FRONT OF THE TRAIN RYAN MEEBOER

Transcription

1 Eas Duration 3:00 B111 FRONT OF THE TRAIN EMERGING AZZ SERIES RYAN MEEBOER There's nothing like a good Latin tune or starting a conga line and there's nothing like being at the ront o that line That's hat Front o the Train is all about: a simple melod and a catch beat that anone can easil dance to Solos are included at measures 49 and 91, hoever the chord changes are simple enough (tonic to dominant) that a perormer could easil improvise using a concert inor or concert G blues scale It is vital that soloists sta ithin the eel o the chart, hether the are reading or improvising a solo Upon reaching the antina at measure 67, be sure all the melodic ideas are plaed ith balance as the are introduced to build the section to the inal solo At measure 89, the bass line is to gliss rom a high D It ould ork best i the bass plaer plas the line starting on the telth ret o the D (2nd) string, and slides the inger don the string, hitting the marked pitches at the correct time enpmusiccom Instrumentation: *Alto Sax 1 *Alto Sax 2 *Tenor Sax 1 Tenor Sax 2 tone Sax *Trumpet 1 The groove REVIEW o this piece is established b having the hole band open ONLY ith the eel and grab the audience's attention through poerul dnamics and articulations Band members need to atch that the don't over do it The opening needs to be strong, but the tone needs to also be controlled And although all instruments are not plaing in some sections, make sure the energ is kept high throughout to keep up ith the danceable beat *Trumpet 2 Trumpet 3 The bod o the chart is primaril made up o call and response lines that need to be balanced *Trombone 1 beteen sections (alto/trumpet, and tenor/trombone) Since both lines pla an equal role, the Trombone 2 balance o dnamics throughout the chart is crucial Trombone 3 Guitar *iano * Guitar *Drum Set * required instrument

2 The Writer Ran Meeboer is a music educator ho obtained his degree through the Ontario Institute or Studies in Education at the Universit o Toronto As a composer, he has ritten and arranged man pieces or students in concert and azz bands, and has also composed and arranged pieces or small universit combos As a perormer, he has had experience in man groups, including concert and stage bands, chamber choir, vocal azz ensemble, pop groups, acoustic duets, and the Hamilton based sing group, The Main Sing onnection Ran Meeboer began studing music at the age o seven through private guitar lessons During his ears in elementar and secondar school, Ran gained experience in several amilies o instruments Focusing on music education and theor (including composition and orchestration), he attended McMaster Universit to achieve his honours degree in music Ran has been commissioned b several school and communit groups throughout Ontario His orks are oten perormed at estivals and man o his pieces are ound on contest and estival lists He is equall comortable riting traditional ind music and azz, and this harmonic vocabular is present in his original orks Mr Meeboer continues riting hile teaching elementar school in Burlington, Ontario, anada lease contact the composer i ou require an urther inormation about this piece or his availabilit or commissioning ne orks and appearances ranmeeboer@enpmusiccom REVIEW ONLY Sometimes there ma be plaers ho ish to oin the band ho do not pla a standard azz band instrument (lute, clarinet, tuba, etc) Also, there ma be situations hen one o the listed required instruments is not present On our ebsite, under each piece, is a list o alternate and substitute parts that are available as a ree donload or use ith the ensemble Alternate arts There are parts or: Flute, larinet, larinet, F Horn, tone Treble le and Tuba There are substitute parts or: Alto Sax - plas Trombone 1 part Tenor Sax - plas Trombone 1 part For more inormation on the EMERGING AZZ SERIES - instrument ranges, lots o ree donloadable alternate parts, copies o the guitar/drum sheet, ull length M3s and more, please visit enpmusiccom/azz

3 Getting Started Starting a azz band can seem like a huge task You ma or ma not have an azz plaing experience and are not quite sure here to start Here are some general things to think about: Tr to have the minimum instrumentation covered, even i it means that ou do not have the instrumentation o a traditional azz band (use alternate parts i necessar) In order to arrange a chart so that it is plaable ith minimum instrumentation, sometimes the range o the 3rd trumpet/trombone is higher than the 2nd I ou have a ull band, have a stronger plaer on the 3rd part, rather than the 2nd Look over the score and select a section in hich all plaers pla (especiall a unison section) First, have the rhthm section la don the groove Next, have the horn sections sing their rhthms ith articulations Finall, have the horns pla their parts along ith the rhthm section Tr to get our band to pla ith the correct eel beore tring to conquer the notes o the entire piece azz Terms break - A brie solo passage during a cessation o the accompaniment, usuall onl one or to bars in length call and response - The perormance o musical items in alternation beteen to distinct groups o musicians or beteen a soloist and a group comping - to provide a chordal accompaniment or a soloist all o - A gliss hich alls rom the end o a chord or note la back - To pla slightl behind the beat ri - A short melodic idea hich is repeated as an accompaniment behind a soloist Traditional Set-Up Rhthm Section iano REVIEW ONLY shout chorus - a climactic chorus o a band arrangement stop time - hen the rhthm section stops plaing or part o one or more bars, hile the soloist continues unaccompanied Kno our plaers Select charts that our students ill be able to pla successull, but ill also provide a challenge so the ill not get bored easil and ill learn something ne Include dierent stles o azz music in our repertoire Guitar Tenor Alto 2 Trumpets 1 3 Trombones Saxes Alto 1 Tenor 2 4 sing eighths - a triplet subdivision eel here the irst eighth note is held longer than the second (although ritten the same) Suggested Articulations q q q - DAH - long - DIT - short - TAH - long accent q^ q q q - TUT - short accent - DAHT - long-stop - DOO-DAH - sing

