Instrumental Feature

Items 61 to 80 of 92 total

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  • Penthouse Dawn

    This composition by Oliver Nelson was recorded by the Jazz Interactions Orchestra in 1967, an ensemble led by pianist Billy Taylor. This lovely ballad was written as an alto feature for the great Phil Woods. Reeds 1 and 3 double on flute, reed 4 doubles on clarinet, and reed 5 doubles on bass clarinet. Sierra Music previously published this arrangement without the instrument doubles and removed the vibraphone, tuba bell, and French horn parts. This publication is the way Oliver Nelson wrote it - and the way it was recorded. Learn More
  • People Time

    This gorgeous ballad features a flute solo at the beginning, and then a trumpet solo backed by the ensemble. Like most of Carter's music, it was written for professionals but can be played by many middle-school bands. This is a straight-forward flute and trumpet feature ballad that is played slowly. The opening section features a flute solo accompanied by piano. The pianist should pay close attention to the flute and provide adequate, but not intrusive, support. The flute part was written on reed 1. We have included an alternate reed 1 part (on alto saxophone) and may be used in the event that a flautist is not available. If you wish to use this alternate part this arrangement simply becomes an alto saxophone feature (instead of flute). Learn More
  • Pink Panther

    Just like the original version as scored by the composer.  We have faithfully transcibed Plas Johnson's original solo. Learn More
  • Pop Giants For Bugle

    CONCERT BAND. A medley of hit numbers featuring solo flugelhorn and bound to be popular with audiences: "How Deep Is Your Love" "What A Wonderful World" and "Music Was My First Love". Learn More
  • Portrait of Winnettte

    Composed in a light Bossa style, this is a great sounding feature fot the flugelhorn.  This is a terrific choice as a mellow moment  for contest or festival Learn More
  • Punjab

    This arrangements feature lengthy solos for a tenor saxophone soloist. Included are open solo sections so that any number of soloists may be featured. In addition, while there was no guitarist used during the recording sessions, we have included a guitar part as Joe had done in his arrangements. These arrangements will require significant time to work them up, but they would be a amazing for any competition or festival! This has been edited and engraved directly from Joe's original scores and parts - this is not a transcription. Learn More

    This arrangement by Gil Fuller was first recorded by the Dizzy Gillespie big band in 1946. In 1949 J.J. Robbins & Sons published a stock arrangement of this tune that was nearly identical to the arrangement from Dizzy's book. The only major difference was that the published version was for 3 trumpets instead of 4. We have recreated the 4th trumpet part. Featured are solos for trumpet, tenor saxophone, and trombone. An optional open solo section has been included. Learn More

    Here is Gil Evans's arrangement of the Clarence and Spencer Williams classic blues standard Royal Garden Blues. This chart was written as a piano feature for Claude Thornhill. The reeds are arranged as: clarinet; alto saxophone/clarinet; tenor saxophone; tenor saxophone/bass clarinet; and baritone saxophone. The Horn in F part, arranged for two horns, is unison throughout. We have included trumpet 4 and trombone 3 parts that may serve as alternates for the horn part. Learn More
  • Solid as a Stonewall, Jackson

    This great bouncy up-tempo swinger from the Glenn Miller band, works equally well in a dance or concert setting. The cameo solos for Alto and Tenor are written out "as-played". There are no sax doubles in this chart, which is a must have for all Miller lovers. Learn More
  • Sorta Kinda

    This is one of our favorite Gil Evans arrangements, and we're delighted to be able to publish it. Evans took a simple little tune, arranged the first chorus as jump swing, employed a tricky modulation that is linear and dissonant part of the way (shades of “Moon Dreams”), and from the vocal on, turns “Sorta Kinda” into a fun exercise in bebop. Since there were few musicians in the band who were thoroughly acquainted with modern jazz, Evans had to teach them how to phrase musical lines that sounded like Charlie Parker, and they later said that they worked hard at this, even though they didn’t understand what Evans was trying to do. The first recording for Lang-Worth Transcriptions is too slow and tentative; by the time of the Columbia recording a year later, the band sounds quite assured and plays the harmonized bebop near perfectly. At the very end, he has the two French horns sounding suspiciously like a musical raspberry. There is even the sound of one musician laughing. It would be nice to find another word for brilliant, because this arrangement deserves a strong accolade along these lines. We have included alternate parts for the two horns (a 4th trumpet and 3rd trombone) and the tuba part may be played by a bass trombone. The vocal melody is cued in the piano part and we have included optional B flat and E flat soloist parts so that this may be played as an instrumental piano feature or with a soloist. Learn More

