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INTRODUCTION TEAM BRASS Repertoíre Books contain a wide variety of music in popular styles, inc1uding T.V., Film, Classics, Folk and Jazz. The Repertoíre Books have been specially designed to supplement the TEAM BRASS Tutor Seríes, and each repertoire piece is appropriate to a particular level of attainment in the corresponding TEAM BRASS Tutor. Many of the repertoire pieces are arranged for ensemble. These are basically duets, to which can be added independent (and inessential) third and fourth parts. This book inc1udes 9 such arrangements for horn trio, which may also be played as duets by omitting the lowest parto In addition, all these piecesmay be played by a mixed brass ensemble, using the relevant parts contained in the Trombone/Euphonium Supplement. Optional third and fourth parts for use with the trumpet duets, together with a conductor's score, are provided in the Supplement. Several pieces of jazz have been inc1uded, and these can be used as a basis for improvisation - hints are provided on pages 4 and 5. For ease of reading, the early jazz pieces are given a straightforward l' J. Sorne .rhythmic notation, viz. ~ ~ J rather than, say suggested rhythmic interpretations are supplied·iñ br~kets.
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The following symbol has been used to provide an immediate visual identification:
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An ensemble arrangemEmt with supplementary parts in other TEAM BRASS Repertoíre books.
There is an index of titles on page 32.
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Jazz improvisation The word 'improvisation' means that you have to make up your own music as you go along. You might have already done this, perhaps during your warm-up. One of the easiest ways, to begin with, is to make up music using a few notes only, for example:
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This is called a 'Quadratone' because it consists of only four notes G and A, which can all be played on the opeh tubing and first and second valves. The idea is to use these notes to make upsome quite short phras.es, using jazz rhythms. Here are four examples to start you off. If you're not sure of the rhythms, ask your teacher to play them first, then play them yourself by ear:
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In 'Swing' time note lengths are varied, so that r 3,
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Ex. (4) above, played with a swing, might go something. like this:
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Of course, it would rarely be printed like that - it's much too difficult to read! Not all popular music is intended to be 'swung'. Rock and Latin American rhythms, for instance, are usually played 'straight' (keeping to the printed note-lengths). It's up to you to learn to play both ways, so you can choose the style you think is right for any particular piece.
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You might now try to vary the notes, or the rhythms, until you have built up quite a large catalogue of short phrases. Sorne short phrases can be put together to make longer ones. Next, try playing your phrases over the 12·bar blues sequence below. Listen carefully to how they fit (or don't fit!) with the keyboard. Change your notes if they do not match the chords:Accompaniment lor piano or electronic keyboard on JAZZ ROCK setting.
over e Bass
When you have gained sorne confidence in your ability to improvise, try introducing it into one of the jazz pieces in this book, like When the saints go marching in, or Don't sit under the apple tree. Get together with a group of friends (for example, horn, trombone, electronic keyboard and drums), play through the piece twice, then take turns to improvise over the chord sequence. Finally, all play the piece through again to make a rousing finish. You can expand your improvisation within the key of C by adding sorne 'blues' notes. The new scale willlook like this:
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Blues notes
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You can use a mixture of scales if you wish. The really important thing is to listen to yourself in relation to the chord sequence. Sometimes your notes will grate against the chords - this is called 'dissonance' in music. Controlled dissonance is a very important part of jazz, and it takes quite a lot of experience to learn how to use it in a really effective way. To help yourself, record the 12·bar chord sequence (above) and spend many practice sessions experimenting with improvisation. ~
You will also find it helpful to listen to records of the all·time great brass jazz musicians. There are many to choose from, but one of the best was LOUIS ARMSTRONG. You will find his recordings in any reputable record shop.
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For improvisation, the chord sequence (above) may be used. The following more varied sequence will alsofit this tune:Accompaniment lor electronic keyboard on JAZZ ROCK.
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N.B. Fourth parts to horn trios can be found in the supplement to the Trombone book.
Ode to joy
LUDWIG VAN BEETHOVEN (1770-1827)
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(With anyone else but me) Words and Music by LEW BROWN, CHARLIE TOBIAS and SAM H STEPT
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Index TltIe
.Barcarolle Brass suite Coronation street Dalias Don't sit under the appIe tree· Down by the riverside Dynasty Farandole God rest ye merry, gentIemen God save the Queen He's got the whole world in his hands Introduction to 'BIue Danube' Joy to the world Kum-ba-ya LittIe brown jug Match of the day Morning has broken Neighbours Ode to joy Old Mac's jazz Over the rainbow The pink panther Pomp and circumstance march No. 4 Prometheus theme Scarborough Fair Superman (theme from) Theme from 'New World' Symphony Theme from Symphony No. 1 Trumpet march When the saints go marching in The yellow rose of Texas You only live twice
Page
11
18
22
19
8
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28
30
19
10
7
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14
10
24
31
16
20
7
12
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21
29
22
21
27
20
23
23
6
30
26
(
)
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