Duets
PDF editions
Each DUET edition contains both parts, a double stave part so each part can always see what the other part is doing. Besides a DUET audio track you can listen to, we also have Minus You tracks (either the 1st part or 2nd part alone), with a count off.
We have C treble clef, C bass clef, B-flat and E-flat editions available. Each one has two staves showing both parts, so you can always see the other part as well as your own.
If one of the parts goes too low for some instruments, other editions are available, written an octave higher: for example, B-flat instruments (Tenor Sax); C-treble clef (Guitar). The Guitar part would be correct for Flute, because the original C-treble clef part goes too low for your instrument.
MP3 audio tracks
Of course, we hope you'll get a chance to play our duets with a friend, but if you can't immediately round up a duet partner, we provide a solution. An audio track of each duet is available, both parts, plus a track of each part separately, so you can play the other part while listening to either the 1st or 2nd part.
Don Sickler: I'm starting our DUET audio editions by recording each duet myself, on trumpet, first recording one of the parts, and then the other part, listening to and locking in with the part I first recorded.
This can be a challenging process, with no rhythm section to lock into. You can really check out your own timekeeping by recording both tracks yourself in this way, using Garage Band or other recording software. By doing that, you end up with two isolated tracks, which can then be mixed together, with some separation in the middle so each part can be heard clearly. If you have recording capability yourself, I totally recommend you try it yourself. It's a great learning tool.
The Duets we currently have are listed below, by composer. Clicking on the button in from of each title lets you hear an excerpt of the original full ensemble recorded track. Here's an audio excerpt of each Duet: > Social Call; clip Third Time Around; clip and Soul Time, which also can have a 3rd part >;. Clicking on the song titles below takes you to each song's page to order each edition.
- Third Time Around - Hank Mobley Swing (medium up)
- Social Call - Gigi Gryce Swing (medium)
- Soul Time - Bobby Timmons 3/4 swing (medium)
- Social Call - Gigi Gryce Swing (medium)
- Soul Time - Bobby Timmons 3/4 swing (medium)
Billy Higgins
Born in Los Angeles, Billy Higgins played professionally in R&B bands such as those of Bo Diddley and Jimmy Witherspoon. In 1953 he joined high school friend Don Cherry's group "The Jazz Messiahs." Higgins and Cherry met Ornette Coleman and joined his rehearsal band. The band played for years before debuting their music in 1958. It was with Ornette Coleman that Higgins first came to New York, where he became one of the most sought after contemporary jazz drummers.
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Bobby Porcelli
New York native Bobby Porcelli is one of Latin and Afro-Cuban jazz's most accomplished flautists and alto saxophonists. An exciting soloist influenced heavily by Charlie Parker and Sonny Still, Porcelli's alto has soared gracefully above the legendary percussive ensembles of Machito (1965-1966), Mongo Santmaria ('87-'90), and Tito Puente ('66-'00).
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Bobby Timmons
A beloved pianist with one of the most easily recognizable styles, Bobby Timmons is responsible not only for bringing his unique gospel-tinged voice to the piano, but also for his funky compositional masterpieces that have become jazz standards, like Moanin’ and This Here (‘Dis Here). These two are by no means the only memorable original works of Bobby’s—nearly all of his works are instantly recognizable as a Bobby Timmons original, as they all have his signature style of soul, funk, and gospel, all while still maintaining the hallmarks of true hard-bop jazz.
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Ralph Moore
Born in London, saxophonist Ralph Moore came to the US and attended Berklee College of Music, where he studied with saxophonist Andy McGhee. Three years later he received the Lenny Johnson Memorial Award for outstanding musicianship from the college. He moved to New York City in 1981 and within two months had joined the Horace Silver Quintet for an association that lasted four years and included tours of Europe and Japan.
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Sam Jones
Sam Jones was most known for his work with the great Cannonball Adderley but he played extensively with all the great bandleaders including Bobby Timmons, Ray Bryant and Kenny Dorham. His discography speaks for his versatility as he could mold to any situation, but Jones was most known for his strong, confident beat and great bass lines. These traits are what led to countless recordings with various leaders, (especially with Cannonball and Nat Adderley) as well as replacing Ray Brown in Oscar Peterson's trio from 1966-1970.
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