Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500102F

Mvt. 2 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 52 pages. Theodore Presser Company #165-00102F. Published by Theodore Presser Company (PR.16500102F).

ISBN 9781491131749. UPC: 680160680276.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Band concert band - Grade 1.5

SKU: KJ.WB346F

Composed by Kirk Vogel. Standard of Excellence in Concert. Score. Neil A. Kjos Music Company #WB346F. Published by Neil A. Kjos Music Company (KJ.WB346F).

The Summit is a programmatic piece written about a journey to the top of a mountain. Numerous visual pictures are presented regarding the journey: repeated eighth notes represent the endless walking necessary to reach the summit; the use of the minor mode to signifies fatigue; bold statements by the low brass and woodwinds indicate the beauty and grandeur that unfolds as the journey continues; and, of course, the grand finale describing the final ascent to the mountain top. A wonderful composition with varying tone colors.

About Standard of Excellence in Concert

The Standard of Excellence In Concert series presents exceptional arrangements, transcriptions, and original concert and festival pieces for beginning and intermediate band. Each selection is correlated to a specific page in the Standard of Excellence Band Method, reinforcing and expanding skills and concepts introduced in the method up to that point. Exciting parts with extensive cross-cueing are presented for every player. Accessible ranges, appropriate rhythmic challenges, and creative percussion section writing enhance the pedagogical value of the series.

Sold individually, each In Concert selection includes a full Conductor Score and enough student parts for large symphonic bands. Each student part also includes correlated Warm-Up Studies. The Conductor Score comes complete with rehearsal suggestions, a composer biography, program notes, a rehearsal piano part, several ready-to-duplicate worksheets and a duplicable written quiz.

Chamber Music Piano

SKU: PR.110418160

Composed by Stacy Garrop. Performance score. With Standard notation. 16 pages. Duration 8:30. Theodore Presser Company #110-41816. Published by Theodore Presser Company (PR.110418160).

ISBN 9781491114049. UPC: 680160640393. 9 x 12 inches.

Stacy Garrop began hiking in northern Colorado’s Rocky Mountain National Park in her early 20s. From the start, she was drawn to a jagged stretch of rock formations linking Longs Peak to Pagoda Mountain, at over 13,000 feet. These formations are called the “Keyboard of the Winds,” as their thin, spindly peaks suggest splintered keys of an old, broken piano. Inspired by one particular journey the composer took through the Keyboard of the Winds en route to Pagoda’s summit, this work is a tribute to the Keyboard of the Winds. Its fast, whirling gestures depict swirling clouds above, and the musical high points represent a hiker reaching the peak of Pagoda Mountain. These sections are set in contrast with quiet, introspective material embodying the hiker quietly surveying the grandeur and beauty of the valley below, as well as the soaring pinnacle of Longs Peak overhead.
I began hiking in the Rocky Mountain National Park in northern Colorado when I was in my early twenties. RMNP is home to some of the most gorgeous mountains in North America, encompassing 265,000 acres of wilderness, flora, and fauna. Among the park’s numerous summits is Longs Peak, a mountain that is 14,259 feet high (the highest in the region). From my earliest days of hiking, I was drawn to Longs Peak, as well as to a jagged stretch of rock formations that link Longs Peak to Pagoda Mountain (which stands at 13,497 feet). These formations are called the Keyboard of the Winds, as their thin, spindly peaks loosely suggest the splintered keys of an old, broken piano.One summer, I made the ascent to Pagoda Mountain using a route that took me along the right side of the Keyboard of the Winds. My hiking partner and I started up the trail in the pre-dawn hours, and the weather was stormy. Dawn had broken by the time we reached the base of the Keyboard, but its peaks were still surrounded by clouds. As we climbed higher and higher, the Keyboard’s thin spires became visible, along with the top of Pagoda Mountain. We reached the summit of Pagoda, admired the view (what we could see through the clouds), and made our descent.My piece is a tribute to the Keyboard of the Winds. The fast, whirling gestures depict swirling clouds, and the musical high points represent a hiker reaching the peaks of the Keyboard. I have contrasted these sections with quiet, introspective material; these embody the hiker quietly surveying the grandeur and beauty of the valley below (on a cloudless day), as well as the soaring pinnacles of Longs Peak and Pagoda Mountain overhead.

Pre 1

SKU: CL.RWS-2218-01

Composed by Robert W. Smith. Young Concert Band. Extra full score. Composed 2022. RWS Music Company #RWS-2218-01. Published by RWS Music Company (CL.RWS-2218-01).

