Jazz Ensemble standard jazz ensemble (playable by 12-17 players) with opt. flute, clarinet, F horn, tuba and vibes - 3.2

SKU: KN.42270S

Composed by Doug Beach. First Edition Series. Kendor Music Inc #42270S. Published by Kendor Music Inc (KN.42270S).

UPC: 822795422702.

The plunger has been an important effect in jazz since Duke Ellington's band made it a staple in their repertoire. This swing chart gives developing groups a great chance to learn about this unique technique, and blues-based changes allow for plenty of plunger solo action(solo sheets for less experienced soloists are provided). Rhythm section parts are notated with chords cued. Duration 2:38. Available in SmartMusic.

Jazz Ensemble standard Jazz ensemble (Kendor Konvertible for 9-17 players) with opt. flute, clarinet, F horn, tuba and vibes - Grade 2

SKU: KN.KEN60066

Composed by Jeff Jarvis. Jazz Gateway. Bossa. Score and parts. Kendor Music Inc #KEN60066. Published by Kendor Music Inc (KN.KEN60066).

UPC: 822795600667.

Brimming with a wealth of interesting material for developing bands, this beautiful tune is surrounded by gentle rhythms and lush backgrounds. The winding, Brazilian-style chord progression will be very popular with listeners, and the open solo section provides written lines with chord changes for lead alto and/or tenor sax. A guitar chord chart by Jim Greeson is included in each set. Duration 4:55. Available in SmartMusic.

Full orchestra (piccolo, flute 1&2, oboe 1&2, a clarinet 1, a clarinet 2, bassoon 1&2, contrabassoon, F horn 1&2, F horn 3&4, c trumpet 1, c trumpet 2, c trumpet 3, trombone 1, trombone 2, trombone 3, tuba, bells, percussion (snare drum, bass drum, cymbals), violin 1, vi) - Level 4

SKU: CN.20511

Composed by Ronald Follas. Score. Duration 3:30. Published by C. Alan Publications (CN.20511).

Light and lively best describe this cut-time march that provides a nice sunday afternoon in the park feel. While the cut-time is prevalent, there is a brief section that changes to 6/8 that makes this march different from most.

Concert band (Full Score, 1st Flute/Piccolo, 2nd Flute, Oboe, Clarinet 1/2/3, Bb Bass Clarinet, Bassoon, Alto Sax, Tenor Sax, Baritone Sax, Trumpet 1/2/3, Horn 1/2, Trombone 1/2/3, Euphonium, Tuba, Timpani, Percussion 1 (snare drum, tambourine, castanets, tam tam, cras) - grade 4

SKU: CN.R10221

Composed by Bruce Fraser. Band Music. Score and parts. Duration 7:30. Published by G & M Brand Music Publishers (CN.R10221).

The work has a military feel in the opening fanfare, but settles down to an angular melody with frequent changes in time signature. There is the possibility of adding extra drummers near the end - a drum corps was used behind the Band in the first performance making a stunning effect.

PANACHE was commissioned by Lt. Peter Rutterford who was then Director of Music for the Band of the Royal Marines (FOSNI). Peter was about to leave the Rosyth and wanted to have a celebratory work for his departure. The resulting piece was titled by him and to reflect his outgoing personality, and the first performance was given by Lt. Rutterford with the Royal Marines Band in the Carnegie Hall, Dunfermline, Scotland.

Jazz Ensemble Score - Grade 1

SKU: KN.63010S

Composed by Ryan Erik Adamsons. Jazz Quest. Kendor Music Inc #63010S. Published by Kendor Music Inc (KN.63010S).

UPC: 822795630107.

We welcome Ryan Erik Adamsons to the Kendor family of writers with this swing original based on the chord changes to Autumn Leaves. Written for beginning groups, the solo section is written out with solo sheets provided in all keys along with scales to assist students in improvisation. Featuring Kendor Konvertible scoring for 9-17 players and includes optional parts for flute, clarinet, horn in F, tuba and vibes, along with a guitar chord chart by Jim Greeson. The brass ranges are very accessible, with trumpet up to F5 and Db4 for trombone. Rhythm section parts provide the drummer with a great concept of what to play, and notated piano voicings and bass lines are provided. Duration 3:05.

Composed by David Bobrowitz. Sheet music. Score and parts. Duration 4' 45''. MDS (Music Distribution Services) #CFK 913725. Published by MDS (Music Distribution Services)

Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabassoon, English Horn, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe, Percussion, Trombone 1, Trombone 2, Trumpet 1, Trumpet 2, Tuba, Viola, Violin 1, Violin 2, Violoncello

SKU: PR.44641192L

For 5 Percussionists and Orchestra. Composed by Ellen Taaffe Zwilich. Contemporary. Large Score. With Standard notation. Composed 2003. 72 pages. Duration 30 minutes. Theodore Presser Company #446-41192L. Published by Theodore Presser Company (PR.44641192L).

UPC: 680160610860. 11 x 14 inches.

One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.