SKU: A0.876417

THE BACH JAZZ SONATA FROM THE 3RD MOVEMENT OF THE FLUTE/VIOLIN SONATA II IN Eb* FOR Eb INSTRUMENTS Arr. By Joe Procopio These arrangements by Joe Procopio from J.S. Bach’s Flute/Violin Sonata II in Eb are special in many ways. Firstly, it fills the need for the very best in music combining the genres of both Classical and Jazz. In addition, it is also importantly unique because it may be performed by a variety of musicians. For example, the arrangement in C may be performed by 2 or more C Instruments including Flute, Piccolo, Oboe and Violin with a small band accompaniment (Piano, Guitar, Bass, and Drums - Guitar is optional). The work may also be performed with just the Piano and/or Guitar for accompaniment. What’s more, the Rhythm Track Accompaniment is available without the solo instruments adding to the already many attributes of this music that enhance its inherent genuine global appeal. This is critical because teachers, students and musicians worldwide are constantly seeking music of the highest quality that can be skillfully presented to the public while having, at the same time, built-in qualities both pleasing to the listener and the performer alike. Bach’s melodies have certainly stood the test of time and Jazz is without question internationally popular. That makes these arrangements truly worthy of attention from people, artists and publishers throughout the world. The composer personally has had great success with this work in many major concerts including its premier performance using a Flute Choir at a Civic Center Concert held in Syracuse, NY before several thousand people who triumphed the young musicians with a standing ovation. The melody by J.S. Bach used in this work is taken from the Bach-Gesellschaft Ausgabe Band 9 and 1 Kammermusik BWV 1031- known as the complete works of Johann Sebastian Bach which was published in 46 volumes from 1851-1899. A single volume was issued in 1926. The last surviving editor of the series died in 1928, and these volumes are now public domain worldwide. They are also held in acclaim because there are no articulation or expression marks in the Gesellshaft. Therefore, the articulation and expression marks written in these arrangements by the arranger are suggestions only. Musicians may perform the works in any manner best suited to the betterment of their own performance.

SKU: HX.445275

SKU: A0.905819

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.

SKU: A0.1016782

Written for New Orleans style brass band. A funky number for lots of solos. Great for busking or a show opener. .

SKU: A0.955745

Tannenbaum, Replanted is a complete reworking of the very popular Weihnachtslied O Tannenbaum, which will even be familiar to many people from non-German-speaking countries. However, this is not an arrangement for purists, as the well-known melody in 3/4 time is presented here in a reharmonized up-tempo 4/4 time. The piece starts with a gently driving Latin-style groove and transforms to a Swing middle section, returning to the Latin groove at the end. I’ve not used a standard Latin beat here, instead a groove based loosely on the bossa nova. All the accompanying motifs in the saxes, trumpets, and trombones are drawn from the original melody.
The Outro requires your lead alto and tenor saxophone players to improvise, alternating every two measures. I’ve left it up to the players to decide who starts first. Likewise, one or both players can improvise over the final chord.
The flute part is optional, but does add a very distinctive sound over the top of the band, particularly in the quieter passages.

SKU: A0.1100228

Show Type Tune Back in 1989 I was taking an arranging course at NEC taught by George Russell (who subsequently received the Genius Grant for Lifetime Achievement). I worked on this big band arrangement for about a year. My concept was to take a Bill Evans tune and harmonize his solo for saxes within the body of the arrangement. About a week before graduation it finally came time for the class to have their work heard. I was SO excited! A big band was assembled and after a few days of classmate’s charts workshopped, George Russell fell ill, and I never got to hear my arrangement. I was devastated. It had taken me months to arrange, and hand-write the 17 parts as back then, no computers of course!So, tearfully it all went into a red folder—and eventually made its way to the bottom of a box, a box that somehow followed me throughout life. Recently concerned about doing nothing all week at family camp—I thought to myself, with my present knowledge of music notation software, why not dig up that dusty red folder and input the chart to finally hear it —32 years later? I figured if the work had any merit I could print it out and bring it to Library Band ! So. in the tiny log cabin with laptop and travel keys, I began, soon falling into what can only be described as timeless awareness—future self collaborating with inner conservatory undergrad—and dare say, I was rather impressed with her 😂 Although a few tweaks needed, the work proved nothing short of a sound effort. Tying up this life-long loose-end feels nothing short of spiritually inspired. �.

SKU: A0.774362

Arranged as a big band vocal feature (in Bb/B major), this arrangement follows a similar form to a version originally recorded by Frank Sinatra. A straight ahead chart with mostly moderate brass ranges (1st Trumpet has a couple of Db5s) and notated rhythm section parts. I hope you enjoy performing this chart and if you would like it transposed into another key, please e-mail me at brad@bemus.com.au. www.bemus.com.au.