By Antonio Carlos Jobim. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Claus Ogerman. For studio orchestra (English Vocal, Portuguese Vocal, Woodwind 1: Piccolo/Bass Flute (Alto Flute Alt Part)/C Flute, Woodwind 2: Piccolo/Bass Flute (Alto Flute Alt Part)/C Flute/Alto Flute, Woodwind 3: Bass Flute (Alto Flute Alt Part)/C Flute/Alto Flute, Woodwind 4: Bass Flute). Recorded by Antonio Carlos Jobim. Bossa Nova. Medium. Score and parts. Published by Jazz Lines Publications

(Teacher's Manual). By Bob Phillips. Orchestra. For Teacher's Manual. String Orchestra Collection. Jazz. Book and CD. 48 pages

By Charlie Parker With Strings. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Joe Lipman. For studio orchestra (Alto Saxophone, Oboe/English Horn, Horn in F, 4 Violins, 2 Violas, Cello, Harp, Guitar, Piano/Celeste, Bass, Drums). Recorded by Charlie Parker with Strings. Swing. Medium. Score and parts. Published by Jazz Lines Publications

By Antonio Carlos Jobim. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Claus Ogerman. For studio orchestra (Woodwind 1: Flute, Woodwind 2: Flute/Piccolo, Woodwind 3: Flute, Woodwind 4: Alto Flute, Woodwind 5: Alto Flute/Oboe, Woodwind 6: Bass Cla

Orchestra - Grade 2

SKU: AP.35968S

Bass Section Feature. Composed by Todd Parrish. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Blues; Jazz/Fusion; Light Concert; Swing. Score. 8 pages. Duration 2:52. Highland/Etling #00-35968S. Published by Highland/Etling (AP.35968S).

UPC: 038081417233. English.

Let your string bass section swing in this easy-to-play blues piece as they build skills and enjoy the motivation of being in the spotlight. Basses carry the melody much of the time, while also accompanying the melody as it weaves through other sections. All parts stay in first position, while the bass shifts briefly to third position. Educational objectives include playing accidentals, contrasting between staccato and legato, and learning to play in a swing style. (2:52).

Orchestra - Grade 2

SKU: AP.19554

Composed by Edmund J. Siennicki. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling Strictly Strings. Blues; Jazz. Score and Part(s). 72 pages. Highland/Etling #00-19554. Published by Highland/Etling (AP.19554).

UPC: 038081183275. English.

Here it is! A Grade 2 piece that really swings! Based upon the basic twelve-bar blues progression, this very playable original work will get your young strings in the groove as they learn to swing eighth notes in a jazz style. Your students will love the walking pizzicato bass line and Siennicki's very catchy and bluesy melody. Lots of fun!

By Miles Davis With The Gil Evans Orchestra. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For orchestra (Solo Trumpet, Alto Saxophone, Flute, Alto Flute, Bass Clarinet, 5 Trumpets (6 total trumpets), 2 Horns in F, 3 Trombones, Bass Trombone, Tuba, Bass, Drums). Ballad. Difficult. Full score and set of parts. Published by Jazz Lines Publications

By Miles Davis. Edited by Rob Duboff and Jeffrey Sultanof. Arranged by Gil Evans. For orchestra (Trumpet or Flugelhorn Soloist, Reed 1: Alto Saxophone, Reed 2: Flute, Reed 3: Flute, Reed 4: Flute, Piccolo, and Bass Flute, 4 Trumpets, 3 Horns in F, 4 Trombones, Tuba, Bass, Drums). Swing. Medium. Score and parts. Published by Jazz Lines Publications

By Miles Davis. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For orchestra (Solo Trumpet/Flugelhorn, Alto Saxophone, Clarinet, 2 Bass Clarinets, 5 Trumpets (6 total trumpets), 2 Horns in F, 4 Trombones, Tuba, Piano, Bass, Drums). Swing. Advanced. Score and parts. Published by Jazz Lines Publications

