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NEW ORLEANS kL 1
F O R E W O R D
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
throughout the world. Modern composers, among them Ravel and
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 com-
poser 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
To Alice Kiewit
C o n tents
NEW ORLEANS NIGHTFALL . . . . . 2
THE CONSTANT BASS . . . . . . . 4
MARDI GRAS . . . . . . . . . . . 6
DIXIELAND COMBO . . . . . . . . 8
FRANKIE AND JOHNNY (Theme and Variations) . . . . . . 10
NEW ORLEANS NIGHTFALL S O N G STYLE; SOMEWHAT FLEXIBLY (d = about 54)
4, WILLIAM GILLOCK
FASTER. with a beat (J = about 160)
W. M. Co. 957.3 (87114)
- - 4 5
0 MCMLXV, by T h e Willis Music Co. Chappell & Co. Ltd., 50 New Bond Street, London, W.1
International Copyright Secured Printed in England
TEMPO I, but with a more pronounced beat 3
T I , I1 A
THE CONSTANT BASS STEADILY (J - about 132)
WILLIAM GILLOCK
5 light staccato throughout
W. M. Co. 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
W. M. Co. 9573
MARDI GRAS WILLIAM GILLOCK
FRENZIED (A = about 96)
no pedal
W. M. Co. 9573
@ MCMLXV, by T h e Will is Music Co. Chsppell & Co. Ltd., 50 New Bond Street, London, W . l
International Copyright Secured Printed in England
I I I decreasing I
DIXIELAND COMBO
WILLIAM GILLOCK
UNSOPHISTICATED; in the e&ly jazz style (Jzabout 152))
\ L I I I I 1 1 ' I I 1 1 I I I 4
w ? MCMLXV. bv The Will is Music Co.
W. M. Co. 9973 Chrppell dr Co. Ltd., 50 ~ e w Bond Street, London, W.l
International Copyright Secured Printed in England
\4. M. Co. 957.3
' THEME AND VARIATIONS FRANKIE AND JOHNNY
Bold and Brassy (J = about 176) WILLIAM GILLOCK
3 VAR. I
W. M. Co. 9573
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
8va - - - - - - - - - - - - - - - - -- a 7 loco
' W. M. Co. 9573 Printed by Lowe and Brydone (Printers) Limited, London.
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I cmcmwar* - r a FIFTY NEW BOND STREET, LONDON, W.1
No. 3978