Glenn Miller

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  • 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
  • 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
  • American Patrol

    This is one our specially written charts for student/amateur swing bands. In addition to the usual 8 Brass and 5 Saxes we have included optional Flutes, Clarinets and Horn in F. Very safe Brass ranges are adopted throughout. This chart broadly follows the ever popular Glen Miller version, but with no doubling in the Saxes and a simplified intro and ending.  It is in the same bright swing style throughout, with all sections playing and no solos. Learn More
  • Anvil Chorus

    Originally from Verdi's Il Trovatore, Anvil Chorus was a big hit for the Glenn Miller band, thanks to the fabulous arrangement by Gerry Gray. We have faithfully restored the original version here, complete with fully written out solos for Tenor & Trumpet. The Saxes are voiced AAATT throughout, as per the original & all dynamics are clearly marked. This chart is great in performance, & at 240 bpm you will need precision & nimble fingers to pull it off. Learn More
  • At Last

    The Miller band had several version of this chart, & ours is drawn from the version in the film 'Orchestra Wives'. Whilst it is not the complete film version, with both male & female vocal, it has the same dramatic opening with Billy May's trumpet solo then into the Sax soli, followed by a Trombone soli in even time, accompanied by Piano obligato. Then follows the modulation into the vocal chorus (in the key of A) & final band flourish. There is no audio file here, but for those of you who know the film, the above description should tell you all you need to know!! Lead Alto in on Clarinet throughout, & Baritone doubles Alto. Learn More
  • Blues in the Night

    Billy May wrote many outstanding charts for the Miller band, and this is one of his finest. The writing is moody, sometimes dark, but harmonically rich and full. It contains little of the trademark Miller syrup sax sweetness, yet is full of tension and emotional energy. The chart is scored for boy & girl vocal with a 4 piece vocal backing group and it won't work without them. Both Altos double Clarinet, and the solo Trumpet fill-ins are written out in full too. This not an easy chart to get right, but if your band has the talent to do it, your audience will really appreciate the result. The vocal key is F throughout. Learn More
  • Boom Shot

    Boom Shot is a rare gem of a chart from the Glen Miller book, co-written by Mr. Miller himself. It swings with a lift (if not played too fast) and features your 2nd Trumpet as well as solos (written) for 1st Alto & Trombone, & space for some background improvised Piano too. The song itself is unusual, being not much more than an 8 bar melody, but the orchestration is superb & the series of modulations that run through the chart give the whole thing a series of constant kicks that keep it fresh & moving. Baritone doubles Alto. Learn More
  • Boulder Buff

    Fred Norman wrote and arranged this tune for the Miller band, and we have transcribed this chart from Miller's 1941 Hollywood recording.  The opening Piano solo and later Trumpet and Tenor solos are fully written out, and all dynamics and articulations are notated on the chart, allowing you to re-create the authentic Miller sound. Technically this is not a difficult chart to play, providing that you maintain good sectional discipline and don't rushy the tempo!  There are no sax doubles. Learn More
  • Caribbean Clipper

    This up-temp swing chart features the piano, (originally Mel Powell) as well as the drums in the shout chorus. A classic Miller technique is used to propel this number - unison saxes with brass punches providing rhythmic support, with the melody inverted later on to the brass, with sax figures backing. A wonderfully middle passage of two trumpet pairs playing counterbalancing lines, one set open, one pair with wah-wah plungers, & both backed by glissing trombones & fill-phrased saxes is quite unique. A must for anyone's library. Sax doubles: 1st Alto to Clarinet. 1st Tenor to Clarinet. Baritone to Alto. Learn More
  • Chattanooga Choo Choo

    This is one our specially written charts for student/amateur swing bands. In addition to the usual 8 Brass and 5 Saxes we have included optional Flutes, Clarinets and Horn in F. Very safe Brass ranges are adopted throughout. This chart broadly follows the Glenn Miller version, including the 'steam engine' rhythmic intro, but in a bright straight 8 style to give it a real up to date feel. There is section playing throughout, with no solos. Learn More
  • Chicken Reel

