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 Composer im Cielli ( 1961) has een a trumpeter, composer, and educator in Ne York City or more than 15 years Mr Cielli holds degrees rom Ne York University and the Manhattan School o Music His compositions and arrangements have een perormed y numerous student and proessional ensemles including the Stuttgard Radio Orchestra, the Airmen o Note, and the Navy Commodores Mr Cielli has released our compact discs ith his group The Ne York Nonet: Bullet Trane (SNM001), So You Say (A Records), Tunnel Vision (SNM002), and Groove Station (SNM00) He has also een active as an adudicator and clinician and is the Director o azz Ensemles at the Trinity School in Ne York City The Composition As ith all Standard o Excellence azz In Concert selections, STRAIGHT UP is designed to e played y the ull azz ensemle The chart ill, hoever, sound ull and complete hen perormed y as e as nine players: 1st and 2nd Alto Saxophones, 1st Tenor Saxophone, 1st and 2nd Trumpets, 1st Tromone,,, and The solo section o STRAIGHT UP (ars 557) is equally lexile and can e deleted entirely or repeated as necessary to accommodate multiple soloists A CD containing a demonstration recording o the chart is attached to the STRAIGHT UP acket To allo as many students as possile the opportunity to experience a azz education, STRAIGHT UP and all other Standard o Excellence azz In Concert selections include optional supplemental parts or, B, rench Horn,, and Tua The included parts are readily adaptale or other nonstandard azz ensemle instruments (Ooe, oon, E Alto, B, 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 rd Trumpet 1 th Trumpet 1 1st Tromone 1 2nd Tromone 1 rd Tromone 1 th Tromone 1 1 1 1 1 1 1 1 rench Horn 1 (rd Tromone TC) 1 Tua 1 Director Score The Contriuting Editor Dean Sorenson ( 196) is the Director o azz Studies at the University o Minnesota as ell as a proliic and highly soughtater composer, arranger, tromonist, educator, and clinician Mr Sorenson is the coauthor o the highly successul Standard o Excellence azz Ensemle Method, an innovative and comprehensive method ook or young azz ensemles The highly anticipated olloup ook, The Standard o Excellence Advanced azz Ensemle Method, as released to rave revies and continues the solid, practical techniques introduced in the irst ook He is also the author o Standard o Excellence azz Como Session, and composer o numerous pieces or concert and and azz ensemle pulished y 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 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 perorming artist or more inormation please visit deansorensonmusiccom
Rhythm Section Notation Rhythm section parts in azz ensemle charts traditionally call or a great deal o playing ad li or a student to develop the skills necessary to ill in this missing music, he or she must e exposed to appropriate, clearly notated models Such models are provided throughout STRAIGHT UP Suggested chord voicings or every chord used in the chart are provided in the guitar part and ully rittenout piano and ass parts are provided elo chord symols Players may alter the parts as long as the alterations ollo the chord changes and are stylistically compatile ith the groove estalished y the rest o the rhythm section The marking as is is used to indicate music that should e played exactly as ritten The drum part is notated on a iveline sta ith spaces representing dierent drum kit suraces: Ride Cymal or HiHat (ith Stick) Crash Cymal Snare Drum (Kick) Drum HiHat (ith oot) All grooves are completely ritten out The drummer may alter a groove as long as the alterations are stylistically compatile ith the groove estalished y the rest o the rhythm section Traditionally, the vies hold a dual unction in a azz ensemle setting Sometimes, vies unction as a melodyplaying instrument ith the saxes, trumpets, and tromones Other times, they unction as a chordplaying instrument, helping to estalish the groove ith the rest o the rhythm section In STRAIGHT UP, the vies unction exclusively as