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

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' 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