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Contemporary Jazz Duets V.1-4 By David Berger



This listing is for David Berger's Contemporary Jazz Duets Vol. 1 -4. You can purchase the whole collection, or Vol.1-2 and Vol.3-4 seperately if you like.

Volume 1: The Blues, Got Rhythm, Honeysuckle Rose, Perdido, Indiana, Take the A Train, How High the Moon, Night and Day, The Song is You, I'll Remember April.

Volume 2: Bb Blues, F Rhythm, I May be Wrong, Satin Doll, There Will Never Be Another You, Cherokee, Get Happy, Tiger Rag, Lady Bird/Half Nelson, Oh! Lady Be Good, Get Happy.

Volume 3: Eb Blues, Ab Rhythm, Autumn Leaves, What is This Thing Called Love, Just You Just Me, Confirmation, Stompin' at the Savoy, Stella by Starlight, I'm Getting Sentimental Over You, Once in a While, Limehouse Blues, Lover

Volume 4: Ab Blues, Eb Rhythms, All God's Children Got Rhythm, Three Little Words, Tea for Two, Whispering, Woodyn' You, On Green Dolphin Street, A Night in Tunisia, Love for Sale, Out of Nowhere, Love Me or Leave Me


This Duet Book is designed to accompany volumes one and two of the Contemporary Jazz Studies series, however, as is the case with all of my Contemporary Jazz books, each one may be used individually. Each duet is based on the same chord progression as its corresponding study (ex: “F Blues” study is first in volume one). A great deal of care has been taken to make both the top and bottom parts interesting and of equal importance. For this reason I would suggest playing each duet at least twice so that each player has the opportunity to play both parts.

It is possible to use the treble and bass clef books simultaneously. In this case use the treble for Bb instruments (trumpet, clarinet, bass clarinet, soprano and tenor saxophones, flugelhom baritone hom, valve trombone) and the bass clef book for bass clef instruments (trombone, baritone horn, tuba, string bass, cello, piano, synthesizer). The bass clef book may also be used for E Flat instruments (alto and baritone saxophones). If this is done, special attention must be made to change accidentals where necessary.

All the duets should be practiced slowly at first and worked up to tempo. No tempo markings have been made. Tempo depends on the abilities of the players. All the duets sound good at several tempi.

Although I have utilized many elements common to “classical” counterpoint, please do not loose sight of the fact that these duets should be played with a jazz feel. Dynamics and phrasing have been kept to a bare minimum in order to allow the players to interpret, in a more comfortable musical style. Please be conscious of dynamics and phrasing so that the overall effect sounds like two sensitive players Improvising.

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52 Pages Each approx


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