Described as ?Carter Family - meets - Ramones ? this 7-piece NYC ensemble whips up a bubbling cast-iron melting pot of classic country styles; from Bluegrass to Rockabilly Western Swing to Honky Tonk with just the right amountof punk thrown in for good measure. Catchy quirky melodies and left-field lyrics are heightened by virtuosic leads on Telecaster and fiddle whooping blues harp and freight train rhythms. This exciting genre-bending collectionof songs guitar tabs and more is great for non-traditional Americana songwriters guitar players looking to turn up the twang fiddlers/violinists looking for their roots and anyone inspired to start their own DIYhillbilly-blues harmonica and washboard band.

This three-movement woodwind quintet begins in a lilting 6/8 meter in the key of C. The second movement features a melody that moves through all the instruments with ease. The reflective mood of the final movement features the flute and basson sharing the melodic introduction. Ranges are not extensive for this ensemble.

The well-known English melody gets new life in this arrangement that alternates between bossa nova and swing. It can be used any time of year and also works well on your holiday concert as What Child is This? which uses the same melody. A recurring Birdland-style groove keeps the energy moving forward. No solos in this one — just straight-ahead ensemble writing!

Granada-Brazil by Ary Borroso and Granada by Augustin Lara arranged by Werner Lang for Salon Orchestra. Part for the following instruments are included:Standard: C-part (chord symbols and text); Guitar/melody (chord symbols and text); Drums/melody (with text); 1-2. Violin; 1./3. Alto Saxophone; 2 Tenor Saxophone; 1-2. Trumpet; 1st Trombone; Bass; Piano (chord symbols and text)Supplements: 3rd Violin; 4. Tenor Saxophone; 3. Trumpet; 2. Trombone; Baritone Sax; Cello.

This chart joins rock and fusion elements with ingenious harmonies to make music that is sure to please. The rhythmic feel changes from straight eighths to a funky half-time groove while the melody is traded throughout different parts of the ensemble. Some great auxiliary percussion keeps your students involved while adding some creative color to this unique composition.

Start with some lush ninth chords add a smooth Latin beat with a bone solo some optional Latin percussion and a beautiful lyrical melody. These are all strong characteristics of this very playable chart from the composer of Fat City Swing.

A brief drum solo kicks off this patriotic arrangement. Melody is introduced in the bari sax trumpet and optional vibraphone. Written solos and chord changes are provided for the trumpet and bari sax. A sax soli leads into a final shout chorus which demonstrates the type of writing you've come to expect from Bryan Kidd.

Count Basie’s arrangers would often take a minimalist approach to their writing. The essential elements were a riff-based melody and a shout chorus interspersed with creative soloists. Back Bay Breeze makes use of that formula in an easygoing happily swinging way. A shout chorus with a Basie-style tag makes the perfect ending to this gem from Bryan Kidd former chief arranger with the D.C. Navy Band.