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Bob Chilcott Little Jazz Mass - SAB

for SAB and piano, with optional bass and drum kit A highly original and effective concert setting of the Latin Missa brevis in which the various movements embrace a variety of jazz styles. The characterful piano accompaniment can be played as written or serve as a guide, and bass and drums can join in ad lib. The bass part is available on sale (ISBN 978-0-19-335655-9). Also available in versions for SATB and SSA.

for SAB and piano, with optional bass and drum kit
A highly original and effective concert setting of the Latin Missa brevis in which the various movements embrace a variety of jazz styles. The characterful piano accompaniment can be played as written or serve as a guide, and bass and drums can join in ad lib. The bass part is available on sale (ISBN 978-0-19-335655-9). Also available in versions for SATB and SSA.

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Sacred<br />

<strong>SAB</strong>, piano, and<br />

optional bass and<br />

drum kit<br />

A <strong>Little</strong> <strong>Jazz</strong> <strong>Mass</strong><br />

for three-part mixed voices


A <strong>Little</strong> <strong>Jazz</strong> <strong>Mass</strong><br />

for online perusal only<br />

for <strong>SAB</strong>, piano, and optional bass and drum kit<br />

vocal score


Great Clarendon Street, Oxford OX2 6DP,<br />

United Kingdom<br />

Oxford University Press is a department of the University of Oxford.<br />

It furthers the University’s objective of excellence in research, scholarship,<br />

and education by publishing worldwide. Oxford is a registered trade mark of<br />

Oxford University Press in the UK and in certain other countries<br />

© Oxford University Press 2004 and 2024<br />

<strong>Bob</strong> <strong>Chilcott</strong> has asserted his right under the Copyright, Designs<br />

and Patents Act, 1988, to be identified as the Composer of this Work<br />

All rights reserved. No part of this publication may be reproduced,<br />

stored in a retrieval system, or transmitted, in any form or by any means,<br />

without the prior permission in writing of Oxford University Press<br />

Permission to perform this work in public (except in the course of divine worship)<br />

should normally be obtained from a local performing right licensing organization,<br />

unless the owner or the occupier of the premises being used already holds<br />

a licence from such an organization. Likewise, permission to make and<br />

exploit a recording of these works should be obtained from a<br />

local mechanical copyright licensing organization<br />

Enquiries concerning reproduction outside the scope of the above<br />

should be directed to the Music Rights Department, Oxford University Press,<br />

at music.permissions.uk@oup.com or at the address above<br />

ISBN 978–0–19–357143 –3<br />

Music and text origination by Katie Johnston<br />

Printed in Great Britain on acid-free paper by<br />

Halstan & Co. Ltd, Amersham, Bucks.<br />

for online perusal only


Contents<br />

1. Kyrie 4<br />

2. Gloria 10<br />

3. Sanctus 19<br />

4. Benedictus 22<br />

5. Agnus Dei 26<br />

for online perusal only<br />

Composer’s note<br />

A <strong>Little</strong> <strong>Jazz</strong> <strong>Mass</strong> was originally written for upper voices and was first performed at the 2004 Crescent City<br />

Choral Festival, New Orleans, in June of that year. A version for SATB voices followed in 2006. This version,<br />

for <strong>SAB</strong> choir, celebrates the twentieth anniversary of the piece, and I hope the new scoring will allow even<br />

more singers to perform it.<br />

I have always loved jazz. At the beginning of my writing career I worked from time to time as an arranger<br />

for the now defunct BBC Radio Orchestra and, while a member of the King’s Singers, I was lucky enough to<br />

perform with such artists as George Shearing, Richard Rodney Bennett, John Dankworth, Art Farmer, and<br />

the WDR Big Band. These experiences and influences have all had an impact on the music that I compose.<br />

In this mass setting I have written a piano part that may be played exactly as written. However, I would<br />

encourage the pianist to improvise freely on the chord structure, and would also encourage the addition of<br />

bass and drums and any other instruments that may be appropriate for the performance.<br />

