Robert Beasley Music

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The Jazz Combo Flex Pack is a collection of 3 original compositions
  designed with the small high school jazz program in mind. Each piece is
  playable with 1-3 horns plus rhythm section. Much more than head charts, each
  composition consists of an arranged and harmonized melody, solo backgrounds,
  and an ensemble/shout section, providing your group with all the elements of
  a big band chart in a small group setting.
    
    
    
    Coastin has a relaxed, bluesy swing feel, giving your ensemble a chance to
  really dig into the essential stylistic elements of jazz. The rhythm section
  alternates between stop time and straight ahead swing during the melody,
  allowing the horn harmonies to really shine.
    
    
    
    Moon Gazer is a modal piece featuring a mellow straight-eighth groove. The
  AABA form alternates between D minor and Ab major, allowing students to
  improvise in comfortable keys for longer stretches.
    
    
    
    Next Up is a minor, hard swinging piece in the style of Art Blakey and the
  Jazz Messengers. This piece is a great feature for your drummer, with a drum
  solo intro and an ensemble section which alternates written phrases in the
  horns with drum solos. Students can improvise successfully either by playing
  the chord changes or using a C minor pentatonic or blues scale throughout the
  form.
    
    
    
    Instrumentation:
    
    3 melodic parts (with options for C, Bb, Eb, Bass Clef, Tenor Sax, and
  Flute)
    
    Guitar
    
    Piano (with chord symbols and suggested voicings)
    
    Bass (with chord symbols and suggested bass lines)
    
    Drums

Jazz Combo Flex Pack

Jazz Combo Set of Parts

Jazz Combo Flex Pack, Vol. 2 is a collection of 3 original compositions
  designed with the small jazz program in mind. Each piece is written for 5
  horns plus rhythm section. Much more than head charts, each composition
  consists of an arranged and harmonized melody, solo backgrounds, and an
  ensemble/shout section, providing your group with all the elements of a big
  band chart in a small group setting.
    
    
    
    Bring It On alternates between a driving shuffle feel and straight ahead swing,
  offering your ensemble a chance to dig in and enhance their swing feel.
  Written in the key of F, the form is a variation on a 24-bar blues. 
    
    
    
    Slick features a bossa feel in the drums combined with an ostinato groove
  in the bass, producing an infectious feel for the melody to float over. The
  piece is in C major with each chord in the form lasting for at least 2
  measures, creating an approachable form for soloists. This piece lends itself
  well to featuring a flute player, should you have one.
    
    
    
    Sideways is a swinging F minor blues. The melody is split between higher
  and lower instruments, giving the low end of your front line a chance to
  carry the tune. 
    
    
    
    Instrumentation:
    
    5 melodic parts (with options for C, Bb, Eb, Bass Clef, Tenor Sax/Bass
  Clarinet, Horn, and Flute)
    
    Guitar
    
    Piano (with chord symbols and suggested voicings)
    
    Bass (with chord symbols and suggested bass lines)
    
    Drums

Jazz Combo Flex Pack, Vol. 2

O Holy Night is a modern take on a beautiful Christmas favorite.
  Featuring a soaring female vocal backed by lush harmonies and a flowing 3/4
  feel, this unique arrangement is sure to captivate audiences. An understated
  intro sets the stage for the vocalist. The melody builds from beginning to
  end, leading to solos from piano and trumpet. A short ensemble section brings
  the vocalist back in, rising to the pieceas high point before settling into
  a soft ending.

O Holy Night

Jazz Ensemble Score & Parts

Ensemble

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15 Melodic Duets for Intermediate Trumpet is a collection of original duets designed to provide the progressing trumpeter with captivating music that assists in developing musicality and overall trumpet capability. Melodic and rhythmic interplay between the two parts assure that both trumpeters are engaged and challenged by the music. 15 Melodic Duets is an ideal fit for both solo &amp; ensemble festivals and private lessons.

