| ORDER
NUMBER |
TITLE |
COMMENTS
|
KEY |
| H&S |
HORNS AND STUFF |
A quick
reference guide for stage band and dance
band arrangers. It contains notes on
ranges, registers, and characteristics of
instruments most often associated with
stage and dance bands. It includes a
comprehensive section on Latin instrument
rhythm patterns and a basic chord chart.
Musicians new to arranging will find it
to be an invaluable reference.
Experienced arrangers will find
themselves referring to it more often
than they might imagine. |
| CD-1 |
LISTEN BEFORE YOU BUY |
MP3s of all of
Dick Brodfuehrer's "D" and
"BB" arrangements are available
on a single CD. That's more than 100
charts! They sound much more realistic
than the MIDI versions and are the full
arrangements, not just short samples. The
price is only $10.00 to cover the costs of
materials, production, postage, and
handling. Use the ORDER NOW! page
to place your order. |
| PJ-1 |
Piano Jazz Book & CD |
A book/CD bundle of 6 jazz piano pieces for the
intermediate student. Listen to the recording as
you play along! A testimonial about Joe's
stuff: "Dear Joe...impressed not only with
your orchestration and composition, but also with your
ease with the print-out program."-Dick Hyman. |
| 479-D |
HANK WILLIAMS MEDLEY |
INCLUDES "HEY GOOD LOOKIN'",
"YOUR CHEATIN' HEART", AND
"COLD COLD HEART". TRUMPET AND
PIANO SOLOS ON SECOND CHORUS OF "CHEATIN,
HEART". SAMPLE
|
| 66-R |
HAPPY
SADDLES |
WITH
APOLOGIES TO ROY AND GENE. WITH THE LOSS
OF 2 SINGING COWBOYS THIS CHART WAS PUT
TOGETHER FOR SOME FUN! |
| 474-D |
HARBOR LIGHTS |
A STRAIGHT FORWARD ARRANGEMENT WITH
ALL ENSEMBLE WORK. SAMPLE
|
| 67-W |
HARBOR
LIGHTS |
AN
EASIER CHART, BUT STILL A NICE ONE. |
| 68-BB |
HARLEM
NOCTURNE |
AN
"-O"ARRANGEMENT. A "CONCERT/BIG
BAND" CHART ARRANGED FOR STAN KENTON.
ORIGINALLY A TROMBONE FEATURE (THAT PART
IS INCLUDED)! IF NOT-A FLUGELHORN WILL
DO THE SOLO AND THE BONE JUST PLAYS THE
MARKED PART. THE FIRST READ-THROUGHS CAN
BE ROUGH BECAUSE THE PHRASES ARE
ABSTRACTED BETWEEN INSTRUMENTS AND
SECTIONS. FANTASTIC BIG BAND ARR. SOME
ABSOLUTELY WONDERFUL HARMONIES AND
COUNTER MELODIES. |
| 69-O |
HARLEM
NOCTURNE |
NONE
BETTER |
| 830-BB |
Harlem
Nocturne |
An
"-O" arrangement. A Concert setting in
which individual parts are fragmented. But the
fragments in each part fit together to form the total
picture of the arrangement. It takes very
careful counting, when initially rehearsed...but it will
come into focus after a couple of read-throughs.
If a Flugelhorn is used for the solo parts, use the
Trumpet 4 and Trombone 1 "A" parts. If
you want the lead in the trombone, use the Trumpet 4
and Trombone 1 "B" parts. Quite
playable for high school and above stage bands. |
| 802-R |
Harlem
Nocturne |
We
have had some great feed-back on this one. If you have
ever heard Spike Jones' straight version of this tune
(well…as close as Spike ever got to doing anything
straight), you will notice that this version follows
that loosely. A little more up-tempo and with some
nice clarinet overtones. Almost a little Dixie style
in some ways but still has that laid back soulful
heart to it. The lead starts with the tenor, and then
goes to the clarinet and trumpet. We can sub an alto
part for the clarinet if needed. Clarinet, Tenor,
Bone, Trumpet, and rhythm. |
| 254-R |
HARLEM
NOCTURNE |
NICELY
DONE WITH SOLO SECTION FOR WHOEVER FEELS
THE CALL. |
| 636-R |
HAVANAGILA |
EVERYBODY KNOWS THIS ONE. STARTS SLOW
AND BUILDS TO A FRENZY, AND THEN SLOWS
BACK DOWN. FOR TRUMPET, CLARINET OR
TENOR, TROMBONE AND RHYTHM. |
| 534-D |
HAVE YOU MET MISS JONES |
MEDIUM TEMPO MEDLEY MAKER. ALSO
AVAILABLE FOR JAZZ OCTET (ALTO, TENOR,
BARI, TRUMPET, BONE, AND RHYTHM).
An optional 2nd tenor part is included to replace the
bone if you like . SAMPLE
|
| 70-T |
HAVIN'
A BALL |
GREAT
CHART, LEAVES A LITTLE FOR YOUR
IMAGINATION. |
| 332-W |
HAWAIIAN WEDDING SONG |
YOU COULD TAKE
20 OF OUR CHARTS AND PUT TOGETHER A TWO
HOUR (OR MORE) SHOW, FOR LESS THAN YOU
GET PAID FOR THE GIG. (WE HOPE) |
| 71-W |
HEARTACHES |
PIECE
SOUNDS GREAT USING 2 CLARINETS OR SAXES! |
| 864-R |
Heigh-Ho |
I know, I know, it's off to Disney we go. I couldn't help it, I was overcome with visions of the seven height challenged
people (Dwarves is not politically correct and we are
always P.C.). This chart has a very concert band straight 16 bar intro followed with a lot of
up-tempo swing style, and maybe a little Dixie style fun. The last chorus uses either a bari or bone with the lead and the trumpet and clarinet playing a counter-melody with harmonies. For clarinet, bari or bone, trumpet, and rhythm. In Bb. |
| 72-R |
HE'LL
HAVE TO GO |
JAZZ
STYLE ARR. OF A JIM REEVES TUNE. |
| 73-T |
HELLO
DOLLY |
IF
YOU HAVE TO PLAY IT, THIS IS THE CHART. |
| 333-W |
HELLO DOLLY VOCAL |
|
| 781-M |
Heliotrope Bouquet
Sax Quartet |
Saxophone Quartet.
In the first 2 sections of this rag, Scott Joplin uses themes from Louis Chauvin, and then develops in the later sections. (The score gives you more historical notes about the original piece.) This is the
laid-back rag with many opportunities for the performers to develop their own expression. Scored for SATB or AATB
Keys: C/F |
| 853-F |
Help/A
Hard Day's Night
String Quartet |
Movie
music for string quartet. A Medley including the
title songs as well as "Day Tripper", "Tickets to Ride", "She Loves
You", and "Eight Days a Week". A really nice way to play early Beatles songs on
strings. SAMPLE
|
| 799-D |
He
Will Carry Me |
The tune is basically a Christian praise song. In C. Instrumentation is
trumpet, bone, tenor sax, lead and rhythm guitars, elec. keyboard, bass, drums, male lead vocal
with male and female backup vocal. The chart can be tailored for more horns --- another
trumpet, couple more saxes, etc. --- but there will be an extra charge for that. (Don't
worry...Like everything we do, it will be very reasonable.) |
| 74-W |
HERE'S
THAT RAINY DAY |
AN
EASIER CHART, BUT SOUNDS NICE WITH GREAT
BLENDS. |
| 608-BB |
HERE'S THAT RAINY DAY |
A "-J"
ARRANGEMENT. FOR A SMALL ORCHESTRA. FOR FLUTE,
CLARINET, OBOE, 2 HORNS, HARP, STRINGS
AND BASS. |
| 324-W |
HERNANDO'S HIDEAWAY |
A PRETTY NICE TANGO! |
| 75-W |
HIGH
SOCIETY DIXIE |
NICE
DIXIE ARR. |
| 751-M |
Hindu
Rag (1910)
Sax Quartet |
Sax Quartet.
Most of this rag is in A minor with many chromatic chords and unusual intervals, which gives it an "eastern sound," as suggested by the title. In this arrangement the melody rarely stays in the same voice for more than just a few measures before it's passed on to the next player. In the third section, the melody finally stays in one place for a while, and the F major key is enough to lighten up the feel before returning to A minor for the finale! Scored for SATB or AATB.
Keys: A Minor/F Major SAMPLE |
| 811-R |
Hogan's
Dixie
Dixie |
Dixieland style.
The theme from Hogan's Heroes which is a neat tune to do
in a a different style of song. I kept the march type drums intro
and in between the choruses, but the rest is done in a swing style which
means a lot of fun for your group. |
| 76-W |
HOLD
ME |
|
| 77-O |
HONEY
TALKS |
A
WEST COAST STYLE JAZZ PIECE. ALWAYS WELL
RECEIVED. |
| 334-W |
HOOKERS HOOKER |
A VERY NEAT CHANGE OF PACE. STRIPPER
MUSIC. BUMP AND GRIND. TAKE IT OFF, TAKE
IT ALL OFF! WHOOPS, I GOT CARRIED AWAY
THERE. |
| 850-D |
Hora |
This chart is written for alto, tenor, bari, 2 trumpets, 2 bones (2nd is optional), and rhythm. There are fully orchestrated piano and drum parts if the client wants to use them. It is a medley of traditional songs for dancing the Hora and runs about 4.5 minutes, as follows:
1. Havah Nagilah
2. Siman Tov
3. Tzena
4. Der Shtler Bulgar (After Johnny Mercer wrote lyrics for Martha Tilton with the
Benny Goodman Orchestra, it was more commonly known as
"When the Angels Sing."
