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  • Zing Went The Strings of My Heart

    Recorded by Frank Sinatra in December 1960 for the Ring-a-Ding album, but remained unreleased until 1990 when the master tapes of the original recording were rediscovered.  This chart is a Sinatra gem, and even includes the rarely-heard opening verse. Beautifully transcribed and adapted by Jon Harpin from the original Johhny Mandel arrangement, to incorporate the strings back into a regular big band line-up.  This chart is unique and deserves a place in everyone library.  Lead Alto doubles Clarinet briefly.  Duration:  2.50. Learn More
  • You've Got What Gets Me

    This tune was written by the Gershwins for the 1932 film "Girl Crazy". Ella Fitzgerald revisited the song on her 1959 Gershwin Songbook album, the arrangement being written by Nelson Riddle. We have transcribed it here for you and have scored the vocal line exactly "as sung" by Ella. The chart is a medium tempo swinger consisting of intro, vocal chorus, instrumental bridge and closing vocal chorus. At just over two minutes it is not a long chart, though it is full of punch and clever writing by Riddle in his prime. There are no sax doubles and the vocal key is C throughout. Learn More
  • You're Driving Me Crazy

    Here is the quirky Billy May version from 1950, full of humourous musical invention. The arrangement seems to be  moving at a nice steady 2-in-the-bar pace, when all of a sudden something completely different crops up, blasts away for a bar or two, and then normality is restored. If you want an arrangement for a special occasion this is it. There are no sax doubles. Learn More
  • You'd Be So Nice To Come Home To

    Transcribed from a live performance and adapted to suit a full 5444 band line-up, this Bobby Darin chart swings from top to toe. It opens with only vocal, bass & drums and the full band only enters mid-way through the first vocal chorus. Your vocalist is featured throughout, with no breaks for band choruses or shouts, though at only two minutes long, the singer won't be over tired by the end of things. The band backings support the vocals superbly and won't overpower him. There are no sax doubles and the vocal key is Am (C) throughout. Learn More
  • You Must Have Been a Beautiful Baby

    This version of "You Must Have Been a Beautiful Baby" has been transcribed and adapted by Jon Harpin from the version Peggy Lee recorded in 1967 on the Capitol album "Something Groovy!" & it's written in a swingin' 60's pop style. We've done a bit of adaptation to the chart, to give you some options in performance, by cross-cueing the solo guitar lines into the saxes in case your band has no guitarist. Org. string lines are written in the reeds. Although playable with an upright bass, & electric bass works best. No sax doubles. Learn More
  • You Made Me Love You

    This is the Harry James version of You Made Me Love You & has a Trumpet feature.  We have scored this version for a regular 5444 line-up & have removed the strings & written their lines back into the band.The sax parts are printed double sided. One side is the version calling for all saxes to double clarinets (bari on bass clari)as per the HJ original.The other side is scored for a regular AATTB section no clarinet doubles.Trumpets are scored for solo, 1,2,3. We have written 4 trombone parts to fill out the section as HJ only used 3. Learn More
  • You Do Something To Me

    Adapted from Ella Fitzgerald's Cole Porter Songbook recording, this chart is laid back, relaxed and easy to play. It would make a good "change-of-pace chart" for a concert setting or live gig. The arrangement is scored for Miller voiced reeds (CAATT) and the brass is muted throughout. Brass ranges are very moderate, with lead Trumpet only to an A and lead Trombone to G. The vocal is in Ella's original key of Bb throughout. Please note that the audio is Ella's original, and NOT this chart, although the feel and duration of it is the same. Learn More
  • Yes Indeed

    A fine Sy Oliver composition for the Tommy Dorsey orchestra. Yes Indeed is a 'swing spiritual' which Sy Oliver originally sang with the band. Dorsey recorded the chart a few times in a couple of Keys, F (earlier) & G (later). This is the G version. Although it is a boy/girl vocal chart we have scored it to keep it flexible. It can be sung by a single vocalist, or can be played as an instrumental, as we have written it with Trumpet 2 and/or Trombone 1 taking solos instead of the vocal lines. There are no sax doubles. Learn More
  • Woodchopper's Ball

    Here is the great Woodchoppers Ball. Co-written & first performed by Woody Herman, this chart became a mainstay in the repertoire of all Herman's bands. This version is based on Woody's, though rescored for regular sections (Saxes AATTB, 8 brass).This arrangement features solo space for Clarinet (on 1st Alto part), Tenor, Trumpet & Trombone & has that characteristic chromatic set of key changes at the end that gives the whole chart a thumping climax. A superb swing chart. Learn More
  • Witchcraft

    Perhaps one of Frank Sinatra's most memorable hits, this version of Witchcraft was originally arranged by Nelson Riddle. We have adapted the original concept by removing the strings and orchestral woodwind, making the chart playable by a standard 5444 big band line up. However, in order to maintain the feel of the original arrangement we have retained the two Flute doubles. These are written on the Alto 2 and Tenor 1 part (also cued on the Alto 1 part, in case your Tenor player doesn't double on Flute). Sinatra's vocal line is scored "as sung". The vocal key is F throughout. Learn More
  • Why Don't You Do Right

