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| louis armstrong solo transcriptions: The Louis Armstrong Collection (Songbook) Louis Armstrong, 2004-03-01 (Artist Transcriptions). The All Music Guide regards trumpet virtuoso Louis Armstrong as the most important musician in (jazz's) history. This great songbook features note-for-note transcriptions of this legend's trumpet playing on 16 songs he's famous for: Basin Street Blues * Cornet Chop Suey * Gut Bucket Blues * Hotter Than Hot * Shine * Tiger Rag * When the Saints Go Marching In * and more. Includes a bio and discography. |
| louis armstrong solo transcriptions: Louis Armstrong Plays Standards (Songbook) Louis Armstrong, 2004-03-01 (Artist Transcriptions). The All Music Guide regards trumpet virtuoso Louis Armstrong as the most important musician in (jazz's) history. This collection assembles note-for-note transcriptions of his trumpet playing on 16 fantastic standards: Ain't Misbehavin' * All of Me * Body and Soul * Hello, Dolly! * Lazy River * Mack the Knife * Stardust * and more. Includes a bio and discography. |
| louis armstrong solo transcriptions: The best of Louis Armstrong , 1964 |
| louis armstrong solo transcriptions: 25 Great Sax Solos Eric J. Morones, 2008-04-01 (Sax Instruction). From Chuck Rio and King Curtis to David Sanborn and Kenny G, take an inside look at the genesis of pop saxophone. This book/audio pack provides solo transcriptions in standard notation, lessons on how to play them, bios, equipment, photos, history, and much more. The audio features full-band demos of every sax solo in the book. Songs include: After the Love Has Gone * Deacon Blues * Just the Two of Us * Just the Way You Are * Mercy, Mercy Me * Money * Respect * Spooky * Take Five * Tequila * Yakety Sax * and more. |
| louis armstrong solo transcriptions: Swing That Music Louis Armstrong, 1993-08-22 The first autobiography of a jazz musician, Louis Armstrong's Swing That Music is a milestone in jazz literature. Armstrong wrote most of the biographical material, which is of a different nature and scope than that of his other, later autobiography, Satchmo: My Life in New Orleans (also published by Da Capo/Perseus Books Group). Satchmo covers in intimate detail Armstrong's life until his 1922 move to Chicago; but Swing That Music also covers his days on Chicago's South Side with ”King” Oliver, his courtship and marriage to Lil Hardin, his 1929 move to New York, the formation of his own band, his European tours, and his international success. One of the most earnest justifications ever written for the new style of music then called ”swing” but more broadly referred to as ”Jazz,” Swing That Music is a biography, a history, and an entertainment that really ”swings.” |
| louis armstrong solo transcriptions: Body and Soul -- the Evolution of a Tenor Saxophone Standard Eric Allen, 2016-02 Body & Soul, a song with music by Johnny Green and lyrics by Frank Eyton, Edward Heyman, and Robert Sour, was first published in 1930. It became a popular tune for jazz musicians. This volume presents transcriptions and analyses of recorded solos by Coleman Hawkins, Lester Young, Stan Getz, Sonny Rollins, John Coltrane, Dexter Gordon, Michael Brecker, and Chris Potter. With a foreword by Chris Potter. |
| louis armstrong solo transcriptions: The Original Hot Five Recordings of Louis Armstrong Gene Henry Anderson, 2007 Between 1925 and 1928 the Hot Five--the incomparable Louis Armstrong and four seasoned practitioners of the burgeoning jazz style--recorded fifty-five performances in Chicago for the OKeh label. Oddly enough, the quintet immortalized on vinyl with recent technology rarely performed as a unit in local nightspots. And yet, like other music now regarded as especially historic, their work in the studio summarized approaches of the past and set standards for the future. Remarkable both for popularity among the members of the public and for influence on contemporary musicians, these recordings helped make Satchmo a familiar household name and ultimately its bearer an adored public figure. They showcased Armstrong's genius, notably his leadership in transforming the practice of jazz as an ensemble improvisation into jazz as the art of the improvising soloist. In his study Professor Anderson--for the first time--provides a detailed account of the origins of this pioneering enterprise, relates individual pieces to existing copyright deposits, and contextualizes the music by offering a reliable timeline of Armstrong's professional activities during these years. All fifty-five pieces, moreover, are described in informed commentary [Publisher description]. |