This arrangement is based on the Ziggy Elman trumpet solo from the Dorsey recording so it may be a bit of a challenge for the trumpets).
Sample |
| 754-J |
Hot
Air
Sax Quartet |
Saxophone Quartet. An original composition from
arranger Joe Cea. This starts out in a "quasi Rag" style, and then changes tempo-up and
down, changes meter-taking a turn as a jazz
waltz, changes key, and eventually ends in 4/4. A great chart for a sax quartet to impress
yourselves and an audience. |
| 78-O |
HOW
ARE THINGS IN GLOCAMORRA |
IF
YOU HAVE ANY PRETEND IRISH TENORS IN THE
AUDIENCE, PLAY THIS, THEY'LL THINK THEY
KNOW THE TUNE AND THEN YOU'LL LEAVE THEM
BEHIND. NICE ARR. OF THE SHOW TUNE. |
| 79-O |
HOW
DEEP IS THE OCEAN |
ANOTHER
ARRANGEMENT DONE SPECIFICALLY FOR KENTON.
BUT THE CHARTS HAVE NEVER BEEN PUBLISHED. This
arrangement was featured on Stan Kenton's
"The Ballad Style of Kenton"
album. |
| 335-W |
HOW GREAT THOU ART
VOCAL |
VOCAL. THESE ARE NICE TO HAVE IF YOU
ARE DOING A CHURCH GIG. |
| 910-L |
Hurts So Bad |
Little Anthony and the Imperials. Has a written trombone solo. |
| 336-W |
HOW LONG HAS THIS BEEN GOING ON
VOCAL |
INSTRUMENTAL OR VOCAL |
| 528-D |
I CAN'T GIVE YOU ANYTHING BUT LOVE |
MEDIUM TEMPO-WITH SOLOS FOR THE
TRUMPET, TENOR, AND PIANO. SAMPLE |
| 80-W |
I
CAN'T GIVE YOU ANYTHING BUT LOVE |
EASY
CHART. BUT THEY SOUND AS NICE AS YOU MAKE
THEM |
| 81-O |
I
COULD WRITE A BOOK |
THIS
IS ONE GREAT CHART TO PLAY |
| 472-D |
Ida (Sweet as Apple Cider) |
MEDIUM TWO-BEAT TEMPO WITH A 6 BAR
TRUMPET SOLO. SAMPLE |
| 847-F |
Ida (Sweet as Apple Cider) |
A nice bouncy version of the old song for three saxes (AAT or ATT), two trumpets, trombone, and rhythm. The middle section features the saxes as a trio.
SAMPLE
|
| 337-W |
I DON'T KNOW WHY I LOVE YOU LIKE I DO
VOCAL |
AC-DC (GOES BOTH WAYS, INSTRUMENTAL
OR VOCAL). |
| 82-T |
I
DREAM OF YOU |
THESE
ARE GREAT CHARTS, AND YOU WON'T RUN INTO
ANYONE ELSE THAT HAS THEM. |
| 645-R |
I FEEL THE EARTH MOVE |
MEDIUM ROCK. ALTO, TRUMPET OR TENOR,
PIANO AND BASS. A BONE CAN SUB FOR THE
ALTO. |
| 84-W |
IF
HE WALKED INTO MY LIFE TODAY |
|
| 85-W |
IF
YOU WERE THE ONLY GIRL |
|
| 342-W |
I LEFT MY HEART IN SAN FRANCISCO
VOCAL
(ALSO
SEE "IN SAN FRANCISCO" BELOW) |
|
| 842-D |
I'll Never Smile |
This terrific arrangement is in Eb and features a trumpet solo. Written for alto, tenor, bari, 2 trumpets, 1 bone (plus optional 2nd bone) and rhythm. The chart is a pretty strait-forward arrangement of the tune---nothing fancy---but decent changes.
SAMPLE |
| 339-W |
I LOVE YOU |
|
| 340-W |
I MARRIED AN ANGEL VOCAL |
AC-DC |
| 535-D |
I MAY BE WRONG |
A MEDLEY MAKER. SAMPLE |
| 341-W |
I'M BEGINNING TO SEE THE LIGHT |
|
| 614-D |
I'M BEGINNING TO SEE THE LIGHT VOCAL |
A VOCAL IN Eb. THIS WOULD ALSO MAKE A
NICE PIANO FEATURE IF IT IS NOT USED AS A
VOCAL. SAMPLE |
| 86-W |
I'M
GETTIN' SENTIMENTAL OVER YOU |
NICE
OLDER ARRANGEMENT. A LITTLE EASIER TO
PLAY, BUT WORTH IT. |
| 87-T |
I'M
GONNA WASH THAT MAN RIGHT OUT OF MY HAIR |
THIS
IS FUN TO DO. PEOPLE THINK THEY KNOW THE
SONG, THEN IT TAKES OFF & DOES SOME
REAL INTERESTING JAZZY THINGS! |
| 343-W |
I'M IN THE MOOD FOR LOVE VOCAL |
AC-DC |
| 88-W |
I'M
NOBODY'S SWEETHEART NOW |
|
| 560-BB
|
I’M
OLD FASHIONED |
A
“-J” ARRANGEMENT. THIS IS A BIG BAND SWING
CHART WITH TRUMPET MELODY AND VOICED WITH SAXES.
IT HAS TRUMPET AND TENOR SOLOS. |
| 344-W |
IN A MELLOW TONE VOCAL |
A VERY NICE CHART. AC-DC. |
| 89-T |
IN
A SENTIMENTAL MOOD |
WELL
DONE ARR. ELLINGTON (WHOM I'VE MET) WOULD
HAVE LOVED IT! |
| 709-S |
INDIANA (BACK HOME
AGAIN IN) |
(standard S instrumentation) THE
ARRANGEMENT OF THIS POPULAR STANDARD
SWINGS FROM START TO FINISH. ENSEMBLE
PASSAGES SOUND IMPROVISED. FAIRLY FAST.
MODERATELY DIFFICULT. Key:
F |
| 345-W |
IN MUNCHEN
POLKA |
I DON'T CARE WHAT ANYONE SAYS, I LOVE
JAZZ, BUT POLKAS ARE FUN TO DO! |
| 90-T |
IN
SAN FRANCISCO |
WELL
DONE ARR. OF A SONG I HOPE I NEVER HAVE
TO PLAY AGAIN THE REST OF MY LIFE. |
| 640-D |
IN THE MOOD |
WRITTEN FOR 1 ALTO, 2 TENORS, 2
TRUMPETS, BONE, AND RHYTHM. IT SOUNDS
BEST WITH THAT INSTRUMENTATION, BUT YOU
CAN REQUEST A LEAD TENOR IN LIEU OF THE
ALTO. THIS FOLLOWS THE ORIGINAL RECORDING
PRETTY CLOSELY, AND APPROXIMATIONS OF THE
WELL KNOWN AD-LIB SOLOS ARE CUED. BRASS
PARTS ALSO HAVE CUES FOR ALTERNATE
VOICINGS IN A FEW SPOTS TO REDUCE THE
HIGH REGISTER LOAD FOR THE LEAD TRUMPET. SAMPLE |
| 91-W |
IN
THE MOOD |
THIS
WAS DONE IN A DIFFERENT KEY FROM THE
ORIGINAL. A LITTLE MORE PLAYABLE AND
ALWAYS WELL RECEIVED |
| 745-W |
IN
THE MOOD |
Same
as above but in the original key.
Key: Ab |
| 92-O |
INTERMISSION
RIFF |
VERY
NICE VERSION OF THIS TUNE DONE BY KENTON!! |
| 911-L |
I
Only Want to Be with You |
The
Dusty Springfield version arranged by Stephen Mangold. No solos |
| 274-RC |
I
REMEMBER (STAN) |
THIS
TUNE HAS THE NICEST MELODY YOU HAVE EVER
HEARD. THIS ARR. IS FOR SMALLER COMBOS ,4
PIECES UP. IT FEATURES SAXES, AND HAS A
NICE TRUMPET SOLO SECTION. SAMPLE |
| 274-RN |
I
REMEMBER (STAN) |
SAME
AS ABOVE BUT FOR 7 PIECES OR MORE.
FEATURES PIANO, SAXES, AND HAS A NICE
TRUMPET SOLO. |
| 274-BB |
I
REMEMBER (STAN) |
AN
"-R" ARRANGEMENT. A VERY
BEAUTIFUL CHART. THIS HAS A SAX SECTION
WITH A HINT OF THE OLD DAYS AND A MODERN
TRUMPET SOLO SECTION. AND A VERY HAUNTING
MELODY WITH A PIANO LEAD. |
| 346-W |
IS IT TRUE WHAT THEY SAY ABOUT DIXIE
VOCAL-DIXIE |
NICE SLOW DIXIE STYLE CHART.
