rotected y coyright la To coy or reroduce them y any method is an inringement o the coyright la Anyone ho reroduces coyrighted matter is suect to sustantial enalties and assessments or each inringement ZB405

7 SUGGESTED SOLOS 7 Que Pasa, Kielasa Suggested Solo Alto Sax Tenor Sax Trumet Baritone TC Horn lute (8va) Vies Tromone Tua (8v) {39} or {51} Alto Sax Tenor Sax Trumet Baritone TC Horn lute (8va) Vies Tromone Tua (8v) unky Rock q = n n n n n n n n A7 n n n n n B 7 B 7 n n n n n n n n n B 7 B 7 n n n n n n n n n n n n n 009 La olla Music Comany, Neil A Kos Music Comany, Distriutor, 438 utland Drive, San Diego, Caliornia 9117 International coyright secured All rights reserved Printed in USA WARNING! The contents o this ulication are rotected y coyright la To coy or reroduce them y any method is an inringement o the coyright la Anyone ho reroduces coyrighted matter is suect to sustantial enalties and assessments or each inringement ZB405

8 8 ull azz Ensemle Chart DIRECTOR: u QUE PASA, KIELBASA has to solo sections Bars are oen or saxes and oodinds, and ars 51 6 are oen or rass Students soloing may use the SUGGESTED SOLOS, or create their on solos ased on licks they kno, or ne ideas derived rom the RHYTHM STUDIES or the QUE PASA, KIELBASA chart itsel I desired, the oen solo section may e omitted entirely u Ensemle ackgrounds (solo accomaniment igures) egin at ars 39 and 51 or each resective solo section Backgrounds may e cued at the eginning o any solo chorus When more than one soloist lays, it is suggested that the ackgrounds e used to accomany alternating solo choruses, or the last chorus only The rhythm section should accomany every chorus ers should overlook ackground igures ritten in their arts hile soloing u In azz, ianists requently com to accomany and comlement the arts layed y the other memers o the ensemle Coming involves creating a rhythmically aroriate art that ollos the chord changes o the music The ritten QUE PASA, KIELBASA iano art is an examle o a comed art Advanced ianists should e encouraged to com ad li, using the ritten art as a model u ists requently com hen laying unk style music There are suggested coming rhythms in the art or QUE PASA, KIELBASA Advanced guitarists should e encouraged to com ad li, using the ritten art as a model or more inormation, reer guitarists to the age OR GUITAR ONLY exercises in the Standard o Excellence azz Ensemle Method student ook u or QUE PASA, KIELBASA, electric ass is recommended, although acoustic ass ill also ork Either acoustic or electric iano is aroriate Acoustic iano ill tyically require amliication to ensure roer alance ith the rest o the azz ensemle or more inormation, see the Standard o Excellence azz Ensemle Method Director Score REHEARSAL SUGGESTIONS: u Begin the rehearsal in a ay that reares layers minds, muscles, and instruments See age 14 o the Standard o Excellence azz Ensemle Method Director Score or seciic suggestions u Throughout the rehearsal, ocus attention on achieving a good ensemle sound The irst ste to achieving this sound is estalishment o the roer relative alance eteen instruments In general, loeritched oodinds and rass should lay at a louder dynamic level than higheritched oodinds and rass This yramid o sound concet alies to oth harmonic and melodic assages in charts An aroriate alance must also e estalished ithin the rhythm section, and eteen the rhythm section and the rest o the ensemle Use the recording attached to the QUE PASA, KIELBASA acket as a model o aroriate alances or rockstyle music u Exaggerate the crescendo rom ar 1 into ar u When the groove egins at ar 3, rehearse the rhythm section searately to ensure the temo does not rush u The irst statement o the melody is layed y the entire ensemle in ars 3 15 The dynamic is a modest mezzoorte so layers should e careul not to overlo u When the melody is harmonized eginning at ar 15, e sure the ensemle is alanced eteen the melody and harmony arts u Pay very close attention to the articulations in the ensemle at ar 7 Use Rhythm Study 1 to hel everyone hrase these together u When laying the ackgrounds at ar 39, make certain to hold the hole note in the second ar o those igures all the ay until the quarter not on the next doneat Take a reath on the quarter rest, not on the arline u Exaggerate the dynamics in ar u Listen careully to ensure good alance eteen the call and resonse igures in ars u The drum solo eginning at ar 91 should e creative, ut make certain the drummer understands his or her role as an ensemle layer also I the temo egins to rush or drag, have the drummer simliy the solo ills u Be sure to exaggerate the soter dynamic at ar 115 It ill make the crescendo to the end that much more eective ACTIVITIES OR EXCELLENCE u Have the rhythm section vam the solo section accomaniment groove eginning at ar 39 hile the saxes and oodinds imrovise collectively using itches rom the concert lues scale u Have the rhythm section vam the solo section accomaniment groove eginning at ar 51 hile the rass imrovise collectively using itches rom the concert lues scale ZB405

