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Best of Belwin Jazz: First Year Charts Collection for Jazz Ensemble: Tuba Book

$7.95 USD
$7.95 USD
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Best of Belwin Jazz: First Year Charts Collection for Jazz Ensemble Cover Image
Best of Belwin Jazz: First Year Charts Collection for Jazz Ensemble: Tuba Book

Best of Belwin Jazz: First Year Charts Collection for Jazz Ensemble: Tuba Book

Item: 00-26923
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Description
The Best of Belwin Jazz: First Year Charts for Jazz Ensemble is a collection of twelve outstanding jazz ensemble arrangements for the young player. Each chart is written by experienced educational arrangers and composers in various styles and tempos: swing, Latin, ballad, waltz, holiday and pop.

This collection is written for full instrumentation---five saxophones, three trumpets, three trombones, and four rhythm---but is designed to sound full and complete with reduced instrumentation of three saxes, two trumpets, one trombone and three rhythm. Optional parts are available for flute, clarinet, tuba, horn in F, and baritone T.C.

The rhythm section parts offer suggestions for rhythms, piano voicings, and guitar chord frames. All solos are written out in improvised sections. The conductor's book includes full-length CD recordings of all titles.

Titles include:
"Bill Bailey, Won't You Please Come Home," "Birth of the Blues," "Embraceable You," "First Time Around," "Gospel," "Hot Chocolate," "Jazzmin Tea," "Jingle Bell Rock," "Poco Loco," "Splanky," "Sunday Morning," "TMI" This title is available in MakeMusic Cloud.

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Additional Details
Series: First Year Charts Collection for Jazz Ensemble
Publisher: Alfred Music
Page Count: 24
ISBN10: 0-7390-4608-X
ISBN13: 978-0-7390-4608-1
UPC: 038081302607
SKU: 00-26923
Instrumentation: Tuba

More about this title

Why we love this

This collection solves a genuine classroom problem: finding jazz charts that sound sophisticated without demanding advanced reading or improvisation chops. The variety of styles and tempos means you can program something for nearly every concert context, and the reduced instrumentation option lets you get a full sound even when your tuba section is smaller than ideal.

What to expect

Energetic and accessible. These charts shift between the coolness of a ballad, the bounce of a swing tune, the heat of Latin rhythms, and the joy of holiday arrangements. You'll feel like you're playing in a real jazz ensemble, not just reading exercises.

Who it's for

Tuba players in a first-year jazz ensemble who are building reading confidence and beginning to understand swing feel and jazz harmony. This collection works equally well for younger students stepping into jazz for the first time and older players joining a jazz program without prior experience.

How to get the most out of it

  • Balance your tone with the rest of the low brass. In these arrangements, the tuba anchors the bass line and defines harmonic support, so lock in with the trombone section on sustained notes and chord changes.
  • Study the rhythm section suggestions in your part. Understanding the intended piano voicing and guitar comping helps you anticipate harmonic movement, especially in the ballad and waltz charts where the walking line is more exposed.
  • In the swing and Latin figures, commit fully to the rhythmic pocket. Jazz ensemble tuba requires steady, confident articulation that keeps the rhythm section grounded; hesitation will crack the ensemble's foundation.
  • Use the written-out solo sections as a guide for phrasing and dynamics, even though they're notated improvisations. This teaches you how professionals voice lines over these specific chord progressions.

How to use it

Build a full jazz concert around these charts, mixing uptempo and slower pieces for contrast. You can also slot individual arrangements into regular band concerts to introduce audiences to contemporary jazz repertoire without overwhelming younger players.

Skills your students will build

  • Reading jazz notation and chord symbols in context
  • Maintaining steady pulse and pocket in swing, Latin, and ballad feels
  • Understanding bass line construction and harmonic function in jazz
  • Balancing written ensemble parts with rhythm section comping
  • Interpreting written-out jazz solos as models for phrasing and articulation
  • Playing with reduced and full instrumentation
  • Listening to and responding to ensemble dynamics in real time

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