FOR ALTO/CLARINET, TENOR OR SOPRANO, TRUMPET, AND PIANO.
THE BASS USES THE CHORDS ON THE PIANO PART. |
| 93-O |
ISN'T
IT ROMANTIC |
A
GREAT CHART. THE BEST OF THE WEST COAST
STYLE. |
| 561-J |
ISN'T IT ROMANTIC
STRING QUARTET |
FOR A STRING QUARTET. THIS IS
PERFECT FOR QUARTETS THAT WOULD LIKE TO
ADD A JAZZ STANDARD TO THEIR REPERTOIRE.. |
| 94-W |
IT
DON'T MEAN A THING |
ELLINGTON
BIG BAND TUNE REWRITTEN FOR COMBOS. |
| 892-D |
It Had Better Be Tonight |
Also known as "Meglio Stasera," this is a samba written for 3 saxes (ATB, 2 trumpets, 2 bones (2nd optional) and rhythm. It is in Gm and features an ad-lib piano solo in the middle chorus. Pink Panther fans will recognize it as the tune sung in Italian and featured during the ski lodge scene.
SAMPLE
|
| 936-D |
It Had Better Be Tonight
Sax Quintet |
Also known as "Meglio Stasera," this is a samba written for sax quintet (AATTB) and rhythm section. Features an ad-lib piano solo. Pink Panther fans will recognize it as the tune sung in Italian and featured during the ski lodge scene.
SAMPLE
|
| 616-D |
IT HAD TO BE YOU
VOCAL |
THE VOCAL IS IN F, MODULATES TO Bb
FOR AN ENSEMBLE CHORUS, THEN BACK TO F TO
FINISH OUT THE VOCAL. THE FIRST VOCAL
CHORUS IS BACKED BY BRASS IN CUP MUTES
WHICH IS NOT REFLECTED IN THE MIDI SAMPLE.
THE CLARINET NOODLING AROUND BEHIND THE
FIRST VOCAL CHORUS CAN BE PLAYED AS
WRITTEN OR AD-LIB. (Also available in the key of
Eb. Just specify which one you want when you
order) SAMPLE
|
| 95-W |
IT
HAD TO BE YOU |
CAN
BE VOCAL |
| 915-D |
It Might As Well Be Spring
Sax Quintet |
A tenor sax feature written for saxophone quintet (AATTB) and rhythm section. Begins as a ballad, goes to an up-tempo middle section, and then returns to a ballad for the last chorus. Ends with tenor sax cadenzas. In Bb. A nice showcase for the tenor. |
| 121-R |
(It) Might As Well Be Spring |
PEOPLE
LOVE TO DANCE TO THIS. TEMPO WORKS WELL
FROM 80 TO 120 |
| 508-R |
ITS GOT THAT SWING DIXIE |
AVERY FAMILIAR CHORD PROGRESSION IS
THE BASIS FOR THIS TUNE. YOU WILL HAVE TO
PLAY IT TO FIGURE IT OUT. DIXIE STYLE,
BUT NOT OVERWHELMINGLY SO. SAMPLE |
| 530-D |
IT'S ONLY A PAPER MOON |
MEDIUM FOXTROT TEMPO. MEDLEY MAKER.
PUT THIS WITH ANY OF THE OTHER MEDLEY
MAKERS AND PUT TOGETHER SOME GREAT CHARTS.
SAMPLE |
| 588-W |
IT'S THE TALK OF THE TOWN |
|
| 800-R |
It
Was A Very Good Year |
This
arrangement follows the original style, which had four 16 bar choruses with
the same 4 bar interlude between each chorus. A different instrument has the solo lead for each of those choruses. The change of
instruments for each chorus helps to take you through the "When I Was Seventeen", "When I Was Twenty-one", "When I Was Thirty-five", "And Now The Days Are Short"
stages of this song. This is a very nice arrangement. Always goes over well with your audience. |
| 917-D |
Itsy Bitsy Teenie Weenie
Yellow Polkadot Bikini
Sax Quintet |
A novelty arrangement to have some fun with. It is obvious that the bari sax isn't taking the tune too seriously. Written for saxophone quintet (AATTB) with rhythm section. In Bb.
SAMPLE (This
chart is a lot of fun but it is also very well written
and great to play for the rest of the group while the
bari player makes a fool of himself.) |
| 624-J |
I'VE GOT IT BAD & THAT AIN'T GOOD
PIANO SOLO |
A PIANO SOLO CHART. |
| 338-W |
I'VE GOT IT BAD & THAT AIN'T GOOD |
A WONDERFUL ELLINGTON CHART. FAIRLY
EASY, BUT A LOT CAN BE DONE WITH IT. |
| 96-O |
I'VE
FOUND A NEW BABY |
WONDERFUL
SAX INTRO. THE REST IS NICE ALSO. |
| 97-T |
I'VE
GOT IT BAD |
THIS
ONE IS ALWAYS LIKED. |
| 387-R |
I
Want A Sunday Kind of Love |
A Louis Prima tune in the Louis Prima Style. A very fascinating arrangement of this classic bluesy piece. The lead is in the alto and trumpet with the tenor playing a subtle but quite interesting counter-melody. For alto, tenor, trumpet, bone (can be dropped), and rhythm. Has an open middle chorus for solos or you could probably make it work as a vocal if your feeling a little like
Keeley Smith. God!...All these old names I am dropping
makes me feel like a dinosaur. If you recognize them then you're a dino too! |
| 646-R |
I WRITE THE SONGS |
SLOW ROCK BALLAD. FOR ALTO, TENOR,
PIANO, AND RHYTHM. A BONE CAN SUB FOR THE
ALTO. |
| 347-W |
JALOUSIE |
LATIN/TANGO |
| 944-R |
Jamaican Farewell |
Written for alto, tenor, trumpet, and rhythm. All 3 horns have the lead at one time or another and there is also a lead for guitar (the guitar can be dropped and the lead go to the tenor). Rhythm is very much a part of this arrangement. A great song done in the Belafonte-Jamaican rhythm and style. |
| 348-W |
Jambalaya |
|
| 942-R |
Jambalaya |
Hank Williams never did it like this! But he would if he could. Jazzy interpretation of a great country classic. The 3 horns all have the melody at one time or another, along with some ensemble work and interesting changes for the rhythm
section, and a really cool ending! A great complement to your gig portfolio. |
| 623-D |
JERSEY BOUNCE |
THIS GREAT ARRANGEMENT FEATURES A
FULL CHORUS AD-LIB PIANO SOLO. THE LAST
CHORUS SWINGS HARD. THIS IS A ROCKIN'
CHART. SAMPLE |
| 623-DD |
JERSEY BOUNCE |
SAME AS ABOVE ONLY FOR 1 TRUMPET,
ALTO/TENOR , TENOR, AND RHYTHM. THE BONE
IS OPTIONAL. |
| 765-D |
Jersey
Bounce
Sax Quintet |
For
a saxophone quintet. Otherwise SAA only the solo
is in the saxes. Scored for: AATTB+Rhythm |
| 888-D |
Jingle
Bells |
This is a direct quote from the arranger; "I think it is a decent chart, but I'm all out of inspiration for writing a blurb". Well…You listen to the sample and I know you will agree that his quote is one of the biggest understatements heard in a long time. This is more than decent...This is a great chart! If it has to be Jingle Bells then this is the arrangement
for you with out a doubt. Written for 3 saxes (ATB),
2
trumpets, 2 trombones (2nd optional), rhythm. Starts in Bb and goes to C for the last chorus. Short (8-bar) ad-lib solos for tenor, trumpet, trombone, and piano.
SAMPLE |
| 896-D |
Jingle
Bells
Sax Quintet |
Saxophone Quintet.
AATTB with rhythm section. Ad-lib solos for alto, tenor, bari, and piano. Starts in "F" and goes to "G" for the last chorus.
SAMPLE |
| 755-R |
Jingle
Bells? |
One of the better
Christmas tunes you will find. It really rocks, I
mean it moves. It is Jingle Bells but there is some fun with a little bit of rhumba
in the middle and a very Muppet ending. For clarinet,
tenor, bari (or bone), trumpet, piano and rhythm.
SAMPLE |
| 98-R |
Jingled
Bells
DIXIE |
DIXIELAND
STYLE X-MAS TUNE A LITTLE DIFFICULT BUT
WORTH IT. SAMPLE
|
| 473-D |
JOHNSON RAG |
UP-TEMPO AND SWINGS HARD, BUT IS NOT
DIFFICULT TO PLAY. THERE ARE SHORT SOLOS
FOR TENOR, TRUMPET, PIANO, AND BASS. A
HOT CHART! SAMPLE |
| 99-W |
JOHNSON
RAG |
EASY
TO PLAY, EASY TO STYLE, AND EASY TO MAKE
INTO A LOT OF FUN. |
| 519-BB |
JOHNSON RAG |
A LA THE BLUE BARRON, OR SAMMY KAYE.
