NEW ORLEANS
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FOREWORD One of the really significant contributions of the Twentieth Century to music
. . . and
a strictly American development
. . . is
the jazz idiom.
Although authorities are not in complete agreement, many believe that this spontaneous movement had its origin in New Orleans, in the honky-tonk aniusement section of the city, centred around Basin Street.
From there,
it spread northward up the Mississippi Valley to Memphis, St. Louis, Kansas City, Chicago, and eastward to New York. During the past fifty years American jazz in its popular forms has captured the imagination of youth Modern composers, among them Ravel and
throughout the world.
Stravinsky, have not hesitated to draw upon jazz rhythms and inflections.
While the development of its counterpart in New York and other more cosmopolitan centres of the nation has attained much sophistication and refinement, New Orleans jazz has remained simple and close to the source
- of its origin. Therefore, in these collections it is the intention of the composer to present basic examples ranging from a genuine blues treatment in "New Orleans Nightfall",
through a relaxed and humorous "Dixieland
Combo" in the spirit of the early 1920's, to an intensely rhythmic, brassy impression, "Bourbon Street Saturday Night". The ten pieces of New Orleans Jazz Styles are written for pianists of intermediate level.
The composer-teacher believes that every stu-
dent's musical education should include experiences in a variety of popular stylings, including jazz, as a serious and recurring phase of his studies. The player should also be encouraged to deviate from the written notes with his own improvisations if he desires, for spontaneity is an essential ingredient of the jazz idiom. WILLIAM GILLOCK
T o Alice
Kiewit
C o nt e n t s
.... THE CONSTANT BASS . . . . . . . MARDI GRAS . . . . . . . . . . .
2
........
8
NEW
ORLEANS NIGHTFALL .
DIXIELAND COMBO
FRANKIE AND JOHNNY (Theme and Variations)
4 6
. . . . . . 10
NEW ORLEANS NIGHTFALL S O N G STYLE; SOMEWHAT FLEXIBLY 4,
FASTER. with a beat
(J= about
(d = about 54)
WILLIAM GILLOCK
160)
4 0 MCMLXV, by T h e Willis Music Co. M. Co. 957.3 (87114) W.
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Chappell & Co. Ltd., 50 New Bond Street, London, W.1 International Copyright Secured Printed in England
TEMPO I, but
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with a more pronounced beat
3
THE CONSTANT BASS STEADILY
(J
-
about 132)
5
W. M. C o . 9573
@ MCMLXV, by T h e Willis Music Co. Chappell & Co. Ltd.. 50 New Bond Street, London, W.1 International Copyright Secured Printed in England
WILLIAM GILLOCK
light staccato throughout
W. M. Co. 9573
MARDI GRAS FRENZIED
(A
WILLIAM GILLOCK = about
96)
no pedal
W. M.Co. 9573
@ MCMLXV, by T h e Willis Music Co. Chsppell & Co. Ltd., 50 New Bond Street, London, W . l International Copyright Secured Printed in England
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decreasing
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DIXIELAND COMBO WILLIAM GILLOCK UNSOPHISTICATED; in the e&ly jazz style (Jzabout 152))
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THEME AND VARIATIONS FRANKIE AND JOHNNY
Bold and Brassy
(J= about
3
W.
M.Co. 9573
WILLIAM GILLOCK
176)
VAR. I
Q MCMLXV, by T h e Willis Music Co. Chappell & Co. Ltd., 50 New Bond Street, London, W . l International Copyright Secured Printed in England
11 VAR. I1
- - - - - - - - - - - - - - - - - - - - - - - - - - - - -- - - -VAR. 111
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FIFTY NEW BOND STREET, LONDON, W.1 No. 3978
