Easy Duration 2:45 B117 ROUGH OPY EMERGING AZZ SERIES RYAN MEEBOER Rough opy is an original un tune primarily made up o catchy ris and lics Although it is composed in cut time to create a laid ac, un eel, the eighth notes are to e sung This helps eep the chart nice and light Since most PREVIEW o the tune is made up o call and response igures, all the ONLY parts should e alanced throughout urthermore, many o the lics are unison patterns, so they need to e ell rehearsed and tight Also, solos have een ritten in, hoever, chord changes are provided or soloist to have an opportunity to improvise rom measures 59 to 74 and measures 8 to 90, a concert lues scale ( E # G B) can e used and rom measures 75 to 82, an E concert lues scale can e used (E G A A B D) or those ho ish to improvise a solo enpmusiccom Instrumentation: *Alto Sax 1 *Alto Sax 2 *Tenor Sax 1 Tenor Sax 2 tone Sax *Trumpet 1 *Trumpet 2 Trumpet *Tromone 1 Tromone 2 Tromone Guitar * * Guitar *Drum Set * required instrument
The Writer Ryan Meeoer is a music educator ho otained his degree through the Ontario Institute or Studies in Education at the University o Toronto As a composer, he has ritten and arranged many pieces or students in concert and azz ands, and has also composed and arranged pieces or small university comos As a perormer, he has had experience in many groups, including concert and stage ands, chamer choir, vocal azz ensemle, pop groups, acoustic duets, and the Hamilton ased sing group, The Main Sing onnection Ryan Meeoer egan studying music at the age o seven through private guitar lessons During his years in elementary and secondary school, Ryan gained experience in several amilies o instruments ocusing on music education and theory (including composition and orchestration), he attended McMaster University to achieve his honours degree in music Ryan has een commissioned y several school and community groups throughout Ontario His ors are oten perormed at estivals and many o his pieces are ound on contest and estival lists He is equally comortale riting traditional ind music and azz, and this harmonic vocaulary is present in his original ors Mr Meeoer continues riting hile teaching elementary school in Burlington, Ontario, anada Please contact the composer i you require any urther inormation aout this piece or his availaility or commissioning ne ors and appearances ryanmeeoer@enpmusiccom Sometimes there may e players ho ish to oin the and ho do not play a standard azz and instrument (lute, clarinet, tua, etc) Also, there may e situations hen one o the listed required instruments is not present On our esite, under each piece, is a list o alternate and sustitute parts that are availale as a ree donload or use ith the ensemle Alternate Parts There are parts or: lute, larinet, larinet, Horn, tone Trele le and Tua There are sustitute parts or: Alto Sax - plays Tromone 1 part Tenor Sax - plays Tromone 1 part or more inormation on the EMERGING AZZ SERIES - instrument ranges, lots o ree donloadale alternate parts, copies o the guitar/drum sheet, ull length MPs and more, please visit enpmusiccom/azz
Getting Started Starting a azz and can seem lie a huge tas You may or may not have any azz playing experience and are not quite sure here to start Here are some general things to thin aout: Try to have the minimum instrumentation covered, even i it means that you do not have the instrumentation o a traditional azz and (use alternate parts i necessary) In order to arrange a chart so that it is playale ith minimum instrumentation, sometimes the range o the rd trumpet/tromone is higher than the 2nd I you have a ull and, have a stronger player on the rd part, rather than the 2nd Loo over the score and select a section in hich all players play (especially a unison section) irst, have the rhythm section lay don the groove Next, have the horn sections sing their rhythms ith articulations inally, have the horns play their parts along ith the rhythm section Try to get your and to play ith the correct eel eore trying to conquer the notes o the entire piece azz Terms rea - A rie solo passage during a cessation o the accompaniment, usually only one or to ars in length call and response - The perormance o musical items in alternation eteen to distinct groups o musicians or eteen 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 lay ac - To play slightly ehind the eat ri - A short melodic idea hich is repeated as an accompaniment ehind a soloist Traditional Set-Up Rhythm Section shout chorus - a climactic chorus o a and arrangement stop time - hen the rhythm section stops playing or part o one or more ars, hile the soloist continues unaccompanied Kno your players Select charts that your students ill e ale to play successully, ut ill also provide a challenge so they ill not get ored easily and ill learn something ne Include dierent styles o azz music in your repertoire Guitar 2 2 1 4 Trumpets 1 Tromones Saxes Alto 1 4 sing eighths - a triplet sudivision 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
Role o the Rhythm Section azz Styles The rhythm section (drums, ass, piano and optional guitar) is ey These players eep the time, provide the harmony and create the groove or each piece TIME - eeping the time steady; creating the pulse GROOVE - providing the su-division or the style; creating rhythmic interaction ith the and HARMONY - providing the harmonic progression or the melody or improvisation supply the stylistic oundation loc in the groove ith the ass emellish the rhythm ith the guitar and piano PREVIEW Mamo ONLY Aro-uan style ith stress on the and o 2 straight-eighth sudivision creates the groove ith the drums provides the harmonic progression Guitar creates a harmonic groove y providing the progression, hile playing a rhythmic groove has a delicate relationship ith the piano creates harmonic groove ith the guitar, ut the to should not conlict ith each other uses comping rhythms Sing characterized y a triplet sudivision and uses uneven eighth notes sutle stress o eats 2 and 4 Roc relies on a solid aceat (emphasis on eats 2 and 4) straight eighth sudivision repeated patterns Shule a cross eteen sing and roc styles y stressing the aceat and using the triplet sudivision groove primarily created y ass and drums Sama a light, Brazilian-ased style ith stress is ON eat relies on straight-eighth sudivision and a partito alto (chordal) rhythm un sixteenth note sudivision and syncopation, particularly in the ass eats 2 and 4 prominent in snare drum oten complex, unison lines perormed y horns Ballad a slo tempo, azz allad los seamlessly through various sudivisions (straight-eighth, triplet, or doule time) needs space; laid ac eel
E Alto Sax 1 un, ith a it o sing h=98 q q = q e ROUGH OPY Ryan Meeoer E Alto Sax 2 B Tenor Sax 1 B Tenor Sax 2 E tone Sax B Trumpet 1 B Trumpet 2 B Trumpet Tromone 1 Tromone 2 Tromone Guitar Wah Pedal Guitar Drum Set alone - - 2 - - - - 2011 EIGHTH NOTE PUBLIATIONS enpmusiccom 6-7 - 8 9 - - losed Hi-Hat
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