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BIG BAND CHARTS and OTHER MUSIC MATERIALS
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JAZZ MESSENGER
BEBOP AND BEYOND MAINSTREAM
BIG BAND CHARTS and OTHER MUSIC MATERIALS
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JAZZ IMPROVISATION
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BEBOP AND BEYOND MAINSTREAM

BIG BAND CHARTS

Music for 17 piece Big Band -

100. ABALONE STEAK (Q.N.=192) Swing all the way! Contrapuntal lines. Features saxes, alto solo, tenor solo, trpt. solo. Piece goes out shouting with full band. 1st Trpt. "B" above staff only. A real crowd pleaser! $60.

101. THE BEST KEPT SECRET (Q.N.=172) Popular chart!
Interesting line by the alto and trpt.unis.to start. Trumpet solo, alto solo. Big band tutti section - lead trpt. to "E". Final 16 builds with the help of the drums to final sustained chord. $60.

102. CAN IT BE? (Q.N.=184) Another swinger! Everyone has bebop lines to play. Trumpet and tenor sax solos. Basically a blues with a bridge. First trpt. to high "D" occasionally.
Familiar changes in this piece!$60.

103. STRAWBERRY SHORTCAKE (Q.N.=205) Basie-like straight ahead swing. This one is guaranteed to get the joint jumpin'! Trombone, trpt. and tenor sax solos. $50.

104. HIDEAWAY BLUES (Q.N.=108) Walkin' in a minor groove.
Maynard Ferguson styled minor blues. Trumpets get a workout!
Chart needs a kicking drummer! $60.

105. JUST LIKE THAT! (Q.N.=160) Happy up tempo rockin' blues. Tenor solo, piano solo. Recorded by Louis Bellson on the "Breaktrough" album with Pete Christlieb as soloist.
Lead trpt. to high "F" on last note otherwise "C" on the chart. $50.

106. LES BROWN'S IN TOWN (Q.N.=162) Medium swing.
Features nice sax section phrases. A tribute to the great LES BROWN sound! Tenor sax, trpt. and piano solos. $50.

107. STEP DOWN PLEASE (Q.N.=140) Basie-like shuffle.
A happy gospel/blues flavored 16 bar romp for your "hot" tenor sax player. Plenty of room for other soloists. $50.

108. THE INDY "500" (Q.N.=184) An epic of a piece!
5/4 feel on the vamp but most of the chart in 3/4 medium swing. Kentonish saxes with powerful brass ensemble section. Tenor sax solo. This is a concert piece. $85.

Vocal Charts With Big Band -

Music for 8 Piece Band -

Symphonic Scores -

JAZZ IMPROVISATION

by PAUL SORENSEN

INTRODUCTION

To begin improvising on a given set of chord changes, it is necessary to be proficient on all the major scales and minor scales, including "pure" or "natural" minor, melodic minor and harmonic minor. There are just slight variations among the three types of minor having to do with the 6th and 7th degrees, however very important in our choice of which one to use.

A basic knowledge of triads and intervalic nomenclature is recommended. We work mainly with 4 note chords, usually with 5 or 6 note structures on the V ( five ) or dominant seventh chord.

To improvise a solo is to take the listener on a journey through melodic and harmonic invention from point "A" to point "B". The more knowledge one has of the harmonic grid we will be traveling through, the velocity or speed we will travel, and the options available of altitude, ( whether ground level or quite high up ), will help us determine an interesting path ( flight plan ) for us to follow. In music academic circles this would be called "form". It is a good thing to have some sort of plan or "form" in mind, no matter how simple the form might be.

After all, we could just play one or two notes and hold them a long time!Listeners would become very bored though, I suspect. To make a solo interesting we have to vary the contents. I should add at this point, that studying the minature piano compositions of J.S. Bach - the "Inventions", will help the student of musical form and improvisation considerably.

Most music is composed of scale passages in combination with various intervals. The length of tones should vary also, as in our speech where we pause or linger on the important words. The good soloist mixes up his short note values with his long note values in a number of ways.

Normally we are working with moving eighth notes, we might pause on a dotted quarter note before moving on to land on a long tone. Leaving space between musical statements is a refreshing idea. Change of direction ( up now, rather than down ) with the notes is good.A rhythmic figure derived from the language of jazz is good, possibly repeating over and over in a sequential pattern. Sustained sound versus always moving around is good. What I refer to as a "Landing Tone" is an important concept to keep in mind. In other words being aware of where you are eventually going to end up and "land" ( quit moving around ), is important. It is always a good thing to wrap up your solo with a positive "Landing", no matter how simple or complex it may be, as the ear of the listener wants to know that you the soloist, were intentional in bringing your solo to a conclusion.

 

Composition and Arranging Techniques -

Sorensen Sound Music Publications