| louis armstrong solo transcriptions: The Chuck Mangione Collection Chuck Mangione, 2003-07-01 (Artist Transcriptions). Our Artist Transcriptions book features note-for-note transcriptions for trumpet and flugelhorn for 10 hot Mangione tunes. Includes his beloved melodic jazz-pop anthem Feels So Good and: Bellavia * Chase the Clouds Away * Children of Sanchez * Doin' Everything with You * Fun and Games * Give It All You Got * Hill Where the Lord Hides * Land of Make Believe * and Peggy Hill, plus a biography. |
| louis armstrong solo transcriptions: Louis Armstrong's Hot Five and Hot Seven Recordings Brian Harker, 2011-04-02 For jazz historians, Louis Armstrong's Hot Five and Hot Seven recordings mark the first revolution in the history of a music riven by upheaval. Yet few traces of this revolution can be found in the historical record of the late 1920s, when the discs were made. Even black newspapers covered Armstrong as just one name among many, and descriptions of his playing, while laudatory, bear little resemblance to those of today. Through a careful analysis of seven seminal recordings in this compact and engaging book, author Brian Harker recaptures the perspective of Armstrong's original audience without abandoning that of today's listeners. The world of vaudeville and show business provide crucial context to his readings, revealing how the demands of making a living in a competitive environment catalyzed Armstrong's unique artistic gifts. Invoking a breadth of influences ranging from New Orleans clarinet style to Guy Lombardo, and from tap dancing to classical music, Louis Armstrong's Hot Five and Hot Seven Recordings offers bold insights, fresh anecdotes, and, ultimately, a new interpretation of Louis Armstrong and his most influential body of work. |
| louis armstrong solo transcriptions: Satchmo Gary Giddins, 2009-03-05 Gary Giddins has been called the best jazz writer in America today (Esquire). Louis Armstrong has been called the most influential jazz musician of the century. Together this auspicious pairing has resulted in Satchmo, one of the most vivid and fascinating portraits ever drawn of perhaps the greatest figure in the history of American music. Available now at a new price, this text-only edition is the authoritative introduction to Armstrong's life and art for the curious newcomer, and offers fresh insight even for the serious student of Pops. |
| louis armstrong solo transcriptions: What a Wonderful World Louis (CRT) Armstrong, 2005-02-01 Fully orchestrated XG MIDI file and sheet music for XG compatible instruments and devices including: the Clavinova digital piano * the Disklavier piano * portable keyboards. |
| louis armstrong solo transcriptions: Creating the Jazz Solo Vic Hobson, 2018-10-09 Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Until now, there has been no in-depth inquiry into what he meant when he said, “I figure singing and playing is the same,” or, “Singing was more into my blood than the trumpet.” Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played, author Vic Hobson discusses elements of music theory with a style accessible even to readers with little or no musical background. Jazz is a music that is often performed by people with limited formal musical education. Armstrong did not analyze what he played in theoretical terms. Instead, he thought about it in terms of the voices in a barbershop quartet. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz and how he used his background of singing in a quartet to develop the jazz solo has fundamental implications for the teaching of jazz history and performance today. This assertive book provides an approachable foundation for current musicians to unlock the magic and understand jazz the Louis Armstrong way. |
| louis armstrong solo transcriptions: First 50 Songs You Should Play on Ocarina HAL LEONARD CORP., 2021-11 Other Folk and Traditional Instruments |