    This version of Why Don't You Do Right was recorded in 1942 by Peggy Lee during her stay with the Benny Goodman band. We have faithfully transcribed Goodman's chart including all of the Clarinet licks & solos, but have expanded the brass from the original 6 up to 8. The sax parts are written for Solo Clarinet, Alto, 2 Tenors & Baritone though we have included an extra Alto sax part (the Tenor 1 part, written for Alto) to give  a bit more flexibility in the section. The brass ranges are very moderate, & aside from the Clarinet solo there are no surprises. Learn More
  • White Cliffs of Dover

    White Cliffs of Dover is a lovely vocal swing ballad from the Glenn Miller book. We have kept this chart true to the original, though have augmented the brass to full 8 voicing. The sax section is scored CATTA throughout, with the "second" alto doubling Clarinet.The original solo lines are all here too, from the muted Trumpet in the intro, the pizzicato bass at the end of the vocal chorus, the tenor sax solo after the vocal and the little Piano fill right at the end of the chart. This is an exceptionally authentic arrangement, and a fine addition to any library. The vocal key is Eb. Learn More
  • White Cliffs of Dover

    BIG BAND GIRL VOCAL CHART. Immortalised by Vera Lynn in the 1940's, this tune came to symbolise hope in troubled times, though it is also a lovely melody in its own right. Our arrangement is a smooth, flowing ballad in the '40's style, making full use of dynamic expression, muted & open brass, plus some Miller-voiced sax passages. Slightly nostalgic perhaps, but always popular. Lead Alto doubles Clarinet, Baritone doubles Alto. Learn More
  • Whispering

    Recorded by the Benny Goodman Orchestra in the late 30's, this chart features Trombone, Trumpet, Tenor & Clarinet. The chart opens in the key of A and the Trombone carries most of the melody in the first chorus. The arrangement modulates to Db for the solo Clarinet chorus, with a ripping sax middle 8, and then lifts again to Bb for the shout chorus, featuring solos for 1st Trumpet and 1st Tenor. We have cued both solos onto the Clarinet part should you wish to make more of a Clarinet feature of the chart. All solos are written out in full and have chord cues in case your players wish to improvise their own. Learn More
  • Whirly Bird

    Another beautifully crafted piece from the Basie Band. This chart is a flat-out, driving swing chart that features Piano & Tenor. Basie's solos are written out, but we have left the Tenor solo open, for your player to improvise from the chords. Graded advanced, because of the speed of it, & because the Trumpets need to play up high (lead to a written high F). Originally written for 7 brass, we've added a 4th bone part for completeness. The Bass Trombone is on the 3rd part. There are no Sax doubles. To listen use the link below Learn More
  • Where Or When

    A favourite of Frank Sinatra from his early days with the Tommy Dorsey band. This version is a transcript of the Billy Byers chart he used on his "Live at Meadowlnds " album. Learn More
  • When You're Smiling

    This chart has been transcribed from the Nelson Riddle arrangement as performed by Frank Sinatra, and is true to the original. We have made a couple of minor adjustments to make it playable by a standard 5444 line up. Backing string lines are scored into the Trumpets (muted) & the Trombone section has been augmented to 4 voices. We have written out the muted Trumpet solo fills, & the important Drum licks and kicks. After an 8 measure intro, it's a vocal feature throughout, backed by some  cool & swinging writing for the blowers. Vocal key is Ab modulating to A halfway through. No sax doubles. Learn More
  • When the Sun Come Out

    This is the original Helen O'Connell version, from her 1957 album "Green Eyes", as recorded with the Marion Evans Orchestra. It is a richly textured & lush, bluesy ballad perfectly suited to a female alto voice. The reeds are written AATTB, with no sax doubles. Brass ranges are very playable too, with lead Trumpet up to high C & 2, 3 & 4 called to reach high Bb. Lead Trombone is written to Bb, with 2 & 3 written to A. The vocal key is G throughout the chart. Although the tempo is indicated at 65 b.p.m. the chart works well at tempos up to 80 b.p.m. Learn More
  • When The Saints

    Many big bands have recorded versions of The Saints, yet this one really stands out from the crowd. Whilst not strictly a BG chart, as it was recorded by members of the Goodman Orchestra, it contains some fine ensemble writing, a flowing Clarinet solo in BG syle & solos for Piano & Tenor too.  The saxes are scored for CATTB, & we have included an alternate Alto 2 part (a transposition of Tenor 2). Trombones 1, 2 & 3 are written to high C during a passing riff near the end of the chart. Two of them can happily drop an octave here if they don't have the range. No sax doubles. Learn More
  • When Johnny Comes Marching Home

    This patriotic wartime tune was originally done by Glenn Miller with Tex Beneke & Marion Hutton & the Modernaires supplying the vocals.  We have scored the chart for Male & Female vocalist with a 4-piece backing group, though the arrangement works well as a boy girl duet or as a solo vocal. The Tenor sax line  is scored back in, thereby keeping your section complete. This chart is true to the Bill Finegan original, & there are no sax doubles. Trumpets 2,3,&4 need to be able to reach high C for the unison passage before the Tenor solo in the last chorus. Learn More

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