sample - kjos.vo.llnwd.netkjos.vo.llnwd.net/o28/pdf/zso3_score.pdf · method book for young jazz...

Neil A. Kjos Music Company • Publisher

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Dean Sorenson (b. 1963) is the Director of Jazz Studies at the University of Minnesota as well as a prolific and highly sought-after composer, arranger, trombonist, educator, and clinician. He received his bachelor’s degree in trombone performance from the University of Minnesota and his master’s degree in jazz arranging and composition from the Eastman School of Music.

Mr. Sorenson is the co-author of the highly successful Standard of Excellence Jazz Ensemble Method, an innovative and comprehensive method book for young jazz ensembles. The highly anticipated follow-up book, The Standard of Excellence Advanced Jazz Ensemble Method, was released to rave reviews and continues the solid, practical techniques introduced in the first book. He is also the author of Standard of Excellence Jazz Combo Session, and composer of numerous pieces for concert band and jazz ensemble published by the Neil A. Kjos Music Company. As an advocate of jazz education and the expansion of the repertoire, he

continues to develop creative materials and methods to help students and teachers better understand the art form. An outstanding clinician, conductor, and soloist, he is frequently featured at festivals and conventions around the country and abroad. He also maintains a full schedule of concert and recording dates as a Yamaha performing artist.

Mr. Sorenson has composed and arranged for numerous ensembles, including the Glenn Miller Orchestra, the Airmen of Note, the United States Air Force Band, and for brass ensembles Proteus 7 and the Chestnut Brass Company. He is active as a commissioned composer and arranger for jazz ensemble, concert band, and chamber ensembles, and has also written several sacred choral pieces. Dean is a member of the International Trombone Association (ITA), the American Federation of Musicians, Local 30-73 (AFM), the Music Educator’s National Conference (MENC), Minnesota Music Educator’s Association (MMEA), the College Music Society (CMS), the American Composer’s Forum (ACF), the Twin Cities Jazz Society (TCJS), and the American String Teachers Association (ASTA). For more information please visit www.deansorensonmusic.com.

Back and Forth gets its title from the different rhythm section grooves that alternate throughout the piece. The beginning sections are a relaxed cumbia-type feel, and the bridge goes into more of a bossa-nova feel. In each case, the eighth notes should be played straight.

There is an open solo section from bars 37-45. This solo section is designed to make it easy for beginning improvisers to be successful. Violins, violas, and celli have a suggested solo written in their parts. Players can also improvise using notes from the G major scale, or just riff on open G or D strings.

8 – 1st Violin 8 – 2nd Violin 5 – Viola 5 – Cello5 – String Bass1 – Guitar1 – Piano 1 – Drum Set

1 – Percussion I: Cabasa Claves1 – Percussion II: Shaker Bongos or Congas1 – Full Conductor Score

Additional scores and parts are available.

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Back and Forth is intended to introduce students to the art of improvisation in a fun and relaxed way.

The tonal center alternates between D7 and G major chords. The G major scale can be used over the entire • chord progression. Take advantage of the open G and D strings.

Like the title says, • Back and Forth alternates between two different grooves. Both should be played with straight, not swung, eighth notes. This requires little change in phrasing and bowing from the music they are already playing.

Melodic lines are passed around liberally, giving everyone a chance to play a melody at some point.•

The solo section is playable on a single scale; players can play the provided written solo. More information • on the solo section can be found below.

Articulation and bow markings have been written in throughout the score, and I urge you and your students • to follow them carefully. This will be a great help in playing in the proper style. Also, listen carefully to the demonstration recording and use this as a model. Visit www.kjos.com and go to the Strings section of the website for a full-length recording.

Jazz performance generally requires a rhythm section made up of bass, piano, guitar, drum set, and sometimes auxiliary percussion. The bass line can be played by the double basses of the string orchestra, but you may need to look outside of the string orchestra for piano, guitar, drum set, and percussion players.

The role of the rhythm section is to provide an accompaniment groove on top of which the rest of the ensemble plays. This is especially important during solo sections, as in bars 37-45 of Back and Forth.

The rhythm section scoring for Back and Forth includes guitar, piano, drum set, percussion I, and percussion II parts. This scoring is very flexible, and can be used in many different ways. The bass line will be played by the basses in the string orchestra, and is essential to the music. Keep in mind these ideas concerning the rhythm section:

Back and Forth• can be played with string orchestra alone, without guitar, piano, drum set, or percussion. However, this orchestration will provide a very thin accompaniment groove for the solo section beginning at bar 37.