DONE BY THE SAME ARRANGER THAT DOES ALL
THE "-O" CHARTS. |
| 475-D |
JUMPIN' AT THE TIP-TOP BAR |
ANOTHER ORIGINAL. BASED ON STANDARD
TWELVE-BAR BLUES CHANGES. SWINGS NICELY
WITH AD-LIB SOLOS FOR TRUMPET AND TENOR. SAMPLE |
| 476-BB |
JUMPIN' AT THE TIP-TOP BAR |
A "-D" CHART. SAME AS ABOVE
ONLY WITH BIG BAND INSTRUMENTATION. AN
OUTSTANDING CHART. SAMPLE
|
| 630-R |
JUMP, JIVE, AND WAIL |
FOR TRUMPET, BONE, ALTO, TENOR, BARI,
PIANO, AND RHYTHM. THIS REALLY ROCKS IN
THE BRIAN SETZER STYLE. ALSO IN THE LOUIS
PRIMA STYLE. |
| 562-J |
JUNGLE BOOGIE
VOCAL
|
GREAT CHART FOR A ROCK GROUP WITH
TRUMPET, BONE, ALTO AND OPTIONAL BARI.
ALSO RHYTHM (BASS/CLARINET). |
| 100-W |
JUST
A CLOSER WALK WITH THEE |
TRADITIONAL
NEW ORLEANS STYLE. VERY SLOW FIRST 16
BARS WITH A JUMP INTO DOUBLE TIME. FUN!! |
| 101-O |
JUST
A FEW |
THIS
ONE OF THOSE CHARTS THAT YOU MAY NOT
RECOGNIZE THE NAME. BUT YOU'LL LOVE
NEVERTHELESS! |
| 102-W |
JUST
FRIENDS |
|
| 563-J |
JUST THE WAY YOU ARE |
A BOSSA CHART FOR TRUMPET, ALTO,
BARI, BONE, AND RHYTHM, WITH A TENOR SOLO. |
| 564-J |
JUST THE WAY YOU LOOK TONIGHT |
FOR TRUMPET, TENOR, BARI, BONE AND
RHYTHM. |
| 565-BB |
JUST THE WAY YOU LOOK TONIGHT |
A "-J" ARRANGEMENT AND A
TRUMPET FEATURE. |
| 672-D |
Kansas City |
LOW-DOWN BLUES (IN Eb) A LA 12TH ST.
AND VINE. AD-LIB SOLOS FOR PIANO,
TRUMPET, AND BONE, BUT ARE CUED SO THEY
CAN BE USED WITHOUT THE BONE AND 2nd
TRUMPET PARTS. THIS ONE HAS A COMPLETELY
SCORED PIANO PART THAT CAN BE PLAYED AS
WRITTEN OR IGNORED BY YOUR PIANO PLAYER. SAMPLE |
| 748-D |
Kansas
City |
Same
as above but in an octet version. SAMPLE |
| 881-BB |
Kansas
City |
A "-D" arrangement. This is similar to #672-D but scored for big-band 5/4/4/3.
SAMPLE |
| 787-R |
Kermie
(Rainbow Connection)
Waltz |
Waltz
. A very nice arrangement of a wonderful tune. Great harmonies in the horns and
nice counter melodies when not playing the lead. Everyone
takes a turn in this one. For clarinet, tenor,
bone/bari, trumpet, piano and rhythm. |
| 277-R |
KING
GEORGE
DIXIE |
A
DIXIE PIECE NOT OFTEN HEARD, BUT A GREAT
PIECE. THE INSTRUMENTATION ON THIS PIECE IS NOT THE
"-R" STANDARD INSTRUMENTATION.
FOR: CLARINET, TRUMPET, TROMBONE, PIANO, AND
RHYTHM. SAMPLE |
| 934-R |
King
of the Road |
You can't beat Roger Miller. Alto has the lead first, followed by the trumpet with a lead chorus in the guitar. The bari comps all of the way through the piece.
Written for alto, bari, trumpet, and rhythm. Can
be had with a tenor or bone part also. |
| 507-R |
LADYBIRD |
THIS IS FOR A 3 HORN COMBO PLUS
RHYTHM. THIS (AND THE CHART BELOW) WAS
DONE BY A VERY GOOD TROMBONE PLAYER/ARRANGER.
(I THINK THAT'S AN OXYMORON!) HIS CHARTS
ARE ALWAYS WELL RECEIVED. |
| 509-R |
LADYBUG
VOCAL |
AC-DC A NEAT
CHART THAT CAN BE DONE AS A VOCAL OR
INSTRUMENTAL, WITH A 2nd CHORUS SOLO
SECTION. A VERY NICE CHART WITH A VERY
NICE MELODY! |
| 890-R |
The Lady Is A Tramp |
This is one of those arrangements that sometimes come out better than you imagined it would. Great fun for the audience and for the band. The arrangement uses three choruses in which each horn has a solo lead, then ad lib solo, and then the ensemble, and followed by a solo lead out. Very interesting. Of course the solo sections can be farmed out to anyone. For alto, bari (we can make this
a tenor or bone if you like), trumpet and rhythm. In
Eb. |
| 691-D |
The Lady Is A Tramp |
A NICE DANCEABLE MEDIUM SWING TEMPO.
CAN BE USED WITHOUT THE BONE AND 2nd
TRUMPET. SOLOS FOR 1st TENOR AND BONE (cued
in 1st trumpet.) IN Eb.
Editor comment: You will note that I am
not making any glowing comments about the
arranger of this chart. His head is
getting to big and he is wanting more
money for all of the wonderful
arrangements that he does. |
| 506-BB |
LAMENT |
A J. J. JOHNSON BALLAD ARRANGED AS A
TROMBONE FEATURE. THIS TAKES A LEAD BONE
PLAYER WHO CAN REALLY
IMPROVISE. A GOOD CHART FOR A CHOPS BREAK
FOR THE TRUMPETS. |
| 349-W |
LASSUS TROMBONE |
A GREAT TROMBONE FEATURE ARRANGED FOR
COMBOS. |
| 480-D |
LAST SET-MEDLEY |
BALLADS-"ONE FOR MY BABY",
"THE PARTY'S OVER" (FEATURES
BONE), AND "THANKS FOR THE MEMORY"
(HAS A PIANO SOLO ON THE BRIDGE, OR AS
SOME WOULD SAY ON THE RELEASE). SAMPLE |
| 537-D |
LAURA
OCTET |
WRITTEN FOR TRUMPET, ALTO, TENOR 1,
TENOR 2, OR BONE (BOTH PARTS INCLUDED),
BARI, PIANO, BASS, AND DRUMS. THIS IS
JAZZ, NOT SWING. SAMPLE
|
| 809-D |
LAURA
SAX QUINTET |
Saxophone
Quintet. 537-D WAS RE-SCORED FOR 5 SAXES (AATTB)
AND RHYTHM SECTION. FEATURE YOUR
SAX SECTION AND GIVE THE BRASS A CHOPS
BREAK ON THE NEXT BIG-BAND GIG.
NICE CHORD CHANGES WITH THE LEAD ALTO
STARRING. SAMPLE
|
| 664-BB |
LAURA |
A BIG BAND VERSION IN Am OF THE CHART
BY THE "-D" ARRANGER. IT
STARTED ITS LIFE AS AN OCTET PIECE.
FEATURES THE LEAD ALTO AND THE SAX
SECTION, AND WHAT THE ARRANGER CALLS SOME
QUASI-FANFARES HERE AND THERE. ALSO A
NICE "KENTONISH" TROMBONE SOLI.
SAMPLE |
| 103-T |
LAURA |
AN
OLD MELODY WITH A NEW ARRANGEMENT. VERY
GOOD! |
| 540-D |
LA VIE EN ROSE |
I HAVE HEARD THIS PLAYED BY BOTH
DIANA KRALL AND CHUCK MANGIONE. THIS IS A
NICE CHART. SAMPLE
|
| 845-R |
Lazy
Bones |
The style of this Hoagy Carmichael tune loosely follows that of the way Leon Redbone covered this piece. No vocal though. Well it can be a vocal if you use the middle chorus for that. Would work just fine. A little blues, a little swing, a little Dixie, a little of everything going on in this chart that blends together to make a very nice arrangement! In "C". For clarinet, bari or bone, trumpet, and rhythm. We can add a tenor part if you wish. |
| 104-W |
LAZY
RIVER |
PRETTY
NICE HOAGY CARMICHAEL CHART. |
| 350-W |
LET ME CALL YOU SWEETHEART |
|
| 698-J |
Let
there Be Peace On Earth
VIOLIN QUARTET |
A
quite nice arrangement for 4 violins. |
| 105-R |
LIBERTY
AMERICA |
EVERYBODY
STAND FOR THIS ONE. A MEDLEY OF BATTLE
HYMN, GOD BLESS AMERICA, WITH A LITTLE
DIXIE THROWN IN. SUPER ENDING. |
| 351-W |
LIDA ROSE |
|
| 352-W |
LIECHTENSTEINER POLKA |
|
| 912-L |
Lightnin' Strikes |
Lou Christie. There are no solos |
| 566-J |
LIKE SOMEONE IN LOVE STRING
QUARTET |
FOR A STRING QUARTET. |
| 567-J
|
LIKE
SOMEONE IN LOVE |
A
CLARINET SOLO CHART WITH STRING
BACKGROUND, PLUS RHYTHM. THE
CLARINET HAS THE MELODY AND JAZZ CHORDS. |
| 531-D |
LI'L DARLIN' |
THIS IS THE NEAL HEFTI TUNE, NOT THE
OTHER (UGH) THING. SLOW TEMPO. MEDLEY
MAKER. ALSO AVAILABLE FOR JAZZ OCTET (ALTO,
TENOR, BARI, TRUMPET, BONE, AND RHYTHM). An optional 2nd
tenor part is included to replace the bone if you like
. SAMPLE |
| 106-W |
LIMEHOUSE
BLUES |
I
LOVE PLAYING THIS ARRANGEMENT! |
| 107-O |
LINDA |
WEST
COAST JAZZ STYLE WITH A COOL SOLO SECTION. |
| 913-L |
Linus and Lucy |
Vince Guaraldi. Has a written alto solo. |
| 849-CB |
Little Fugue in G Minor |
An "-F" arrangement. The famous Bach fugue arranged for a concert band. Difficult grade 3 or easy grade 4. A good way to teach your students what a fugue is, is to play one. Percussion is for snare, bass, cymbals, glockenspiel, xylophone, and 3-4 pedal timpani.
