You are here: Home > By Style > Swing > Slow
We found 24 results matching your criteria.
Sort By:
1

Strollin' With Sammy - (Level IV) This relaxed swing chart is in the Basie style, with lyrics paying tribute to his famous composer/arranger, Sammy Nestico. It starts quietly and builds through (opt. written) scat and vocalese solos to a swinging ensemble section that will have your group and the audience snapping to the beat. This is a longer chart (6'30") that captures the pace and feel of a grooving jazz band. SATB w/ Rhythm

By purchasing this product, you agree not to reproduce, duplicate, copy, sell, resell, or exploit for any purpose, any portion of the music, use of the music, any data or image or access to the music. This download is intended for use by the purchaser only. Usually one (1) copy for one (1) ensemble.

PDF downloads are intended to be printed 1x by the consumer. It is against copyright law to distribute.

View all charts by Antonio Garcia
If I Only Had A Heart (Brain) (Level III) A smooth and sultry jazz ballad built on the Scarecrow's second verse lyrics to If I Only Had a Brain
from the Wizard of OZ. A great eleventh hour number, highlighting a female or high tenor soloist. Light vocal percussion optional. SATBB a cappella.

By purchasing this product, you agree not to reproduce, duplicate, copy, sell, resell, or exploit for any purpose, any portion of the music,
use of the music, any data or image or access to the music. This download is intended for use by the purchaser only. Usually one (1) copy for one (1) ensemble.

PDF downloads are intended to be printed 1x by the consumer. It is against copyright law to distribute.

| Click here to see the first page of this chart.. |

View all charts by Deke Sharon



(Level III) A soulful slow swing, Sweet Magnolias features a solo tenor saxophone. A great charts for all levels. Standard jazz ensemble instrumentation. 8 Brass

By purchasing this product, you agree not to reproduce, duplicate, copy, sell, resell, or exploit for any purpose, any portion of the music, use of the music, any data or image or access to the music. This download is intended for use by the purchaser only. Usually one (1) copy for one (1) ensemble.

PDF downloads are intended to be printed 1x by the consumer. It is against copyright law to distribute.

| Click here to see a page from this chart. |

View all charts by Jeff Coffin

View all charts by Ryan Middagh

(8 Brass) (Level 5) POLLYWOG: THE DIALOG OF A FROG Pollywog is a composer-described “quirky” chart influenced by the master composer/arranger, Jim McNeely. The entire chart was composed from the 8 bar melody that first appears at rehearsal letter G and utilizes the exhaustive cellular development often used by McNeely. A few unique things to notice in Pollywog: • The title implies every aspect of the composition. A pollywog is another name for tadpole, which is the first of three stages (post-egg) in a frog’s life cycle. As a tadpole matures, it goes through a series of distinct changes that appear seamless through the triad of stages. Like the frog cycle, this entire arrangement aims to seamlessly move between three different accompaniment patterns and every other aspect of the piece functions in groups of threes as well. There are three soloists. There are three tonal centers (C, F, and G), which also imply a basic blues progression and large form progression. There are only three complete statements of the melody. There are three elements to the development section’s rhythmic structure: 8 bar sections representing the melody, 12 bar sections representing the implied blues mentioned above, and 2 or 4 bar drum solo sections (all intertwined). There are also three harmonic “structures” used during the initial melodic development of the piece (unison/octaves, seconds, and semi-clusters). • Even though the tonality moves throughout the piece, there is a fairly constant pedal point that is heard during softer sections that help tie the piece together. There are also a lot of trombone/guitar smears that not only create tension, but serve as tonal transition blenders. • This arrangement unfolds in reverse order from traditional Big Band charts. The long development occurs at the front of the chart culminating in a full band statement of the true melody at rehearsal letter G. If you are looking for a unique chart for your exciting concert program, look no further! [Grade 5 – Soprano Sax Lead – Lead Trumpet F#6]

View all charts by Dave Stamps

(Level IV) This chart is a jazz choir a cappella arrangement of Alfred Burt and Wila Hutson's classic tune.  The chart starts with an opening verse that uses expanded harmonies, jazz waltz style, and ends with thematic material.  Easy meter changes, and piano rehearsal part included. SSAATTBB a cappella

View all charts by Ron Soderwall
(Level III) A smooth and sultry jazz ballad built on the Scarecrow's second verse lyrics to If I Only Had a Brain from the Wizard of OZ. A great eleventh hour number, highlighting a female or high tenor soloist. Light vocal percussion optional. SATBB a cappella.

| Click here to see the first page of this chart.. |

View all charts by Deke Sharon



(Level III) A soulful slow swing, Sweet Magnolias features a solo tenor saxophone. A great charts for all levels. Standard jazz ensemble instrumentation. 8 Brass
View all charts by Ryan Middagh

(Level IV) Just Wait – In the style of “Lil’ Darlin’” but a bit faster, Just Wait is an accessible slow swing with plenty of traditional attitude.  The harmonic language is that of Thad Jones when he was still a member of the Basie band.  Solo space is for trumpet 4 and baritone saxophone. 8 brass, no doubles.