a melodyplaying instrument No chord symols appear in the vies part except during the SUGGESTED SOLOS and the open solo section o the chart; in those cases, the symols should e used to guide players in the creation o singlenote improvisations Rhythm Studies and Suggested Solos To etter 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 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 pulished y the Neil A Kos Music Company The RHYTHM STUDIES comine vocalization (using a rhythmic syllale system) and instrumental perormance to help develop a etter understanding o the rhythms, phrasings, and articulations used in the chart The RHYTHM STUDIES are included on a photocopyale page (score page ) that can e passed 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 Company edition numer W1) Singing (or vocalizing) rhythms is an excellent ay to internalize the eel o the rhythm hile avoiding the technical prolems o the instrument It also is very helpul in saving the chops Have the students sing each rhythm study until they are comortale 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 e a tonic pitch in a middle register Each student part includes to SUGGESTED SOLOS, hich can e perormed during the solo section o STRAIGHT UP (ars 15) 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 STRAIGHT UP, alloing students to practice improvising solos in preparation or perormance Encourage students to improvise their solos using the SUGGESTED SOLOS as models, or y using the pitches o the scale notated in the grey ox aove the SUGGESTED SOLOS on the student parts Hands Comined eet Comined SUGGESTED SOLOS are notated in concert pitch in the Director Score All instruments except lute and tua generally sound in the octaves shon in the score, though occasional octave adustments occur
RHYTHM STUDIES Rhythm Studies Straight Up u The RHYTHM STUDIES comine vocalization (using a rhythmic syllale system) and instrumental perormance to help develop a etter understanding o the rhythms, phrasings, and articulations used in the chart u Begin y 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 ensemle 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 ensemle 2009 La olla Music Company, Neil A Kos Music Company This page authorized or duplication
SUGGESTED SOLOS 5 SUGGESTED SOLOS Straight Up All except, Aux Percussion: BLUES SCALE The solo section or STRAIGHT UP is ased on the Blues Scale E Instruments: A Blues Scale (Concert C Blues) # hole steps: 1 1 2 1 1 2 1 2 1 1 2 1 B Instruments: D Blues Scale (Concert C Blues) # hole steps: 1 1 2 1 1 2 1 2 1 1 2 1 C Instruments: C Blues Scale # hole steps: 1 1 2 1 1 2 1 2 1 1 2 1 Instruments: G Blues Scale (Concert C Blues) # hole steps: 1 1 2 1 1 2 1 2 1 1 2 1
6 SUGGESTED SOLOS Straight Up Suggested Solo #1 Alto Sax Tenor Sax Trumpet (8va) Tromone Tua (8v) Alto Sax Tenor Sax Trumpet (8va) Tromone Tua (8v) {1} 7 Shule eel q = 12012 AË GË AË GË 8 2 9 7 B 7 E 7 A 7 A 7 50 E7 A7 D7 G7 G7 5 DÈ GÈ CÈ AË 51 6 GË 52 E A D G G 2009 La olla Music Company, Neil A Kos Music Company, Distriutor, 82 utland Drive, San Diego, CA 92117 International copyright secured All rights reserved Printed in the USA WARNING! The contents o this pulication are protected y copyright la To copy or reproduce them y any method as an inringement o the copyright la Anyone ho reproduces copyrighted matter is suect to sustantial penalties and assessments or each inringement
SUGGESTED SOLOS 7 Straight Up Suggested Solo #2 Alto Sax Tenor Sax Trumpet (8va) Tromone Tua (8v) Alto Sax Tenor Sax Trumpet (8va) Tromone Tua (8v) {1} Shule eel q = 12012 AË GË 7 AË 2 8 n n GË n n n 7 9 B 7 E 7 A 7 A 7 E7 50 A7 D7 G7 G7 5 DÈ GÈ CÈ AË 51 GË 6 52 n n n n n E A D G G 2009 La olla Music Company, Neil A Kos Music Company, Distriutor, 82 utland Drive, San Diego, CA 92117 International copyright secured All rights reserved Printed in the USA WARNING! The contents o this pulication are protected y copyright la To copy or reproduce them y any method as an inringement o the copyright la Anyone ho reproduces copyrighted matter is suect to sustantial penalties and assessments or each inringement