    Springsville was composed in 1956 by John Carisi, who'd written Israel for the Miles Davis Nonet in 1949. Carisi recorded Springsville for the RCA Jazz Workshop series, but the album was never released; it was also recorded that same year by Urbie Green for ABC-Paramount. Evans liked the tune well enough to make it the first track on"Miles Ahead," and it turns out to be the perfect opener for the album. Legend has it that Evans called Carisi years later and tell him how much he still loved the tune and the arrangement he'd made for Davis. There is no question that it is a classic. This version utilizes the original manuscript score from that session. Jazz Lines Publicaitons has restored the improvised piano solo that was changed to trumpet for the recording (this was originally to be played by Wynton Kelly). Learn More

    The music for Summertime, of course, comes from Porgy and Bess, and that album is a deserved classic. Evans's arrangement centers around a repeated line or riff, which changes color and texture throughout as Davis improvises over the melody. Evans would later adapt this arrangement for an album with Helen Merrill, and that performance included a guest appearance by soprano saxophonist Steve Lacy. The arrangement for Davis has two separate introductions played one after another at the beginning. These were cut for the recording, but are included here for their historical value. Playing or not playing them in performance is of course left to the discretion of the conductor. This is a fairly straightforward setting of the classic Gershwin song. Dynamics in all of Evans's music is of prime importance. Minimal miking of the flutes is recommended so that they can be heard, but they must not be louder than the brass. Learn More
  • Summit Ridge Drive

    We have taken the original 6 piece arrangement and  expanded it up to full big band, whilst keeping the length and structure of the original piece. The chart features solos for Clarinet, Trumpet, Piano (Harpsichord) & Bass, all of which are written out in full. We have also included an extra Trumpet part in the arrangement, a transcription of the original Gramercy Five Trumpet line which, allows you to perform the Gramercy Five version. The reeds are written CAATT, with all saxes doubling Clarinets. Learn More
  • Teenie's Blues

    Thanks to an agreement with Oliver Nelson, Jr., this track and six other classic compositions are now available, edited using Nelson's original manuscripts. Nelson now joins the legendary names whose music is now available. With the lone exception of Teenie"s Blues, all are arranged for alto, tenor, and baritone saxophones, trumpet, piano, bass, and drums. Teenie"s Blues was originally arranged for only 2 altos, piano, bass, and drums. We have included parts for tenor, baritone, and trumpet. Learn More
  • The Kid From Red Bank

    The Kid From Red Bank, a reference to Mr Basie himself, is one of the great tracks from the Basie band of the 1950's, and one of a series written and arranged for the band by Neal Hefti to be found on The Atomic Mr. Basie album. This is the original arrangement and not a transcription, and includes the Piano solo fully written out. There is not a full score with this arrangement, though a Conductor lead sheet is included. A great tune, and classic. To listen use the link below Learn More
  • The Ship

    This is the brilliant ballad treatment of the Kurt Weill/Ira Gershwin standard by Gil Evans as recorded by Miles Davis on the Miles Ahead album. Learn More

    Big band repertoire really doesn't get much more difficult than this arrangement. Taken at a blistering 300 bpm, this band showcase was arranged by Gil Fuller for Dizzy Gillespie's bebop band of the mid to late 1940s. Gillespie's big band performed this arrangement many times and it was used as a band theme. In 1949 J.J. Robbins & Sons published a stock arrangement of this tune that was nearly identical to the arrangement from Dizzy's book. The only major difference was that the published version was for 3 trumpets instead of 4. Gil Fuller recreated this arrangement for Dizzy's big band of the 1960s (the original music was lost). We have restored the 4th trumpet part (from Dizzy's set of 1960s parts) and included backgrounds that were not included in the stock. Solos are featured for trumpet, piano, alto sax, and tenor sax. The alto sax solo may be used as an open solo section. Learn More
  • Titmouse

    At long last, Benny Carters arrangements for saxophone ensembles are now available, authorized by Hilma Carter and the Benny Carter Estate. These compositions and arrangements were originally recorded for Impulse on the albums 'Further Definitions' (1961), and 'Additions to Further Definitions' (1966), and for the Musical Heritage Society on 'Over the Rainbow' (1989). These arrangements are not very difficult to play and they provide a lot of solo space for your players. Learn More

    This arrangement was recorded at one of the last sessions Dizzy Gillespie made for RCA Victor in 1947, before another recording ban took place during most of 1948. In 1949 J.J. Robbins & Sons published a stock arrangement of this tune that was nearly identical to the arrangement from Dizzy's book. The only major difference was that the published version was for 3 trumpets instead of 4. We have recreated the 4th trumpet part. Learn More
  • Una Mas

    The trumpet section gets the spotlight for much of this Kenny Dorham standard. Written in a latin "boogaloo" style there are still lots of interesting parts for all sections Learn More

    Regular Price: £40.00

    Special Price £31.95

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