View all charts by Wil Swindler
(8 Brass) (Level 3) Lil Darlin' approach to this standard. Trombone III, Bass and open blowing section.

View all charts by Joey Sellers
Slow Grind, by Tom Matta
Our Price: $25.00
(8 Brass) The Australian folk song gets a Billy Byers-style treatment in this slow swing chart that features trombone. As recorded by the Emerald City Jazz Orchestra.

View all charts by Matso Limtiaco

(Level III) This great Benny Golson blues is placed in a classic, buoyant, Basie/Quincy setting. Recorded by Chuck Owen and the Jazz Surge, there are solos for trumpet and tenor (originally Benny and the late Nat Adderley) before the piece gives way to the infectious jazz march groove Benny is noted for (initially provided by an a cappella sax section). A good 'ol swingin' shout takes us back to the understated head. The chart includes a bass solo and flute lead (written in the Tenor 1 part) but remains one of Chuck's most accessible charts for school bands. 8 Brass

View all charts by Chuck Owen
Relaxed, Basie-style swing features warm, rich voicings, thoughtful backgrounds and a "rowdy" tag makes the chart a real winner. Five trombones and rhythm section.

View all charts by Tom Matta
(Level IV) Laid-back swing chart in the Li'l Darlin' style. Solo section for trumpet or trombone.   10 Brass

View all charts by Rich Matteson

(8 Brass) A vehicle for a strong tenor saxophone soloist (Rich Perry on the VJO album). It features modal harmony in a slow swing groove, which builds to a high level of intensity. It also contains a litany of short solo statements by each horn player, answered by the full ensemble. 8 Brass

View all charts by Jim McNeely

Only, by Kevin Brunkhorst
Our Price: $50.00
(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 

View all charts by Alan D. Neveu
(Level IV) Jazz Nonet. Only features the trombone.  It opens with a rubato theme statement; the band enters gradually around the 31-bar melody.  The trombone solo threads its way around band figures; rhythmic and harmonic tension builds, then declines rapidly, leading to an open solo cadenza.  There is a brief recapitulation.  Harmony and key centers are advanced; the soloist must understand altered dominants and diminished-major 7th sounds.  Range is not difficult.  The emphasis is on blend and nuance.(flugelhorn, trombone; baritone, tenor, and alto saxes; guitar, piano, bass, drums)
View all charts by Kevin Brunkhorst
 (Level 4)  Deep Blue is a reference to the open ocean. This piece alternates between a light 6/8 texture and a slow swing feel. It is a contemporary concert piece designed to be an alternative to the standard ballad repertoire. The piece features solo alto saxophone. All trumpets double flugelhorn throughout. Great opportunities for the drummer to explore new textures.

View all charts by Jeff Richmond
Candy, by Kirk Marcy
Our Price: $45.00
(Level III) A slow grooving version of this Basie classic. It starts out right on the chorus with everyone on words. "Oo's" on bridge the first time around with a half step modulation into the last 'A'. This is a very tight arrangement with ample opportunity to work on swing feel, by accenting the upbeat on eighth note passages. TTBB A Cappella

View all charts by Bob Martin
This sophisticated, yet easy-to-prepare arrangement is written as a quieter, middle of the concert, change of pace. Smooth vocal harmonies, accompanied by string bass only make this unique arrangement something special for your group. If you have a SATB with string bass.

View all charts by Kirk Marcy
An alto solo is the feature of this piece by Ravel. Just bass and alto sing the first 8 bars creating a nice contrast with the lush accompaniment that follows the middle section with a be-bop line for bass and baritone is also a highlight. It's a short piece that flows with a dreamy quality. SATB a cappella.

View all charts by Marion Linton
An arrangement of this old standard, in a slow swing style that really lets you set a good groove and have fun with the lyrics. SSAA with rhythm section.

View all charts by Dave Cross
An arrangement of this old standard, in a slow swing style that really lets you set a good groove and have fun with the lyrics. SATB with rhythm section.

View all charts by Dave Cross

Strollin' With Sammy - (Level IV) This relaxed swing chart is in the Basie style, with lyrics paying tribute to his famous composer/arranger, Sammy Nestico. It starts quietly and builds through (opt. written) scat and vocalese solos to a swinging ensemble section that will have your group and the audience snapping to the beat. This is a longer chart (6'30") that captures the pace and feel of a grooving jazz band. SATB w/ Rhythm

View all charts by Antonio Garcia
   
 
1