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Trial Run, by Scott Ninmer

(Level IV) “Trial Run” was named the winner of the 2010 Jazz Education Network Student Composition Showcase and the 2011 United States Air Force Sammy Nestico Award.  This fast swing chart uses extensive non-functional harmony, drawing on the harmonic techniques of early 20th-century classical music.  It also utilizes various mixed section groupings set against each other, emphasizing blend and tuning between the various sections of the ensemble.  The funk/blues-based guitar solo affords the soloist a rare opportunity to use distortion, while the tenor solo presents a challenge to a soloist of any ability level.  8 Brass
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If I Only Had Seven Giant Brains, by Scott Ninmer

(Level V) This arrangement was commissioned by its composer, Glenn Wilson, in 2009.  To create this composition, Glenn morphed the source song “If I Only Had a Brain” using two jazz classics, “Giant Steps” and “Seven Steps to Heaven” to create this piece.  Because of the inherent humor found in the original song and Glenn’s treatment of it, I sought to take the humor further with this arrangement.  This rowdy arrangement makes extensive use of metric modulation and quotes from other songs found in the “Wizard of Oz”. 8 Brass

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What's Up With That?, by Clarence Hines

(Level IV) What's Up With That? is a fast swing composition based on the chord progression to Wayne Shorter's Yes Or No and features the tenor saxophone soloist. Commissioned by the North Florida Jazz Ensemble 1 and recorded on April Green. 8 Brass

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Manga, by Wil Swindler
(Level V) Magna – This aggressive piece is intended to go AFAP (As Fast as Possible).  It’s a great opener or closer and features improvised sections for piano, trumpet and tenor 1.  The changes are advanced and fast moving requiring an advanced soloists and a confident rhythm section.  Originally recorded on the University of North Texas 1:00’s Lab 2001.  10 brass, no doubles.

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The Wind-up Bird, by Wil Swindler
(Level V) The Wind-up Bird – This up-tempo modern swing tune features soprano saxophone on the melody and two open improvisation sections as well as improvised solos for piano, tenor 1 and the drummer trading licks with the ensemble.  A great opener or closer, “The Wind-up Bird” is high-energy throughout featuring plenty of twists and turns for the listener and the performers!  Originally recorded on “Chamber Jazz Ensemble” by Wil Swindler and Stephen Smith’s group of the same name.  8 Brass, Alto 1 doubles on Soprano.

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Can Y'All Smell That?, by Gregg Akkerman
A fast swing combo tune with a challenging, contemporary chord progression for solos written in all parts. Arranged for rhythm section and three horns (alto sax, trumpet and trombone) but also includes alternate parts (trumpet for alto sax, tenor sax for trumpet and tenor sax for trombone). With its crisp forte ending, this tune programs well as a set closer.

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Yanomamo, by James Greeson
(8 Brass) An original composition based on the changes to the classic Cherokee. It is in a double-time samba feel which shifts into a fast swing for 32 bars. The saxophone parts are a bit high, but playable. The rhythms are a bit tricky, and if desired, could be simplified somewhat.

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A Tentative Tangling Of Sinookas, by Rolf Johnson
(Level V) Fast 7/8 and 6/8 alternate. Flute and flugel doublings. Tenor and flugel jazz.   9 Brass

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To Be Or Not To Be, by Vince Mendoza
(Level IV) Fast swing. Middle section has sax soli. 9 Brass

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Salute To Satchmo, by Alan D. Neveu
(Level III)  Originally written for the Penfield High School Jazz Ensemble in Penfield, NY, directed by Jim Doser. The piece was written to feature the foremost Louis Armstrong practitioner of our day, Byron Stripling. Three original compositions in the style of Louis Armstrong are strung together into a medley. The piece starts out slowly as a funeral dirge and ends "hot" with a fast closer. In some sections of the piece, many band members are instructed to play in a group improvisation style. This helps achieve the sound and feel of Louis Armstrong's music while getting the whole band involved in the process. 9 Brass 

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Softly, As in a Morning Sunrise, by Brett Stamps
(Level IV) This is a hard swinging contemporary jazz arrangement with lots of ensemble twists and turns, including Latin rhythm tags (Lydian mode) following most ensemble choruses, modulation, and stop time. The shout chorus builds from offsetting rhythmic riffs between trumpet and saxes to full tutti over two choruses, including a sax soli. Solo sections include tenor sax and bass (guitar or piano can substitute). Ending concludes with a vamp for an improvised tenor sax solo, leading to a cadenza with strong finish. 
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Oleo, by Brett Stamps
(Level IV) If you’re looking for a showpiece for the entire band that highlights the rhythm section, this arrangement should fit your needs. The melody is performed by those instruments least likely to be featured: bass, piano, and guitar play the A sections (assisted eventually by saxes) and the trombone section takes the bridge (you will need a strong lead trombone – 4th trumpet doubles the part if needed). After open solo sections for sax (any member of section), brass (trumpet or trombone), and the ensemble takes over with a variety of ideas including bebop quotes (Salt Peanuts), sax solis and tuttis. After a rhythm solo (bass, guitar or piano), a second shout chorus ensues. Both shout choruses include dynamic contrasts. 8 Brass

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Irony Is Needed,by Jose Bevia
(8 Brass) This piece was the winner of the 2007 BMI Foundation Charlie Parker Composition Prize. It has been built on three themes that are announced in the introduction and manipulated throughout the composition. The arch form (intro, A, B, C, piano solo, C, B, A, coda) and tonal arrangement (centricity around D) have been inspired by the string quartets of Bela Bartok. This piece moves through Even 8th, Fast Swing and Latin time feels as well.

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Abstractions, by Jose Bevia
(8 Brass) Abstractions was commissioned by the BMI Foundation as the recipient of the 2008 Charlie Parker Jazz Composition Award. This pieces foundation is built upon a 12 tone row which is announced in the introduction and continually manipulated throughout the composition. The resulting chromatic lines have been used to create cannonic type passages and are arranged in a traditional jazz harmonies.   

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Out of Town, by Jennifer Barnes
(Level 5) This is a burning fast, wordless, very challenging modern bebop head as recorded by the Yellowjackets on Four Corners. The melody may be divided up into several small groups for variety and relief! Other than the unison and two-part head, there is a "shout chorus" and an improv section that may be opened up. Your rhythm section is key to making this one work in light of the burning swing tempo (almost straight-eight) that must be maintained. Well worth the hard work it takes to learn if your group is really ready for a challenge! SSATTB with rhythm section.

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