| louis armstrong solo transcriptions: Vol. 1 How to Play Jazz for Piano: The Most Widely Used Improvisation Method on the Market!, Book & 2 CDs Luke Gillespie, 2015-07 By Jamey Aebersold, adapted by Luke Gillespie. Why should horn players have all of the fun? Now, the number one selling Jazz Improvisation book in the world has a whole new look! Introducing a new version of Jamey's world famous Volume 1: How to Play Jazz and Improvise, completely revised and specifically tailored for you by jazz pianist Luke Gillespie of the prestigious IU school of music. This edition is perfectly aligned with the original classic Sixth Edition that introduced tens of thousands of musicians to essential jazz fundamentals such as scale/chord relationships, note choices, etc. In this special edition, however, the text has been carefully edited and rewritten to speak specifically to pianists. The musical examples have been rewritten, as well, in grand staff format and include suggested left-hand and two had voicing examples to be played with the CD tracks. The first play-a-long/demonstration CD includes special stereo separations, allowing the piano to be eliminated so that the student can play along with bassist Rufus Reid and drummer Jonathan Higgins. The second CD includes the same play-a-long tracks as the first CD, but at slower practice tempos. A complete package for the beginning jazz pianist! 106 pages, spiral bound for easy opening. |
| louis armstrong solo transcriptions: The Dizzy Gillespie Collection (Songbook) Dizzy Gillespie, 2003-01-01 (Artist Transcriptions). A must for every trumpet player, this songbook features 20 newly transcribed solos from this jazz giant's long and varied career, from swing to bebop to Latin. Includes: Anthropology * Blues 'N Boogie * Con Alma * Dizzy Atmosphere * Dizzy Meets Sonny * I Can't Get Started with You * It Don't Mean a Thing (If It Ain't Got That Swing) * Jersey Bounce * Manteca * A Night in Tunisia * Salt Peanuts * Sophisticated Lady * Stardust * Stella by Starlight * Tin Tin Deo * Woodyn' You * and more. Includes an extensive biography and discography. |
| louis armstrong solo transcriptions: The Coleman Hawkins Collection (Songbook) Coleman Hawkins, 2003-12-01 (Artist Transcriptions). One of the founding fathers of jazz sax, Coleman Hawkins blazed the trail for future generations of saxophonists. This collection features note-for-note tenor sax transcriptions for 16 highlights from Hawkins' vast repertoire, including: April in Paris * Body and Soul * Flyin' Hawk * Honeysuckle Rose * The Man I Love * Mood Indigo * Picasso * Rifftide * Self Portrait (Of the Bean) * Stuffy * You'd Be So Nice to Come Home To * and more. Features a bio and a newly updated discography, complete with notes about the recordings (date, location, players, original issue info, etc.). |
| louis armstrong solo transcriptions: Don't Know Why Sheet Music Norah Jones, 2002-09-01 (Piano Vocal). This sheet music features an arrangement for piano and voice with guitar chord frames, with the melody presented in the right hand of the piano part, as well as in the vocal line. |
| louis armstrong solo transcriptions: Beginner Jazz Soloing For Trumpet Buster Birch, Tim Pettingale, 2019-07-03 In Beginner Jazz Soloing For Trumpet the art of improvisation for beginners is broken down into six steps that guide students to become confident improvisers. You will become fully equipped to improvise a solo with confidence. |
| louis armstrong solo transcriptions: The Studio Recordings of the Miles Davis Quintet, 1965-68 Keith Waters, 2011-03-11 The Second Quintet -- the Miles Davis Quintet of the mid-1960s -- was one of the most innovative and influential groups in the history of the genre. Each of the musicians who performed with Davis--saxophonist Wayne Shorter, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams--went on to a successful career as a top player. The studio recordings released by this group made profound contributions to improvisational strategies, jazz composition, and mediation between mainstream and avant-garde jazz, yet most critical attention has focused instead on live performances or the socio-cultural context of the work. Keith Waters' The Studio Recordings of the Miles Davis Quintet, 1965-68 concentrates instead on the music itself, as written, performed, and recorded. Treating six different studio recordings in depth--ESP, Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro--Waters has tracked down a host of references to and explications of Davis' work. His analysis takes into account contemporary reviews of the recordings, interviews with the five musicians, and relevant larger-scale cultural studies of the era, as well as two previously unexplored sources: the studio outtakes and Wayne Shorter's Library of Congress composition deposits. Only recently made available, the