Instrumental Feature

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  • Adagio

    A full concert band setting of the slow moment from Mozart's clarinet concerto, K.622 Mais informação
  • All By Myself

    BIG BAND INSTRUMENTAL ALTO SAX FEATURE. The Celine Dion ballad in a full band instrumental version featuring a fully written out lyrical Alto sax solo with great phrasing, creating an ideal concert number. Mais informação
  • Amazing Grace

    A full concert band traditional style arrangement  Mais informação
  • Any Old Time

    Here is one of Artie Shaw's biggest early hits.Recorded in 1938 with Billie Holliday and later on with Helen Forrest, this is a nice clarinet feature in addition to a vocal chart. It begins in F for a chorus and then modulates to C for the vocal part. The chart then goes to Ab for the last section. Shaw's clarinet parts are written out in full (on Alto1) as well as the 8-bar tenor solo. Chord changes have been provided in the event that the players would rather improvise. It was originally written for 3 trumpets and 2 trombones, but it has been adapted for 8 brass. Also the baritone sax doubles on Alto for most of the arrangement. Mais informação
  • Auld Lang Syne

    The traditional song in a full concert band setting. Mais informação
  • 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. Mais informação
  • Bedford Drive

    Bedford Drive has an altogether modern feel about it, with some interesting harmonic structures, particularly in the tutti passages. All of Shaw's solo sections are transcribed in full, & in parts they are fairly challenging, though your player can improvise from the chords if preferred. The Guitar solo is also transcribed, and cross-cued onto the Piano part in case you have no Guitar in your rhythm section. The brass ranges are moderate & there are no sax doubles. Duration 3'25".   Mais informação
  • Bolero

    From the opening pianissimo side drum rhythm this immediately recognizable comosition follows the layout of Ravel's original version, but with the initial theme written for sax. Mais informação
  • Boogie Stop Shuffle

    This catchy riff based tune used blues changes, and you can make it as easy or as difficult as you like depending on the tempo you use ! Solos are for Sax, Piano and Drums. Mais informação
  • Carioca

    This is one of Artie Shaw's most memorable charts, and simply a joy to play. Opening with a short 6 measure half time statement, the drums then double the tempo and away we go.  The arragement has great sectional interplay, plenty of plunger action in the brass, and several rousing shout choruses at the end, culminating in a final Clarinet flourish. The Shaw & Pastor solos (for Clarinet & Tenor) are written out in full, and there are no sax doubles. The reeds are scored for CAATT. Included is an extra Baritone part, making the section CAATB and giving you more flexibility in deciding which player takes the Clarinet solo line. Duration 3'10". Mais informação
  • Cerezo Rosa (Cherry Pink)

    Cerezo Rosa, or Cherry Pink & Apple Blossom White as it is otherwise known, is probably Perez Prado's most well known piece. In essence, it's a Trumpet solo with big band backing, & is instantly recognisable for the valved & lipped slur/scoop at the start of the soloists phrase. We have written the solo part for the 4th Trumpet. All of the rhythm parts are written out in full, though your Pianist & Guitarist are equally free to play their own interpretation from the chords provided. The lead Trumpet has to reach a high E once, & some high D's with an option to scream to high F.  No sax doubles. Mais informação
  • Ciribiribin

    The solo Trumpet chart by which all others are measured. Though it can also be used as a solo vehicle for Clarinet or Soprano Sax instead. This transription is the 1939 classic in full, from the classically inspired intro, the Mediterranean waltz section, the little Baroque bridge, the Trumpet Cadenza and the fast swing second half.   Duration 2'30". Mais informação
  • Clarinade

    Mel Powell wrote this piece for Benny Goodman. The chart is full of rich, flowing texture and has a superb harmonic structure, yet is still a thumping swing number. Aside from an 8 measure Piano solo the chart is an out and out Clarinet feature. However, it is not easy. Your Clarinet player will need to be very nimble figured to get it right, as playing in the keys of E and F# at 240 beats a minute is quite a challenge,and the band will need to be tight and have good intonation too. The arrangement is scored for 8 Brass and 5 reeds - Clarinet, Alto, 2 Tenors and Baritone. Tenor 1 doubles Clarinet.  Duration 2'40". Mais informação
  • Cuba Buena Vista Club

    Bring vibrant Cuban dance rhythms to your next concert with this medley: Melano De Cana (Cha Cha), Dos Garenias (Rhumba) in addition to the usual full Woodwind, Brass and Drum kit there are parts for Marimba, Congas & Cow Bell, Agogo, plus Keyboard strings. This very effective chart is not difficult. There are very playable trumpet & Trombone solos in the arrangement and ensemble / section writing elsewhere. Mais informação
  • Cubano Be

    This ground-breaking arrangement was written by George Russell in 1947 for the Dizzy Gillespie Big Band. It was first recorded live at Carnegie Hall then 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). The importance of Cubano Be (and its sister piece, Cubano Bop) is that it signaled to the music community that Afro-Cuban rhythms (and Latin influences in general) could be merged with jazz. Through these performances and recordings, Afro-Cuban arrangements found their way to the concert hall. 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. Mais informação
  • Dewey Square

    Here is Med Flory's arrangement of 'Dewey Square' This arrangement features an original Charlie Parker solo transcribed in full by Med Flory, and harmonized to be played by a standard big band sax section (2 altos, 2 tenors and 1 baritone). This is not a transcription. The original, hand-written manuscript has been used to produce this arrangement. This has been published with the authorization of Med Flory. Mais informação
  • EAST SIDE, WEST SIDE

    This arrangement by Oliver Nelson was recorded by the Jazz Interactions Orchestra in 1967, an ensemble led by pianist Billy Taylor. Set in a modal 9/8 groove (with two measures of 4/8 thrown in) this chart features a lengthy alto saxophone solo (played by Phil Woods on the recording) with nice backgrounds. Also featured is vibraphone. Oliver wrote this arrangement (and the others from this recording session) for two bass players (played by Ron Carter and George Duvivier). Throughout this particular arrangement one bass player is arco and the other is pizz. There are no instrument doubles. Mais informação
  • Evening Star

    Benny Carter originally wrote this melody in 1960 for inclusion on his Further Definitions album (it was originally titled Blue Star). In 1992 he took the tune and created this big band arrangement as an alto sax feature. This is a fairly straight-forward arrangement that would be perfect for a less-experienced band to feature a guest soloist. There are no saxophone doubles. Mais informação
  • Flamingo

    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 great alto feature is based on the original hard driving Earl Bostic recording, with the fully written out solo part kept within a comfortable range suitable for a reasonably competent student/amateur player.  There are plenty of ensemble fills and backings, as well as an 8 bar full band section. Mais informação

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