SAMPLE
|
| 914-L |
The Lonely Bull |
Herb Alpert and the Tijuana Brass. No solos but
this is a nice trumpet feature. |
| 353-W |
LONG AGO AND FAR AWAY VOCAL |
NICE CHART. HAS SOME CLARINET WORK IN
IT THAT CAN BE DONE ON THE TENOR. |
| 568-BB |
(The) LOOK OF LOVE |
A "-J"
ARRANGEMENT. A LATIN/BOSSA PIECE WITH A TROMBONE
SOLO. FOR 4 BONES, 4 FLUTES, 4 FLUGEL
HORNS, STRINGS, KEYBOARD, BASS, AND DRUMS.
|
| 647-R |
(The) LOOK OF LOVE |
LATIN/BOSSA/ROCK. FOR ALTO, TENOR,
PIANO, AND RHYTHM. A BONE CAN BE SUBBED
FOR THE ALTO.. |
| 108-O |
LOTUS
BUD |
THIS
CHART LIKE A LOT OF THE OTHER "-O"s,
WAS PLAYED BY SHORTY ROGERS |
| 354-W |
LOUELLA DIXIE |
Dixieland style. |
| 252-R |
LOVE
FOR SALE |
REPEAT
SECTION FOR CHORUSES, VERY PLAYABLE LETS
YOU BE THE STAR |
| 569-J |
LOVE
IS A MANY SPLENDORED THING TROMBONE
QUARTET |
FOR
A TROMBONE QUARTET. |
| 710-S |
Love Letters |
THIS ARRANGEMENT IS MODELED AFTER A
BEAUTIFUL RECORDING BY JIMMY GIUFFRE.
PARTS FOR RHYTHM SECTION AND FOUR HORNS:
(1) TRUMPET OR ALTO, (2) ALTO, (3) TENOR,
AND (4) TROMBONE OR BARI SAX. LINEAR
WRITING: EACH HORN HAS ITS OWN LINE AND
SEGMENT OF THE MELODY. VERY SLOW BALLAD -
A MOOD PIECE. MODERATELY DIFFICULT. Key: C |
| 711-S |
Love Letters
Sax Quartet |
SAXOPHONE
QUARTET. THIS ARRANGEMENT IS MODELED AFTER A
BEAUTIFUL RECORDING BY JIMMY GIUFFRE.
PARTS FOR RHYTHM SECTION AND SAX QUARTET
(SATB OR AATB). LINEAR WRITING: EACH SAX
HAS ITS OWN LINE AND SEGMENT OF THE
MELODY. VERY SLOW BALLAD - A MOOD PIECE.
MODERATELY DIFFICULT. Key:
C |
| 874-D |
Love Nest |
The tune, from the 1920 Broadway musical, "Mary," is best known as the theme song for
the George Burns and Gracie Allen shows. The arrangement is in Eb and written for 3 saxes (ATB), 2 trumpets, 2 bones (2nd optional), and rhythm. It features an ad-lib solo by the tenor sax and a nice danceable swing tempo.
SAMPLE |
| 875-BB |
Love Nest |
A "-D" arrangement. Same as above--only this arrangement is a big-band version, in Eb, and written for 5/4/4/3. It features an ad-lib solo by the tenor sax and a nice danceable swing tempo.
SAMPLE |
| 667-D |
Love Me Tender |
VERY EASY TO PLAY ARRANGEMENT OF THIS
ELVIS BALLAD. 1st TENOR NEEDS CLARINET.
NO SOLOS. STARTS IN "C" AND
MODULATES TO Db NEAR THE END. SAMPLE |
| 109-BB
|
Love
Music |
AN "-O"ARRANGEMENT. A GOOD,
EASY, FUN CHART TO PLAY. BASICALLY JUST
AN INTRO-CHORUS-THEN RIDE CHORUSES TO
FEATURE AS MANY SOLOISTS AS YOU'D LIKE.
THEN OUT! A GOOD CHART FOR YOUNG GROUPS-OR
ANY GROUP THAT WANTS TO DEVELOP
IMPROVISING SKILLS! A 5/4/4+ RHYTHM CHART
THAT CAN BE DONE WITH SMALLER-3/2/2+
RHYTHM INSTRUMENTATION. YOU WON'T FIND
ANY NICER ARRANGEMENT THAN THIS ONE |
| 882-R |
Love Potion #9 |
Yeah!…It's that Herb Alpert thing, only this one is for a 3 or 4 horn combo. The alto
and trumpet trade the leads while the bari or bone plays a little nice rhythm counter-harmony.
There are also some very nice piano solo interludes. For alto, tenor (can be dropped), bari or bone, and rhythm. |
| 25-O |
(The Lullaby Of) BIRDLAND |
SHEARINGS' TUNE DONE IN A GREAT ARR.
REALLY NICE COUNTER MELODY IN THE SAX
SECTION! HAS SOLO SECTION FOR TRUMPET
& TENOR! |
| 25-SQ |
(The Lullaby Of) BIRDLAND |
SAME AS ABOVE, BUT FOR A SAX QUARTET
OR QUINTET. CAN BE DONE WITH OR WITHOUT
RHYTHM. |
| 661-D |
Lullaby of Birdland |
THIS CHART NEEDS THE TROMBONE AND 2nd
TRUMPET. SHORT AD-LIB SOLOS FOR 2nd
TENOR, 2nd TRUMPET, AND BONE. CLARINET
REQUIRED FOR THE 1st TENOR. NOTHING HEAVY
HANDED, JUST NICE LIGHT SWING. SAMPLE |
| 897-D |
Lullaby
of Birdland
Sax Quintet
|
Saxophone Quintet.
AATTB with rhythm section. It has a clarinet lead in the 1st alto part for most of the chart. There are short ad-lib solos for all five of the reed players.
In Bb. SAMPLE |
| 297-T |
LULLABY
OF BIRDLAND
|
A
VERY NICE CHART DONE BY A VERY EXCITING
ARRANGER. DONE FOR 3 HORNS (TENOR, BONE,
TRUMPET), AND RHYTHM. WE ALSO HAVE “ALL
THE THINGS YOU ARE”, A BONE QUINTET CHART BY
THE SAME ARRANGER. |
| 607-BB |
LUSH LIFE VOCAL |
A "-J"
ARRANGEMENT. A VOCAL FOR 2 FLUTES, 2 CLARINETS, 8
BRASS, AND RHYTHM. |
| 355-W |
MACARENA |
I DON'T KNOW WHY I LIST THIS ONE. I
SHOULD JUST BURN THE CHARTS! NO RHYTHM
PARTS ON THIS ONE, BUT WHO NEEDS THEM,
THE RHYTHM SECTION ALWAYS GOES ITS' OWN
WAY ANYWAY! |
| 110-W |
MACK
|
MACK
THE KNIFE. |
| 526-T |
MACK |
A lot jazzier version of a the great tune "Mack
The Knife", that has been
overdone in many other venues. But not this
time. It has a wonderful intro followed by a 3
horn chorus with a bridge full of syncopation that
works so well it is hard to believe. It also has
an open middle chorus for solos if you wish. A great
arrangement! |
| 940-R |
Make
the World Go Away |
Eddy Arnold made this one famous as a
pop/country classic. We have done it as a instrumental with the tenor comping the alto lead, comping the trump lead, and then the tenor takes the lead while the alto comps. Nicely done arrangement. For alto, tenor, trump and rhythm. |
| 741-D |
Makin'
Whoopee! |
Medium tempo. Just right for dancing. Features a piano solo and can be used without the trombone and 2nd trumpet.
In F.