If you only have limited rhythm section players at your disposal, you may add any of them to the string • orchestra. You may add only a single part, or any combination of parts.

The ideal situation is to have all of the rhythm section parts played. If this is the case, make certain that a • good balance is achieved between the string orchestra and the rhythm section. Drum set and percussion can easily overbalance strings if the players are not sensitive to their role in the ensemble.

The rhythm section players should ideally be set up at the back of the string orchestra. The string basses will occupy their usual space in the back row. Drums and percussion can set up in the percussion section, and piano and guitar can set up near to them. This will help minimize balance issues and will allow all of the string players to hear the rhythm section.

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The solo section for Back and Forth is in bars 37-45, and can be repeated as many times as necessary to allow for many soloists. Players may use the written solo, or use notes of the G major scale if they wish to improvise a solo. If you or your students are new to improvising in this context, consider the following ideas:

Keep the environment very encouraging and positive. Remind students that improvisation is a part of their • daily lives, including activities such as deciding what to wear in the morning, or having a conversation with another person.

Collective improvisation is a terrific way to help students experiment with improvisation without feeling • isolated. Have the rhythm section, or just the basses if no other rhythm section instruments are available, vamp (repeat) the groove in the solo section and encourage ALL of the violins, violas, and celli to improvise together. As students get more comfortable, have them improvise in smaller and smaller groups until they are playing as soloists.

Have the players improvise (collectively, in small groups, or as soloists) using limited tones from the G major • scale. Consider the following sequences of tones: G/D, A/B, C/E/F #. In practice, it would work like this: have students improvise using only G and D. Once they are comfortable with G and D, they can add B and A while still using G and D. Finally, add C, E, and F# to complete all of the notes of the scale. Keep in mind that this sequence can last over one rehearsal period, or over several weeks, depending on how much time is devoted to it and how quickly the students feel comfortable improvising. DO NOT RUSH IT. Allow students to develop at their own pace and you will find that most of them will be wanting to improvise all the time before long!

Use the suggested scales and limited scale tones on the following page to help you get started. Photocopy the Solo Scale and Limited Scale Tones page and make it available to all students of the orchestra.

When performing pieces in a jazz style that include a solo section (like bars 37-45 of Back and Forth) it is important that both the conductor and the players agree on how the solo section will be played. You have the freedom to choose whom you want to solo, and how many soloists you would like to have play, but playing the solo section more than 5-6 times could get tedious for the audience and the non-soloing members of the orchestra. If you have had little or no experience with jazz soloists, here are some possible strategies for navigating the solo section:

Choose 1-6 soloists and have them each improvise a solo using pitches from the G major scale. If individual • students do not feel comfortable improvising they may play the written solo. Each soloist would play through the solo section one time.

Choose 2-4 groups of students (3-5 players per group) and have each group improvise collectively over the • solo section. Each group would play through the solo section one time.

Play the solo section two times. Violins I and II play the written solo the first time, and violas and celli play • the written solo the second time.

Encourage your students to be creative with this section. If everyone in your ensemble wishes to solo, consider programming more jazz pieces to allow everyone the opportunity to play.

While most professional jazz bands do not use a conductor, students playing jazz in a string orchestra will benefit greatly from having a conductor in front of the ensemble, just like when they play more standard repertoire. Even though the “time” or the tempo should be taken from the rhythm section, it is important for the conductor to be able to shape phrases, monitor dynamics, and keep the ensemble together. Just because you are playing jazz does not mean you can retire your baton!

Jazz is a relatively new phenomenon in the string orchestra, but is important music for students of ALL instruments to be aware of. It is a large part of who we are as Americans, and it offers students the opportunity to express themselves in ways that are not available to them when playing more standard repertoire. We want to give our students as broad a musical experience as we can, and jazz and improvisation should be a part of that palette. I hope you enjoy playing Back and Forth, and I hope that you and your students will find it fun and educational.

Dean Sorenson

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© 2008 Neil A. Kjos Music Company. This page authorized for duplication.

Improvise using the pitches from the G major scale during the solo section (bars 37-45). Please note that the first “G” in the scale for string bass is up an octave to take advantage of the open string.