(From Harlem Suite (A Series of Scenes for the Theater) - Study Score). By Arthur Cunningham. Orchestra. For Piccolo, Flute I, Flute II, Oboe I, Oboe II, Clarinet I, Clarinet II, Bass Clarinet, Bassoon, Horn I, Horn II, Trumpet I, Trumpet II, Tenor I, Tenor II, Percussion, Harp, Violin I, Violin II, Viola, Cello, Contrabass. First performance: Oakland Symphony Youth Orchestra, Robert Hughes, Conductor. Full Score - Study. Standard notation. 29 pages

By Charlie Parker. Edited by Jeffrey Sultanof. Arranged by Joe Lippman. For studio ensemble with alto saxophone soloist (Solo Alto Saxophone, Oboe, French Horn, 4 Violins, 2 Violas, Cello, Harp, Guitar (Optional), Piano, Bass, Drums). Ballad. Difficult. Published by Jazz Lines Publications

Arranged by Sandra Dackow. Conductor's score and set of performance parts for string orchestra (8 - 1st violin, 8 - 2nd violin, 5 - 3rd violin/viola (treble clef), 5 - viola, 5 - cello, 5 - string bass, 1 - piano accompaniment). Series: Orchestra Expressions Series. Published by Alfred Publishing.

Jazz ensemble

SKU: RM.SL10380

Composed by Michel Legrand. Jazz ensemble. Orchestra. Editions Robert Martin #SL10380. Published by Editions Robert Martin (RM.SL10380).

ISBN 9790231093803.

Orchestra

SKU: PR.11641867L

Composed by William Kraft. Spiral. Large Score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867L. Published by Theodore Presser Company (PR.11641867L).

UPC: 680160683215.

Conte xtures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

Orchestra

SKU: PR.11641867S

Composed by William Kraft. Full score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867S. Published by Theodore Presser Company (PR.11641867S).

UPC: 680160683208.

Conte xtures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death.

Orchestra (Fassung 1: Soli, 2stg Kinderchor, Fl, 2 Clt, T-Sax (Clt 3), Fg, Akkordeon, Pfte, Jazz-Bass, Drums, [2 Vl, Va, Vc] / Fassung 2: Soli, 2stg Kinderchor, Pfte, Jazz-Bass, Drums, [Akkordeon] / Fassung 3: Soli, 2stg Kinderchor, Pfte)

SKU: CA.1284800

Ein Musical auf Hoher See. Composed by Peter Schindler. Gattungen vokal: Musicals for children. Full Score. Duration 90 minutes. Carus Verlag #1284800. Published by Carus Verlag (CA.1284800).

ISBN 9790007295691. German. Text: Dieterich, Babette.

Orchestra (Fassung 1: Soli, 2stg Kinderchor, Fl, 2 Clt, T-Sax (Clt 3), Fg, Akkordeon, Pfte, Jazz-Bass, Drums, [2 Vl, Va, Vc] / Fassung 2: Soli, 2stg Kinderchor, Pfte, Jazz-Bass, Drums, [Akkordeon] / Fassung 3: Soli, 2stg Kinderchor, Pfte)

SKU: CA.1284805

Ein Musical auf Hoher See. Composed by Peter Schindler. Choral Score. Duration 90 minutes. Carus Verlag #1284805. Published by Carus Verlag (CA.1284805).

ISBN 9790007295714. German. Text: Dieterich, Babette.

Orchestra (Fassung 1: Soli, 2stg Kinderchor, Fl, 2 Clt, T-Sax (Clt 3), Fg, Akkordeon, Pfte, Jazz-Bass, Drums, [2 Vl, Va, Vc] / Fassung 2: Soli, 2stg Kinderchor, Pfte, Jazz-Bass, Drums, [Akkordeon] / Fassung 3: Soli, 2stg Kinderchor, Pfte)

SKU: CA.1284803

Ein Musical auf Hoher See. Composed by Peter Schindler. Piano score. Duration 90 minutes. Carus Verlag #1284803. Published by Carus Verlag (CA.1284803).

ISBN 9790007295707. German. Text: Dieterich, Babette.

Orchestra (Fassung 1: Kinderchor/Oberstimme, Coro SATB, Melodieinstr. (SSax, Fl, Ob), Bass; Fassung 2: Kinderchor/Oberstimme, Coro SATB, Melodieinstr. (SSax, Fl, Ob), Bass, Vl1, Vl2, Va/Vl3, Vc, Cb)

SKU: CA.900111

Composed by Peter Schindler. Single Part, jazz bass. Duration 3 minutes. Carus Verlag #900111. Published by Carus Verlag (CA.900111).

