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I Dreamed a Dream (from "Les
Miserables")—arr. Roger Holmes. Here's
the touching ballad from the landmark
musical and recent motion picture "Les
Miserables" in a nicely paced and solidly
scored arrangement for younger jazz
ensembles. With no solos, it's a beautiful
change of pace for any performance
occasion. Highly recommended!
10374174 Jazz Ensemble. . . . . . 50.00
I'm Getting Sentimental Over You—
George Bassman/arr. Mark Taylor. Long
recognized as the signature song for
the Tommy Dorsey Orchestra, here is a
beautifully arranged setting for young jazz
ensembles. In a slow Basie-style swing,
this chart features plenty of full ensemble
scoring, modest brass ranges, a solo for
trumpet, and a brief sax soli in double-
time feel.
10960662 Jazz Ensemble. . . . . . 45.00
If I Could Fly—Mike Smukal. Feature your
tenor sax soloist on this lush ballad that
has a hint of Latin. This chart weaves and
contrasts minor and major harmonies and
is a superb chart for developing players
with the lead trumpet range only to top
line written F. Additionally, it's playable
with optional reduced or expanded
instrumentation. The tenor solo is all written
out and the rhythm section parts are very
clear. An excellent vehicle for your tenor sax
player. Highly recommended!
10028079 Jazz Ensemble. . . . . . 48.00
In a Sentimental Mood—Duke Ellington/
arr. Mark Taylor. No one handles Ellington
for younger ensembles better than Mark
Taylor, and this well-crafted arrangement
shows why. Although Mark uses a written
trumpet solo on the bridge, the main theme
is handled by the full ensemble playing
primarily tutti rhythms. Included are solos
for trumpet and tenor (written or ad lib.) then
a brief double time swing section featuring
the entire ensemble. We think the Duke
himself would have liked this one. Highly
recommended!
2702198 Jazz Ensemble. . . . . . 50.00
In Her Family—Pat Metheny/arr. Bob
Curnow. This is one of Metheny's most
haunting, pensive and beautiful ballads. It
features a written piano solo throughout.
Warm brass sounds (opt. flugels) and lush
harmonies give this piece a very special
texture. Trumpet range does not go above
the staff. Use this piece as a wonderful
contrast on your festival appearances.
A guaranteed winner! From the "Still
Life (Talking)" LP. As recorded by Bob
Curnow's L.A. Big Band on "The Music of
Pat Metheny and Lyle Mays." 5-4-4-4 (8
brass w/opt. 10)
2269413 Jazz Ensemble. . . . . . 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. . . . . . 52.00
Missing You—Mike Tomaro. This straight-
eighth ballad is beautiful and bold. Full of
emotion, this chart is perfect for working on
phrasing and contrast to help bring depth to
the performance.
11403542 Jazz Ensemble. . . . . . 55.00
Misty—Errol Garner/arr. Mike Lewis.
You'll want to have this timeless standard
in your library! A gentle opening builds
to an unforgettable climax, with your alto
and trumpet soloists getting to share the
solo spotlight. Powerful ensemble scoring
makes the big band sound come alive.
Great for working on phrasing and style.
2442994 Jazz Ensemble. . . . . . 48.00
Morning Starlight—Larry Neeck. Here's a
tasty rock ballad that's a great way to feature
aspiring trumpet or alto saxophone soloists.
The sensitive ensemble writing provides
plenty of support for the soloist, while the
fully-scored sections nicely contrast with the
lyrical solo theme. For additional variety, the
full band also has a featured section. The
solo section is completely notated and
requires no improvisation. Playable with
optional reduced instrumentation, Morning
Starlight is just the right change of mood for
any performance!
11002307 Jazz Ensemble. . . . . . 50.00
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. . . . . . 48.00
My Funny Valentine—Richard Rodgers/
arr. Sammy Nestico. Feature either trumpet
or flugel on this creative arrangement of a
timeless standard. Written in ballad style,
there's some nice ensemble scoring and
a brief, easy section in 3/4. Definitely a top
choice for younger bands!
2328144 Jazz Ensemble. . . . . . 50.00
A Nightingale Sang in Berkeley
Square—Manning Sherwin/arr. Roger
Holmes. Composed in 1939, this popular
standard features an amazingly tuneful
melody and lush chords. Perfectly suited
to the little big band format, this ballad is a
perfect change of pace.
11518955 Jazz Ensemble. . . . . . 50.00
October Rain—Vince Gassi. This
beautiful ballad features the ensemble
and is truly a gem at this level. Lush
harmony abounds, and all the colors of
the contemporary jazz ensemble are
utilized. There is a short written piano solo
that leads into the subtle modulation.
