MMEA Central District - Jr. Jazz Audition Music. Quabbin Blues

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Milo Hicks
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1 r. azz Audition Music This iece has been commissioned by the or the exclusive use o district schools articiating in the 202 junior jazz auditions. Teachers o auditioning schools may rint and coy these arts as needed to accommodate those students interested in auditioning rom their school. It may not be used by any ensemble not articiating in this years district audition rocess. This includes the coying or sharing o ritten music and accoanying audio iles that extend beyond student rearation or Central District auditions. When this years auditions are over, all rights to this song return to e Bolduc, and ermission ould be needed or this iece to be coied ater that date. Teachers may retain a master set o this iece (or this digital ile) ith the understanding that this iece may be reused by the as art o a three year cycle o original ieces seciically coosed or this urose. This iece is not intended or ublic erormance, and may not be used ithout the exress ritten consent o e Bolduc (jabolduc@aol.com; ). Note: We are trying something ne, hoing to save districts rom having to ay money each year or audition materials. Please act in good aith ith regards to using it or its intended urose. It is understood that you may use this iece ithin your jazz curriculum to teach song orm, irov. styles, etc. on to o just rearing kids or auditions. Hoever, only schools ho traditionally articiate in jazz auditions should be coying or sharing these iles. Michael Morel, Simon Harding, e Bolduc

2 These ieces ere created so all articiating students can ork on the same iece hile rearing to audition or a sot in District azz Band. Within the ull score, each art as created to also serve as a stand alone test o skill necessary or accetance into that ensemble. Be very seciic ith articulations and dynamic markings. The advantage o correlating the audition arts into one ensemble iece is that teachers can no rehearse and reare multile students at the same time instead o rearing nine searate ieces. The orry, hoever, is that by racticing as a ull band, the individual arts may get lost in the mix. ltimately, the individual arts ill be auditioned not in relation to any other art ithin the ensemble but as a stand alone iece. Teachers should make sure to reare each individual articiant beyond ull ensemble sessions. is a slo sing tune in F Blues orm or the main melody, ith a bridge o 8 bars that take the chords outside o blues orm. The sing articulations ritten throughout the iece accenting the ubeats and lightening u on the donbeats should be a key ocus o student rearation. Hereʼs the ay the audition ould ork: Students ill lay the ritten scale to start their audition. Winds Play measures through meas. 2 as ritten. On the d.s., students may choose to irovise, reeat the melody as ritten, or erhas add embellishments to the existing melody as they see it. This leads to the ʻʼ ater meas. 6. Students could continue to irovise through the coda, or lay as ritten until the ermata in meas. 29. Rhythm section Play the ritten arts throughout. When reeating on the d.s. until the coda, iano, guitar, and bass have the choice to irovise, or co on the changes. All auditions ill be erormed ith an accoaniment CD hen in the audition room. Rehearsal suggestions: This iece may also be used as art o an F Blues irov lesson or any azz Band. The included counterline allos or one student to irovise hile other inds lay the accoaniment material. You can reeat back to the d.s. rom meas. 6 as oten as needed to allo everyone a chance to solo, then move onto 7, the d.s., and then the coda as ritten. The melody has also been included on the guitar and iano arts to give those layers insight into the actual tune they are accoanying. Solo tis: Students amiliar ith F Blues orm and the F blues scale should eel comortable soloing over the changes rom 5 through 6. From meas. 7 through 2 ay close attention to the changes, hich go outside o the traditional IIVV blues rogression, but not really out o the key. Meas in articular need secial care as they use a stotime aroach to soloing leaving the soloist very exosed in beteen the rhythm section os.

3 Alto Sax Tenor Sax Bari. Sax Truet Trombone # # b b Sing F Dominant 7 Scale.. n... Piano bb b b. m. Guitar Bass Drum Set bb b b /.. ~

4 2 Alto Sax # Slo Sing Tenor Sax Bari. Sax Tt. Tbn. # b b Counter Bb Counter Piano Guit. Bass Drums j # m b b n b b n n n b b b m Bb /B Dmi b b F.. n b n n n bn b b n n m m F B /B D 7 n n b m / m m n n

5 Alto Sax Tenor Sax Bari. Sax Tt. Tbn. Counter Bb Counter Piano Guit. Bass Drums 5 5 # s m b j. b n n m #. n n n # j m b j. b n n m b b. b b n n 8r. n n n # m j Ó b j Ó n Ó b b b Ó n Ó Ó B 7 8r j j b b j b b n j. b b b b V V + V V + V V + V V V b b / ill