15 Melodic Duets

Trumpet Duet

O Come, O Come, Emmanuel begins with a brass quartet playing the hymn in
  its traditional format. As the melody ends, the rhythm section enters and the
  bass sets up a 5/4 groove. The melody is then restated with a modern sounding
  reharmonization, gradually building to a guitar solo. Following the guitar
  solo, multiple horn lines layer over the top of one another, from which a new
  rhythm section groove emerges. The drums solo over this groove to the end of
  the piece as horns layer back in, culminating in a climactic finish.

O Come, O Come, Emmanuel

Eleventh Hour is a medium swing with solos designated for guitar (opt. piano) and trumpet. The melody, stated by trumpet and tenor sax, sets a warm mood that builds into the solo section as ensemble parts are layered in. A sax soli and spirited shout chorus lead back to the melody which winds down for a subdued ending.

Eleventh Hour

Dusty Shoes is ideally suited for the beginning jazz ensemble. Simple yet
  swinging rhythms permeate this minor-keyed medium swing chart. The 16-bar
  melody is originally stated by trombones and low reeds before being passed
  off to the sax section in 4-part harmony with brass backgrounds. The solo
  form is an open modal section in D Dorian with the option for any member of
  the band to solo. After the solo section, saxes and brass trade phrases
  before joining forces for a brief shout chorus. Sax melody and brass
  backgrounds then come back, leading to a big finish.
    
    
    
    Optional parts are included for flute (doubling Alto 1) and horn (doubling
  Trombone 1).
    
    
    
    Bass lines and piano voicings are provided along with chord names.
    
    
    
    1st trumpet range: written E (concert D)
    
    
    
    1st trombone range: D

Dusty Shoes

The Fog Comes on Little Cat Feet is a unique, modern sounding ballad
  feature for trumpet. An ostinato pattern sets a mood
    
    of mystery and continues as the trumpet adds its melody. The mood then
  brightens as the
    
    ensemble takes over the B section. A faster tempo emerges for solos by
  trumpet and guitar,
    
    followed by a sax soli. The original tempo then returns for a final
  statement of the melody.
    
    
    
    Includes optional parts for flute, horn, and vibraphone.

The Fog Comes on Little Cat Feet

Geneva is a jazz waltz scored with rich harmonies and exciting ensemble
  moments. The piece starts with a piano solo backed by the rhythm section. The
  melody is then passed around from piano to a horn quartet in a tight,
  four-part harmony, and then to the flugelhorns with saxes providing a
  countermelody. After a tenor sax solo, a challenging, unison line leads into
  a short ensemble section and trumpet solo. An impassioned shout chorus leads
  back into the melody, where the piece winds to an end.
    
    
    
    Notes: Alto 1 doubles on soprano sax
    
    All four trumpet parts double on flugelhorn

Geneva

Friday Strut is a relaxed, medium-tempo swing piece. The melody of the A
  section is carried by the higher horns, with the lower instruments taking the
  B section. Solos occur in Tenor 1 and Trumpet 2. Soloists have the option of
  playing a written solo or improvising over the provided chord changes. After
  the solo section, high and low instruments again alternate phrases before
  joining forces for the shout section.
    
    
    
    The score is written for reduced instrumentation of 3 trumpets and 3
  trombones. Optional 4th trumpet and trombone parts are included but not
  necessary. Optional flute and horn parts are also provided.
    
    
    
    1st Trumpet range: written E (concert D)
    
    
    
    1st Trombone range: Eb

Friday Strut

Sidewalk Flowers is a beautiful feature for alto saxophone. The introduction sets a contemplative mood before the statement of the melody by the alto. The orchestration builds throughout the melody, leading to a double-time section for the alto improvisation. The band settles back into the original tempo at the bridge and the full ensemble builds to a crescendo before an alto cadenza leads the band to its final chord.