If you are new to improvising, limit the scale tones you play. This will allow you to create simpler melodies quicker and encourage you to play more rhythmically.

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©2008 Neil A. Kjos Music Company, 4382 Jutland Drive, San Diego, California, 92117.International copyright secured. All rights reserved. Printed in U.S.A.

WARNING! The contents of this publication are protected by copyright law. To copy or reproduce them by any method is an infringement of the copyright law. Anyone who reproduces copyrighted matter is subject to substantial penalties and assessments for each infringement.

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Vln. II

Vla.

Vc.

S.B.

Gtr.

D. S.

Perc. I

Perc. II

Pno.

.œ jœ jœ œjœ

G

.œ jœ jœ œjœ

G

.œJœ

jœ œ jœG

.œ jœ jœ œ jœG

˙ œ œ

Œ Û Û Œ ÛG


˙ œ œ

‘


43

‘

1., 2., ...

∑

∑

∑

∑

˙ œ œ

Œ Û Û Œ Û


˙ œ œ1., 2., ...



44


To Go On...

∑

∑

∑

∑

˙ ˙

Œ Û Û Œ ÛG


˙ ˙To Go On...

œ Œ Œ œy y y œ œ œ


45


{46}

{46}

Œ œ≤

f

œ œ œ Jœ ‰

Œ œ≤

fœn œ œ

jœ ‰

œ>≥

fœ Jœ ‰ œ

≥ œ Œ

œ>≥

fœ Jœ ‰ œ

≥ œ Œ

.œf

jœ .œ jœ

JÛfÛ

JÛJÛ Û

JÛC

œœœf

˙̇̇ œœœC

.œ jœ .œ jœ

.œf

Cross-Stick

Jœ .œ Jœyx y yx y yx yx y y

œf

œ œ œ Œœ œ œ œ œ œ œ œ

46

œfœ œ œ œ œ œ œ


œ œ œ œ> œ Jœ ‰

œ œ œn œ> œjœ ‰

œ œ ‰ Jœ> œ œ Jœ ‰

œ œ ‰ Jœ> œ œ Jœ ‰

.œ jœ .œ jœ

JÛ Û

JÛJÛ Û

JÛ


.œ jœ .œ jœ

.œ Jœ .œ Jœyx y yx yx y y yx y

œ œ œ Œ œœ œ œ œ œ œ œ œ

47

œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œSAMPLE

ZSO3

14

&

&

B

?

?

&

&

?

ã

ã

ã

#

#

#

#

#

#

#

#

Vln. I

Vln. II

Vla.

Vc.

S.B.

Gtr.

D. S.

Perc. I

Perc. II

Pno.

Œ œ≤ œ œ œJœ ‰

Œ œ≤œ œ œa

jœ ‰

œ>≥œ jœ ‰ œ

≥œŒ

œ>≥œJœ ‰ œ≥ œŒ

.œ jœ .œ jœ

JÛÛ

JÛJÛ Û

JÛG

œœœ ˙̇̇ œœœ

G

.œ jœ .œ jœ

«2

«2

48

«2

œ œœœ> œ Jœ ‰

œ œœ œ> œ Jœ ‰

œ œ‰ jœ>œ œ jœ ‰

œ œ‰Jœ> œ œ Jœ ‰

.œ jœ .œ jœ

JÛÛ

JÛJÛÛ

JÛ


.œ jœ .œ jœ

49

˙ ˙

˙# ˙

Œ œ#≤œ œ œ

jœ ‰

Œ œ#≤œ œ œ

jœ ‰

.œ jœ .œ jœ

JÛÛ

JÛJÛÛ

JÛA 7

œœœ# ˙̇̇ œœœA 7

.œ jœ .œ jœ

«2

«2

50

«2

˙# ˙

w

œ œœ œ#>œ œ jœ ‰

œ œœ œ#>œ œ jœ ‰

.œ jœ .œ jœ

JÛÛ

JÛJÛÛ

JÛ

...œœœ#jœœœ ˙̇̇

.œ jœ .œ jœ

51

.œ>≥

ƒJœ œ œ Œ

.œ>≥

ƒ

jœ œ œ Œ

.œ>≥

ƒJœ œ œ ‰ Jœ

≤

.œ>≥

ƒJœ œ œ ‰ Jœ

≤

.œ>ƒ Jœ œ œ ‰ Jœ

.œ>

ƒJœ œ œ ‰ Jœ

.

