• Home
  • After Hours Jazz 2 (Piano Solo)

After Hours Jazz 2 (Piano Solo)

Pam Wedgwood

Thumbnail 240

After Hours Jazz 2 is a further collection of original pieces and arrangements of your favourite jazz standards by Pam Wedgwood for the Grade 4-6 pianist.  Relax with the lush harmonies and laid-back melodies of many well-known pieces, as well as some great original repertoire.

Publisher: Faber Music

ISBN: 0571529097

Item Code: 0571529097

Price:£8.50 £7.65
Availability:In stock Territory restrictions apply, see Add. Info

Genre(s): Jazz

Language: English

Difficulty Level: Intermediate

Grade(s): Grade 4, Grade 5, Grade 6

Series: After Hours

Territories: Item available in Europe & Australia only

Instruments:
  • Piano
Contents:
  1. Blue Moon (Hart/Rodgers)
  2. Come Fly With Me (Van Heusen/Cahn)
  3. Embraceable You (Gershwin)
  4. Give Me A Call (Wedgwood)
  5. Have You Met Miss Jones? (Hart/Rodgers)
  6. How High The Moon (Hamilton/Lewis)
  7. Let's Call The Whole Thing Off (Gershwin)
  8. Mr Lucky Guy (Wedgwood)
  9. My Funny Valentine (Hart/Rodgers)
  10. Nature Boy (Ahbez)
  11. New York, New York (Ebb/Kander)
  12. Someone To Watch Over Me (Gershwin)
  13. The Lady Is A Tramp (Hart/Rodgers)
  14. Walk Don't Run (Wedgwood)

Wedgwood’s own three compositions are so convincing in their jazz styles that I kept wondering where I had heard them before. I would recommend this book as light relief for ‘between grades’ and also for the growing number of adults who are returning to or taking up the piano. Wedgwood can always be relied on to choose, arrange and compose superbly and has done it yet again.
Music Teacher Magazine, July 2009


 On the face of it, these books merely augment an already ample and flourishing supply of arrangements that come to us from both sides of the pond, but actually, I do think there is merit in their compilation here. For a start, as all piano teachers are aware, there are arrangements, and then there are arrangements. There is more to transcribing a well know tune than shoving a few snazzy triads under a naked lead-line. The choice of key, for example, needs to take account of the inbuilt chromaticism, but also the hand-stretches these imply (not to mention any notational complications that night arise). I would contend that rendering My Funny Valentine accessible to a grade 4 pianist takes a fair bit more ingenuity and sensitivity than making one fit for a grade 8
player – précis is the art here, not amplification. Any means by which the student who’s flagging interest in conventional repertoire can be deterred from giving up altogether, earns its keep.

Piano Professional Magazine, Spring 2009