Bebop to Rock – Horn is a large collection of stylish jazz, pop and rock style numbers, written by the experienced player and educator from…
Bebop to Rock – Horn is a large collection of stylish jazz, pop and rock style numbers, written by the experienced player and educator from Manchester, Andrew Wilson. Optional free backing tracks are available to download.
BEBOP: This lighthearted and fun piece is to be played energetically in the bebop style. The soloist can feel free to vary the articulations and add extra dynamics to add their own interpretation to the style.
UP BEAT: This lively piece is characterised by using angular chords that accompany an energetic melody which is built on the blues scale. The middle section feels more relaxed with the melody floating over more peaceful chords.
AN AMERICAN DREAM: This happy piece aims to capture the emotive and expressive style of music that is often heard in modern day films.
SUMMER SAMBA: This lighthearted melody is based on a recurring figure and is accompanied by a highly rhythmic and energetic accompaniment. The more relaxing middle section outlines the changing harmonies as it travels through many keys.
BLUES BOULEVARD: A ‘minor blues’ chord sequence accompanies this ‘smooth’ melody which is based on the melodic minor scale. The soloist can add extra emphasis to this softer style of playing to bring out the character more. The angular middle section is built on the diminished scale.
THE BIG BANDER: A grand beginning sets the scene for the opening theme which is to be played with a somewhat ‘laid back’ and relaxed swing feel inspired by the style of Count Basie. The second section uses many fp’s followed by dynamic swells.
WALTZ FOR SALLY: This piece starts with a relaxed and sustained melody over an accompanying ostinato. The melody then develops into a more improvised style where the soloist can enjoy more freedom over the ‘jazz waltz’ accompaniment.
ON LINE: A distinct ‘Gospel’ feel is the main influence in this piece. The soloist can bring out this style with the accents in the first section but adopt a more cantabile style of playing for the middle section.
THE LAST ONE TONIGHT: In this jazz ballad the melody often intensifies as it travels over the warm and changing harmonies in the accompaniment. The soloist can feel free to shape the melody expressively with lots of additional dynamics and musical embellishments that will enhance this style of music.
Previously published by Spartan Press
Former catalogue number: SP483