6 9 #. n n # n # n n # # Alto Sax Tenor Sax Bari. Sax Tt. Tbn. Counter Bb Counter Piano Guit. Bass Drums #. n n # n # n n # #. b b # # n n bn # b b bb V V V V V V V V V V V + V V V b b B 7 8r. b b # n # n bn #. b b b bn n b n b b b b n b b b b b n j b b b n j / b n n n b

7 Alto Sax Tenor Sax Bari. Sax Tt. Tbn. Counter Bb Counter Piano Guit. Bass Drums # # # b n n n j # n n b b bb # b n n n m m m m B 7 # b n b n # b n b n n b n b n # j Ó b Ó b b n Ó b Ó bb n j æ n b j j æ b b n b m / m m m 8r ~~~~~~ ~~~~~~ ~~~~~~ ~~~~~~ ~~~~~~ 5 i # n n # n b m m # n b m # n b m n b b n j j n b b j æ j b æ n b b V V V V V V V V V V + V V +

8 6 7 7 # n# # # n n Alto Sax Tenor Sax Bari. Sax Tt. Tbn. Counter Bb Counter Piano Guit. Bass Drums # n# # # n n b. n n. j bn # # b n b b n b b. bn n n b b b b n 8r B 7 B 7 8r b. n n. j bn # # b n b b n j Ó b b Ó b b /A /D b n Ó b b n n b b Ó b b b V V V Ó V V V + V V b b Ó Ó b / j

9 Alto Sax Tenor Sax Bari. Sax Tt. Tbn. Counter Bb Counter Piano Guit. 2 # #. Ó j # # ~~~~~ m ~~~~~ m m m m m m m E 7 ~~~~~ ~~~~~ b b ~~~~~. Ó j # # b b V V V V V n B 7 G 7 E 7 8r d.s.al coda. Ó j # #. Ó j # #. Ó j n n b n # n # b b b n n b n b b Eb7 b b n b b Gmi7 Eb7 n n b n æ æ 7 Bass Drums b b / m m d.s.al coda

10 8 27 #i.. # n # # n # # # Alto Sax Tenor Sax Bari. Sax Tt. Tbn. Counter Bb Counter Piano Guit. Bass Drums #.. # n # # n # #.. # n # # n # # # n # b b.. n b n n b n n nb n b b 8r B 7.. # n # # n # # # n # # Ó Ó b b b n n Ó Ó bb b b bb / j b b /B #9 b j n m m m b Ó Ó n Ó Ó V V V V Ó Ó + j j n Ó Ó m Ó Y æ Ó m m 8r

11 Alto Sax 7 # # D 8 #/F# 2 Sing m Slo Sing F Dominant 7 Scale. # # # G E7/G# A7 Bmi E7 A7 m A7 7 A7 m 5 s. n n n. n n # n # n n n # ~~~~~~ A7 n # # # b i # n n # n ~~~~~ # n A7 /B. n n# #. n n Emi7 A7 d.s. al coda Ó j # # i # E7/G# 27 A7#9.. # n # # n # # # b

12 2 Alto Sax OPT. CONTERLINE Slo Sing 7 2 # 5 s # Ó m m n Ó # # Ó j n # # i 7 n # Ó n Ó n # n Ó 9 # n # # n # m d.s. al coda i # 27 n # # Ó Ó m

13 Tenor Sax Sing F Dominant 7 Scale. n Slo Sing G C A7/C# Emi A7 5 s b j. b n n m. b b # n # n b n # # b n b n /B ~~~~~~ # nb m 7 j bn # # b n i /E 20. bb n ~~~~~ Ó m. j # # Ami7 d.s. al coda i A7/C# 27 #9.. # n # # n # # #

14 2 Tenor Sax OPT. CONTERLINE Slo Sing j 5 s # j Ó b j Ó m m m n Ó j b n b # j Ó b Ó 7 i # nb j Ó b n # n # d.s. al coda 27 i n # # Ó Ó m

15 Bari. Sax Sing #. F Dominant 7 Scale Slo Sing # D G E7/G# A7 Bmi E7 A7 5 s. n n n # j m #. n n # n # n 8 # A7 n # # # b 2 A7 n n j # n n n ~~~~~~ m i #7 A7 /F# n# # # n n b. n n 7 2 m A7 /B #. Emi7 A7 Ó j # # ~~~~~ 27 A7#9 i # E7/G#.. # n # # n # # d.s. al coda

