Arrangement Type

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  • Ev'ry Time We Say Goodbye

    Here is a really rich and lush arrangement of Cole Porter's beautiful ballad. Written for female vocal, the chart was in part inspired by Ella Fitzgerald's rendition in her Songbook album, but is not a transcription of that particular version. After a short intro the singer takes the first chorus, backed by woodwind and muted brass. The saxes take a soli, backed by Trombones, and then the bones take their soli backed by muted Trumpets. The vocalist returns and rounds the whole thing off. In the reeds Alto 1 doubles Flute, Alto 2 and both Tenors double Clarinet. However, we have printed the A2, T1 & T2 parts double-sided, with a "no Clarinet double" option on the reverse. The vocal key is Bb throughout. Learn More
  • Snowfall (Thornhill)

    Snowfall was the theme tune of Claude Thornhill, and as you would expect, it is a Piano feature. We have transcribed Thornhills' chart in full, and this call for all 5 Saxes to double Clarinets for the first chorus. However, we recognise that not all bands will have 5 players who double Clarinet, so we have written alternative sax parts on the reverse pages which are written in Miller voicing, with the lead Alto on Clarinet and the Baritone on Alto. The brass ranges are easy and the chart will be playable by bands of all levels, provided you have a dexterous Pianist who can play the rapid running fills near the end of the chart. Snowfall also makes for a good Christmas chart. Learn More
  • 12th Street Rag

    BIG BAND. 12th Street Rag as you never imagined! It opens by imitating traffic along 12th Street, in a series of dissonant hoots before the band kicks in with the real intro. The chart uses a dixie band-in-band on three occasions, in a different historical jazz style - 20's, 40's and 60's. Interspersed with these are some blasting tutti passages. The whole piece goes through 5 modulations, building all the time. This is a very challenging chart in all sections. Also both Altos and Tenors double Clarinet, and the Bari doubles Alto for his solo (which can be played on Bari instead). Learn More
  • A Fine Romance

    Transcribed and adapted by Jon Harpin from the original Nelson Riddle chart, this chart is an out-and-out vocal feature, with no instrumental chorus. The backing lines from the band are solid and rhythmic, building from start to finish. We have removed the original string lines and re-scored them into the band, making the chart playable by a standard 5444 line-up. There are no sax doubles and the vocal key is F, modulating chromatically to end in G. The vocal part is notated "as sung" by Ella. Learn More
  • A Nightingale Sang in Berkeley Square

    Lovingly transcribed by Alan Glasscock from Miller's October 1940 New York recording originally arranged by Bill Finegan and sung by Ray Eberle, this lush chart is classic Miller, full of tonal colour and rich dynamics. The reeds are scored CAATT, with all saxes called upon to double Clarinets. Tenor 2 also has a short Bass Clarinet line underneath the Trombones, but this can be played as written on Tenor. The Tex Beneke solo is written out in full too.  The vocal key is Eb. Learn More
  • A-Tisket A-Tasket

    Big Band Girl Vocal . A-Tisket A-Tasket was a hit for Ella Fitzgerald during her time with the Chick Webb band, & remains one of her most memorable charts. Klaus Lessmann has produced a classy transcription of this chart & had adapted it for a full band line-up. Everything is here, including the band answer-back vocals. Both the sax & the brass sections get to have a go! All articulations are clearly marked & the vocal sheet is as per Ella's performance. Learn More
  • Accentuate the Positive

    BIG BAND GIRL VOCAL. This stunning Ella Fitzgerald chart is a classic.  The arreangement is as the original, except that we have simplified the sax lines behind the opening verse and made a small Trumpet voicing change in the second measure. Learn More
  • After Supper

    BIG BAND INSTRUMENTAL. Another beautifully relaxed chart from the Basie Band, featured on the Atomic Mr Basie album.  It features Piano, Tenor & muted Trumpet solos & there are no sax doubles. The brass is muted throughout. Originally written for 7 brass, we have added an optional 4th Trombone part for completeness. The Bass Trombone is on the 3rd part. Listen to the original using the link below http://www.youtube.com/watch?v=GRvUbrq1Ag8 Learn More
  • Ain't That Right

    Elegantly transcribed by Jon Harpin from Basie's 1962 Verve album "On My Way and Shoutin' Again", this Neal Hefti chart has a real gospel feel to it, and swings like crazy from start to finish. The opening chorus is from the reeds, with Tenor 1 taking the lead line. The band closes out the melodic statement and Trumpet 2 picks up the solo work, backed by unison reeds. Being a Basie chart, it wouldn't be complete without a big shout chorus and this chart has two of them before things calm down by a re-statement of the intro and sax soli, all finished off with some excellent dynamic contrast from the band, a quick sax lick and final chords. There are no sax doubles. We would like to acknowledge Mr Paul Hefti for his kind assistance which has allowed us to bring this chart to you. Learn More
  • Ain't We Got Fun

