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JAZZ
ENSEMBLE
Ballads
all levels
H After Sunset—Larry Neeck. This tasty rock
ballad will feature your budding alto saxophone
or trumpet star in the best possible way. The
fully scored ensemble sections compliment the
gorgeous theme, and provide a solid foundation
for your soloist. The solo part requires no
improvisation and the chart is playable with
optional reduced instrumentation. A perfect
concert or contest choice to showcase the lyrical
side of your jazz ensemble!
10280821 Jazz Ensemble . . . . . . . . . ME 45.00
H Afternoon—Pat Metheny/arr. Bob Curnow. Here
is a slow, swinging, lovely, warm, relaxed chart in
the style of that famous Neal Hefti swing ballad!
The arrangement is subtle and easy to play, and
there are not a lot of pieces by Pat Metheny that
swing in this way. The arrangement suggests
flugelhorns throughout, although trumpets
would work just fine. There is solo space for alto
saxophone and trumpet/flugel. Very nice!
10162086 Jazz Ensemble . . . . . . . . . ME 55.00
4 And Yet So Far—Chris Sharp. Jazz groups with
a strong lead alto sax player will enjoy this ballad
in film noir style. Its smoky harmonies and wistful
melody are broken up with a double-time swing
section before a powerful reprise at the end. The
solo part is mostly written while chord changes
are provided for the soloist during the swing
section along with an optional suggested solo. A
super solo feature for your alto soloist!
10757177 Jazz Ensemble . . . . . . . . . . M 50.00
Angel Eyes—arr. Carl Strommen. Oh, yes!
This is a superb setting of the iconic jazz ballad
that features the alto sax star in your band. The
alto solo is mostly written with opportunities to
improvise around the melody, and the ensemble
gets their chance in the spotlight with some fine
full-band passages. The trumpet 1 range is to
written E top space with some optional octave-up
sections if desired. At 76 bpm, this chart will allow
your alto soloist to shine!
10513881 Jazz Ensemble . . . . . . . . . ME 48.00
4 At Last—Harry Warren/arr. Dave Mills. This
beautiful ballad made famous by the great Etta
James makes a perfect change of pace for any
concert. Featuring a sultry tenor saxophone solo
sprinkled with melodic replies from other sections
and lush chords, this one really dazzles. There are
improvised solos for piano and tenor sax before
the full ensemble returns to close out this dreamy
ballad. Highly recommended!
10752061 Jazz Ensemble . . . . . . . . . ME 65.00
Breathing—Fred Sturm/arr. David Springfield.
One of the last original pieces composed by
the late Fred Sturm, this may be one of the
most beautiful. Sensitively arranged by David
Springfield as a quiet ballad concert piece with
no improvisation, Breathing will serve well on
any concert program as a quiet interlude that
will showcase the gracefulness of your ensemble
and delight those in your audience. Highly
recommended!
10607207 Jazz Ensemble . . . . . . . . . ME 45.00
Bridge Over Troubled Water—Paul Simon/arr.
Paul Baker. Paul Simon's soulful rock ballad is set
here at 88 bpm, and as arranged by Paul Baker
is sure to please! The melody is first stated by
trumpet 2 and tenor sax, there are no improvised
solos, and the trumpet 1 range is to written G
on top of the staff. This chart also features great
dynamic contrasts and a satisfying vamp toward
the end. Optional wind and vibes parts are
included for expanded instrumentations. Highly
recommended!
10452102 Jazz Ensemble . . . . . . . . . ME 48.00
H A Child Is Born—Thad Jones. Composed and
arranged by Thad Jones, this is an absolutely
gorgeous ballad in 3/4 that is a "must" for any
good jazz library! It's one of the most "tasteful"
jazz charts ever written!
543421 Jazz Ensemble . . . . . . . . . . M 48.00
4 A Day at Stanhope—Neil Yorke-Slader. Here's
one of Neil Yorke-Slader's most imaginative
compositions! The introductory chorale paints a
beautiful picture of the sun rising over the north
coast of Prince Edward Island. Switching gears
smoothly, it moves into a piano ostinato, followed
by mesmerizing trombone scoring that evokes
waves, followed by the featured and hauntingly
beautiful soprano saxophone solo that is both
written and improvised. Optional solo parts are
included for tenor saxophone and clarinet. The
rhythm section parts are fully notated, and the
written brass ranges are to C6 (optional F6) for
trumpet and G4 for trombone. Here is a wonderful
change-of-pace chart!