Scaling a mountain requires courage, strength and fortitude. Scaling our musical mountains as our young bands develop their skills requires the same commitment to strength, perseverance and excellence. This masterful composition reinforces fundamental technique through musical scales in an exciting statement for the beginning concert band. Powerful percussion interacting with soaring melodic lines create an engaging and pedagogically rich opportunity for all. The band also has the opportunity to experience and perform mixed meters as they journey to the musical summit. A powerful choice for educationally rich programming!

Concert band - Grade 3

SKU: CL.012-4440-75

Composed by Barnes. Concert Band. Concert Band Series. Audio recording available separately (item CL.WFR388). Oversized, spiral-bound score. Composed 2016. Duration 3 minutes. Opus III Wind Orchestra Publications #012-4440-75. Published by Opus III Wind Orchestra Publications (CL.012-4440-75).

Brimming with energy and anticipation, this musical adventure stirs up images of nature's most majestic landscapes and mountain ranges. The journey begins with a majestic call and response theme divided amongst the sections, chasing after one another. Lighter versions of the themes appear, signifying the discovery of a breathtaking view at the summit. The intensity and excitement builds, hinting that the adventure continues - or perhaps begins, Beyond the Summit..

Composed by Jared Barnes. Concert Band Series. Score and parts. Duration 0:3:00. Published by C.L. Barnhouse (CL.012-4440-00).

By David Shaffer. Intermediate Wind Band/Ensemble. FJH Developing Band. This piece captures the feeling of exhilaration upon reaching the summit of a mountain. The opening three measures should be intense, immediately slowing to a mysterious woodwind choir. Measure 13 begins the musical assent, which culminates in the final moments of the work. It is important to observe indicated tempos in order to capture the energy of the music. Percussion offers a large selection of timbres with the utilization of accessories. Score for this title: B1316S. Extra part for this title: B1316P. Concert Band. Level: 1.5. Score and Set of Parts. Published by The FJH Music Company Inc.

Band Bass Clarinet, Bass Drum, Bells, Chimes, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute, Horn, Mallet Percussion 1, Mallet Percussion 2, Oboe, Percussion 1, Percussion 2, Snare Drum, Suspended Cymbal, Timpani, Triangle and more. - Grade 2.5

SKU: CF.YPS244F

Composed by R. Alan Carter. Full score. 19 pages. Carl Fischer Music #YPS244F. Published by Carl Fischer Music (CF.YPS244F).

ISBN 9781491159866. UPC: 680160918454.

Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft. It is located in the northeastern part of the state and is part of the southern Appalachians. The mountain received its name from the Cherokee word Itse'yi (New Green Place) or (Place of Fresh Green) referring to its grassy, instead of timbered summit. The term Brasstown came from a confusion of Itse'yi with Untsaiyi (brass). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term Bald is common terminology describing mountaintops that have 360-degree unobstructed views. Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.
Brasstown Bald is the highest point in the U. S. state of Georgia standing at 4,784 ft.  It is located in the northeastern part of the state and is part of the southern Appalachians.  The mountain received its name from the Cherokee word Itse’yi (“New Green Place”) or (“Place of Fresh Green”) referring to its grassy, instead of timbered summit. The term “Brasstown” came from a confusion of Itse’yi with Untsaiyi (“brass”). The mountain itself is known to the native Cherokee people as Mt. Enotah. The term “Bald” is common terminology describing mountaintops that have 360-degree unobstructed views.  Brasstown Bald Overture was written to depict the beauty and grandeur of the panoramic views from the top of this mountain. The opening fanfare sets the mood for the majesty of the Appalachians. The addition of the woodwinds during the second time through the fanfare portrays the dancing sunlight across the mountain peaks. The middle section is a quaint folk tune to represent the quiet stillness of the night. The fanfare return and a new day breaks forth.

Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clarinet 3, Contrabass Clarinet, Contrabassoon, Double Bass, English Horn, Euphonium, Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion 1 and more.

SKU: PR.16500103F

Mvt. 3 from Symphony No. 6 (Three Places in the East). Composed by Dan Welcher. Full score. 60 pages. Theodore Presser Company #165-00103F. Published by Theodore Presser Company (PR.16500103F).

ISBN 9781491131763. UPC: 680160680290.

Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.

Grade 3

SKU: CL.012-3653-75

Journey to the Summit. Concert Band. Spotlight Series. Audio recording available separately (item CL.WFR350). Oversized, spiral-bound score. Composed 2007. Duration 6 minutes, 7 seconds. Opus III Wind Orchestra Publications #012-3653-75. Published by Opus III Wind Orchestra Publications (CL.012-3653-75).