9 ull azz Ensemle Chart 9 or Proessor Nick Keelan, Dear riend Esteemed Colleague Director Score Arox Perormance Time 4:00 Que Pasa, Kielasa unky Rock q = n ~3} 4 n n 4 n n n n Alto Sax 4 n n n 4 Tenor Sax n 4 n n n 4 lute 4 n 4 Trumet 1 n 4 Trumet n 4 Trumet 3 n 4 Trumet 4 n n n 4 Tromone 1 4 Tromone 4 Tromone 3 4 Tromone 4 4 Horn 4 Baritone TC n 4 Tua unky Rock q = 136 ~3} 4 As Is 4 4 N As Is 4 HiHat Sticks Crash o o + Cymal Hi Tom Lo Tom 4 4 Vies 5 6 n n n red Sturm 009 La olla Music Comany, Neil A Kos Music Comany, Distriutor, 438 utland Drive, San Diego, Caliornia 9117 International coyright secured All rights reserved Printed in USA WARNING! The contents o this ulication are rotected y coyright la To coy or reroduce them y any method is an inringement o the coyright la Anyone ho reroduces coyrighted matter is suect to sustantial enalties and assessments or each inringement ZB405

10 10 ull azz Ensemle Chart 7 8 n n 9 10 n 11 1 n n Alto Sax n n n n n Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua B7 B7 n n n n n n n n n n n B7 B7 n n n n n n n n n n Vies ZB405

11 ull azz Ensemle Chart 11 Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua Vies 13 + HH Sticks + + o n n n n n n + + {15} {15} Simile Ride Cymal HiHat oot 16 n n n n n n n n n n n n n n ZB405

12 1 ull azz Ensemle Chart 19 0 n 1 n 3 4 n Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua n B7 B7 n n n n n n n n n a N N N N N N n n n n n n n n n n n n n B7 B7 Vies ZB405

13 ull azz Ensemle Chart 13 Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua Vies 5 a N N N N N N 6 ill {7} n n n n n n n n n n n {7} (choke) 8 n n n 9 n n n 30 n n n n n ill ZB405

14 14 ull azz Ensemle Chart 31 3 n n n Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua n B 7 B 7 n n n n n n n n n a N N N N N N n n n n n n n n n n n n n B7 B7 Vies ZB405

15 ull azz Ensemle Chart 15 Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua Vies a 37 N N N N N N 38 ill Oen or Solos (Sax, lute or ) Bac kgro und s on Cue {39} n n {39} HH Sticks o o ZB405

16 16 ull azz Ensemle Chart Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua 43 n B7 B7 B7 B a n N N N N n A7 a A7 N a 48 n B7 B7 B7 B o o + + Vies ZB405

17 ull azz Ensemle Chart 17 *Oen or Solos (Trumet, Tromone or Lo Brass) Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua 49 a n N N N N n 50 {51} n n n n n n {51} Bac kgro und s on Cue 5 n o + ill o Vies *(Otional: Vies can also solo here) ZB405

18 18 ull azz Ensemle Chart Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua 55 n 56 n n B7 n B7 B7 B7 B7 n n 57 n n n n n n n 58 n 59 n n n DZ n n CZ GZ DZ n CZ CZ CZ CZ 60 n n n n n B7 n B7 B7 B7 B7 Vies B7 CZ B7 ZB405

19 ull azz Ensemle Chart 19 Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua Vies 61 n 6 n n N n n n N n o + + ill {63} {63} + + n n n n n n n n n n n 65 n n n n n n n n n 66 n n n n n (4) ZB405

20 0 ull azz Ensemle Chart Alto Sax 67 n n n n n {71} 7 n n Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua Vies n n n n n N n {71} B 7 R Cym B 7 n n n n n n n n ZB405

21 ull azz Ensemle Chart 1 Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua 73 a N N N N N N 74 n n n n n n n n n n n n n n n B7 B7 77 a N N N N N N 78 ill Vies ZB405

22 ull azz Ensemle Chart Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua {79} n n {79} As Is n n 80 n n n n n n n n n n n n n n n n n n n n n n n 81 n n n n n n n 8 n n 83 n n n 84 n n n n n n n n n n n n n n n n n n n n HH Sticks o o o o (4) Vies n n ZB405

23 ull azz Ensemle Chart 3 Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua 85 n n n n n a n n n n N N n n N ( ) 86 n n 87 n a a 88 n n n n n n n n n n n n n n n n n n n n 89 n n n n a n n N N n N 90 n n (8) ill Vies n ZB405

24 Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua Vies n {91} {91} Solo Over Ensemle 9 93 n ull azz Ensemle Chart ZB405

25 Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua Vies 97 n a N N n N N 10 n n ull azz Ensemle Chart 5 ZB405

26 6 ull azz Ensemle Chart Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua {103} {103} 104 n n n n n n n n n n n n n n 107 n B7 B7 108 n n n n n n n n n n R Cym Vies ZB405

27 ull azz Ensemle Chart 7 Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua 109 a N N N N N N 110 n n n n n 111 N 11 n n n n n n n n n n B7 B7 113 a N N N N N N 114 n n n n n Dú Dú ill {115} {115} GÈ GÈ Vies ZB405

28 8 ull azz Ensemle Chart Alto Sax Tenor Sax lute Trumet 1 Trumet Trumet 3 Trumet 4 Tromone 1 Tromone Tromone 3 Tromone 4 Horn Baritone TC Tua Vies 116 n n n n n n n n n n 117 a N N N N N N 118 n n n n n Dú Dú 119 GÈ GÈ 10 Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! Que Pa sa Ki el a sa! 11 Hi Tom 1 n n ZB405