8 ull azz Ensemle Chart DIRECTOR: u Bars 15 o STRAIGHT UP are open or solos 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 STRAIGHT UP chart itsel I desired, the open solo section may e omitted entirely u Backgrounds (solo accompaniment igures) egin at ar 1 and may e cued at the eginning o any solo chorus When more than one soloist plays, it is suggested that the ackgrounds e used to accompany alternating solo choruses, or the last chorus only The rhythm section should accompany every chorus Players should overlook ackground igures ritten in their parts hile soloing u In azz, pianists requently comp to accompany and complement the parts played y the other memers o the ensemle Comping involves creating a rhythmically appropriate part that ollos the chord changes o the music The ritten STRAIGHT UP part is an example o a comped part Advanced pianists should e encouraged to comp ad li, using the ritten part as a model u ists requently comp hen playing shule style music There are suggested comping rhythms in the part or STRAIGHT UP Advanced guitarists should e encouraged to comp ad li, 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 Ensemle Method student ook u or STRAIGHT UP, acoustic ass is recommended although electric or even keyoard ass ill also ork Either acoustic or electric piano is appropriate Acoustic piano ill typically require ampliication to ensure proper 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 prepares players minds, muscles, and instruments See page 1 o the Standard o Excellence azz Ensemle Method Director Score or speciic suggestions u Throughout the rehearsal, ocus attention on achieving a good ensemle sound The irst step to achieving this sound is estalishment o the proper relative alance eteen instruments In general, loerpitched oodinds and rass should play at a louder dynamic level than higherpitched oodinds and rass This pyramid o sound concept applies to oth harmonic and melodic passages in charts An appropriate 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 STRAIGHT UP acket as a model o appropriate alances or shule style music u A steady tripletased groove is critical to a shule Rehearse the rhythm section separately eginning at ar 9 to estalish a steady groove u Certain igures are sometimes phrased dierently hen playing in shule styles A good example o this is the igure in the oodinds at ar 10 Play the irst note SHORT, even though it is ritten as a dotted eighth note Listen careully to the recording, and use the Rhythm Studies to get the proper eel Similar igures recur throughout the chart u When the rass enter at ar 17 they are playing a ackground role Make certain they do not cover up the saxes u Brass should crescendo all the ay into ar 25 No reaths alloed eteen ars 225 u The unison sax line at ar 55 should e careully tuned Make certain that all players are illing their horns ith air u The inal to ars must e in tempo Make certain the piano solo does not rush or drag u Accent the inal chord strongly, and hold until the director cuts it o ACTIVITIES OR EXCELLENCE u Have the rhythm section vamp the solo section accompaniment groove eginning at ar 1 hile the saxes and oodinds improvise collectively using pitches rom the concert C lues scale
ull azz Ensemle Chart 9 Director Score Approx Perormance Time :2 Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua Shule eel q =12012 1 2 # # # n n n # n n n # Shule eel q =12012 As Is n n As Is Ride Cymal HiHat oot Straight Up # n n n n 2009 La olla Music Company, Neil A Kos Music Company, Distriutor, 82 utland Drive, San Diego, Caliornia 92117 2009 La olla Music International Company, copyright Neil A Kos secured Music All Company, rights reserved Distriutor, Printed 82 in USA utland WARNING! Drive, San Diego, CA 92117 The contents o this pulication International are protected copyright y copyright secured la All To rights copy or reserved reproduce Printed them in y the any USA method WARNING! is an inringement o the copyright la The contents o Anyone this pulication ho reproduces are protected copyrighted y copyright matter la is suect To copy to or sustantial reproduce penalties them y and any assessments method an or inringement each inringement o the copyright la Anyone ho reproduces copyrighted matter is suect to sustantial penalties and assessments or each inringement n n # # # n # n () Composed y im Cielli 5 # n n n n n n