SAMPLE |
| 111-O |
MAMA
INEZ |
GREAT
JAZZY CHART-WELL LIKED |
| 112-T |
MAME |
THE
GREAT OLD SHOW TUNE DONE WITH A MORE
MODERN JAZZ FLAIR. |
| 648-R |
MAÑANA |
LATIN/SAMBA. FOR ALTO, TENOR OR
TRUMPET, PIANO AND RHYTHM. A BONE CAN BE
SUBBED FOR THE ALTO. |
| 932-R |
The Man I Love |
A very fine arrangement from the 1927 play "Strike up the Band" by George Gershwin, made popular by Helen Morgan and Billie Holliday. Ella Fitzgerald made a hit out of it in 1959. Ira Gershwin was quoted as saying "I didn't realize
how good our songs were until Ella sang them." This arrangement uses the alto as lead
in the first chorus, the trumpet in the second and the Bari (or bone) with the lead out. For the bridge it uses a horn ensemble. For alto, trumpet, bari (or bone, or tenor if you want), and rhythm. The piano and bass have a very nice rhythm part to
complement the horns. |
| 113-O |
MAN
WITH A HORN |
IF
YOUR TRUMPET PLAYER LIKES TO STAND OUT (AND
DON'T THEY ALL) THIS IS A NICE FEATURE |
| 868-M |
March Irresistible
Sax Quartet |
Saxophone Quartet. An early 20th century march by Asa Huycke.
Commissioned by the Royal City Saxophone Quartet, and premiered
by them on October 1, 2006, in Peterborough, Ontario, home of Asa Huycke. Scored for SATB or AATB.
Keys: Eb/Ab.
SAMPLE Ed:
Go on---Listen to the sample. If you do not
already have a sax quartet, then you will want to
start one. Especially if you are a bone player! |
| 358-R |
MARCH TO THE MOVIES
see comment--------> |
NICE CHART TO PLAY BEFORE A BREAK.
THE TWENTIETH CENTURY FOX FANFARE. Ed:
If you buy one of the T.V. Madness arrangements you
get the March to the Movies fanfare for free!
Actually that is the only way you can get it now. |
| 114-T |
MARIA |
ANOTHER
ONE OF THOSE WHERE PEOPLE THINK THEY KNOW
THE SONG, THEN IT TAKES OFF AND DOES SOME
REAL INTERESTING THINGS. |
| 356-W |
MARIE Vocal |
VOCAL ONLY |
| 357-W |
MARIE |
INSTRUMENTAL |
| 689-D |
THE MARINES HYMN SERVICE
SONGS OF THE UNITED STATES MILITARY |
THIS MEDLEY INCLUDES CEREMONIAL
"RUFFLES AND FLOURISHES,"
"THE ARMY GOES ROLLING ALONG,"
"THE MARINES HYMN," "ANCHORS
AWEIGH," "THE AIR FORCE SONG,"
AND "SEMPER PARATAS" (COAST
GUARD). ARRANGED FOR CLARINET, 2 TENORS,
2 TRUMPETS, TROMBONE, AND RHYTHM SECTION;
BUT CAN BE PLAYED WITH JUST ABOUT ANY
COMBINATION OF INSTRUMENTS. THEY WILL
WORK WITH A 3-HORN MINIMUM
INSTRUMENTATION OF CLARINET, TRUMPET,
TENOR OR TROMBONE, AND RHYTHM. THE SONGS
ARE PRESENTED IN OFFICIAL DOD ORDER, BUT
THEY CAN BE PLAYED IN ANY ORDER OR
INDIVIDUALLY BECAUSE EACH SONG IS
INTRODUCED WITH A SHORT DRUM CADENCE. A
GREAT OPENER FOR GIGS INVOLVING VETERANS,
ACTIVE MILITARY, AND PATRIOTIC
ORGANIZATIONS. MARCHING BAND STYLE--NOT
FOR DANCING.SAMPLE
|
| 115-O |
MARTIANS
COME BACK |
THIS
CHART WAS DONE FOR & PLAYED BY SHORTY
ROGERS. UP TEMPO. |
| 116-O |
MARTIAN'S
LULLABY |
A
VERY ZANY, AND VERY INTERESTING, AND FUN
CHART. GREAT PIANO PART. |
| 520-BB |
MARTIAN'S LULLABY |
AN "-O"ARRANGEMENT. SAME AS
ABOVE, ONLY FOR BIG BAND. |
| 359-W |
MAY THE GOOD LORD BLESS AND KEEP YOU |
JESUS WHAT A LONG TITLE. OOPS, SORRY
A LITTLE SLIP THERE. IF YOU PLAY A CHURCH
GIG YOU NEED A FEW OF THESE. |
| 360-W |
ME AND MY SHADOW |
|
| 649-R |
MEDITATION |
LATIN/BOSSA-NOVA. FOR ALTO, TENOR,
BONE, TRUMPET, PIANO, AND RHYTHM. TENORS
CAN BE SUBBED FOR THE BONE AND TRUMPET. |
| 570-J |
MEDITATION |
A LATIN/BOSSA CHART. WRITTEN FOR
ALTO, TENOR, BONE, TRUMPET, BASS, PIANO,
AND DRUMS. HAS BONE AND PIANO SOLOS. |
| 117-W |
MEDITATION |
LATIN/BOSSA.
NICE JOBIM ARR. |
| 477-D |
MEDLEY-ALWAYS, ETC. |
STRAIGHT FORWARD MEDLEY OF
TRADITIONAL WALTZES WITH NO SOLOS. "ALWAYS",
"TOGETHER", "CAROLINA MOON",
AND "I LOVE YOU TRULY". SAMPLE |
| 525-BB |
MEDLEY-ALWAYS, ETC. |
A "-D" CHART. THE SAME
TUNES AS ABOVE, BUT AN ENTIRELY DIFFERENT
ARRANGEMENT. THIS CHART WAS DONE STRICTLY
FOR DANCING--NOTHING FANCY--AND EASY TO
PLAY. HAS LEAD CLARINET, GLENN MILLER
STYLE, IN THE BARI SAX PART. SOLOS FOR 1st
TROMBONE AND 1st TENOR. SAMPLE |
| 478-D |
MEDLEY-ELMER'S TUNE, ETC. |
INCLUDES MEDIUM FOXTROTS, "ELMER'S
TUNE", "YOU WERE MEANT FOR ME",
AND "MY HEART STOOD STILL".
SHORT SOLOS FOR TRUMPET AND PIANO. SAMPLE |
| 798-R |
Medley-50's Rock |
This
arrangement is played pretty straight. Nothing very Jazzy, but
has some nice harmonies. This piece has a very nice blues piano interlude in between choruses. Basic chord progressions (with some subtle
(Heh! Heh!) modifications). Our audiences are getting older so throwing
in a little old-time rock doesn't hurt. Includes: Silhouette, You Send Me, Oh! Donna, Oldies But Goodies,
etc SAMPLE |
| 479-D |
MEDLEY-HANK WILLIAMS |
INCLUDES "HEY GOOD LOOKIN'",
"YOUR CHEATIN' HEART", AND
"COLD COLD HEART". TRUMPET AND
PIANO SOLOS ON SECOND CHORUS OF "CHEATIN,
HEART". SAMPLE
|
| 480-D |
MEDLEY-LAST SET |
BALLADS-"ONE FOR MY BABY",
"THE PARTY'S OVER" (FEATURES
BONE), AND "THANKS FOR THE MEMORY"
(HAS A PIANO SOLO ON THE BRIDGE, OR AS
SOME WOULD SAY ON THE RELEASE). SAMPLE |
| 481-D |
MEDLEY-PEG O' MY HEART, ETC. |
SORT OF IRISH ORIENTED BALLADS.
"PEG O' MY HEART, "LAVENDER
BLUE", AND "HOW ARE THINGS IN GLOCAMORRA". THE 1st TENOR PART
REQUIRES A CLARINET. SAMPLE
|
| 173-R |
Medley-RixDixie
Dixie |
Dixieland. If you like Dixie,
you'll love this. It really rolls. Three
different tunes up-tempo swing, laid-back blues, and
then up-tempo for finish. The lead goes back and
forth between all instruments. Clarinet, Bari or
bone, trumpet, and rhythm. SAMPLE |
| 482-D |
MEDLEY-TALK OF THE TOWN-ETC. |
BALLADS. "TALK OF THE TOWN",
"LITTLE THINGS MEAN A LOT", AND
"BECAUSE OF YOU". SAMPLE |
| 483-D |
MEDLEY-YOUNG AT HEART, ETC. |
SLOW '50s BALLADS. "YOUNG AT
HEART", AND "MOMENTS TO
REMEMBER". CLARINET IS REQUIRED IN
THE 1st TENOR, AND THERE ARE SHORT SOLOS
FOR THE TENOR AND TRUMPET. SAMPLE |
| 118-W |
MELANCHOLY
BABY |
|
| 331-W |
MELODY OF LOVE |
|
| 361-W |
MEMORIES OF YOU WALTZ |
|
| 362-W |
MEMORIES OF YOU 4/4 |
|
| 749-M |
The Memphis Blues (1912)
Sax Quartet |
Saxophone Quartet. The cover of the original piano score says that this is a "Southern Rag" but only parts of it have a "ragtime" feel to it. The blues title is really more descriptive. After a brief intro led by the alto, I gave the bari the melody in the first section, since it rarely gets the spotlight. But don't worry, everyone gets a chance later, including a short solo. This arrangement isn't too difficult and could be played
by a good high school group. Scored for SATB or AATB.
