lalto saxophone. SITTIN IN: : aD Revz Aon) REN e OT ae Volume IISITTIN’! with the alto saxophone jazz en , ensemble play-along play-along Volume II Play-Along track La Suerte de los Tontos.. On Green Dolphin Street. ‘The Rott Door Secret Love ‘Softly, As ina Morning Sunrise. Trofeo de Boles Performance Note: How to Use This Book Each arrangement hat tno CD tracks 1) Demonstration rack, The st ito saxophone parts in the mi. Listen to how your partis played by professional muscons to copy the phasing, intonation, aticulation fee style, Sectionversemble blend, ana concept 2 Play-Along track. Your part has been taken out of the mix. You ply along withthe big band. 5) See page 32 for Performance Notes 4) There be twormeasure count off lick atthe beginning ofeach play-along track GQelwia JAZZON GREEN DOLPHIN STREET or €) ALTO SaxcrHONe YS BY RES WASHINGTON ‘Arranged by DAVE WOLPE Mooeeate SWING*“ LA SUERTE DE LOS TONTOS Fortune of Fools JOHNNY RICHARDS Lot Gb ALTO SAXOPHONE Arranged 8) VIETOR LOPEZ ‘Aee0- CUBAN GadOvE —— ‘fp * eeese mcoureee * “ad ppt pg pr pe oe = = ; oe = 7 :0.6.4. CoonTROFEO DE BOLOS st Gb ALTO SAXOPHONE By CRAIG SKEFFINGTON Lan su ESP i eesare x tree2 JUMP @y WYNTON MARSALIS 46 €) ALTO SANOPHONE Amended by DAVIO BERGER Fast SWING, so fat so ght) aol)“ ALIANZA 46t Gb ALTO SANOPHONE By ERIK MORALES (ASCAP) Cann aan. LIF: > tes ret ht. a ieee i we al zr t Pte tee“This page left blank to eseist with page turns.] SECRET LOVE sar 6s Are Savon Words by PAUL FRANCIS WEBSTER Arranged by GHEG YASINITSKY Ue Toe SING aaae oo ¥ ¥ sS zeaeTHE RED DOOR By GERRY MULLIGAN and ZOOT SIMS Sor h ALt0 Saxerione varranged by WW. SCOTT RAGSDALE ‘Sune, $4) ee : —— a@ mw guild) grt) gui on? GA ua? gut hee08. 6a. Coos A a a woreou) bi faHH+ = N Wy ” ye iGREENSLEEVES 91 €b ALt0 GavcrHONe Arranged by GREG YASINITSKY SING WAL Qa 4 SSS XM‘This page left blank to assist with page turns.SOFTLY, AS INA MORNING SUNRISE es a paegeeenee eta tara ‘Srenaue caus | iy iv27 oo — = a a Bearw ‘ ‘ : eet Saget wus. aah f ol) = bith sur atau oe @ ; aan ‘To Coon, epg Fe arbi) of —— a : Sept lef tea digteee SSS ae _ =e st ek sad elf ith a a ee ee = a re = as be bee Ont GN frost ad S148 Coa it 1. et 4 é 08.8 1. Cook eas ——= a | ; | '‘This page left blank to assiat with pege turns.7 GET IT ON Words and Music by BILL CHASE $97 AL to Sascrnone nd TERRY RICHAROS Arranged by VICTOR LOPEZ inn cone plePERFORMANCE NOTES FOR ALTO SAX Playing the 1st alto chair in a big band i a challenging but very rewarding job. Here are afew tips for playing lead alto in abig band: + Focus on blend, intonation, articulation, phrasing, and playing with accurate time. In adaltion, listen to the lead trumpet and match the style, pitch, sound, and feel + Don't ever-blow on the loud dynamics because It may affect your intonation. + Listen and ft your parton top ofthe section harmony. + Ina rock or Latin style char, the eighth notes are played even, not swung, 1+ Ina rock syle arrangement chart, carefully observe the rhythmic syncopation. ‘+ Observe articulations and dynamic markings throughout the charts “+ Make sure you can hear the recording well so you can lock in your time and feel with the band. +The marcato or rooftop accent (A) is played detached but not staccato—think "daht.” + Check out each arrangement so you are prepared to handle any awkward page turns or ‘a DS. and codas. + Try recording yourself while you play along with the play-along track and see how close you can get t0 sounding like you are In the band. + Have fun being the “virtual” lead alto player! ‘There isa two-measure count-off click atthe beginning of each play-along track On Green Dolphin Street: 1) Play the unison lines in tune—fisten to the other saxes and blend. Dont over-blow. 2) For the soli sections, play the writen articulation accurately, but dont play the stacatos too shot. 3) Play a solo the second time at measure 35—you can play the written solo or adlb, Listen and learn from the demo track Lear the melody and study the chords and scales forthe chords, La Suerte de los Tontos: 1) The 6f8 meter can be tricky—-count this chart in "2." Listen to the demo track and observe the thythmical patterns and groupings inthis meter. 2) For the unigon lines, listen, blend, and match the intonation ofthe musicians onthe track. 53) Forthe solo at measure 96, try playing the written solo the frst time through, then embellish or ‘work on your improvisation on the repeat. Learn the notes of the chords and scales in the sol. Trofeo de Bolos: 1) In this Latin chart, play the eighth notes even, not swung, 2) Observe the articulation and keep the staccato notes tight and clea. 3) The marcato or rooftop accent (a) i played detached—think “dat.” 4) One of the challenges f this chart i the rhythmic syncopation. Listen, relax, and subdivide! 