outtakes throw the master takes into relief, revealing how the musicians and producer organized and edited the material to craft a unified artistic statement for each of these albums. The author's research into the Shorter archives proves to be of even broader significance and interest, as Waters is able now to demonstrate the composer's original conception of a given piece. Waters also points out errors in the notated versions of the canonical songs as they often appear in the main sources available to musicians and scholars. An indispensible resource, The Miles Davis Quintet Studio Recordings: 1965-1968 is suited for the jazz scholar as well as for jazz musicians and aficionados of all levels. |
| louis armstrong solo transcriptions: Early Jazz Gunther Schuller, 1986 This classic study of jazz by renowned composer, conductor, and musical scholar Gunther Schuller was widely acclaimed on its first publication in 1968. The first of two volumes on the history and musical contribution of jazz, it takes us from the beginnings of jazz as a distinct musical style at the turn of the century to its first great flowering in the 1930's. Schuller explores the music of the great jazz soloists of the twenties--Jelly Roll Morton, Bix Beiderbecke, Bessie Smith, Louis Armstrong, and others--and the big bands and arrangers--Fletcher Henderson, Bennie Moten, and especially Duke Ellington--placing their music in the context of the other musical cultures and languages of the 20th century and offering original analyses of many great jazz recordings. Now reissued in paper, Early Jazz provides a musical tour of the early American jazz world for a new generation of scholars, students, and jazz fans. |
| louis armstrong solo transcriptions: Heart Full of Rhythm Ricky Riccardi, 2020-08-05 Nearly 50 years after his death, Louis Armstrong remains one of the 20th century's most iconic figures. Popular fans still appreciate his later hits such as Hello, Dolly! and What a Wonderful World, while in the jazz community, he remains venerated for his groundbreaking innovations in the 1920s. The achievements of Armstrong's middle years, however, possess some of the trumpeter's most scintillating and career-defining stories. But the story of this crucial time has never been told in depth until now. Between 1929 and 1947, Armstrong transformed himself from a little-known trumpeter in Chicago to an internationally renowned pop star, setting in motion the innovations of the Swing Era and Bebop. He had a similar effect on the art of American pop singing, waxing some of his most identifiable hits such as Jeepers Creepers and When You're Smiling. However as author Ricky Riccardi shows, this transformative era wasn't without its problems, from racist performance reviews and being held up at gunpoint by gangsters to struggling with an overworked embouchure and getting arrested for marijuana possession. Utilizing a prodigious amount of new research, Riccardi traces Armstrong's mid-career fall from grace and dramatic resurgence. Featuring never-before-published photographs and stories culled from Armstrong's personal archives, Heart Full of Rhythm tells the story of how the man called Pops became the first King of Pop. |
| louis armstrong solo transcriptions: New Orleans Trumpet Jim Thornton, 2019-02-19 |
| louis armstrong solo transcriptions: Creative Jazz Improvisation Scott Reeves, Tom Walsh, 2022-08-19 The leading textbook in jazz improvisation, Creative Jazz Improvisation, Fifth Edition represents a compendium of knowledge and practice resources for the university classroom, suitable for all musicians looking to develop and sharpen their soloing skills. Logically organized and guided by a philosophy that encourages creativity, this book presents practical advice beyond the theoretical, featuring exercises in twelve keys, ear training and keyboard drills, a comprehensive catalog of relevant songs to learn, and a wide range of solo transcriptions, each transposed for C, Bb, Eb, and bass clef instruments. Chapters highlight discussions of jazz theory - covering topics such as major scale modes, forms, chord substitutions, melodic minor modes, diminished and whole-tone modes, pentatonic scales, intervallic improvisation, free improvisation, and more - while featuring updated content throughout on the nuts and bolts of learning to improvise. New to the Fifth Edition: Co-author Tom Walsh Additional solo transcriptions featuring the work of female and Latino jazz artists A new chapter, “Odd Meters” A robust companion website featuring additional exercises, ear training, play-along tracks, tunes, call and response tracks, keyboard voicings, and transcriptions, alongside Spotify and YouTube links to many of the featured solos Rooted in an understanding that there is no one right way to learn jazz, Creative Jazz Improvisation, Fifth Edition explores the means and methods for developing one’s jazz vocabulary and improvisational techniques. |
