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(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! SSAA with rhythm section.
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.
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View all charts by Jennifer Barnes
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(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.
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.
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View all charts by Jennifer Barnes
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(Level IV)
8 Brass
PDF downloads are intended to be printed 1x by the consumer. It is against copyright law to distribute.
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View all charts by Jim White
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(Level IV)
8 Brass
PDF downloads are intended to be printed 1x by the consumer. It is against copyright law to distribute.
View all charts by Jim White
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Trial Run (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 20
th-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
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 Scott Ninmer
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(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
PDF downloads are intended to be printed 1x by the consumer. It is against copyright law to distribute.
View all charts by Scott Ninmer
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(Level IV) for band, V for soloists (8 Brass, lead trumpet high D written) A fast swing tune arranged in the same style as recorded by Dexter Gordon on his album Doin’ Alright. This chart features Dexter Gordon’s solo arranged as a sax section soli, followed by alto 1 and tenor 1 solos, and culminating with the two trading fours over very nice full band background support. There is also an unaccompanied chorus with just the two soloists before going back to the head. If you have strong bebop soloists in the alto 1 and tenor 1 chairs, this is a great chart to showcase them together.
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View all charts by Dan Keberle
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(Level IV)
8 Brass
View all charts by Jim White
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(Level IV)
8 Brass
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View all charts by Jim White
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(Level IV) Big Band in Three, 8 Brass
View all charts by Jack Cooper
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(Level III) Fast Swing. An energetic piece that brings to mind a prohibition-era bank robbery! Features clarinet, tenor sax, and drum solos, as well as plunger work for the brass. 8 Brass
View all charts by Adam Bartczak
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(Level IV) This is a chart for flashy
soloing.
It uses simple diatonic
chord changes (albeit in a number of keys), and it moves at a rapid pace
(MM=260).
Jazz or rock tones will
work equally well for the soloists. There are some double- and
triple stops and full chords, but they are all manageable, and all in whole
notes. Guitar 5 is largely a
rhythm part; all the voicings are written out.To allow for two soloists,
take the DS from bar 201 back to bar 75; the first and second parts swap roles,
and their parts are essentially duplicates for that stretch of the chart. The section at m210 is
call-and-response; if the players hear and feel the responses in a dotted
eighth note rhythm, it will become clear.
Timing is crucial.
5 Guitars, Bass & Drums
View all charts by Kevin Brunkhorst
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(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 20
th-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
View all charts by Scott Ninmer
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(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
View all charts by Scott Ninmer
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(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
View all charts by Clarence Hines
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(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.
View all charts by Wil Swindler
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(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.
View all charts by Wil Swindler
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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.
View all charts by Gregg Akkerman
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(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.
View all charts by James Greeson
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(Level V) Fast 7/8 and 6/8 alternate. Flute and flugel doublings. Tenor and flugel jazz. 9 Brass
View all charts by Rolf Johnson
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(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
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(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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(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
View all charts by Brett Stamps
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(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.
View all charts by Jose Bevia
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(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.
View all charts by Jose Bevia
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(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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View all charts by Jennifer Barnes
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(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! SSAA with rhythm section.
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View all charts by Jennifer Barnes
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