From 15 October 2019 Generations in Jazz will be launching its brand-new website and
Music Directors can purchase charts and full audio tracks
Schools wishing to order charts via PO are asked to send a request together with the relevant PO No. to firstname.lastname@example.org
Have a look at and or listen to the previews below, and try out a passage or two from each set piece to get a feel for where your ensemble would best be placed. The set pieces are designed to provide an indication of the standard suitable for your vocal ensemble before purchasing. Music Directors are encouraged to view the sample charts below as well as read through the descriptions and grade levels.
If you have further questions regarding the Division you should enter it is recommended the you also read through the Division Overview which provides further information on performance requirements and standards for each division. If the answer to your question in not included then please contact the Generations in Jazz Office. We will be happy to assist with your enquiry.
When ready to make your Set Piece purchases visit the online store.
Set piece notes
Middle Ground is a song about face-to-face conversation; an honest exchange of ideas led by empathy and curiosity in a different perspective. While it is natural to surround ourselves with like-minded people that reinforce our lifestyle and values, it is also important to be challenged and confronted so that our views are informed, accountable, reasoned and open hearted. Even light -hearted conversations with new people can lead to beautiful realisations and a deeper connection with our communities.
There are a few challenging elements to this piece musically but it also has pop-like elements, so feel free to make some decisions about phrasing within the melody to give full attention to the lyrics. The verse melody can also be sung as a solo or a group part.
With the 7/8 split melody chorus – try starting by singing the whole melody as a group so that you can hear it as a whole before you split into parts. Spend some time working on your Lydian Dominant scale for the solo section. Try improvising over a drone using the numbers of the scale:
Everyone should work on this in rehearsal and have a go at improvising. Bear in mind the style of this piece when soloing – use simple syllables as opposed to a more complicated ‘scat’ approach.
I hope this song starts a new conversation and you can find some middle ground with someone on the other side of the fence!
This a cappella arrangement of the traditional spiritual Elijah Rock is set in a medium swing tempo. The solos are shared between voices, offering the opportunity to feature many or all of the ensemble members as soloists. The chorus has strong Gospel undertones and strong use of vocal colours and heaps of attitude is encouraged in this section. Blend and balance should be a focus, particularly in the more harmonically complex sections. Overall, a strong time feel and swing style will bring “Elijah Rock” to life…..swing is king.
Excellent listening inspiration will come from Harry Connick Jr’s version of this piece, and David & Goliath as sung by Take 6.
* This division is for ensembles with 4,5 or 6 members only.
New Day Audio Sample (C) (listen to free sample)
The overriding sentiment behind New Day is joyful expectation. There are no overly tricky progressions or dazzling solis. It is all about individual voices joining together to create a block sound that is greater than the sum of its parts and that creates an energy of hopeful change. If you or the audience find their toes tapping, even better!
Attention needs to be paid therefore to the vocal blend and phrasing. Directors should aim for more of a spoken or ‘called’ vocal quality, and a touch of twang in the mix will not go astray. Sergio Mendes ‘Magalenha’, and ‘Real in Rio’ (Rio soundtrack) are good reference points for quality.
Note: Directors should also feel free to assign their own scat syllables, and to insert appropriate vocal percussion effects in break down sections if desired.
I’ll Be Fine Audio Sample (D) (listen to free sample)
Tipping a hat to the great Abbey Lincoln, I’ll Be Fine is a jazz waltz paying homage to her sweet and uplifting rendition of Freddie Hubbard’s Up Jumped Spring from the 1991 album You Gotta Pay The Band. But where Lincoln’s lyric herald’s the promise of new love, I’ll Be Fine tells of the first signs of happiness after heartbreak.
As with many jazz waltzes, the interplay between the 6/8 and the 3/4 is the rhythmic underpinning of this song. Try and feel the bar as divided by both two and three. Soloists are encouraged take liberties with the rhythm and phrasing, to deliver the story in a light and lyrical way.
This song at its core is optimistic, so enjoy it, and keep it bright!
* This vocal division is intended for ensembles with 4,5 or 6 members only.
Hi! Audio Sample (C) (listen to free sample)
Brazilian composer Antonio Carlos Jobim wrote music of great depth, but much of it also had a healthy dose of fun and whimsy. “Hi!” is a nod to the Bossa Nova music of the 1960’s of which Jobim was a pioneer, and the lighthearted story of someone suffering from a debilitating crush.
It should be sung with a light, relaxed approach, but with careful attention paid to the clarity of the lyrics. For reference, listen to some of Jobim’s songs sung by Astrud Gilberto, Joao Gilberto and Elis Regina.
The classic compositions of the Bossa Nova era emanated joy – I hope rehearsing and performing this piece is a joyful experience!
Note: Since every choir has a different mixture of voice types, directors are permitted to move parts up or down an octave as needed (eg. if the bass part is too high in parts, the basses could sing the melody down an octave).
Weird World Audio Sample (C) (listen to free sample)
Performance NotesThe inspiration for this piece come from the quote: “The only people we
think of as being normal are those we don’t know very well”. It’s written in a straight, driving feel with a simple melody to emphasise the importance of the lyric, so really get stuck into the words on this one and express your personalities.
The second half transitions to a classic samba feel, and can lighten up considerably from this point onwards. The outro is designed for each group to be able to put their own stamp on – experiment with improvisation, write some extra lyrics and/or melodies – really have fun and let yourselves be a little weird. (Not too weird,
though – keep it within the jazz realm!).Some artists and pieces from which to divine inspiration are ‘I Know You Know’ by Esperanza Spalding and Jobim’s One Note Samba.