Heroic themes abound as noted composer James Swearingen weaves a tapestry of musical styles to depict the emotional story of John Harlin. At the age of nine, John lost his father when he tragically fell 4000 ft. to his death while attempting to climb the mountain known as Eiger (pronounced eye-ger). The Eiger North Face is considered to be the most treacherous climb in all of Europe. Yet, forty years later John, with a burning desire to reconnect with his father, began the perilous journey of climbing the mountain with the nearly impossible goal of reaching the summit. Brilliantly scored, simply stunning and beautifully breathtaking!

About C.L. Barnhouse Spotlight Series

The Barnhouse Spotlight series includes publications for solo instruments with concert band accompaniment. These publications are designed to feature outstanding members of your band as soloist, and to provide unique and entertaining programming options. Solo parts are graded more difficult than the band accompaniments

For Concert Band. Composed by Otto M. Schwarz. Duration 135 seconds. Hal Leonard #SDP067.21-02. Published by Hal Leonard

By Mary K. Sallee. For Piano. Piano Suite; Piano Supplemental; Sheet; Solo. Recital Suite Series. Form: Suite. Recital. Late Intermediate. 12 pages. Published by Alfred Music

SKU: GI.G-10120W

Habits for Creating a Culture of Excellence. Composed by Scott Rush and Tim Lautzenheiser. Habits. Music Education. Book. 80 pages. GIA Publications #10120W. Published by GIA Publications (GI.G-10120W).

ISBN 9781622774395.

Special student book pricing in response to COVID-19: $5.95 per student book. NEW DISTANCE LEARNING OPTION: For teachers using Pathway to Success, GIA Publications has created a Google Form that allows students to electronically submit their answers to all questions in the Pathway to Success Student Workbook. To download your own copy of the Google Form, use the following link: https://docs.google.com/forms/d/1JaU8fAOfaIMz0jSdgQPuuuJyDhIzn8T5U78QaxGRnsU/copy. In music programs across the country, student leadership is often thought of in terms of titles, authority status, section leader positions, and being in charge of others—a responsibility assumed by only a select few. But what if we reframed and broadened the idea of leadership to include all students as leaders of their own pathway in life? Band director Scott Rush and leadership legend Tim Lautzenheiser join forces to create Pathway to Success, a dynamic and engaging resource that fosters the leadership qualities of every student, not just the chosen few. This workbook guides students through ten sequential levels as they journey up the metaphorical mountain of self-leadership. Along the way, students will encounter lessons, activities, stories, quotes, and questions that address the key qualities of any effective leader: communication, attitude, honesty, trust, integrity, self-discipline, emotional health, goal setting, relationships, cooperation, loyalty, selflessness. Upon reaching the summit, students are challenged to create a moonshot—to set a goal and achieve something that has never been done before! True leadership begins with self-reflection in each and every student. All students can benefit when they see themselves as their own best leaders, and therein lies the foundation of a culture of excellence. Pathway to Success is a groundbreaking leadership program designed to inspire student growth and enhance any band, choir, or orchestra program—and beyond. To borrow a phrase: All children have talents, however, not all children have opportunity and encouragement. Pathway to Success by Tim Lautzenheiser and Scott Rush describes in detail the how and provides that encouragement young people need to overcome any reservations and reluctance they may have to step forward and become a leader! History is full of examples of shy and timid youngsters who responded to a challenge and rose to greatness as a leader. This book is invaluable for any age! Leadership by example. Pathway to Success. I wish it was available when I was a student. Tim and Scott nailed it! — Richard Crain, President of The Midwest Band and Orchestra Clinic.

Jazz Ensemble minus guitar - Grade 5

SKU: KN.03454S

Composed by Bob Mintzer. Jazz Summit. Kendor Music Inc #03454S. Published by Kendor Music Inc (KN.03454S).

UPC: 822795034547.

This brisk salsa features an Earth, Wind & Fire unison horn theme over a percolating Latin groove. Bob recommends listening to his CD, Latin From Manhattan, before rehearsing it, and suggests working separately with horns and rhythm section before having them play together. Duration ca. 4:00.

Jazz Ensemble - Grade 5

SKU: KN.02810S

Composed by Horace Silver. Arranged by Greg Hopkins. Jazz Summit. Kendor Music Inc #02810S. Published by Kendor Music Inc (KN.02810S).

UPC: 822795028102.

Recorded by Buddy Rich on his Roar Of '74 album, the success of this bright Latin/swing classic by Horace Silver depends heavily on the ability of the rhythm section to play the ostinato with confidence, precision and momentum. While the main solo work here goes to tenor and trumpet, the drummer punctuates the shout chorus with a series of short solos, then gets a wide-open chance to solo just before the final band chord. Rhythm section parts are partially notated with chords cued. Duration 3:30.