Myles Collins

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  • 'S Wonderful

    BIG BAND INSTRUMENTAL. Originally arranged by Ray Conniff for the Shaw band and recorded in January 1945, this excellent chart works so well on many levels. It contains a fair number of innovative arrangement techniques: the opening unison Trombone riff, the Tenor doubling lead beneath the Trumpets, the Clarinet leading the Trumpets in the middle eight, a five-part combo in the middle and a great shift to full swing feel after Shaws' glorious solo work (which written out in full). Conniff has taken what is otherwise an arguably slightly dull tune and turned it into a masterpiece. This chart is a must for all Shaw lovers. 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
  • 920 Special

    Version taken from the 1960's & forms part of our Basie series ready for his Centenary in 2004. It features some great sectional work & interplay between Saxes & Trumpets throughout the chart. This chart features solo space for Alto, Trumpet & Tenor, plus we have written out Count Basie's piano solos & fills for you, though your pianist can always improvise from the chords. No sax doubles. 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
  • Aces and Faces

    As part of our expanding Basie series, we are delighted to offer you the very rarely heard Aces & Faces, a medium swing tempo chart from the Basie band of 1945, featuring the Trumpet section. There are ad-lib solos for Piano, Clarinet, Tenor 1 (cued on 2), Trumpet 2 (cued on 1,3 & 4) & Trombone 1 (cued on 2) too.  This chart will make a refreshing addition to any library, & it is very playable, provided you have soloists who can improvise! Lead Alto doubles Clarinet. Learn More
  • Adios

    A hauntingly beautiful number from the Glenn Miller book. Ours is a faithfull reproduction of the original arrangement, with correct Miller voiced Saxes throughout. Lead Trumpet takes the solo line, & lead Trombone has the muted middle solo. This chart is all about dynamics & blending of instruments, in order to achieve the right feel & expression. The notes are easy, but the band must be light. Sax doubles. Alto 1 on Clarinet throughout. Baritone - Alto   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
  • Alright, Okay, You Win

    This version is a very dancable bouncy shuffle that has a solid pulse. There is nothing complicated about the chart & it is a fine example of how to score an arrangment to feature your vocalist. There is also a great 8 bar bridge between the vocal choruses which gives a real kick to the middle of the arrangement.The Trombones are written for 3 Tenors & a Bass, though the Bass bone is in Tenor range. We have scored the vocal chart to reflect Joe Williams' performance. No Sax doubles. 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
  • And The Angels Sing

    Another classic adapted from the Benny Goodman arrangement. In the original arrangement the vocal chorus led to a typical Goodman 'Yiddish' trumpet chorus. In our arrangement this is replaced by a more conventional trumpet solo chorus & 'middle 8', with the vocal returning to close the chorus. The ending is as per the original, with a trumpet solo feature leading the band to a rousing finale. 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
  • April In Paris

    This version of April in Paris has been lovingly assembled from a number of recordings done by the Basie band of this fabulous Wild Bill Davis chart, and has a richer, lusher, more authentic feel than previous / current offerings published by other companies. We have taken down the Henderson Chambers' Trombone solo (on Bass Bone, but cross cued on the other parts), and the stunning Phil Guilbeau Trumpet solo (written out), both from Basie's Sept.1965 London concert. The Trumpet solo in particular is in a different league to Basie's early "pop goes the weasel" version, though your player can improvise from the chords provied too. We have included the "one moe time" ending too, should you wish to tease the crowds. This chart will not disappoint. Learn More
  • At Sundown

    This is Artie Shaw's 1939 version of At Sundown, from the time when his first band was arguably at its height. The arrangement has been adapted from the original 3 Trumpet 3 Trombone line-up, to a regular 4 4 brass section, & the Reeds are scored for Clarinet, 2 Altos & 2 Tenors. We have written out Shaw's Clarinet solo in full along with the Tenor & Trumpet solos, but have left the Piano solo as an improvisation. All the soloists have the chords on their parts should they wish to do their own thing.  There are no Sax doubles. Learn More
  • Avenue C

    Here is Avenue C in all its glory. A rousing flat-out swing chart. This chart powers from start to finish & is great for both concert work & swing dancing. We have faithfully transcribed all of the instrumental solos (2 tenors, trumpet, trombone & piano), & have included all phrsing marks, articulations & dynamics. This is a truly rare chart from the Basie band at the height of its power. There are no sax doubles. Learn More
  • B-19

    B-19 is a driving swing number, clearly taking some influences from tunes such as Sing Sing Sing & Bizet Has His Day & the chart has a raw & angry feel about it, as one might expect from a tune whose name is that of a famous aircraft. Being a Harry James chart there is naturally a big solo spot for Trumpent (HJ's chorus is fully written out on the 2nd Trumpet part) & we have transcribed the Tenor solo too. The original was recorded by HJ with a string section. However, we have modified the arrangement & written the strings back into the Saxes & given a solo spot to 1st Trombone. Learn More
  • Back Bay Shuffle

    Back Bay Shuffle is a jump tempo swing chart from the great Artie Shaw orchestra, perfect for dancing. We have transcribed this chart as per the original, though expanding it to 8 brass in the process. All solos (Clarinet, Trumpet, Trombone, Tenor & Piano) are written out in full, as are the correct drum patterns. The reeds are scored for Solo Clarinet, 2 Altos & 2 Tenors. Everything is here - correct sax voicings, dynamic markings & Phrasing indications so that your band can recreate that punchy Shaw sound. Learn More
  • Basie Boogie

    Basie Boogie is, as its name might suggest, an up-tempo Piano feature that swings from top to toe. Like many of Basie's charts, the arrangement evolved over time, but this version is from the original recording.We have written out the Piano part in full to include the licks & fills & the boogie-woogie left hand patterns, though your player can improvise from the chords if needs be. The band parts are not demanding, & fairly sparse, leaving the Pianist all the space needed to do his thing. A rare chartg & a real gem. There are no sax doubles. Learn More
  • Beat Me Daddy Eight to the Bar

    ANDREW SISTERS BIG BAND GIRL VOCAL CHART. This arrangement 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.The Andrew Sisters had enormous success with Boogie Woogie Bugle Boy, & this chart has the same infectious eight beat boogie woogie feel. We have scored the vocals for SSA female trio, & have also included a solo vocal sheet, making the arrangement singable with only one vocalist. We have augmented the original studio version up to full big band. The brass ranges are very moderate, with the lead Trumpet only reaching A. The piano part is fully written out, though your player can improvise a boogie woogie line if preferred. There are no sax doubles. Learn More

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