11503708 Jazz Ensemble. . . . . . 55.00
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 four-bar sequence.
The slow, infectious groove is perpetuated
by fully notated rhythm section parts,
trumpets with 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 as few as three saxes, two
trumpets, one trombone, piano, bass, and
drums but is scored for full jazz ensemble
instrumentation.
10031755 Jazz Ensemble. . . . . . 50.00
Round Midnight—Monk & Williams/
arr. Mike Smukal. It's always good
programming to include a ballad and here's
a warm and tender ballad feature for your
tenor sax player. This timeless jazz tune,
recorded by countless jazz artists, is scored
for developing groups by arranger Mike
Smukal. He adds the lush harmony you
would expect and then moves into a double
time section, returning to the ballad tempo
for the ending. Everything is notated for the
soloist and rhythm section. An excellent
ballad showcase! Highly recommended!
Optional expanded instrumentation.
10277614 Jazz Ensemble. . . . . . 48.00
The Shadow of Your Smile—Johnny
Mandel/arr. Roy Phillippe. Every now and
then it comes along, a ballad so hauntingly
beautiful that it may just be the highlight of
your concert! This is one such gem. After
a solo piano introduction, the familiar minor
melody is gently taken up by the band. Alto
sax and trumpet both get solo passages
but, for the most part, it is the ensemble
effort that makes this chart one of the best.
2467744 Jazz Ensemble. . . . . . 48.00
Somewhere in the Moonlight—Larry
Neeck. Put your young trombone player
with lyrical skill on display with this lush and
accessible ballad. Trombone solo plays a
high G.
11517936 Jazz Ensemble. . . . . . 52.00
Stardust—Hoagy Carmichael/arr. Dave
Mills. This Hoagy Carmichael standard from
has remained a staple for jazz musicians
for almost a century. With its haunting
melody and lush chord progression, this
ballad treatment of the tune features your
tenor sax soloing through the melody,
interspersed with melodic statements
from the rest of the band. The solo section
features an ad-lib tenor sax solo before the
rest of the band returns to close out the
tune. The lead trumpet plays up to an A just
above the staff.
11516034 Jazz Ensemble. . . . . . 50.00
That Warm Feeling—Sammy Nestico. This
Sammy Nestico composition was written in
the style of Neal Hefti's Li'l Darlin'. A ballad
that's appropriate for developing groups
as well as more capable bands, it was
originally recorded on the album "Basie-
Straight Ahead."
924142 Jazz Ensemble. . . . . . 48.00
Tomorrow Is Always a Good Day—Paul
Clark. Tomorrow Is Always a Good Day is a
sensational ballad feature for solo trombone
or tenor saxophone. This lovely composition
begins in a minor key, keeps building to a
modulation to major, then builds to a huge,
powerful finish! The features include an
impressive and accessible solo part,
full and lush ensemble support, and an
effective ensemble-only interlude. Truly a
memorable chart at this or any grade level!
Highly recommended!
10518287 Jazz Ensemble. . . . . . 48.00
Touchstone—Anthony Susi. "Touchstone"
is a compelling, heartfelt even eighth-note
ballad that will show off the soft side of
your ensemble. The chart has some great
musical moments and features well-crafted
rhythm section parts that are fully notated.
11615111 Jazz Ensemble. . . . . . 50.00
BEST
SELLERS
Ballads
Medium-Easy
Best Selling Charts! These selections,
listed in order of their popularity, are
chosen most often by directors like you.
Careless Whisper—arr. Dave Mills.
11000468 Jazz Ensemble. . . . . . . . 65.00
Misty—Errol Garner/arr. Mike Lewis.
2442994 Jazz Ensemble. . . . . . . . 48.00
Somewhere in the Moonlight—
Larry Neeck.
11517936 Jazz Ensemble. . . . . . . . 52.00
Angel Eyes—
Matt Dennis/arr. Carl Strommen.
10513881 Jazz Ensemble. . . . . . . . 48.00
Bridge Over Troubled Water—
Paul Simon/arr. Paul Baker.
10452102 Jazz Ensemble. . . . . . . . 48.00
October Rain—Vince Gassi.
11503708 Jazz Ensemble. . . . . . . . 55.00
After the Rain—Larry Neeck.
10882814 Jazz Ensemble. . . . . . . . 50.00
My Funny Valentine—
Richard Rodgers/arr. Mike Smukal.
10049705 Jazz Ensemble. . . . . . . . 48.00
Come Sunday—
Duke Ellington/arr. Rick Hirsch.
10753974 Jazz Ensemble. . . . . . . . 48.00
Afternoon—
Pat Metheny/arr. Bob Curnow.
10162086 Jazz Ensemble. . . . . . . . 55.00
Ballads | Medium-Easy
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