    This is a rare chart from the Glenn Miller Band, which fills and builds to a rousing cliax.  A great little chart trhats good for dancers too. Learn More
  • Danny Boy

    Here is the lovely Danny Boy (Londenderry Air) as played by the Miller Band., this chart features Miller voiced saxes, beautifully balanced muted brass & some delicate piano work which is written out for your pianist in the places that matter.  The lead Trombone is the cameo-featured solo instrument & its range goes quite high - to top C#. Lead Alto is on Clarinet throughout. 2nd Alto doubles Clarinet & the Baritone doubles Bass Clarinet, though we have cued the passage with notes for the Bari in case a Bass Clarinet is unavailable. Learn More
  • Don't Sit Under the Apple Tree

    This is Glenn Miller's version that was originally performed by the Modernaires, except that we have turned it into an instrumental, whilst keeping the form true to the original. The band intro is there, as are the correct modulations and fills behind the melody lines. The trombones are written quite high in places (lead to high Db). We also offer this chart as a vocal. Learn More
  • Elmer's Tune

    This chart is an absolute vocal classic from Ray Eberie and the Modernaires with the Glenn Miller Orchestra. Learn More
  • Glen Island Special

    Glenn Island Special is a very quick swing chart written by Eddie Durham for the Glenn Miller band, & on first hearing it you could be forgiven for thinking it to be a Basie chart. At 240 beats per minute this chart rips from start to finish. It features ad-lib solos for 2nd Trumpet & 1st Tenor & has plenty of visual appeal too, with much plunger / hat work in the Brass. The Saxes are scored for 3 Altos & 2 Tenors. The Trumpet ranges are very moderate, with lead only reaching a G. The Sax parts do require very nimble fingers. If you play to a dance crown the dancers will need a rest afterwards. Learn More
  • Hour of Parting

    Whilst never commercially recorded by the Miller band because the chart's playing time was too long to fit onto a 78rpm record, The Hour of Parting was an often played number in the Miller book. The original exquisite arrangement was by Bill Finegan and featured Tex Beneke's tenor. We have recreated it here for you, though have expanded the brass to eight voices from the original six, whilst retaining the feel of the original. The as-played solos for Tenor, Trombone and Trumpet are written out in full and the reeds are scored for CATTB/A. Miller's original section was CAATT, though a later version was CATT and Baritone doubling Alto. The Baritone was introduced to add depth to the unison sax melody line before the bridge, though your player can stay on Alto throughout if preferred. This is a hauntingly beautiful chart which deserves a place in the band library of any lover of Miller. Learn More
  • I Hear You Screamin'

    This is a quick,rare and challenging chart from the Glenn Miller Band Learn More
  • Ida, Sweet as Apple Cider

    "Ida" is an early Billy May chart for the Glenn Miller orchestra which shows May's fine early writing style at its best. We have scored the male vocal independently from Beneke's original Tenor part, thereby keeping the integrety of the sax section, and have written out his original Tenor solo "as played".  Aside from a 4 measure section by Alto 1 on Clarinet at the end of the chart there are no sax doubles. Learn More
  • In the Mood

    Ours is a fusion of the Civilian band & SVS version. The saxes re re-voiced to AAATT, so the 1st tenor player now has playable fingerings & the note doubling in the stock has gone. The rhythm lines are now right, so the chart doesn't come to a grinding halt in the middle 8 & trumpet solo. The sax solos are now for two Tenors as they should be. The backing behind the Trumpet solo is now right, with no Trombones here at all. The Miller band used this space for a bit of Trombone-waving. The last fade-out chorus contains the quasi-bass solo with saxes only playing the top note of the riff. Learn More
  • Indian Summer

    Here is the classic Miller version as recorded in 1939 with vocalist Ray Eberle. Alto1 is on clarinet throughout. Alto 2 doubles clarinet in a few spots. But, we have included alternate parts that avoid the doubles. Also, in typical Miller fashion, the baritone sax is on alto throughout. The chart begins in F, modulates to G for the vocal section and finishes up in E flat. Also in the event that you don't have a vocalist, this chart can be used as a trumpet feature. The vocal part has been written out for trumpet 1. Learn More

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