Kwazulu SamKwela Style (South Africa)As an American jazz artist and educator based in South Africa since 1999, this is one in a set of pieces that reflect my musical and other experiences in this fascinating country. Kwazulu Zam was composed using a traditional South African song form called mbaquanga. Mbaquanga is a characteristic South African musical form that utilises a repeated (cyclical) 2 or 4-measure harmonic structure based on I - IV - V - I and I - IV - 1 6/4 - V - I. These progressions are the backbone of South African jazz much like the blues and its variants is to American jazz. The piece is performed in the kwela style which is based on a strong swing feel. The original meaning for kwela during less fortunate times was kwela-kwela; hurry, hurry, the police are on the way. Much like early jazz and throughout the swing period, the use of riff based playing and soloing was common. Bennie Moten´s and Count Basie´s early bands come to mind, and are just two examples of great riff based ensembles with exciting riff based soloing. Performance Tips The melodies or riffs in Kwazulu Zam must swing. Play them with a loose, relaxed feel. Really dip or slide into the notes that are marked. Intervals of a fifth or larger marked with slides should really be scooped and vocal in nature. Please note that African music and particularly South African jazz, is vocal and organic in nature. This tune is written in the Kwela/Swing style. It can also be played on a more traditional Mbaqango style. To get to know Kwela you can listen to recordings by Hugh Masekela, Darius Brubeck and Afro Cool Concept; also Paul Simon´s Graceland, for a better understanding of Mbaqango. Notes on Soloing Pay attention to the rhythm of the themes; play off rhythms found in the piece as well as playing rhythmically. The solo improvisation section at letter C should pay particular attention to the use of, and drawing from the three themes of the piece. Backgrounds and interludes can be very flexible. For example, B and C can be cued by signaling the number 1 for the background at letter B. Signal 2 for the background at C or 3 for both B and C. A closed fist indicates the last time when repeated more than once. Letters B & C can be played between solos or as a background building to the next soloist or just optionally letter C between solos. The solo background at letter C also has the option of being repeated more than once if your soloist is cooking and your rhythm section is grooving! Experiment too with dynamic shapes during repeated backgrounds that will add excitement to the background and influence the soloist. Even experiment with interchanging letters B & C as solo backgrounds. It is important to note that playing contemporary jazz phrases or licks really doesn´t work and is out of context or style of the piece. Play in the style, play rhythmically, use material from the three themes to develop and build your solo. Most importantly have fun!!! Mike RossiNombre de pages :20
Very few operas exist with the great number of popular themes that Carmen contains. Here, the strongest of melodies from this great work have been woven into a musical tapestry that will please players and audiences alike. Everyone will recognize these themes, from Habenera to March of the Toreadors. Great fun!
Creatively orchestrated at the beginning level for the first time, this arrangement of the time-honored classic allows you to capture the energy of the original on your first spring concert with the two most well-known melodies. (2:31)
The title says it all! What a smashing way to begin a concert, as the genius of Warren Barker´s scoring launches a sound that has built-in, guaranteed excitement. The timeless melodies of George and Ira Gershwin have never been better served than in this dazzling work. Very, very high octane! (2:58)
A Mozart Mix is a delightful medley of several of Mozart´s most memorable and familiar melodies from The Marriage of Figaro, Rondo Alla Turca, Alleluia, and Eine Kleine Nachtmusik. This is a wonderful piece for teaching style and music history while acquainting students with some of this composer´s best known works. Correlates to Accent on Achievement, Book 2, page 17. This title is available through SmartMusic.
Leopold Mozart wrote his Kinder Symphony (Children´s Symphony) to charm young people especially. This arrangement incorporates the two main melodies in the original symphony and reduces their length to about four minutes. As in the original, there are holes where various sounds, other than musical, should be sounded. Before playing Kinder Symphony, the sounds will need to be assigned. This will be great fun for your audiences as well as players.
The legend comes alive with Don´t Get Around Much Anymore, Do Nothin´ Till You Hear from Me, Sophisticated Lady, and It Don´t Mean a Thing (If It Ain´t Got That Swing). Timeless melodies matched with a dynamite arrangement equal an unsurpassed performance experience. One of the finest concert band medleys! (7:26)
Summertime is one of those special, memorable melodies that finds its way into everyone´s lives and is so evident of the genius that is Gershwin. Calvin Custer´s silken scoring for concert band presents a great opportunity to teach phrasing, legato and dynamic shadings, and serves as the all-important ´crowd pleaser.´ (3:10)
Summertime is one of those special, memorable melodies that finds its way into everyone´s lives and is so evident of the genius that is Gershwin®. Michael Story´s silken scoring for your concert band presents a great opportunity to teach phrasing, legato, and dynamic shadings, and serve as that all important crowd-pleaser. (2:17)
A precious few melodies written each year become standards, tunes that become so much a fabric of our lives that they live on generation after generation. Here is one of the classics from the brothers Gershwin, George and Ira. For your vocal soloist (or optional E-flat or B-flat instrumentalists), this marvelous melody from the Broadway Musical Girl Crazy will be recognized and enjoyed by your entire audience. An absolute winner! (3:18) Medium