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La Verne City Blues, by Brian Owen
(Level III) La Verne City Blues, by Brian Owen, is an excellent blues vehicle for younger band. Intended as a chart for Middle and Junior High School bands, it provides a chance to feature the soloists of the band. A great little march section leads into the solo section where your tenor 1, trumpet 1, and trombone 1 can be featured. A challenging but rewarding shout section follows the solos. Lots of opportunity to provide excitement throughout this chart! 8 Brass - Rhythm Section parts written out.

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Where's My Hasenpfeffer?, by Vince Norman
(9 Brass) (Level 4) A medium "Thadish" blues dedicated to a particular Warner Brothers cartoon. There are solos for bari sax, bass trombone and trumpet.

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Skippin', by Jack Petersen
(10 Brass ) (Level 4) Medium-tempo blues shuffle. Solo feature for trumpet, tenor, piano and trombone plus a sax soli and several ensemble shout choruses.

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Blues for a Bad Hair Day, by Eric Richards
(9 Brass) (Level 4) This "tongue-in-cheek", rompin' blues caricature is a lot of fun! It features "crunch" guitar, baritone sax and trombone on the head with lots of solo space for all likely suspects. Tenor saxophone optionally doubles on piccolo, which adds a great deal to the piece, but is not critical. Guaranteed to keep your band and your audiences on their toes! Soprano saxophone lead.

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Extra Crispy, by Eric Richards
(8 Brass) (Level 4) This swinging blues with a bridge features trumpet and trombone. The solo section is followed by a very hip layered sectional soli passage. Written for the U.S. Army Jazz Ambassadors appearance at the annual convention of the International Association of Jazz Educators.

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A Blues Is A Terrible Thing To Waste, by Dave Rivello
(8 Brass) This medium-tempo blues was commissioned by the Tommy Dorsey Orchestra under the direction of Buddy Morrow. Written to feature the trombone section, this piece has solo space for alto sax and trombone soli. Fun to play.

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The Microchip Blues, by Gary Fry
(Level 3) Anyone who has ever had a headache brought on by a close encounter with a feisty Mac or PC can identify with this very funny lyric. Starting out as a traditional twelve-bar blues in swing style, as the lyric talks about acquiring a new computer, the music is transformed into a wild "techno-blues." Scat soloist have ample opportunity to show their stuff and the surprise ending always leaves your audience laughing. SATB or 2 part (SA) with rhythm.

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Henhouse, by Bruce Wermuth
(Level III) Medium tempo, swinging blues in C with a bridge after intro (which includes trumpets crowing, then "clucking" with plunger mutes), catchy riff-like melody is stated in saxes, with written piano (could be ad-lib answers for more experienced players), then brass responses--leading to a center solo section. Changes are printed in tenor 1, trombone 2, and trumpet 2, with cued notes in each part to be played if not soloing. Driving thematic tutti writing provides a good opportunity to develop swing ensemble playing. A subsequent breakdown section provides another solo opportunity (changes provided in trumpet 2 and piano, with "clucking" and "fluttering" brass and sax background figures respectively), into a solo drum break and building to a big finish. Designed to knock the barn doors down among poultry frivolity. Sample piano comp voicing in the solo section and a written bass line throughout make this piece suitable for high school and college bands with less experienced rhythm sections as well as more advanced groups wanting a fun piece that swings hard. 8 Brass

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Blues for Twister, by Gregg Akkerman
(8 Brass) As a tribute to a cat with serious equilibrium problems, this medium-swing blues tune features a simple yet rhythmically interesting melody and programs equally well as an opener or in the middle of a set. The arrangement is for eight brass, five saxes (no doubles) and rhythm section (drums, bass, guitar and piano). There are solo changes in all the parts and the rhythm section parts have lots of written notes as well as chord symbols to accommodate various skill levels.

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Blue 16, by David Caffey
(8 Brass) A 16-bar minor blues form is where this chart gets its name. The soloist featured is the guitarist, but it could be passed to other players as well. With several straight-ahead big band shouts and a contrapuntal treatment of the theme statement, this chart has a lot to offer the band. Especially rewarding is a virtuoso soli for flugelhorn, alto, tenor, bari and trombone. Written for 4 trumpets and 4 trombones. There is one double - flute on the 2nd tenor part (a melody part which could be optional).

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Blue Reflections, by Timothy Clarke
A minor blues with an eight-bar bridge, this medium- tempo swinger features tight, tense harmonies and brash bluesy lines. In the style of Oliver Nelson, it is orchestrated for trumpet, alto sax, tenor sax, trombone, piano, bass and drums.

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Blues For Stephanie, by John Clayton, Jr.

(Level IV) As recorded by the Count Basie Orchestra as well as by the Clayton-Hamilton Jazz Orchestra, this medium-swing blues features piano and trumpet. A screaming shout chorus leads back to the melody and a surprise (false) ending. 8 Brass

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15 Minutes, by John Clayton, Jr.
(8 Brass) This John Clayton original is a medium-swing minor blues that ranges from soft subtle harmonies to full blowin' shouts! Solos for tenor and trumpet.

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Thrazz, by Chris Culver
(8 Brass) Kind of a wacky tune based on an extended blues with a melody more or less inspired by Coltrane. It starts with even eighth notes and then switches to a straight-ahead swinger. Even though the saxes are definitely the featured section on this one, the bones have their moments also. Alto I on soprano throughout. Solo changes in soprano and tenor I.

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Blue Units, by Chuck Dotas
(8 Brass) Blue Units was commissioned by John Harmon and the Wisconsin State High School Honors Jazz Ensemble. Plenty of Bb blues solo space is available for any instrument, and an optional guitar solo over a G7 vamp provides an opportunity for those guitarists more experienced in rock environments to solo comfortably. The arrangement, written in a contrapuntal style reminiscent of Bill Holman, features some unusual formal twists, as well as a fake ending. This piece works well with high school and young university groups.

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