5) For the solo at mearure 53, play the written solo or Improvise. Notice that there is a three-chord, harmonic pattern that repeats, Learn the notes ofthe chords and improvise! Jury 1) This traditional swing style is concise and tight. Listen closely and match the articulation. 2) The solo at measure 35 can be played as written or improvised, but keep the solo in the style 3} At measure 99, play the eighth notes legato and at 109, use alight tongue for "doo, doo, doo" articulation 50 the eighth notes can swing, 4) Play with authority, The excitement comes from the accents, not from volume. Keep the feel light and drive the swing feel relentlessly.Alianza: 1) This chart goes between a Latin feel and a swing feel; however, at this tempo, this s not much difference in the eighth-note concept. 2) NB. refers to "no breath.” 3) For the solo break at measure 63, focus on playing with accurate time—always practice with a ‘metronome. The solo can be played as written or improvised. Listen to the chord progression {3s you study and lear the chords. 44) Right after the solo there is a sax sol for a few measures. Dig in and lead the section! 5) Observe the dynamics. Secret Love: 1) The marcato or rooftop accent (A) is played detached—think “dah.” 2} Play tis chart witha solid swing feel. Listen tothe demo track forthe swing concept. 5) At measure 59, the saxes have a nce soli Lead the section, but listen and blend. At measure 81, ‘the rhythm section is out, 50 focus on maintaining accurate time forthe section, 44) The tempo is much slower atthe ending of the chart—lsten carefully The Red Door: 1) Observe the key signature! Play with a solid and full sound on measure 1, but in tune. 2) The unison at measure 9 has some tricky fingerings forthe alto-—watch out for the low Csharp 108 transition. Work on that fingering soit sounds smooth 3) This chart has 2 relaxed swing feel—listen to the demo and copy the style 4) Play the solo at measure 39 as written or improvise 5) Dig into the sax sol beginning in measure 73. Keep it relaxed and swingin’. Careful ofthe page turns and the DS. al coda, Greensleeves: 1) This chart changes meters. Beginning as a jazz waltz, at measure 89 it. goes into a 44 swing, then back to the waltz at 133, 2) The waltz section should have a nice smooth flow to the phrasing, Observe the dynamics. 53) The marcato or rooftop accent (A) is played detached—think “dant.” 4) Play the solo at measure 105 as written or improvise. Learning the notes inthe chords and scales ill help you navigate through the chord progression. Softly, As in a Morning Sunrise: 1) This chart fluctuates between Latin and swing feel. Keep in mind that eighth notes are played even in Latin music, 2) The solo can be played as writen or improvised. Learn the melody from memory, then study the notes inthe chords to help improve your improvisation, 3) The swing-feel sax soi comes right out ofa drum solo in measure 111, so listen and count. 4) Watch out forthe page turns and the DS. al coda Get it On: 1) Play the eighth notes even in rock-fel char. 2) Watch out forthe syncopated rhythms and observe the articulation carefully, Accuracy Is rt 3) The sections at measures 43 and 65 are legato, 44) The drums set the tempo in measure 75. Recorded at is Recording Stutlos, Spring VA Sob banton,tngneer Featuring the eb 381 Band, at BarenBrgge, Deco, saSITTIN’ IN withthe BIG BAND, volume 11 jazz ensemble play-along Sittin In with the Big Band, Vol. IT's ‘more than a fun play-along. This book and CD combination features ten big band charts writen at the medium-difficulty level for players with some experience. It provides an opportunity to play along with 8 professional jazz ensemble and improve playing skills. As students play along and listen to the outstanding players inthe band, they will lear about blend, style, phrasing, tone, dynamics, technique, articulation, time and playing in tune. They will experience variety of styles as well, including Latin, swing, jazz waltz, ballad and rock. Also ‘unique to this series isthe availability of rhythm section books providing opportunities for drummers, pianists, guitarists and bassiss to experience all the benefits of playing along and learning. The play-along CD includes full-band recordings of each track for demonstration Purposes and an accompaniment track for playing along and study. “au. features: ‘Ten big-band charts arranged by a variety of top writers +Play-along CD with demo track + Solo improvisation opportunities + Performance tips/suggestions titles include: Alianza (On Green Dolphin Street Getiton ‘The Red Door Greensleeves Secret Love Jump Softly, Asina ace ‘Morning Sunrise losTontes __TrofeodeBolos available books ‘Alto Saxophone Piano (60668) $14.95, (30672) $16.98 Tenor Saxophone Guitar (0669) $14.95 (30673) $14.95 Trumpet Bass (20670) $14.95 (30574) $14.95 Trombone Drumset (30671) $1495 (60675) $1495 AML i eo ‘snowien » suoydoxes ony / 110A ‘puea Bia 94 ARIMA Ul JURS,