16 2 Bari. Sax OPT. CONTERLINE # 7 2 Slo Sing # 5 s jó n jó m m # # Ó j n # # i n # 7 Ó n Ó n # n 8 # Ó n # # n # m d.s. al coda i # 27 n # # Ó Ó m

17 Truet Sing F Dominant 7 Scale. Slo Sing G C A7/C# Emi A7 5 s. b j b n n m. b b # # n n b n # # b n b n m /B ~~~~~~ # n b m 7 j bn # # b n. bb n ~~~~~ Ó. j # # Ami7 i A7/C# 27 #9.. # n # # n # # # n # i /E d.s. al coda

18 2 OPT. CONTERLINE 8 9 Slo Sing 5 s j # j Ó b j Ó m m m n Ó j b n b # j Ó b Ó i 7 # nb j Ó b n # n # Truet d.s. al coda 27 i n # # Ó Ó m

19 Trombone b b 7 b b Sing 8 2 Slo Sing m F Dominant 7 Scale. F b bn b b m 7 m 5 Bb /B Dmi s. b b n. b b b n b b b n b b b b b b /A ~~~~~~ n Eb7 i ~~~~~ n b b n n n n b b i /D b bn n. Gmi7 Eb7 Ó j n n /B n b n n b 27 #9.. n b n n nb n b b. b n d.s. al coda

20 2 Trombone OPT. CONTERLINE Slo Sing b b 5 s n Ó b Ó 7 2 m b bn Ó j b n b b 7 i b n Ó b b Ó nb Ó m 9 b b b n n b n m d.s. al coda i b b 27 b n n Ó Ó m

21 Guitar 5 0 b b b b m F B /B 8r B 7 8r bb i Sing Slo Sing 5 b bs... E 7 8r F Dominant 7 Scale 8r 8r 8r D 7... n n n m 8r B 7 B 7 B 7 B 7 d.s. al coda B 7 G 7 E 7 V V + V V + V V + V V V V V V V b b V V V V V V V + V V V V V V V V V V V V V + V V + V V V Ó V V V b b + V V V V V V V n. b B 7 8r i b b 27 V V V V Ó Ó + 8r

22 2 Guitar OPT. MELODY Slo Sing b b F Bb 5 s /B Dmi b j. b n n j m bb. b b n n b b 8 b b b n n n 2 b n b n ~~~~~~ m b b n b b 6 i 7 j bn n n b b /A /D b b. Eb7 Gmi7 Eb7 ~~~~~. b b n Ó j n n 20 m d.s. al coda i b b /B n b n 27 #9. nb. n n nb n

23 Bass Sing b b F Dominant 7 Scale. Slo Sing F b b m Bb /B Dmi n n b m n 5 s b b b b b b b b b n n b i 7 /A Ó /D d.s. al coda Eb7 Gmi7 Eb7 Ó b m i /B 27 #9 b b j j n Ó Ó m

24 Piano b b Sing b b Slo Sing.. b b F Bb /B Dmi.. n n b n n bn n m b b n n 5 m F Dominant 7 Scale m b bs j b b n j. b b b b b <b b n j n j æ n b j j æ b b bn j j æ j b æ b b bb 7 /A i n j j n m b n Ó b b n n Ó /D V.S.

25 2 OPT. MELODY Slo Sing F Bb Eb7 20 b b Gmi7 Eb7 <b b b n n n m b n æ b b b æ i b b /B 27 #9 j b b b b n Ó Ó m b b j n Ó Ó /B Dmi m m m Gmi7 d.s. al coda 5 bb s b j. m b n n j 8 b b. b b n n b b b b b n n n b 7 /A b b n b n ~~~~~~ n b b j bn n n b b b b. Eb7. b b n Ó j n n ~~~~~ /B i b b n b n 27 Piano Eb7 #9. nb. n n nb n /D i d.s. al coda

26 Drum Set F Dominant 7 Scale 5 / / Sing Slo Sing ~ m m m 5 s ill / / / / i 7 j d.s. al coda i 27 / Ó Ó æy m

Preview Only. Legal Use Requires Purchase. There Is No Greater Love. Words and Music by MARTY SYMES and ISHAM JONES Arranged by ERIC RICHARDS

Preview Only. Legal Use Requires Purchase. There Is No Greater Love. Words and Music by MARTY SYMES and ISHAM JONES Arranged by ERIC RICHARDS There Is No Greater Love Words and Music by MARTY SYMES and ISHAM JONES Arranged by ERIC RICHARDS Conductor 1st Eb Alto Saxohone 2nd Eb Alto Saxohone 1st Bb Tenor Saxohone 2nd Bb Tenor Saxohone Eb Baritone