Keys: F/Bb SAMPLE |
| 363-R |
MICHELLE |
I REALLY LIKE THIS ARRANGEMENT. I
SHOULD, I DID IT. NOTHING EXTRAORDINARY,
JUST A NICE PLAYABLE CHART. |
| 119-O |
MICKEY
MOUSE |
GREAT
JAZZY CHART-WELL LIKED. TEMPO 120. THIS
WAS ORIGINALLY DONE AS AN EXERCISE TO SEE
HOW WELL THIS POPULAR TUNE COULD BE
HIDDEN IN AN ARRANGEMENT. IT IS A REAL
CROWD PLEASER, JUST ASK THEM TO LISTEN
AND THEN YELL OUT WHEN THEY IDENTIFY THE
SONG. EVERYONE LIKES TO GET INVOLVED!
PEOPLE LOVE A SWING DISNEY TUNE. |
| 797-R |
MM
March
DIXIE
|
Dixieland.
This makes a nice opener. A little traditional Mickey with a little Traditional Jazz thrown in. A march to the drums intro and then some very nice jazzy chord progressions. This will get their attention!
SAMPLE |
| 120-O |
MIDNITE
SUN |
THE
ARRANGER OF THE "O" CHARTS DOES
SOME OUTSTANDING STUFF! |
| 122-O |
MIKE'S
PEAK |
THESE
ARE SERIOUS ARRANGEMENTS WITH A LITTLE
SENSE OF HUMOR THROWN IN. (NOTE THE TITLE) |
| 123-W |
MISSISSIPPI
MUD DIXIE |
DIXIELAND
STYLE-CAN USE BARI OR BONE, OR 2
CLARINETS! |
| 699-BB |
Miss Llen and Me |
An original jazz ballad by the "-D" arranger. A very nice stage band chart, but also danceable. Soli by the sax and trombone sections are featured. There are no solos.
The last chorus builds to a no-holds-barred Kentonesque pot boiler. The arranger says that your brass sections can't suck on their
horns on this one---they have to BLOW! The MIDI sample doesn't do it justice, but if you listen to the MP3 you'll buy the chart.
SAMPLE |
| 430-W |
MISSOURI WALTZ |
|
| 124-T |
Misty |
NEAT
CHART. WE ALL LOVE TO PLAY THIS ONE. |
| 851-D |
Misty |
Written for 3 saxes (ATB), 2 trumpets, 2 bones (2nd is optional), and rhythm. Features the alto
sax, with no other solos. Starts in Eb and goes to Ab for the final chorus.
SAMPLE |
| 629-R |
Misty |
THIS IS A TENOR FEATURE. NICELY DONE.
THIS COULD BE A TRUMPET FEATURE JUST AS
WELL. TRUMPET, ALTO TENOR, BONE, BARI,
& RHYTHM. THE BONE AND BARI CAN BE
LEFT OUT.! |
| 126-O |
MISTY |
VERY,
VERY NICE ARR. CAN BE DONE WITH 3 TO 5 OR
6 HORNS PLUS RHYTHM. ALSO AVAILABLE FOR A
SAX QUARTET OR QUINTET. Key: Eb |
| 126-SQ |
MISTY |
SAME
AS ABOVE...ONLY FOR A SAX
QUARTET OR QUINTET. CAN BE PLAYED WITH OR
WITHOUT RHYTHM AND HAS AN AD-LIB SOLO SECTION. |
| 364-W |
MISTY |
A LITTLE EASIER THAN THE OTHERS.
NEVERTHELESS A FINE CHART. |
| 712-S |
(The) MOOCHE |
(standard S instrumentation) THIS
ARRANGEMENT OF THE CLASSIC DUKE ELLINGTON
TUNE TAKES US BACK TO THE EARLY SWING ERA.
MEDIUM TEMPO. FAIRLY EASY. Key:
Cm |
| 127-O |
MOOD
INDIGO |
I
KNOW I KEEP SAYING IT, BUT IF YOU HAVE
THE PERSONNEL, THESE ARE WONDERFUL CHARTS |
| 365-W |
MOOD INDIGO |
|
| 790-D |
Moondance |
Another outstanding arrangement by the world famous
Dick Brodfuehrer, the "-D" arranger. We have
had more positive feed-back for this arranger
than any of the others. And that…Gulp!...
includes me (the "-R" arranger). Though my
stuff is pretty terrific. SAMPLE |
| 898-D |
Moondance
Sax Quintet |
Saxophone Quintet. AATTB with rhythm section. No solos except for a piano intro.
In C SAMPLE |
| 503-D |
MOON GLOW |
A BALLAD THAT FLOWS NICELY. A MEDLEY
MAKER. SAMPLE |
| 128-T |
MOON
GLOW |
THIS
MELODY HAS BEEN AROUND A WHILE. BUT THIS
ARRANGEMENT HAS NOT. HOT!! |
| 571-J |
MOON RIVER WALTZ |
WALTZ FOR TRUMPET, TENOR, BONE, AND
RHYTHM, WITH A TENOR SOLO. |
| 572-J
|
MOON
RIVER
STRING QUARTET |
FOR
A STRING QUARTET. NOT BEING A STRING
PLAYER I HAD A QUARTET TRY THESE CHARTS
OUT. THEY ENDED UP TAKING THEM ALL. THEY
WERE VERY WELL LIKED! |
| 129-W |
MOON
RIVER |
WALTZ |
| 484-D |
MOONLIGHT IN VERMONT |
FEATURES TRUMPET AND TENOR SOLOS WITH
SOMEWHAT MODERN BACKGROUND VOICINGS. THIS
IS SLOW, UNCOMPLICATED, AND EASY TO PLAY.
ALSO AVAILABLE FOR JAZZ OCTET (ALTO,
TENOR, BARI, TRUMPET, BONE, AND RHYTHM). SAMPLE |
| 899-D |
Moonlight In Vermont
Sax Quintet |
Saxophone Quintet. AATTB with rhythm section.
Ad-lib solos for alto and tenor. In Eb.
SAMPLE |
| 366-W |
MOONLIGHT IN VERMONT |
|
| 130-W |
MOONLIGHT
SERENADE |
EASY
TO PLAY, BUT A NICE SOUNDING ARR. |
| 131-T |
MOONLIGHT
SERENADE |
A
LITTLE MORE FUN THAN THE PREVIOUS ONE. AND FUN IS WHAT IT'S ALL ABOUT. |
| 132-T |
MOONLITE |
A
REALLY NICE BALLAD. |
| 736-M |
Moose Rag
Sax Quartet |
Sax Quartet-- I found this rag on a public-domain
music site on the internet and downloaded it purely
because of its name and the cover, which I have
included. I was later pleasantly surprised to find
that it was a decent piece! This arrangement gives
both the Tenor and Bari a chance to play lyrical
melodies, and the Bari plays a “walking bass”
during much of the final section. Scored for SATB or
AATB. Bass Sax can replace the Bari.
Key: C/F/Bb SAMPLE
|
| 368-W |
MORE |
LATIN/RHUMBA. I
LIKE PLAYING THIS ARRANGEMENT. SOME SWEET
CLARINET WORK ALONG WITH TRUMPET. OF
COURSE THE TENOR CAN DO THE CLARINET PART. |
| 133-W |
MORE
THAN YOU KNOW |
|
| 134-O |
MORPO |
DONE
FOR AND PLAYED BY SHORTY ROGERS. UP TEMPO. |
| 903-D |
Mr.
Lucky |
A vocal arrangement in F for alto or baritone. Also an ad-lib tenor sax solo. Written for 3 saxes (ATB), 2 trumpets, 2 bones (2nd optional), and rhythm.
SAMPLE
|
| 291-SQ |
Mr.
Lucky |
A
GREAT ARRANGEMENT DONE FOR A SAX QUARTET
OR QUINTET. CAN ALSO BE HAD AS A BRASS
PIECE. WORKS WELL, WITH OR WITHOUT RHYTHM. |
| 865-R |
The
Muppet Show |
The Muppet Show theme done as a Fan-Fare. Short but fun! The chorus can be repeated to make it longer. A great way to start off your gig! Starts with the trumpet fan-fare, with bari or bone in the background, then the clarinet doing its thing, with the bari/bone comping, then they all get together to do a unison finish. All this time the percussion department is doing there very important part. (One person with at least 4 hands is needed, but a normal human being will work) (did I say normal? Has anyone ever met a normal drummer?) For clarinet, bari or bone, trumpet, piano and rhythm. |
| 135-R |
MUPPET
MEDLEY |
Sorry...Not
available at this time. IF
YOU'VE GOT KIDS IN THE PLACE THIS GOES
OVER WELL |
| 136-W |
MUSKRAT
RAMBLE DIXIE |
DIXIE
STYLE |
| 485-D |
MY BLUE HEAVEN |
A NICE MEDIUM FOX-TROT. SOLOS FOR
TRUMPET AND TENOR. SAMPLE
|
| 369-W |
MY BUDDY WALTZ |
|
| 796-D
|
My
Girl |
Instrumentation is 3 saxes (ATB), 2
trumpets, 1 bone, and rhythm. Written to be used either as a vocal or a tenor sax feature. Two tenor sax parts are included, one for use as a vocal and the other as the tenor solo. Starts in Bb and goes to C for the final chorus. We can provide it in Ab-Bb or C-D if necessary for the vocalist. There is an extra $10.00 charge for this.