4 Role o the Rhthm Section azz Stles The rhthm section (drums, bass, piano and optional guitar) is ke These plaers keep the time, provide the harmon and create the groove or each piece TIME - keeping the time stead; creating the pulse GROOVE - providing the sub-division or the stle; creating rhthmic interaction ith the band HARMONY - providing the harmonic progression or the melod or improvisation suppl the stlistic oundation lock in the groove ith the bass embellish the rhthm ith the guitar and piano REVIEW Mambo ONLY Aro-uban stle ith stress on the and o 2 straight-eighth subdivision creates the groove ith the drums provides the harmonic progression Guitar creates a harmonic groove b providing the progression, hile plaing a rhthmic groove has a delicate relationship ith the piano iano creates harmonic groove ith the guitar, but the to should not conlict ith each other uses comping rhthms Sing characterized b a triplet subdivision and uses uneven eighth notes subtle stress o beats 2 and 4 Rock relies on a solid backbeat (emphasis on beats 2 and 4) straight eighth subdivision repeated patterns Shule a cross beteen sing and rock stles b stressing the backbeat and using the triplet subdivision groove primaril created b bass and drums Samba a light, Brazilian-based stle ith stress is ON beat 3 relies on straight-eighth subdivision and a partito alto (chordal) rhthm Funk sixteenth note subdivision and sncopation, particularl in the bass beats 2 and 4 prominent in snare drum oten complex, unison lines perormed b horns Ballad a slo tempo, azz ballad los seamlessl through various subdivisions (straight-eighth, triplet, or double time) needs space; laid back eel

5 Eb Alto Sax 1,2 Bb Tenor Sax 1,2 Eb tone Sax Bb Trumpet 1 Mambo h=104 FRONT OF THE TRAIN RYAN MEEBOER Bb Trumpet 2,3 Trombone 1 Trombone 2,3 REVIEW ONLY k - - Guitar iano Guitar Û Û Û Û b Û Û D Û 7 Û Û Û Û Û Drum Set On Ride EIGHTH NOTE UBLIATIONS enpmusiccom 6 7 8

6 - - - F iano k k k k F k k k k F REVIEW ONLY ạ Gm Û Front o the Train pg 2 9 On rim or shell Û 10 Û 11 Û 12 b Û 13 Û 14 Û Û 16 b

7 k k k k k k k k - REVIEW ONLY - Gm Û Û Û Û Û Û Û Û iano b Front o the Train pg 3

8 iano % n n F On Ride - F n- F F REVIEW ONLY n n F Û n Front o the Train pg A m7( b 5) Û k Û 27 Û 28 - E b - Û 29 n n n - - n 7( b 5) Û 30 Û Í Í Í Í Í Í Í Û 9 dim7 n 31 n 32 Y

9 ḟ To oda - - i ḟ ḟ ḟ k k k k REVIEW ONLY ḟ iano Gm Û Û Û Û Û Û Û b Front o the Train pg 5

10 - - - k Solo Break 1st Time ḟ - k REVIEW ONLY Û Û Û Û Û Û Û iano b Front o the Train pg 6

11 Am k E 7 k Am k E 7 k Solo 2nd Time - - G m REVIEW ONLY iano Û Û Û Û Û Û Û Û On Ride b b Front o the Train pg 7

12 Am k E 7 - Am 1 Gm - - Gm - D 7 REVIEW ONLY Gm Û Û Û Û Gm Û Û Û iano b On Bell o Ride Front o the Train pg 8

13 2 ü E ü ü ü ü k Ṗ k k REVIEW ONLY k Ṗ k k iano Û Û Gm On Hi-Hat Front o the Train pg 9

14 k k k k REVIEW ONLY k k k k iano Front o the Train pg 10

15 k k k k k n k k k k k k k k k k REVIEW ONLY k k k k n k k k iano Front o the Train pg 11

16 Solo Em " k B 7 k E m - k k k k REVIEW ONLY iano ~~~~ ~~~~ ~~~~ ~~~~~ Gm Û On Ride 91 Û 92 Û 93 Û 94 b Gm Û 95 Û 96 Front o the Train pg 12

17 B 7 - Em B 7 E m Ṗ Ṗ REVIEW ONLY Ṗ Û Û Û Û Û Û Û Û iano b b On Bell o Ride Front o the Train pg 13

18 B 7 F DõS aõl oda F F F F F F REVIEW ONLY Û Û iano Front o the Train pg 14

19 i Alto 1, k k - k k k - k REVIEW ONLY Û Û Û Û Û Û Û Û Û iano b b On Ride Front o the Train pg 15

20 - - k k k Shout Mam - bo Shout Mam - bo Shout Mam - bo Shout Mam - bo la la la la iano Û - Shout REVIEW ONLY Mam - bo Shout - Mam - bo Û k k Û Û Û k D Û 7 Û Û Û Û Shout Mam - bo Shout Mam - bo Shout Mam - bo la la la la la b Shout Mam - bo Shout Mam - bo la Y la Front o the Train pg 16