Sidewalk Flowers

Blues for Munson is a hard swinging medium blues in F. The melody is originally stated in unison by trumpet, alto, and tenor, then once again in five-part sax harmony with brass backgrounds. The solo section calls for alto and tenor solos, with solo changes provided in all parts if additional solos are desired. A call and response section between the saxes and brass builds to the shout chorus before taking the melody out.

Blues for Munson

Rosie and Roy is a lively, medium-up tune, alternating between
  straight-ahead swing on the A sections and a funky half-time feel on the B
  section. The melody starts with alto and trumpet taking the lead. The energy
  builds throughout the melody, as more parts are layered in, ultimately
  leading to the trombone solo. An angular interlude separates trombone and
  tenor sax solos. The tenor solo is a slow build, with backgrounds helping
  build intensity to the end. The shout chorus comes next, culminating in a drum
  solo, which leads the band back into the melody and a high energy ending.

Rosie and Roy

Slippy is a hard swinging, medium tempo tune in the tradition of artists
  such as Gene Harris and Ray Brown. The blues inflected melody is first played
  by trumpet and alto and then again in a full ensemble setting. The solo
  section is open over an F blues with changes provided in all parts. A sax
  soli and shout chorus lead to an exciting ensemble ending.
    
    
    
    Optional parts are included for flute and horn.

Slippy

Just Like That maintains a feel-good, relaxed swing throughout and
  provides opportunities to feature and challenge all sections of your band.
  After the full ensemble intro sets the stage, the melody is passed around
  through different parts of the group, supported by a melodic two-feel in the
  bass. The melody chorus builds in texture and intensity, leading to the solo
  section. Chord changes are provided for optional solos in Alto 1, Tenor 1,
  Trumpet 2, Trombone 1, and rhythm section. Soli sections for trombones with
  bass and then saxophones follow before building to a full ensemble section
  and a recap of the last half of the melody.
    
    
    
    1st Trumpet range: concert Ab (written Bb)
    
    
    
    1st Trombone range: F

Just Like That

All the Things You Aren't is based on the chord changes of the jazz
  standard All the Things You Are, but with a few minor variations. The intro
  plays on the intervallic ideas from Charlie Parker's famous introduction to
  All the Things You Are before breaking into a samba-esque feel. The melody is
  mainly carried by alto sax and trumpet, with the sax section and full
  ensemble taking their turns at various points. Alto sax then takes a solo,
  with backgrounds helping the soloist build to a peak at the end of the
  section. The baton passes to a soli trio of trumpet, alto, and tenor, which
  leads to an exciting full ensemble section. 
  The melody recap varies from the beginning, this time with unison
  trumpet melody interacting with a saxophone section counterline. The melody
  builds in intensity before winding down for a subdued ending.

All the Things You Aren't

Get on with It has an infectious even-eighth groove and features a tenor
  sax solo. The melody builds as it gets passed around the band, peaking at the
  end of the chorus with the full ensemble. A new groove is established to
  introduce the tenor solo. The solo builds over a vamp before returning to the
  melody chord changes with backgrounds. New ensemble material is then
  introduced, first in the lower horns, then moving to higher horns, with all
  parts then coming together for a full ensemble section before the return of
  the melody and a climactic finish.

Get on with It

Explore the art of musical expression with "20 Lyrical Etudes" by Robert Beasley. This collection, perfect for refining technique and interpretative skills, offers beautifully crafted pieces that challenge and engage. Ideal for advancing musicians, these etudes are a must-have for those looking to deepen their understanding of lyrical phrasing and - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

20 Lyrical Etudes

Trombone Book

Dive into the world of "20 Lyrical Etudes" by Robert Beasley, a collection meticulously crafted to enhance expression and technique. Ideal for intermediate musicians, these studies bridge traditional methods with captivating modern melodies, ensuring a rewarding journey through each phrase. Elevate your musical prowess and lyrical sensitivity with this essential - Note: This music is composed by humans. No human-written product description is available, limiting search visibility. The AI-assisted description is for reference only.

Trumpet Book

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