| louis armstrong solo transcriptions: Oxford Bibliographies , |
| louis armstrong solo transcriptions: Lean on Me: A Children's Picture Book (LyricPop) Bill Withers, 2023-08-01 Bill Withers's classic anthem to friendship lives on in this moving children's picture book adaptation. Lean on me When you’re not strong And I’ll be your friend I’ll help you carry on . . . Lean on Me is an endearing children's picture book that beautifully demonstrates the power of friendship, based on Bill Withers's classic song of the same name. “Lean on Me” appeared on Withers's 1972 album Still Bill. The song reached #1 on the Billboard Hot 100 chart and ranked #208 on Rolling Stone's 500 Greatest Songs of All Time list. With Withers's lyrics and illustrations by Rachel Moss, this picture book follows four close friends through the stages of their childhood, from elementary school until their high school graduation. Withers’s classic and loving refrain serenades them as they lean arm-in-arm into adulthood. |
| louis armstrong solo transcriptions: Creating the Jazz Solo Vic Hobson, 2018-10-09 Throughout his life, Louis Armstrong tried to explain how singing with a barbershop quartet on the streets of New Orleans was foundational to his musicianship. Until now, there has been no in-depth inquiry into what he meant when he said, “I figure singing and playing is the same,” or, “Singing was more into my blood than the trumpet.” Creating the Jazz Solo: Louis Armstrong and Barbershop Harmony shows that Armstrong understood exactly the relationship between what he sang and what he played, and that he meant these comments to be taken literally: he was singing through his horn. To describe the relationship between what Armstrong sang and played, author Vic Hobson discusses elements of music theory with a style accessible even to readers with little or no musical background. Jazz is a music that is often performed by people with limited formal musical education. Armstrong did not analyze what he played in theoretical terms. Instead, he thought about it in terms of the voices in a barbershop quartet. Understanding how Armstrong, and other pioneer jazz musicians of his generation, learned to play jazz and how he used his background of singing in a quartet to develop the jazz solo has fundamental implications for the teaching of jazz history and performance today. This assertive book provides an approachable foundation for current musicians to unlock the magic and understand jazz the Louis Armstrong way. |
| louis armstrong solo transcriptions: Inside the Jazzomat Martin Pfleiderer, Jakob Abeßer Frieler, Jakob Abeßer, 2017-12 The Jazzomat Research Project takes up the challenge of jazz research in the age of digitalisation. It intends to open up a new field of analytical exploration by providing computational tools as well as a comprehensive corpus of improvisations with MeloSpyGUI and the Weimar Jazz Database. This volume presents the main concepts and approaches of the ongoing project including several case studies that demonstrate how these approaches can be included in jazz analysis in various ways. |
| louis armstrong solo transcriptions: Frank Sinatra Christmas Collection Frank Sinatra, 2008-11 (Easy Piano Personality). Easy arrangements of 14 super Christmas hits associated with the legendary crooner. Includes: Christmas Memories * The Christmas Song * Have Yourself a Merry Little Christmas * I'll Be Home for Christmas * I've Got My Love to Keep Me Warm * White Christmas * and more! |
| louis armstrong solo transcriptions: Tons of Runs for the Contemporary Pianist Andy LaVerne, 1999 A collection of keyboard runs for jazz improvization consisting of melodic motifs and phrases over a variety of chords and chord qualities. Includes chord symbols. |
| louis armstrong solo transcriptions: Playing Lead Trumpet , |
| louis armstrong solo transcriptions: The Memphis Blues ... William Christopher Handy, George A. Norton, 1913 |