    BIG BAND GIRL VOCAL. Recorded by Doris Day with the Paul Weston orchestra, the original arrangement was by Paul Weston.  Our transcription closely mirrors the original, except that we have cued the Trombone section with the 4 voice backing group parts, making the chart playable by big band and female vocalist. Learn More
  • All Of Me

    This version is the actual chart recorded by Michael Buble on his Crazy Love album and is itself based on Billy Byers' chart for the Count Basie Orchestra.Piano, Bass and Vocal lines "as performed" by MB's band. The chart is graded as "Medium" even though the lead trumpet has a written high F. The 4th Trombone is Bass and the vocal key is C throughout. There are no sax doubles. Learn More
  • All Shook Up

    BIG BAND VOCAL. A cool funk groove arrangement of the Elvis Presley classic with solo spots for tenor sax or guitar. Learn More
  • All the Cats Join In

    Transcribed from her "Rare Gems & Hidden Treasures" album, this sultry chart shows off Peggy Lee's relaxed, almost drawling vocal style at its best. The arrangement is laid back, cool, very hip for its time and a pleasure to play. We have scored the Piano, Bass and Guitar lines "as played", as they cement the feel of the chart. The cameo Alto solo is written out too, with chords also provided. This chart is very straightforward, and the brass ranges are quite moderate (with lead Trumpet to high C# and lead Trombone to Bb). There are no sax doubles and the vocal key is Gm throughout. Learn More
  • All the Things You Are

    Recorded by Helen Forrest with the Artie Shaw band, this is an accurate transcription of the original Jerry Gray concept, complete with the intro Piano solo and Shaw's silky first chorus solo line. We have made a couple of small adaptations: the saxes are scored for AATTB, with Alto 1 taking the Clarinet lines, Baritone doubling Alto (to give the correct AATT backing to the Clarinet), and the brass has been augmented to 8 voices. All of the correct articulations, mute indications and dynamics are included, to enable an authentic performance. The vocal key is F and the vocal range would suit most male or female singers. The modulation into the vocal key is somewhat abrupt, so to help pitch the first vocal note the singer will need to listen to the top sax voice fairly carefully. Other than this, the chart is very playable, and the brass ranges are moderate. This is a great arrangement of a wonderful song. Learn More
  • Always True to You in My Fashion

    This song was written by Cole Porter for the musical Kiss Me Kate. Our arrangement is similar to that performed by the great Julie London. This chart moves along nicely, with a mix of two & four beat feel & is elegant in its simplicity. The band parts are very straightforward, there are no sax doubles & the brass ranges are moderate, making it playable by bands of all levels of ability. The vocal is a comfortable female alto key of F. If your singer likes songs that tell a story. Always True to You will be a winner. Learn More
  • Amapola

    This is the Benny Goodman version of Amapola, with Helen Forest taking the vocal. A delightful tune, well delivered, & of course with a Clarinet solo from the great man himself. This chart is as per the original version, & we have scored the Saxes AATT plus a Clarinet Solo part. The trick with this chart is not to play it too fast. It just chugs along & swings all the way.  Learn More
  • Anything Goes

    This arrangement of Anything goes is scored as a female vocal, very much in the style of Ella Fitzgerald. The intro features the rarely heard verse before moving into swing tempo at a medium 120 beats per minute, with muted brass backing the first vocal chorus. The second chorus is led by the saxes, followed by a full ensemble leading to the vocal return for the middle eight to the end of the chorus, with a brief ensemble shout to finish. The saxes are scored to double Flute, Clarinets and Bass Clarinet for the intro, though all parts have cues for saxes which allows the chart to be played by a regular AATTB section with no doubles. Brass ranges are very moderate, with lead Trumpet to a written A and lead Trombone to G. The vocal key is Gm / G major. Learn More
  • Apple Blossom Time

    ANDREW SISTERS BIG BAND GIRL VOCAL CHART. This arrangement of the Andrews Sisters version of Apple Blossom Time shows a more sentimental side of the trio's repertoire. Unusually, the chart is only scored for 3 voices, 4 Trombones & 4 Rhythm. There are no parts for Trumpets or Saxes, so it can be used as a showcase for your bone-section & singers. Faithfully transcribed by Alan Glasscock by referencing a number of recordings that the Sisters made, in order to achieve complete authenticity & accuracy. This number will sit well in any set, particularly as a late-night closer. Learn More
  • Apple Honey

    This version follows the form of the Woody Herman original, though the solo spaces less cluttered.  Because of the speed this chart is rated advanced. Learn More
  • Basie X. P.

    Basie X.P. is an up tempo original from Jon Harpin in true Basie style. Great ensemble scoring coupled with written out Basie style solo for piano. The main  focus of the chart is an extended solo for your Tenor player, conceived as a "romp" a la "Lock Jaw Davis"  in "Whirlybird", & can be as long as desired. The brass ranges are not very demanding, making the chart very playable. Learn More

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