Jazz Philharmonic: Second Set: Cello Book & CD

Phillips designed this collection specifically for cellists learning to navigate jazz idiom, which means the writing respects the instrument's voice rather than forcing string players into uncomfortable territory. The progression from beginning through advanced charts gives you genuine scaffolding for a full school year or longer, and the included accompaniment CD removes the barrier of finding live rhythm sections or convincing your pianist to spend rehearsal time on jazz comping.

Stepping into a jazz club where the cello belongs. The writing swings, the tunes have character, and students discover they can make sound that feels contemporary and alive, not merely classical scaled down or adapted. Each tune invites playfulness without sacrificing musical substance.

String directors building jazz literacy in middle and high school orchestras, advanced cellists ready to improvise, and teachers seeking repertoire that honors the cello's role in small jazz ensembles rather than relegating it to accompaniment. This book works equally well for sectional study or full-group reading.

• Anchor the bass lines in the rhythm section's pocket before working ensemble unison passages; cellists often rush or drag when the harmonic foundation isn't locked.
• Record a small group of your students soloing over the accompaniment tracks, then play back the recordings during rehearsal so they hear themselves in context rather than imagining it.
• Have cellists voice the notated backgrounds first on open strings and lower positions before worrying about intonation, so they absorb the harmonic language without fussing with bow mechanics.
• Study the chord changes alongside the melody; jazz cellists need to understand what they're supporting, not just read notes.

Slot individual tunes into spring concerts alongside your classical program to show audiences the full range of your string students' musicianship, or dedicate a unit each month during a rotation through the book so jazz exploration runs parallel to standard repertoire all year. The notated solos and backgrounds make excellent student ensemble projects for small group performance.

• Comping chord changes on cello
• Reading and executing jazz articulations and swing feel
• Constructing walking bass lines and jazz accompaniment patterns
• Improvisation over chord progressions
• Playing notated solos with stylistic phrasing
• Balancing solo and ensemble roles within small groups