.œœ>ƒ

As Is jœœœœœœ ‰

jœœ

.œ>jœ œ œ

‰ jœ

œƒ

Œ Ó.y jœ œ œ ‰ jœ

.œ Jœ œ œ ‰ Jœœ œ œ œ œ œ ‰ jœ

52

.œJœ œ œ ‰ J

œœœ œ œ œ œ œ œ œ

Œ œ≤

fœN œ œ œ œ

Œ œ≤

fœ œ œ œ œ

Jœ≥ ‰ Œ Ó

Jœ≥ ‰ Œ Ó

Jœ ‰ Œ Ó

Jœ ‰ Œ Ó

jœœ ‰ Œ Ó

jœ‰ Œ Ó

∑œ Œ Ó

œ Œ Óœ

53

œœ Œ ÓœSAMPLE

15

ZSO3

&

&

B

?

?

&

&

?

ã

ã

ã

#

#

#

#

#

#

#

#

Vln. I

Vln. II

Vla.

Vc.

S.B.

Gtr.

D. S.

Perc. I

Perc. II

Pno.

{54}

{54}

w

w

Œ œ≤

f

œ œ œ œ œ

Œ œ≤

fœ œ œ œ œ

˙F

œ œ

Œ ÛF

Û Œ ÛD 7

ŒF


˙ œ œ

œF

Œ Œ œy y y œ y

ŒF


54




˙ ˙

w

w

˙ œ œ

Œ Û Û Œ Û


˙ œ œ



55

‘





˙ œ œ

Œ ÛÛ Œ ÛG


˙ œ œ

‘

«2

56

‘

(4)

(4)



∑

∑

˙ œ œ

Œ ÛÛ Œ Û


˙ œ œ

‘

57

‘

w

w



˙ œ œ

Œ Û Û Œ ÛD 7


˙ œ œ

‘

«2

58

‘


˙ ˙

w

w

˙ œ œ

Œ Û Û Œ Û


˙ œ œ

‘

59

‘SAMPLE

ZSO3

16

&

&

B

?

?

&

&

?

ã

ã

ã

#

#

#

#

#

#

#

#

Vln. I

Vln. II

Vla.

Vc.

S.B.

Gtr.

D. S.

Perc. I

Perc. II

Pno.

.œ>≥

Jœ œ œ Œ

.œ>≥

Jœ œ œ Œ

.œ>≥

Jœ œ œ Œ

∑

∑

.

.œœ>

As Is jœœœœœœ Œ

∑

œ Œ Ó.y jœ œ œ Œ

.œ Jœ œ œ Œœ œ œ œ œ œ

60

.œJœ œ œ Œ


∑

∑

.œ> Jœ œ œ Œ

.œ>≥

Jœ œ œ Œ

.œ> Jœ œ œ Œ

∑

.

.œœ>

jœœœœœœŒ

œ Œ Ó.y jœ œ œ Œ

.œ Jœ œ œ Œœ œ œ œ œ œ

61

.œJœ œ œ Œ


ÖÜFill

∑

∑

∑

∑

∑

∑

∑

∑

∑jœ œ jœ œ œ œ


62


∑

∑

∑

∑

∑

∑

∑

∑

∑‰ œ œ œ œ œ œ œ œ


63


œ>≥

ƒœ œ ‰ Jœ

jœ ‰

œ>≥

ƒœ œ ‰

jœ jœ ‰

œ>≥

ƒœ œ ‰ Jœ

jœ ‰

œ>≥

ƒœ œ ‰ jœ jœ ‰

œ>

ƒœ œ ‰ Jœ J

œ ‰

Ûƒ

‰JÛ Œ

JÛ ‰G C G

œœœ>

ƒ‰Jœœœ Œ J

œœœ ‰G C G

œ> œ œ‰ jœ

jœ ‰

œƒ

Œ Óy œ œ ‰ jœ œ

œƒ

œ œ ‰ Jœ œœ œ œ ‰ jœ œ

64

œƒ

œ œ ‰ Jœœœ œ œ œ œ

.œ>jœ œ œ Œ

.œ> Jœ œ œ Œ

SAMPLE

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