| louis armstrong solo transcriptions: Selected Piano Solos, 1928-1941 Earl Hines, 2006-01-01 l + 133 pp. |
| louis armstrong solo transcriptions: Louis Armstrong James Lincoln Collier, 1985-10-10 Louis Armstrong. Satchmo. To millions of fans, he was just a great entertainer. But to jazz aficionados, he was one of the most important musicians of our times--not only a key figure in the history of jazz but a formative influence on all of 20th-century popular music. Set against the backdrop of New Orleans, Chicago, and New York during the jazz age, Collier re-creates the saga of an old-fashioned black man making it in a white world. He chronicles Armstrong's rise as a musician, his scrapes with the law, his relationships with four wives, and his frequent feuds with fellow musicians Earl Hines and Zutty Singleton. He also sheds new light on Armstrong's endless need for approval, his streak of jealousy, and perhaps most important, what some consider his betrayal of his gift as he opted for commercial success and stardom. A unique biography, knowledgeable, insightful, and packed with information, it ends with Armstrong's death in 1971 as one of the best-known figures in American entertainment. |
| louis armstrong solo transcriptions: Songs for Remembrance Robert C. Lindstrom, 1961 |
| louis armstrong solo transcriptions: The Duke Ellington Reader Duke Ellington, 1993 A collection of writings by and about Duke Ellington and his place in jazz history. |
| louis armstrong solo transcriptions: Louis Armstrong, Master of Modernism Thomas Brothers, 2014-02-03 Finalist for the 2015 Pulitzer Prize in Biography. Profoundly evocative and altogether admirable…The writing and detail are so brilliant that I found the volume revelatory. —Tim Page, Washington Post Nearly 100 years after bursting onto Chicago’s music scene under the tutelage of Joe King Oliver, Louis Armstrong is recognized as one of the most influential artists of the twentieth century. A trumpet virtuoso, seductive crooner, and consummate entertainer, Armstrong laid the foundation for the future of jazz with his stylistic innovations, but his story would be incomplete without examining how he struggled in a society seething with brutally racist ideologies, laws, and practices. Thomas Brothers picks up where he left off with the acclaimed Louis Armstrong's New Orleans, following the story of the great jazz musician into his most creatively fertile years in the 1920s and early 1930s, when Armstrong created not one but two modern musical styles. Brothers wields his own tremendous skill in making the connections between history and music accessible to everyone as Armstrong shucks and jives across the page. Through Brothers's expert ears and eyes we meet an Armstrong whose quickness and sureness, so evident in his performances, served him well in his encounters with racism while his music soared across the airwaves into homes all over America. Louis Armstrong, Master of Modernism blends cultural history, musical scholarship, and personal accounts from Armstrong's contemporaries to reveal his enduring contributions to jazz and popular music at a time when he and his bandmates couldn’t count on food or even a friendly face on their travels across the country. Thomas Brothers combines an intimate knowledge of Armstrong's life with the boldness to examine his place in such a racially charged landscape. In vivid prose and with vibrant photographs, Brothers illuminates the life and work of the man many consider to be the greatest American musician of the twentieth century. |
| louis armstrong solo transcriptions: Jazz Research Papers , 1989 |
| louis armstrong solo transcriptions: Jazz Eddie S. Meadows, 2013-10-23 Jazz: Research and Pedagogy is the third edition of an annotated bibliography to books, recordings, videos, and websites in the field of jazz. Since the publication of the 2nd edition in 1995, the quantity and quality of books on jazz research, performance, and teaching materials have increased. Although the 1995 book was the most comprehensive annotated jazz bibliography published to that date, several books on research, performance, and teaching materials were omitted. In addition, given the proliferation of new books in all jazz areas since 1995, the need for a new, comprehensive, and annotated reference book on jazz is apparent. Multiply indexed, this book will serve as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared in the field over the last decade. |
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