Instrumental Feature

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  • Music (Was My First Love)

    John Miles. Big Band Instrumental Trumpet and Trombone feature. The rock classic in a full big band arrangement with the great dynamic variations and changes of tempo of the original recording. Includes synth strings. An ideal concert number. Learn More
  • Music Makers

    This Harry James chart is at heart a Trumpet sectional feature though not at the difficulty level of say Trumpet Blues & Cantabile. The Tenor solo is written in full & is best played as originally written. The lead trumpet is written to a high F in the closing run, but the line can be taken down an octave without detracting from the finish, which then makes the required lead range a top Eb. Learn More
  • My Guy's Come Back

    My Guy's Come Back is the Mel Powell arrangement for the Miller USAAF band. It is at heart a Piano feature based around an often recurring riff that is shared around the sections. There are improvised solos for Trumpet 2 & Piano, with fill-in solos for Drums too. At a steady 140 tempo, this chart makes for good dancing. The reeds are scored AATTB; all reed players double Clarinet, though the Baritone/Clarinet line is an octave lower double of the lead line, so if your Baritone player doesn't play Clarinet he will not be missed too much. Learn More
  • Nessun Dorma

    A full concert band instrumental setting for this Pucini Classic. Learn More
  • Night And Day

    The original arrangement being penned by Jerry Gray. We have adapted the original up to 8 Brass & have written out all of the original solos in full - Shaw's playful Clarinet, Tony Pastor's Tenor & the Trumpet solo (probably Tom DeCarlo). The Reeds are scored for Clarinet, 2 Altos & 2 Tenors & the Saxes all double Clarinet. Learn More
  • On A Misty Night

    Tadd Dameron wrote this arrangement for Benny Goodman in 1962 for his tour of Russia (it wasn't recorded). He based it on the arrangement that he had recently written for his Magic Touch record. This arrangement is very close to the one from the Magic Touch album. The main difference is that for this arrangement he added a clarinet part (a solo part for Goodman), which was just the tenor saxophone part from his earlier arrangement. We have restored the tenor feature and removed the clarinet part so that it resembles the arrangement that was recorded on the Magic Touch album. This may be played by a standard big band of 5/4/3/4. The sound sample has been provided courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio. Learn More
  • ONE BASS HIT

    This arrangement by Gil Fuller was written to showcase Ray Brown, the bassist of the Dizzy Gillespie Big Band. Gillespie's big band performed this arrangement many times over the years. 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 restored the 4th trumpet part. The bass fills have not been written out, allowing for your bassist to improvise over the provided chord changes. Learn More
  • One for Duke

    This arrangement by Oliver Nelson was part of the Jazzhattan Suite and recorded by the Jazz Interactions Orchestra in 1967, an ensemble led by pianist Billy Taylor. This arrangement features solos for piano, clarinet and trumpet as well as an optional open solo section. Learn More
  • One Mint Julep

    Here is a grooving latin version from the Xavier Cugat band which features Piano/Keyboard on rock organ. The original organ solo is written out, but your player is free to improvise. The feel is even beat latin but works equally well with a rock/funk feel. If you find it hard to dance to swing charts, this one will get them all on the floor. Learn More
  • Our Delight

    Dameron arranged Our Delight for the Billy Eckstine Orchestra, and when that ensemble folded, Dizzy Gillespie added the setting to his book, playing it frequently. This version of Our Delight is the same as the arrangement Dameron wrote for The Magic Touch LP, only re-scored for traditional big band with some modifications. All of the BVC publications had numerous errors in pitch, rhythm and transposition. This publication has been newly edited and corrected. One such error occurs at Letter E; on the Riverside recording, French horn virtuoso Julius Watkins played the solo; in the original BVC publication, no solo was indicated. I have corrected this so that the solo is now played by Trombone 1. The sound sample has been provided courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio. Learn More
  • Paganini Caprice XXIV

    A big swinging chart for the Benny Goodman Orchestra. We have adapted & expanded the chart, scoring it for a regular AATTB Sax team & 8 Brass. Your Alto 2 player doubles Clarinet, & has the entire Benny Goodman solo, written out in full. Tenor 1 takes the Vido Musso solo, & the Mel Powell piano solo is also fully scored. This is a fine addition to any library. Learn More
  • 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
  • RAY'S IDEA

    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
  • ROYAL GARDEN BLUES

    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

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