I am grateful to Cheryl Dupont, the conductor of the New Orleans Children’s Chorus, for enabling this work<br />

to come to life in such a great jazz city, and to all the children in the Crescent City Choral Festival Choir 2004,<br />

who gave it such a great start. I am also grateful to Neil Richardson, a wonderful musician who, more than<br />

twenty years ago, gave me my first opportunity as a professional arranger at the BBC.<br />

A notated bass part, with chord symbols, is available to purchase from the publisher (ISBN<br />

978–0–19–335655–9). The other versions of this piece—for SSA (ISBN 978–0–19–343328–1) and for SATB<br />

(ISBN 978–0–19–335617–7)—are also available.<br />

Duration: c.12 mins


1. Kyrie<br />

BOB CHILCOTT<br />

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* The piano part can be played as written or used as a guide. Bass and drum kit can join ad lib.<br />

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9


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2. Gloria<br />

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3. Sanctus<br />

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26<br />

for Richard and Catherine Webber<br />

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* If playing this movement with bass, the first four bars should be played as a piano solo, with the bass entering at bar 203.


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* If playing with bass, omit the piano left hand in bars 219 –222 to allow a bass solo. The left hand re-enters at bar 223.


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BC273<br />

<strong>Bob</strong> <strong>Chilcott</strong>’s jazz influences come to the fore in this highly effective concert<br />

setting of the Latin Missa brevis, originally written for upper voices. The five<br />

movements embrace a variety of jazz styles. The Kyrie has real groove, the Gloria<br />

swings, the Sanctus sits right back, the Benedictus hums along, and the Agnus Dei<br />

draws inspiration from the blues. The voices are underpinned by a characterful piano<br />

accompaniment that can be played as written or serve as a guide. Alternatively, the<br />

work can be performed with live jazz-trio accompaniment using the part available<br />

for the bassist (the drummer should play along ad lib.) or with the fantastic backing<br />

audio. This is gorgeous, soulful music in an utterly original setting.<br />

Also available from Oxford University Press<br />

A <strong>Little</strong> <strong>Jazz</strong> <strong>Mass</strong> Backing CD (ISBN 978–0–19–336382–3)<br />

A <strong>Little</strong> <strong>Jazz</strong> <strong>Mass</strong> Bass Part (ISBN 978–0–19–335655–9)<br />

A <strong>Little</strong> <strong>Jazz</strong> <strong>Mass</strong> (SSA) (ISBN 978–0–19–343328–1)<br />

A <strong>Little</strong> <strong>Jazz</strong> <strong>Mass</strong> (SATB) (ISBN 978–0–19–335617–7)<br />

has been involved with choral music all his life, first as a chorister and<br />

then a Choral Scholar at King’s College, Cambridge. Later, he sang and composed<br />

music for twelve years with the King’s Singers. His experiences with that group, his<br />

passionate commitment to young and amateur choirs, and his profound belief that<br />

music can unite people, have inspired him both to compose full-time and, through<br />

proactive workshopping, to promote choral music worldwide.<br />

Have you tried?<br />

Nidaros <strong>Jazz</strong> <strong>Mass</strong> (ISBN 978–0–19–340211–9)<br />

Samba <strong>Mass</strong> (ISBN 978–0–19–352461–3)<br />

Ophelia, Caliban, and Miranda (ISBN 978–0–19–340653–7)<br />

<strong>Jazz</strong> Folk Songs for Choirs (ISBN 978–0–19–335924–6)<br />

For more details about <strong>Bob</strong> <strong>Chilcott</strong> and his music, please contact<br />

Oxford University Press, Music Department.<br />

Cover image: © James Michalopoulos, Coulda Woulda (detail). Michalopoulos.com<br />

ISBN 978-0-19-357143-3<br />

www.oup.com<br />

9 780193 571433

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