10734968 Jazz Ensemble . . . . . . . . . MA 50.00
H Georgia on My Mind—Hoagy Carmichael/arr.
Michael Sweeney. This enduring standard by
Hoagy Carmichael continues to sound fresh year
after year. This easy setting hints at the great
Ray Charles' recording, with its lush harmonies
and bluesy ballad style. Short solos for trumpet,
sax and trombone can also be played as
section tuttis. Great for developing balance and
ensemble playing.
2392454 Jazz Ensemble . . . . . . . . . . .E 40.00
God Bless the Child—Herzog & Holiday/
arr. Sammy Nestico. Here's the trombone solo/
section feature you've been looking for! This great
jazz standard, first popularized by co-writer and
singer Billie Holiday, is an ideal solo/soli vehicle
for trombones. Sammy's chart is not only lush
and beautiful, but it makes perfect sense!
2261535 Jazz Ensemble . . . . . . . . . . M 50.00
Imagine—John Lennon/arr. John Berry. Since
its release in 1971, John Lennon's poignant and
sensitive song remains relevant and popular
today. John Berry's arrangement for younger
players is in the style of a rock ballad with a
contemporary feel, and skillfully passes the
melody from section to section, and has a soulful
appeal. Requiring no solos, it's also playable with
optional reduced or expanded instrumentations.
Very nice, indeed!
10490301 Jazz Ensemble . . . . . . . . . . .E 40.00
4 In Your Dreams...—Paul Clark. In Your
Dreams... is an exceptional ballad feature for solo
trombone or tenor saxophone. The rhythmic and
technical demands are minimal allowing rehearsal
time to focus on musicality and interpretation. The
solo part and the rhythm section parts are fully-
notated, and frequent trading off between the
soloist and band will help limit fatigue. You'll get
big returns on very little investment of time with
this outstanding ballad. Lovely!
10757054 Jazz Ensemble . . . . . . . . . ME 50.00
Li'l Darlin'—Neal Hefti. Composed and arranged
by Neal Hefti, this is the original chart that says
just about everything there is to say about
relaxed, laid-back swing! No good jazz library is
complete without this incredibly good chart!
279364 Jazz Ensemble . . . . . . . . . ME 52.00
H Misty—Erroll Garner/arr. Terry White. Perhaps
one of the most familiar jazz standards of all time,
this easy but effective chart has a laid-back swing
feel. The tempo is 90 bpm with written solos
for alto 1 and trumpet 1, and the lead trumpet
range goes up to written E-flat top space. It's
also playable with optional reduced or expanded
instrumentations. This chart delivers!
10355610 Jazz Ensemble . . . . . . . . . . .E 42.00
H My Funny Valentine—Richard Rodgers/arr.
Mike Smukal. Richard Rodgers and Lorenz Hart
gave the jazz world this beautiful ballad, and
arranger Mike Smukal sets it as a lush trumpet
or flugelhorn solo feature. The entire solo is
notated and can effectively be performed with
no improvisation. It also features a wonderful
double-time section with everything written
out, easy ranges, some nice substitute chords
and lush harmonies. This arrangement includes
optional parts for flute, horn in F, baritone and
tuba. This is an exceptional chart at an accessible
level! Highly recommended!
10049705 Jazz Ensemble . . . . . . . . . ME 48.00
H Over the Rainbow—Harold Arlen/arr. Alan Bay-
lock. Do you have two trumpet players to show-
case? Here is a ballad everybody knows, scored
as a trumpet duet feature. Everything is written,
no improvised solos, the lead trumpet range is
to C above the staff and the second part is to
written A. Lyrical and melodic, this chart is a sure-
fire crowd pleaser impeccably arranged by Alan
Baylock! Optional expanded instrumentation.
10093177 Jazz Ensemble . . . . . . . . . . M 52.00
H Prayer Meetin'—Matt Harris. Feature a young
pianist with this gospel style ballad. The solo is
entirely notated except for a short section where
the pianist needs to improvise over an easy
4-bar sequence. The slow, infectious groove
is perpetuated by fully notated rhythm section
parts, trumpets in harmon mutes at times and full
band passages. There's an open solo section for
soloists of choice that is written or improvised.
This chart can be played with a few as 3 saxes, 2
trumpets, 1 trombone, piano, bass and drums, but
is scored for full jazz ensemble instrumentation.
10031755 Jazz Ensemble . . . . . . . . . ME 48.00
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