ISBN 9790007298227. Key: G minor. German. Text: Brandenburg, Maik.

Orchestra

SKU: BT.MUSM570366729

Composed by Simon Bainbridge. Classical. Score Only. 64 pages. University of York Music Press #MUSM570366729. Published by University of York Music Press (BT.MUSM570366729).

English.

Counter points for Jazz Bass and Ensemble. Commissioned by Britten Sinfonia. World Premiere given by Eddie Gomez and Britten Sinfonia, Milton Court, London, 18th November 2015. The solo part, written for Eddie Gomez, uses improvisation throughout. Various motives have been provided in the bass part, creating a particell which includes the most prominent orchestral elements of each section. It is expected that the soloist will develop these ideas freely and in dialogue with the orchestral musicians.

Orchestra - Grade 1.5

SKU: AP.48073S

Composed by Chris M. Bernotas. 5 or More; MakeMusic Cloud; Performance Music Ensemble; Single Titles; Solo Small Ensembles; String Orchestra. Sound Innovations for String Orchestra. Light Concert. Score. 8 pages. Alfred Music #00-48073S. Published by Alfred Music (AP.48073S).

UPC: 038081557625. English.

This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental-- -free of charge.

Puttin' on the Pizz by Chris Bernotas is sure to become a favorite selection of students and directors. The descending bass line sets the stage for this fun piece. All notes stay in first position and the string orchestra plays pizzicato throughout. Students also have the chance to act as the percussion section. With the optional use of 'swinging' eighth notes, Puttin' on the Pizz could be a fun way to introduce a jazzy style to the string orchestra. Everyone in the audience (and in the orchestra) will be tapping their toes to this piece. Violin 2 and Viola are doubled, as are Cello and String Bass, which will work perfectly for younger string orchestras. Correlated to Sound Innovations for String Orchestra, Book 1, Level 4. (2:30) This title is available in MakeMusic Cloud.

Orchestra - Grade 1.5

SKU: AP.48073

Composed by Chris M. Bernotas. 5 or More; MakeMusic Cloud; Performance Music Ensemble; Single Titles; Solo Small Ensembles; String Orchestra. Sound Innovations for String Orchestra. Light Concert. Score and Part(s). 66 pages. Duration 2:30. Alfred Music #00-48073. Published by Alfred Music (AP.48073).

UPC: 038081557618. English.

This title features Alfred Music's String Orchestra FLEX options. That means that every part in this set is now transposed into every other part, so you can play this title with any combination of like- or mixed-string ensemble. After purchasing this set, decide what additional parts you need to meet the unique needs of your ensemble, then download and print them for free at alfred.com/supplemental-- -free of charge.

Puttin' on the Pizz by Chris Bernotas is sure to become a favorite selection of students and directors. The descending bass line sets the stage for this fun piece. All notes stay in first position and the string orchestra plays pizzicato throughout. Students also have the chance to act as the percussion section. With the optional use of 'swinging' eighth notes, Puttin' on the Pizz could be a fun way to introduce a jazzy style to the string orchestra. Everyone in the audience (and in the orchestra) will be tapping their toes to this piece. Violin 2 and Viola are doubled, as are Cello and String Bass, which will work perfectly for younger string orchestras. Correlated to Sound Innovations for String Orchestra, Book 1, Level 4. (2:30) This title is available in MakeMusic Cloud.

(Scores from the Original Parts) Performed by Miles Davis. For alto saxophone, baritone saxophone, trumpet, horn, trombone, tuba, piano, bass and drum set. Format: full score (multiple copies needed for performance). With full score notation and introductory text. Jazz. Series: Hal Leonard Transcribed Scores. 168 pages. 9x12 inches. Published by Hal Leonard.

Orchestra - Intermediate

SKU: KJ.125SB

Composed by R Scott Whittington. Orchestra method/study. Music book. Neil A. Kjos Music Company #125SB. Published by Neil A. Kjos Music Company (KJ.125SB).