These etudes build on the elements introduced in Artie Shaw's Jazz Technic, Book One and provide exercises for tongue and fingers, with an additional emphasis on phrasing. They are written in various styles and changes of key and tempo to assist the player in developing a smooth, melodic style of improvising.

These etudes build on the elements introduced in Artie Shaw's Jazz Technic, Book One and provide exercises for tongue and fingers, with an additional emphasis on phrasing. They are written in various styles and changes of key and tempo to assist the player in developing a smooth, melodic style of improvising.

This volume is planned as a sequel to Book One or any other of the various elementary and intermediate books. A definite order of study has been worked out to give the student a thorough knowledge of major and minor keys along with many necessary rhythmic figures and fingering problems of the clarinet. The material is progressive and is written so that the student will not read the works at sight but rather will need to study each portion for mastery.

(Instrumental Jazz). This book, written by Benny Goodman himself, has been out of print for many years. It teaches the beginning student clarinet tone, style, technique and musicianship. It covers such basics as assembling and tuning the clarinet, proper position, scales, expression and many exercises. Features 11 tunes and includes a biography of his career up to 1940.

The exercises in this book are designed to help students learn the scales, articulations, technic, and style necessary to play clarinet in the jazz idiom, particularly in the Big Band or swing styles.

The exercises in this book are designed to help students learn the scales, articulations, technic, and style necessary to play in the jazz idiom, particularly in the Big Band or swing styles.

Here is the book jazz lovers have eagerly awaited, the second volume of Gunther Schuller's monumental The History of Jazz. When the first volume, Early Jazz, appeared two decades ago, it immediately established itself as one of the seminal works on American music. Nat Hentoff called it "a remarkable breakthrough in musical analysis of jazz," and Frank Conroy, in The New York Times Book Review, praised it as "definitive.... A remarkable book by any standard...unparalleled in the literature of jazz." It has been universally recognized as the basic musical analysis of jazz from its beginnings until 1933. The Swing Era focuses on that extraordinary period in American musical history--1933 to 1945--when jazz was synonymous with America's popular music, its social dances and musical entertainment. The book's thorough scholarship, critical perceptions, and great love and respect for jazz puts this well-remembered era of American music into new and revealing perspective. It examines how the arrangements of Fletcher Henderson and Eddie Sauter--whom Schuller equates with Richard Strauss as "a master of harmonic modulation"--contributed to Benny Goodman's finest work...how Duke Ellington used the highly individualistic trombone trio of Joe "Tricky Sam" Nanton, Juan Tizol, and Lawrence Brown to enrich his elegant compositions...how Billie Holiday developed her horn-like instrumental approach to singing...and how the seminal compositions and arrangements of the long-forgotten John Nesbitt helped shape Swing Era styles through their influence on Gene Gifford and the famous Casa Loma Orchestra. Schuller also provides serious reappraisals of such often neglected jazz figures as Cab Calloway, Henry "Red" Allen, Horace Henderson, Pee Wee Russell, and Joe Mooney. Much of the book's focus is on the famous swing bands of the time, which were the essence of the Swing Era. There are the great black bands--Duke Ellington, Count Basie, Jimmie Lunceford, Earl Hines, Andy Kirk, and the often superb but little known "territory bands"--and popular white bands like Benny Goodman, Tommy Dorsie, Artie Shaw, and Woody Herman, plus the first serious critical assessment of that most famous of Swing Era bandleaders, Glenn Miller. There are incisive portraits of the great musical soloists--such as Art Tatum, Teddy Wilson, Coleman Hawkins, Lester Young, Bunny Berigan, and Jack Teagarden--and such singers as Billie Holiday, Frank Sinatra, Peggy Lee, and Helen Forest.

Best known for the "dead-ant" theme to the Pink Panther films, Henry Mancini also composed the music to Peter Gunn, Breakfast at Tiffany's, Orson Welles' Touch of Evil, and the Academy Award winning soundtracks to Victor/Victoria and The Days of Wine and Roses. In a career that lasted over thirty years, Mancini amassed twenty Grammy awards and more nominations than any other composer. In his memoir, written with jazz expert Lees, Mancini discusses his close friendships with Blake Edwards, Julie Andrews, and Paul Newman, his professional collaborations with Johnny Mercer, Luciano Pavarotti, and James Galway, and his achievements as a husband, father, and grandfather. A great memoir loaded with equal parts Hollywood glitz and Italian gusto.

Keith Stein was already a phenomenal clarinetist when he attended the very first session of the National Music Camp at Interlochen, Michigan. Stein was then accepted into the Chicago Symphony, and became one of its youngest members. He earned a master of music degree at the University of Michigan, and his teaching career began at Michigan State University and Interlochen, where he remained for the next 41 years until he retired. Within this book, the author makes the player aware of all the many faulty habits he may have acquired, then offers constructive suggestions for remedying each one.