jazzclassicalchoralrep jazzclassicalchoralrep

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Jazz, Classical, & Choral Rep  A daily feed / log of the greatest musical repertoire from a multitude of amazing composers. DM me for suggestions!

Day 22 - "La Almeja Pequeña" By: Gordon Goodwins Big Phat Band Arranged By: Paul Baker
- Originally done by Gordon Goodwin's Big Phat Band, here's an accessible adaptation that will expand the popularity of this very exciting Latin chart. This samba is played around 90 bpm in cut-time with written or improvised solos for alto 1 and trumpet 2, and a trumpet 1 range to written G on top of the staff. It simmers nicely throughout and the percussion interludes are a blast! There are two auxiliary percussion parts, plus optional parts for expanded instrumentations. Highly recommended!

Day 21 - "Spirals of Light" By: Sean O'Loughlin
- In this musical kaleidoscope, splashes of color from the woodwinds and brass create a vibrant sound.  Syncopated rhythms and subtle dissonances add some intensity along the way.  A vivacious way to begin any concert!

Day 20 - "Sure On This Shining Night" By: Morten Lauridsen - "Sure on this shining night of starmade shadows round, kindness must watch for me this side the ground..." In this third movement of his song cycle Nocturnes, Morten Lauridsen's flowing music captures all of the beauty and wonder of James Agee's poem. Set for accompanied SATB voices (with some divisi), and now for TTBB, this is a superb composition for better choirs!

Day 19 - "Vine Street Rumble" By: Benny Carter
- Originally recorded by Count Basie in 1960, and part of Benny Carter's Kansas City Suite, this medium-up shuffle chart just feels good all the time! The sax section plays the tune in unison while the brass interjects those terrific rhythmic figures that Carter wrote so well.  A soft, tight ensemble passage swings like crazy and raises the roof when played yet again up an octave and very powerfully. The solos are for tenor saxophone and piano.

Day 18 - "Asphalt Cocktail" By: John Mackey - "“Asphalt Cocktail” is a five-minute opener, designed to shout, from the opening measure, “We’re here.” With biting trombones, blaring trumpets, and percussion dominated by cross-rhythms and back beats, it aims to capture the grit and aggression that I associate with the time I lived in New York. Picture the scariest NYC taxi ride you can imagine, with the cab skidding around turns as trucks bear down from all sides. Serve on the rocks." ~ Mackey

Day 17 - "Sleep" By: Eric Whitacre - Requested By: @mckain.geoff - This piece is best analyzed in E flat Major. The opening progression is IV, ii, vi, V, iii, IV, (vi), Vb(4); and that is all in measures 1-4 of the piece. Whitacre does not present the tonality of the piece in a traditional way, which gives us a sort of wandering feeling as there is no obvious tonic. These chords also add to the somewhat eerie, or perhaps other-worldly atmosphere that is apparent in the music. The Imperfect Cadence in these last few measures also adds to a feeling of uncertainty. Measure four mimics the same rhythm as the first four measures, with all four voice parts singing at the same time giving a lot of vertical density in the texture.

Day 16 - "Malagueña" By: Stan Kenton - As a pianist, Stan Kenton first had the piece arranged for the Sketches on Standards LP in 1956, which mostly went unnoticed at that time. After the 1960 Connie Francis version, Bill Holman's 1961 arrangement for the Stan Kenton Orchestra reimagined the song again as a fiery big band showpiece, with an even larger orchestra. Performances of this arrangement appeared on Kenton's 1962 album Adventures In Jazz and on the 1962 American TV show, Jazz Scene USA.

Day 15 - "Dusk" By: Steven Bryant - This chorale-like work captures the reflective calm of dusk - the time when night begins to settle, but the sky is still illuminated by the fiery hues of the setting sun.  A dramatic concert selection

Day 14 - "The Heavens Are Telling" By: Franz Josef Haydn - Haydn composed what is regarded as one of his greatest oratorios, The Creation, in 1797–98 with librettist Baron van Swieten. Movement no. 13 of Part 1, Die Himmel erzählen die Ehre Gottes or “The Heavens Are Telling,” is based on Psalm 19:1-3. Haydn took an interest in astronomy and the discoveries of Sir Isaac Newton and held the view that an orderly universe substantiated a belief in divine wisdom. The victory of light over darkness is implied by Haydn's use of the key of C major, as opposed to C minor, which had begun Part 1.

Day 13 - "Cottontail" By: Duke Ellington - "Cotton Tail" is a 1940 composition by Duke Ellington.[1] It is based on the rhythm changes from George Gershwin's "I Got Rhythm". The first Ellington recording (2 May 1940) is notable for the driving tenor saxophone solo by Ben Webster. Originally an instrumental, "Cotton Tail" later had lyrics written for it by Ellington. Later, more lyrics were written, based on the 1940 recording, by Jon Hendricks, and recorded by Lambert, Hendricks and Ross.

Day 12 - "Song For Lyndsay" By: Andrew Boysen Jr. - Solos for French horn, flute and an integral piano part contribute to the timeless beauty and lyricism of this moving piece.  While extremely accessible to bands at medium levels, it retains the sophistication of a much more difficult work.

Day 11 - "Ave Maria" By: Franz Biebl
- A cappella , This breathtaking twentieth-century work has been made famous by international performances of the San Francisco-based ensemble Chanticleer. Conceived in the style of the Alternatum Plainchant, the composition is available for choirs in four forms: SATB with a trio of soloists, SAATTBB with a tenor soloist and a bass soloist, SSAA, and its original TTBB voicing. Extraordinary!

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