SAMPLE
|
| 900-D
|
My
Girl
Sax Quintet |
Saxophone Quintet.
AATTB with rhythm section. Features a tenor sax solo throughout. Starts in Bb and goes to C
for the last part of the chart.
SAMPLE
|
| 137-BB
|
MY
FUNNY VALENTINE
VOCAL |
AN
"-O"ARRANGEMENT. WHAT A FINE
CHART. HAS A DIFFERENT ENDING CHORD-WISE.
THE ARRANGER SAYS HE HAD SOME FUN WITH
THE WHOLE TUNE. |
| 833-BB
|
My
Funny Valentine
Vocal |
An
"-O" arrangement. This chart is a very easy
read...sounds great!...and has a nice tag at the
end. There are 2 piano parts...same notes, but
enharmonically different. It's a great tune...Easy to
play...sounds very good...and there's not too may good
charts for vocalists. |
| 330-R |
MY FUNNY VALENTINE |
AN EASIER ARRANGEMENT. BUT, JUST
BECAUSE IT'S EASIER DOESN'T MEAN IT IS
NOT A VERY FINE CHART! THESE KINDS OF
CHARTS ALLOW YOU TO SHINE BECAUSE OF THE
NICE HARMONIES, ETC. FOR ALTO, TENOR, TRUMPET AND
RHYTHM |
| 370-W |
MY FUNNY VALENTINE Vocal |
AC-DC. HAVE YOU EVER LISTENED TO THE
WORDS TO THIS ONE? PRETTY OFFENSIVE, I
THINK. |
| 486-D |
MY GAL SAL |
A BRIGHT SWINGER, WITH SHORT SOLOS
FOR TRUMPET, PIANO, AND THE TENORS. SAMPLE |
| 573-BB |
MY GIRL |
A “-J”
ARRANGEMENT. MO’ “MOTOWN”. FOR A SMALLER BIG
BAND. 4 SAXES, 3 TRUMPETS (FLUGEL ON SOLO), 2 BONES
AND RHYTHM. 4/3/2. |
| 814-V |
My Heart Will Go On
String Quartet |
String Quartet. James Horner from the Movie "Titanic". This is the love theme from the movie "Titanic" and is a lovely and haunting melody.
The harmony parts will remind you of the waves and rolling seas. Pardon us if we make you seasick.
SAMPLE |
| 371-W |
MY MELANCHOLY BABY |
|
| 574-J |
MY
ONE AND ONLY LOVE |
FOR STRINGS AND BASS WITH A TROMBONE
SOLO |
| 575-J |
MY ONE AND ONLY LOVE STRING
QUARTET |
FOR A STRING QUARTET WITH A LOT OF
CONTRAPUNTAL ACTION FOR THE CELLO. (STRING PLAYERS
LOVE CONTRAPUNTAL ACTION) |
| 576-J |
MY ROMANCE
STRING QUARTET |
STRING QUARTET |
| 577-J
|
MY ROMANCE |
WRITTEN FOR 2 BONES,
2 TRUMPETS, ALTO, TENOR, BARI, PIANO, BASS, AND DRUMS.
IT IS COOL STYLE SWING A LA GERRY MULLIGAN. FEATURES A
BARI AND PIANO SOLO. PLEASE DON’T ROLL OVER GERRY. |
| 138-BB |
MY
SHIP
VOCAL |
AN "-O" CHART. AC-DC. AN
OUTSTANDING CHART DONE IN THE KENTON
STYLE! |
| 372-W |
MY WILD IRISH ROSE |
|
| 139-O |
NAN |
AN
ORIGINAL COMPOSITION BY THE GUY THAT DID
ALL THE OTHERS FOR KENTON, ROGERS, &
MANCINI! AND YOU WON'T FIND THEM ANYPLACE
ELSE! |
| 854-CB |
The National Anthem
(Star Spangled Banner) |
An "F" arrangement. For a concert band with optional vocal solo. Not your normal version…Anyone looking for four-part forte will be disappointed. However, if your band is looking for a new, more challenging, exciting, and musical version of the National Anthem, this piece is ideal. The arrangement treats the lyrics as poetry and accompanies them as such, creating a tone poem effect. A 16 bar intro is optional. It was originally written with a vocalist, but cues are included for a purely instrumental version. Not technically challenging, but it mixes 3/4 and 4/4 measures together. Percussion is for snare, bass, cymbals, glockenspiel, and 3-4 pedal timpani.
SAMPLE |
| 856-CB |
The National Anthem
(Star Spangled Banner) |
An "O" arrangement. This setting will sound
great being played indoors our outdoors, as long as the parts are covered. So a pep band to a small ensemble to a large concert band will impress the audience with this striking (the rhythms are a little different
than what is usually found) arrangement. You can play it "as written" or you can add
ritards and fermatas, if you so choose. |
| 822-D |
The Navy Hymn |
The Navy Hymn is based on the old hymn, "Eternal Father, Strong to Save." This arrangement is written for 2 trumpets, 1 trombone, 3 saxes (ATB), piano and bass. Drums are tacet. It can be used without the bari sax and 2nd trumpet.
SAMPLE |
| 656-D |
THE NEARNESS OF YOU
VOCAL |
VOCAL IN C. SLOW AND EASY TO PLAY.
REMEMBER JUST BECAUSE IT SAYS EASY TO
PLAY DOES NOT MEAN THAT IT IS NOT ONE
FINE ARRANGEMENT. IT JUST MEANS THAT THE
VOCALIST IS THE CENTER-POINT OF THIS ONE.
SAMPLE |
| 578-J |
THE NEARNESS OF YOU |
WRITTEN FOR ALTO, TENOR, BONE,
TRUMPET, BASS, PIANO, AND DRUMS.
MEDIUM SWING. FEATURES GREAT HARMONIES
AND A TENOR SOLO. |
| 373-W |
THE NEARNESS OF YOU VOCAL |
A VOCAL IN Eb |
| 140-T |
NEVERTHELESS
|
WRITTEN
FOR TRUMPET, ALTO SAX, TENOR SAX, BONE
AND RHYTHM. THE BONE CAN BE DROPPED. HAS
AN OPEN SOLO CHORUS AND WHEN PLAYED UP-TEMPO
THIS ONE IS GREAT! |
| 374-W |
NEVERTHELESS |
|
| 141-W |
NEW
ORLEANS MASQUERADE |
THIS
STYLE WORKS NICELY WITH ANY COMBINATION
OF INSTRUMENTS. |
| 142-W |
NEW
YORK, NEW YORK/MANHATTAN |
OLD
STANDBY MEDLEY |
| 694-D |
NIGHT LIFE |
SLOW BLUES TREATMENT OF THE TUNE BEST
KNOW FOR WILLIE NELSON'S RECORDING. FOR 2 TRUMPETS (2nd TRUMPET IS
OPTIONAL), 3 TENORS, TROMBONE (OPTIONAL),
AND RHYTHM. IF YOU LIKE THE
BLUES, AND IF YOU LIKE NICE BLENDS AND
HARMONIES, YOU WILL LOVE THIS ARRANGEMENT.
I DO!. In F. SAMPLE |
| 730-D |
NIGHT LIFE |
SAME AS ABOVE,
ONLY FOR TRUMPET, ALTO, TENOR,
TROMBONE, AND RHYTHM. IF YOU LIKE THE
BLUES, AND IF YOU LIKE NICE BLENDS AND
HARMONIES, YOU WILL LOVE THIS ARRANGEMENT.
I DO!. In F. SAMPLE |
| 729-D |
Night Train |
What can we say, it's Night Train. Solos for trombone (naturally) and tenor, with a noisy last chorus.
In Bb.
SAMPLE |
| 579-J |
A NIGHTINGALE SANG IN BERKELEY SQUARE |
WRITTEN FOR TRUMPET, TENOR, BARI, AND
RHYTHM. FEATURES THE BARI. |
| 375-W |
NINA NEVER KNEW |
|
| 143-W
|
NOBODY'S
SWEETHEART |
|
| 144-R |
NOEL
CHRISTMAS |
AVERY
NICE ARR. ESPECIALLY WITH A LATIN RHYTHM. |
| 750-BB |
No Harmon That |
A
"-J" arrangement. A swingin' tune for college-or better big band. A great dance chart. All of the brass is played with Harmon. |
| 145-O |
NOT
FROM DIXIE |
AN
ORIGINAL COMPOSITION COMMISSIONED BY
HENRY MANCINI AND DONE IN A PETER GUNN
STYLE. HAS A NICELY SWUNG BRIDGE. THE
AUDIENCE LOVES IT. |
| 377-W |
NOW IS THE HOUR
VOCAL |
|