10 ull azz Ensemle Chart 6 # 7 8 ~9} 10 Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua # n n # # n # n # # A n n A n n A n n n n n Hi Tom n Lo Tom n n ~9} Û Û Û n Û Û
ull azz Ensemle Chart 11 Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua 11 n # n Û Û Û Û Û 12 1 Û Û Û Û Û 1 15 # n Û Û Û n Û Û ()
12 ull azz Ensemle Chart 16 17 # 18 N 19 20 # N N Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua n # # # # # # # n # n # n n # # n # # # n # A!7 Û G7 Û n n N N N N # # n A!7 Û G7 Û n n N N (8) (12) #
ull azz Ensemle Chart 1 Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua 21 n # # n # # # # # # # n # n # n n # # n # # # n # A!7 G7 Û Û n 22 N N N N N 2 # n # # # # n # n # n # # # # Û Û G7 # Û n # n n # 2 n {25} n n n n {25} Simile Û Simile n Simile Ensemle #
1 ull azz Ensemle Chart Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua 26 27 # n n n n Û n 28 29 A A Û 0 ()
ull azz Ensemle Chart 15 1 2 # N 5 # # N Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua n n n n Û n n # # # # # # A # n # A n # n n # # n A # # # n # A!7 G7 Û Û n n N N N N # # n A!7 G7 Û Û n n (8) #
16 ull azz Ensemle Chart Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua 6 N N N 7 # # n # # # # # # # n # n # n n # # n # # # n # A!7 G7 Û Û n n 8 N N N N N 9 # # N # N # N n # # N # N # N n n # # # # n # n # n # # # # G7 Û Û # Û # n n n # 0 n (12) Ensemle # # n
ull azz Ensemle Chart 17 Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua {1} n n GË n {1} Open or Solos Û Comp n Open or Solos Ba ckgr ound s On Cue AË n AË 2 n n n n Û n () DÈ 5 GÈ DÈ GÈ GÈ A A CÈ GÈ A Û
18 ull azz Ensemle Chart 6 AË 7 8 7 9 n 50 E7 n Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua n AË n n GË n Û n B!7 A7 n A 7 n n E7 A!7 n G7 B!7 A7 n B!7 A!7 n G7 A n n n E!7 D7 n B!7 A7 A n A!7 G7 n A!7 G7 Û Û A!7 G7 n A!7 G7 n A7 (8) A!7 G7 n
ull azz Ensemle Chart 19 Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua n n n 51 1,2, AË n AË GË n Û n # 52 Eõ Aõ Eõ Gõ Aõ Aõ Gõ Dõ Aõ Gõ Gõ G Û Û Û Û Gõ Gõ A n n Gõ To Go On 5 n n n n Gõ Û As Is n As Is n # 5 n # G A n n #
20 ull azz Ensemle Chart {55} 56 57 58 59 # Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua n {55} n n n Û n n n n n Û n A Û ()
ull azz Ensemle Chart 21 60 61 62 n 6 # N 6 n # n Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua Û n n n # # # N # n A!7 G7 Û Û n n # n # n # (8) n # N
22 ull azz Ensemle Chart Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua 65 n N # # N A!7 G7 Û Û n 66 # n # n # 67 # N # n # # # N # n A!7 G7 Û Û n n 68 N N N 69 # n # # n # # n # n n n n # # # # G7 Û Û # Û # n n n # (12) Rhythm Section N # N N
ull azz Ensemle Chart 2 70 {71} 72 7 7 # Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua n n n n n {71} Û n n n n n Û n ()
2 ull azz Ensemle Chart Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua 75 A A Û 76 77 # n n n n Û n 78 79 # # n # # # # # # A # n # A n # n n # # n A # # # n # A!7 Û Û G7 n n (8) #
ull azz Ensemle Chart 25 Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua 80 N N N N N N 81 # # n A!7 G7 Û Û n n 82 N N N 8 # # n # # # # # # # n # n # n n # # n # # # n # A!7 G7 Û Û n n 8 N N N N N (12) Ensemle #
26 ull azz Ensemle Chart Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua 85 # n n n # # # # n # # N # # n n # # # # n # n # n # # # # G7 Û Û # Û 86 n {87} # n n n n n {87} n 88 # # # n # n 89 # n n n n n n
ull azz Ensemle Chart 27 90 91 92 # 9 9 U # # U Trumpet Trumpet Tromone 1 Tromone 2 Tromone Tromone Tua # n n # # # () n n n n n n # # n # n # n # A # n n A n n A n n n n n n n Solo U U U U U n U n U U U U n U U U U n U U U Û U n U U U n U n